These questions apply not only to the technical devices themselves but also the media they produce. As images lose fidelity to the circumstances that created them, are they degraded or liberated? As German artist Hito Steyerl writes in her 2009 essay “In Defense of the Poor Image,” “Poor images … are the debris of audiovisual production, the trash that washes up on the digital economies’ shores. They testify to the violent dislocation, transferrals, and displacement of images—their acceleration and circulation within the vicious cycles of audiovisual capitalism. Poor images are dragged around the globe as commodities or their effigies, as gifts or as bounty. They spread pleasure or death threats, conspiracy theories or bootlegs, resistance or stultification. Poor images show the rare, the obvious, and the unbelievable—that is, if we can still manage to decipher it.”