A Place To Come

We are not seeing what the narrator describes. Description will match action, but not now, not yet. There are trees, couples, dogs, later the sea. The sound is displaced, but we look and we wonder - is the mist real? Are the clouds?

It's not improbable that we could hear one from another, camera lagging behind the sound, and probability is the watchword. There is a discussion of what amounts to multiverse theory, of possibilities - there's a statement that's more 'glass half empty' than seems credible - "one in infinity is the same as none" is what we're told, but that misses the point of those keyboard-equipped simians - in infinity, all is - it might be hard to find, but it's there. That's more difficult to say about A Place To Come.

It is credited to 'FLATFORM', but that's another mystery - in the fog there are are questions formed, and we have here some directions towards answers. This is an intriguing piece, depicting landscapes unfamiliar and also prosaically so - a park, a copse, a beach. They're made more so by forewarning, the limited prescience of the narrator. There's an expectation created that it will loop, revert, and while it does align it still surprises. The shape of it is an abstracted thing, an implication in the mist.