The title of this series is derived from the 24 frames per second typically employed in filmmaking, and implies action in time. Despite the linking of frames, as still images the number per second in this case is frozen to zero. The notion of landscape as background or setting for events is suggested by traces of man’s intervention, whether intentional or accidental. Any possible narrative is confined to the slippage of frames as space between or behind what is revealed: action results instead from what is concealed. The sense of unease this may cause is furthered by the camera adopting the position of Ozu’s: here our view is reduced in height or restricted in order to awaken the senses, as if sitting in a dark room.