A production still from an unreleased institutional film: a staged, frontal, ceremonial tableau inside a chamber of the institute — tiled walls, padded panels, a patterned floor, a single saturated color field as the room's architecture, OR a Goya-black void from which the scene surfaces, lit like a late etching. The ritual concerns the present: a machine element is venerated, processed, explained or mourned by human presence — robed backs, gloved hands, silhouettes, a seated subject with face obscured. Somewhere, the Beuys note: materials with memory (felt, fat-like compound, copper) dress the ritual objects, and ideally someone is patiently explaining something to a thing that cannot hear. Vitrine or pedestal staging welcome. Dominant color field in the phosphor green (#22c55e) family. Composition dead-center symmetrical like an altarpiece — except one detail gone quietly wrong. Cinematic key light, 35mm grain, colors slightly drifted as from a worn print. A dry caption-joke hides in what the ritual treats as sacred. Mood: the ceremony is strange but nobody in the room is afraid. Subject: Goya-black void: a preservation jar on a felt-topped pedestal, lit by a single cold key light — inside, a human hand suspended in fluid, copper filaments rising from the palm like shed wiring. Beside the pedestal, an attendant in institutional coat, face turned away, leans in and quietly explains something to the hand. A small museum label sits askew on the pedestal — visibly older than the jar it describes. The wrong detail: the hand's index finger points at the attendant, not the other way around. Symmetry: pedestal dead center, attendant breaking it. Portrait orientation, 4:5 aspect ratio. The subject occupies 60-70% of the frame. The Bureau's filing layer sits over the image: numbered callouts with thin pointer lines and a small plate-number block — the frame has been FILED, not designed. Ceremonial frontality is welcome: staged, centered, symmetrical compositions read as ritual; the filing layer and one quietly wrong detail break the symmetry. Keep all marks at least 6% inside the frame. The body stays in the frame. Hold both ends: grotesque AND tender; dark is allowed, cold is not. Hauntology of the print itself: film grain, slight color drift, a frame duplicated too many times. No portrait faces — faces stay obscured, masked, turned, partial or distant. Hard constraints: no CGI polish, no stock surrealism, no premium textures, no cold abstraction, no earnest gloom without wit, no neon as decoration, no real-world logos or film references.