#mishearing

signal // NOISE — limited cassette artefact

15 copies only.

This object documents a split listening system:

left ear → cochlear implant right ear → hearing aid

digital / analogue late / quiet brittle / warm

The album is built inside that imbalance. Meaning is assembled from partial signal, delay, error, and inference. Noise isn’t corrected here — it’s treated as evidence.

Each cassette is accompanied by printed material that carries its own distortions: – dot-matrix signal scrolls printed via a misaligned driver – thermal DSP diagrams – typed and re-typed fragments – output left intentionally degraded

The artefact is the work. The tape is the working signal.

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A small note on format (and friction):

This project was conceived as analogue-first. Cassette now, vinyl later if conditions allow.

Bandcamp, however, doesn’t currently allow a purely analogue release. Physical items must be tied to a digital container. As a result, signal // NOISE exists digitally too — reluctantly, explicitly, and priced accordingly.

The digital version functions as documentation, not destination. It’s there because the platform requires it, not because the project demands it.

If you’re interested in listening digitally at a more conventional entry point, there are other releases intended for that space: signal // NOISE_Δ : digital appendix MISINTERPRETATIONS_1 SUBSTRATA

All priced low, all designed for digital listening.

This one isn’t.

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As ever, this isn’t about units sold or traction gained. It’s about testing material, process, and failure modes in public.

No master version. No original frame.

INPUT ≠ COMPREHENSION OUTPUT ≠ RESOLUTION

— DSP https://processzine.bandcamp.com/

Me: Do you know what Liminal Space is?

My Mum: No why would I know where the middle of space is?!

First pass at MAIN SERIES I — “INTERFERENCE STUDIES”

These are quick iPhone tests rather than the “final” Chinon/CRT shots, but the language is already starting to appear:

Digital left, analogue right. Cochlear implant and hearing aid laid out on the table, then split by an acetate “lens” carrying the series marks and the line: EVERY IMAGE IS A MISHEARING.

On one side: the clean, sharp, harsh CI.

On the other: a halftoned, low-resolution echo of the HA.

The plan is to take these digital sketches, feed them to the CRTs, and then re-photograph the screen on HP5+ with the Chinon. Digital → analogue → digital → analogue again: each pass a new layer of interference, each frame drifting a little further from the so-called original. Perception as palimpsest isn’t just a title, it’s the workflow.

// UP MAIN STARTING

More perception as palimpsest experiments: vintage railway lever plates, re-seen through acetate, CRT texture and camera sensor. “3 / UP MAIN / STARTING” felt like an obvious hinge—both a literal signal plate and a quiet instruction to begin.

Plan is to use one of these frames (probably the cleanest “STARTING” shot) as the opening image for the full 3:16 BETWEEN_LINES₍v0.1₎ video: CRT off → click on → phosphor bloom → this plate resolving out of static, as if the film itself is being switched on. The final frame of the piece will loop back into the same image, so the track never really leaves the station.

Working notes for the longer video from here:

Parallel lines that never meet – tracks as mute subtitles for two lives that don’t quite sync.

Arrival ↔ departure, redshift ↔ blueshift, signal ↔ echo – trains coming and going, but meaning lagging behind.

Two viewpoints: inside the carriage vs on the platform. Faces smear into noise either way. Nobody fully “lands” in the other frame.

Self-encounter as misreading – the lone figure and their reflection in the passing windows: seeing yourself and still not understanding.

Loops: birth / transit / departure / return – the whole piece breathing like a recurring dream rather than a straight timeline.

Relativity: gestures (a thrown ball, a turning head) only visible as streaks and arcs – motion remembered more than seen; perception as the only “real” track.

Captions as failed explanations: [INDISTINCT], [STATIC], [SIGNAL LOST] – language that never quite resolves, echoing APD and our habit of living off half-heard soundbites.

Signs that almost help but don’t: fragments of text, mirrored words, cropped lever codes – instruction without instruction.

“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.