Farocki focuses on the core of the media brutality and on the terroristic aesthetic of optical simulation. The vanishing point of the images is the conceptual image of the "blind spot" of the evaluators of aerial footage of the IG Farben industrial plant taken by the Americans in 1944. Commentaries and notes on the photographs show that it was only decades later that the CIA noticed what the allies had not wanted to see: the Auschwitz concentration camp is depicted next to the industrial bombing target. At one point during this later investigation, the image of an experimental wave pool flashes across the screen, recognizably referring to the biding of the gaze, as one's gaze and thoughts are not free when machines, in league with science and the military, dictate what is to be investigated.