Jamming

Input.
A typed message. Up to eight synthesised loops, layered in any combination. Optionally, an image dropped in as ground, and a duotone palette chosen from six — Mono, Cyanotype, Sodium, Chlorophyll, Ultraviolet, Ember. A render length: five seconds, ten, or fifteen.

Transformation.
The message is hashed into static — its grain, drift and downward scan all set by the words, so the same line always breaks up the same way. It plays as a field of 1-bit noise, ink crawling over paper. Add the soundtrack and the noise begins to boil: louder passages light more of the frame and flicker the grain faster, bass swelling the flecks of signal red. Drop in the image and it is thresholded into an ink ground the picture half-emerges from, its shapes bending the noise around them. Nothing here is still. When the broadcast looks right, Render captures the frame and its soundtrack together and downloads a short WebM.

Note.
Reception, at the opening of this collection, read a signal from the air; Jamming sends one back. But a message is what a broadcast carries, and interference is what obscures it, and Jamming refuses the distinction — every word you type shapes the static that hides it, deterministically, so the message and the noise become the same signal. What downloads is not a message reaching you through interference, but a message that exists only as interference.