“FRAME_01 / establishing the acetate lenses”

Tonight I began building the first acetate “lenses” for the visual side of signal // NOISE and process zine.

Rather than clean overlays or digital templates, each sheet starts life by being shown full-screen on the iMac, mirrored into the smallest CRT in the glitch-lab, and photographed directly off the phosphor. That’s where the project’s visual logic begins: a digital field rewritten by analogue drift.

Each printed acetate sheet then becomes a switchable lens — used in two ways:

Shot through on the Chinon 35mm, letting the acetate act as an optical filter: a physical veil between subject and camera, carrying its own distortions, scratches, and code.

Projected onto scenes and objects using the overhead projector, so the acetate becomes a moving surface of interference layered onto real space before the shutter even fires.

Either way, these CRT-born frames fuse with the subject matter. They add codification, misalignment, grain, curvature, and the quiet visual equivalent of mishearing.

The first sheet carries a simple identifier (PZ_FRAME_01) and the project’s working thesis:

NO FRAME IS ORIGINAL / EVERY IMAGE IS A MISHEARING

Once printed onto acetate, these will be altered across time: white paint, smeared ink, dust, abrasion, toner scratched back to raw transparency — each mark accumulating like generational noise. Each sheet will degrade, mutate, and misremember.

✴ Liminal Vision is a newly founded interdisciplinary design research studio by nvisible.studio and me.

In January 2020, I started my official collaboration with Emilia (nvisible.studio) as liminal.vision. Now that the work is gradually coming out, I'm sharing some elements of the background research typically hidden behind the cinematography. In my conceptual work, I use moodboards and memes as a research method to articulate and sharpen the ideas that will be translated into our own cinematic & audio fiction.

A third piece was based on an insight I had during the first quarantine period, having to do with the potentially central role of trauma healing through dance in experimenting with independent, decentralised societal infrastructures. We imagined a network of micro-societies where both the your digital authorisation signature and essential interactions are based on concsious movement practices. Together with the Amenti collective, we developed a speculative tutorial for the creation of an embodied passcode, based on the layers of their "movemeant" method.

In January 2020, I started my official collaboration with Emilia Tapprest (nvisible.studio) as liminal.vision. Now that the work is gradually coming out, I'm sharing some elements of the background research that is typically hidden behind the cinematography. In my conceptual work, I use moodboards and memes as a research method to articulate and sharpen the ideas that will be translated into our own cinematic & audio fiction.

A second piece we made depicts an AI-guided mind body exercise focussed on re-balancing one's personal space in order to make more mindful connections with others. The concept emerged from Emilia's research for her previous film Sonzai Zone (2019), in which body data and biofeedback sensing were already used to represent people's energy or mood live over distance in the form of ambient light. In Sonzai Zone, this technology was abused to make people addicted to these mesmerising, interactive devices for profit. In "Tent of Presence", we imagine a society in which an AI system of virtual buddies, coaches or companions would use this technology to help people form better relationships in the real world. As a result, this would enable the evolution of the social fabric and to not only be monitored, but actively rewired and controlled from the top down.