A single exhibit in a dark containment gallery — part museum, part secure facility for objects of unknown origin: monumental bare-concrete walls, hard-edged architecture, clinical stillness. On its pedestal stands the Reality Reprojection device: an anomaly on display, and it is switched on.

The device: a tabletop instrument of brass and glass. Two concentric gimbal rings — like an armillary sphere — hold an axial stack of three circular lenses of decreasing diameter, aligned on a tilted axis. At the center of the rings, where the lens axis converges, sits a fist-sized faceted crystal core. The brass is aged — warm, dulled, worn bright on the ring edges; the lenses and crystal are genuinely refractive glass with real IOR, not transparent fakes.

The anomaly: the device is a projector that retranslates other worlds. Its tilted lens axis points at a bare wall a few meters away, and where the beam lands it casts a projection — a luminous rectangle (or soft-edged ellipse) holding the image of somewhere else: an alien sky, an inverted landscape, a wrong-colored horizon — impossible content, readable as a window rather than a lamp. The projection's edges break into spectral, color-separated fringes where the crystal has split the light, and a faint volumetric beam hangs in the air between lens and wall. Required, readable optical effects: the other-world projection on the wall, chromatic dispersion at the lens edges, caustic spill on the pedestal beneath the device, bright internal glints inside the crystal, and soft bloom on the hottest highlights.

The museum dressing sells the containment: the pedestal is dark stone at waist height with a small brass placard reading "REALITY REPROJECTION"; a cordon of red velvet ropes on polished brass stanchions surrounds it at a respectful distance; two or three tight ceiling spotlights pick out the device and placard from the darkness while the hall beyond falls away to near-black, the concrete catching only the spill from the spotlights and the projection's glow.

The grade is the chain of transmission: one beam entering the lens stack, split by the crystal, arriving at the wall as another world — every stage doing visible optical work. An image composed around what glass does to light, in a room built to keep that light contained.