'Canning the immaterial' is what they try miserably to do the record companies via the copy protections of music released on physical media. This invisible barbed wire (hear, but do not touch), is stigmatized by the installation Endangered Sounds of Garth Paine, inspired by copyright even more absurd like the roar of Harley Davidson. It consists of two series of objects. From a high there are a number of test tubes containing encapsulated air near one of the sounds patent-protected, accompanied by a detailed identification label. On the other hand some dessicatori glass within which there are speakers powered by solar energy, which play protected violating the law, but they do it in a container in which it was created a vacuum, so that they can not be heard by anyone. This work expresses a materialization of intangible protections, a conceptual translation that makes clear the paradox sparked by the obsession for the protection of the reproduction and subsequent brutal anti-copy techniques. The insecurity of elenfantiache companies, refuses to deal with the reality, which is that the protection is useless and harmful. And the construction of this installation makes palpable the invisible through the glass, fragile element but impassable, which at the same time with its transparency lets scrutinize the inside, as an editor of files.