Through the tension between the material substrate of technology and intangible digital data, these compositional elements undergo a process of transformation, shedding fragments of themselves to reconfigure within a higher-order structure.The work draws on visual noise, interference, and distortions produced by obsolete projection technologies, such as VHS tapes and analog film projectors, reworking archival footage into an interplay between analog visual and purely digital sounds. The sonic component, primarily shaped through data bending, synergizes with the visual material to reveal the otherwise hidden nature of technological media, exposing an intrinsic historical contrast. By treating the invisible substrate of technology, such as signals, glitches, and digital artifacts, as compositional material, Aphàiresis challenges functional paradigms and reclaims error as a source of aesthetic insight. What is typically relegated to the background becomes the primary subject, and through this inversion, the work proposes imperfection as a point of departure for artistic reflection. In this way, visual and sonic codes mutually reframe one another, embracing technical failure and systemic breakdown as catalysts that actively reshape our perception of technology and its meaning.