Intervals are what a threshold makes, a here and there, (held) in suspension, a distinction (telling the difference), undifferentiated (holding difference), without separation, a crossing, where limits meet, infrathin, anticipation (a margin to move in), body horror (I’m an alien), reperforming events, switching (logic), binary, alternating, lenticular, talking back, the transformation of silence into language and action, some temporalities (for sure), stop motion, flicker, duration, bracketing, the suspension of judgment, the withholding of assent, the preconditions, the prior logic, intersection, coincidence, suture, stitch, montage, cut, rupture, glitch, break, gap, clearing, hesitation, some kinds of waiting, losing control, building community, falling in love, between thought and speech, between speech and act, between action and listening, between memory and futurity, between what’s in my head and what’s in yours, side by side, boundary objects, parallel selves, the fantasy of continuity, a movement between the pieces, fragments of actual energy, time away, life, a long take, notes in a chord, frames in a film, unnatural bridges.

With Will Rawls’ technique of stop-motion animation as a point of departure, Fischbeck points to the stickiness between frames as a way of foregrounding how lossy capture is, and how rich the near-nonexistence of intervals can be.