Here the historical, economical, political, and comical aspects of the act of censorship converge into One to generate a contradiction. Is about the contradiction of our times: the elitity of historical institutions as well as the elitity of the algorithm of control, focused on their selling product, shows to the consumer their inner functionality. The cards on the table are overturned, and after that, they returned to starting position. As if the Nada of They Lives (1988) find himself stuck in a unceasing loop of “put the glasses on!“, “put the glasses off”, and so on. As W. J. T. Mitchell said about the relationship between Art “x” Ambient (I would propose the “Art x Algorithm x Ambient” form), is not only a fact concerning a static positioning but also as an anachronistic dislocation and violent marking. As in Nicolas Poussin’s painting Plague of Ashdod (1628-1631), where the powerless idol-statue of Dagon is dethroned by the new and shiny idol-figure of the Ark of the Covenant.