Spoof zine I designed in collaboration with Dina Bukva, mimicking the dramatisation of events used by many tabloids and newspapers around the world. Plus, we studied the visual cues and identifications of conspiracies theorists and how easy it is to create an ‘Illuminati’ narrative.

Rodchenko’s resisted to the censorship by adding an additional layer of information (black paint in this case). It technically still censors the content yet gives more visibility to it.

The more I researched on the image degradation subject, the more I grew a doubt on true image authenticity and the purpose of the visual in context of the text. The image has no value, since it can be manipulated and altered to fit the specific view of the author/editor.

What if images disappear from websites? What if I take this a step further and keep the image but pixelate it to prove that the content could be manipulated and changed. This is why I developed a code that pixelates every image on websites I chose (CNN, BBC, Vice …) as a sort of opinionated stance on images on the web.

To do that, I analysed a number of banned/censored movies in Lebanon. I pin pointed the most popular censorship reasons and studied how pixels react to most of these reasons.

An experiment to see if movie posters in cinemas, for example, can be truthful about the content movie goers will see.

Hito Steyerl: In defense of the Poor Image (2009)

Removing one frame, or just one pixel from a video, is basically voiding its authenticity and completely destroys the piece.

So I imagined what movie trailers and posters might look like if they really expressed the true reality of censorship.

However, the image is a random missile test not related (at least confirmed) to North Korea. Does the visual cue influence users to believe?