// 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.
These plates were once instructions to move trains safely. Here they’re just orphaned glyphs, opening a film about what happens when the signals are there, but the signalling fails.