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: An empty machine hall in institutional light: a paused industrial apparatus stands dead center like an altarpiece, dust settling in the key light, its work light still on. Facing it, one worker's chair, empty, placed with ceremonial precision on the patterned floor; a date-stamped relocation card lies on the seat. A coat hangs on the apparatus railing as if its owner stepped away mid-cycle, and a strip of felt has been laid gently over the machine's lever — someone tucked it in. The wrong detail: of the hall's row of ceiling lamps, exactly one burns; it is not the one above the machine. Goya darkness eats the hall's edges. 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.