Xeno Doch I is an artwork whos’ neon shapes are based on the visual noise resulting from the translation of archeological artefact illustrations into vectors. Artefact illustrations in archeology are technical drawings made of excavation findings, that serve to identify and temporally categorize them. The initial illustrations used are those of glass vessels found on the beach of Syia, where the presence of a large glass workshop has been speculated. Vectorizing is a ‘lossless’ technique, meaning it can be endlessly reproduced without loss in the quality of the image, given it is based on cartesian coordinates. The process of vectorizing the scanned physical illustrations resulted in the 'unwanted' production of visual noise, otherwise known as signal artefact. Those have been materialized in neon, and placed on the aluminum bench, a copy of the one previously found in the museum, at the same spot. Through these translating processes, the noise ‐ or the foreign, the unwelcome part ‐ gets introduced into the museum as an artwork, and through capturing and giving this signal visibility it turns into an illuminating machine for the rest of the works present. The goal is that the invisible, foreign fragments of knowledge become visible as hyperobjects and reenter circulation by becoming part of the museums collection, as a monument to parasites and through a play with the double meaning of the english word artefact : the archeological finding but also the noise of an unwanted pirate signal travelling illegally outside the Text.