Taking a cue from Man Ray's Rayographs, named for the cameraless process by which they were made, I put forth the term Nagragraph for the transfer of photocopied images of the iconic Swiss-made Nagra SN tape recorder to tape. Each work begins with the application of multiple strips of sticky tape onto photocopied images before the paper support is dissolved in warm water, leaving only photocopier toner adhered to the tape. These translucent fragments are then reassembled to construct a new series of Nagra-derived images. The Nagra SN remains a highly coveted, beautifully engineered and compact reel-to-reel machine. Small enough to be concealed, it was frequently used for clandestine operations by the CIA and other intelligence agencies. Nagragraphs echo the original machine’s transformation from hidden recording device to fetishised object. Sticky tape collapses distinctions as it becomes the object, the image, and the process. The work’s facetious claim of a new image-making technique draws attention to the dematerialisation of recording technologies and a recurring cycle: technologies disappear, but their material and cultural residues remain available for unexpected futures. Nagragraphs may claim a lineage with rayographs, while refusing the heroic modernist gesture of naming a process after the artist. The machine gets the name.