This release forms part of the ongoing Drones of Suburbia world, a cinematic system observed through the Post-Feminine Gaze.
Women move through post-suburban space accompanied by drones that no longer dominate or pursue. At intervals, the system interferes. Figures are scanned, colour-shifted, or spray-marked mid-motion, as if the machine is attempting to classify something that exceeds its frame.
Glitch, colour, and paint appear not as effects, but as moments of instability. Ink, introduced before the model, acts as a fixed interruption. The algorithm does not learn from it; it works around it.
Across Drones of Suburbia, suburbia is treated not as a place but as a behavioural script. Interference documents what happens once that script is recognised and control begins to hesitate.
Each piece is a closed temporal circuit. A surveillance fragment. A system that endures rather than evolves.
