#deafcinema

🌀 Recursive Glitch Test // ALBA CRT x Moshpro x Webcam A brief 12-second experiment that unexpectedly opened up a new route for Process Zine visual material.

While testing Moshpro, I accidentally activated the iMac webcam—resulting in a live, glitched feedback capture. Curious, I quickly recorded that feed onto the ALBA CRT using my iPhone (Hi8 version pending), then re-imported the footage back into Moshpro for a recursive distortion pass.

The result feels like a cross between a degraded fax loop and a spectral trace of self-perception—digital noise bouncing through analogue memory and back again. Every iteration a little less ‘real’, a little more ghost.

Thinking this could be a flexible method for building video material: — for signal // noise visuals — for caption overlays — for Process Zine spreads — or simply as aesthetic artefacts of compression, echo, and decay

Next step: dub to VHS → record playback, fast-forward, skips and dropouts → re-import.

From misfire to method.

MYTH OF MAN (2025) — a recent and unexpected addition to the Interpreter Archive.

In searching for films that resonate with the internal philosophy and visual atmosphere of Ezra and Process Zine — works like Waking Life, Her, The Fountain, The Frame — I stumbled upon a new one I hadn’t seen: Myth of Man by Jamin Winans.

And it’s… eerie, how aligned it is.

A nearly silent film that follows a deaf-mute artist named Ella as she navigates a liminal steampunk world — scavenging scraps, collecting “songs” to connect with a creator. There’s no spoken dialogue. Only visual cues, subtle ASMR-style ambient textures, and carefully constructed atmosphere. She doesn’t hear the soundscape we hear — and yet, we interpret her world through it.

Interpreter. Misrecognition. Signal as myth. Deafness as method.

Shot across seven painstaking years using over 3,500 hand-built props and effects, Myth of Man is the kind of low-budget epic that prioritises intent over polish. Like Ezra, it’s a handmade machine of interpretation — a prosthetic signal processor that runs on instinct, visual language, loss, and faith in unseen forces. It shares DNA with Signal // Noise, and the self-contained worldbuilding evokes elements of Out of Sync, Crossed Wires, and even The Interpreter Manual.

In Ella’s world, people wear shoulder lights that fade when they near death. Her mission? To collect songs to contact the unknown source of her signal — a mythic creator. Her body becomes interface. Her eyes, ears. Her silence, a kind of code.

A few immediate parallels:

Deaf protagonist interprets sound without hearing it → echoes lived experience of APD, cochlear implants, visual hearing

Mechanical artefacts, analogue prosthetics, steampunk bricolage → aligns with The Interpreter build (beacon, printer, CRTs, barcode scanner)

Visual captioning, mythic signal, speechless expression → thematically adjacent to The Interpreter Manual and Second Copy

Not-quite-cyborgs, miscommunication, misunderstood purpose → uncanny mirror of Ezra’s own presence

Watching (or reading about) Myth of Man feels like opening a channel. Like the film had been transmitting on a forgotten frequency — waiting to be picked up, misinterpreted, archived.