This project examines how visibility, guilt, and power are unevenly distributed across systems of surveillance. The printed book juxtaposes low-fidelity security images with excerpts from corporate settlements and biblical language on wealth, judgment, and injustice. The materials mirror each other: on one side, petty theft is made hyper-visible and morally charged; on the other, large-scale corporate wrongdoing disappears behind procedural language, legal insulation, and financial abstraction. The aesthetic language- scans, noise, red Garamond layered with monospaced fragments- frames this asymmetry as both an archival artifact and a cultural script.

The website extends this logic by turning the camera outward. Instead of witnessing surveillance from a distance, the viewer becomes its subject. The webcam continuously captures and “scans” the user, generating a growing wall of images reminiscent of bodega thief-walls. Motion-tracking logs spread across the screen, reporting the user’s movements with the same accusatory precision used to police low-level theft. When the viewer attempts to dismiss an image, a biblical indictment- drawn from the book- writes itself across the page, suggesting that guilt, once assigned, cannot be closed or escaped. The experience is intentionally uncomfortable: a reversal of the asymmetry the book documents, placing the user inside the visual and moral machinery normally aimed downward.