The Fort Hill Anomaly
The Fort Hill Anomaly was exhibited at Liminal Gallery, Margate, specifically in the CupBoard, a smaller, recursive space within the gallery itself. It ran from June- August 2025.
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The full chronometric playback can be viewed below.
THE FORT HILL ANOMALY ANALYSIS
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​The method of chronometric channelling used to construct the recording of the Fort Hill Anomaly is much the same as before. Using techniques dictated by F 78/D during some of our sessions, a mostly accurate, visual manifestation of a journey through the fissure can be imprinted onto virtually any medium. 


Historical cases of chronometric recordings can be found in literature. Citing the first of two examples, playbacks have been reported on Drumossie Moor, near Inverness, the site of the Battle of Cullen (16 April, 1746), fought between the Jacobites and the British Government of the time. Contemporary witnesses have reported observing the long-dead soldiers re-playing the battle in front of them, several hundred years later. 


We conclude this is the result of a chronometric playback due to the witness statements detailing how the soldiers seemed to be fighting inexplicably around a foot in the air. Meteorological data confirms the presence of heavy flooding after the battle, resulting in noticeable subsidence of the ground. The chronometric recording is stored in a medium not yet readily understood by science, and the shifting of the terrain would not have changed the original recording or its subsequent playback. This would give the impression that the men were ‘hovering’. 


A second instance refers to the accumulated sightings at Hampton Court Palace, originally built in 1514. Many figurative chronometric playbacks have been reported, however a few of particular note refer to a female figure running along one of the corridors and disappearing through a wall. Historical architectural records indicate that at some point between the Palace’s original construction and the present day, a door was blocked up and the wall constructed. 


That the figurative image still occurs in the same place, regardless of any subsequent building work indicates the presence of a chronometric recording.


The mechanism which results in this type of incidental chronometric playback is not yet understood, though as ha been noted elsewhere, it is supposed that concentrations of electromagnetic energy coinciding with a localised rupture in the sub-temporal architecture is likely the most common cause. The presence of certain types of rock is also notable.


Chronometric playbacks of a figurative nature can be often resemble Temporal Incursions, however there is a distinct lack of consciousness or awareness. Chronometric playbacks are not considered sentient and are therefore not a risk factor, however disturbing they might appear.


Building upon this understanding, dyzlocation has utilised the aforementioned expertise of F 78/D in order to finesse the process. Though it is still something of a ‘black box’, it is useful for exploring temporal peculiarities such as the Fort Hill Anomaly without directly endangering any participants or observers.


The playback begins with a view of the Cupboard at the Liminal Gallery, Fort Hill Road (which is itself near a site of historical and archaeological interest). Having been advised by the F 78/D to use technology predating 2012, the original recording is somewhat degraded. However, the channeled and imprinted playback soon begins and an inexplicable visual clarity emerges. 


We see repeated images of the Cupboard, before entering a deeper level of the sub-temporal architecture, which is already losing coherence. There are five Non-Figurative Temporal Incursions of Type NF 35. These particular Incursions are non-hostile, though regarded by dyzlocation as ‘pursuant’. That is, they seem to be attracted to Anthropocenes and will make attempts to adhere to any present, using any and all of the multiple appendages. Though essentially harmless, and rarely seen outside the sub-temporal architecture, NF 35 can be disturbing when encountered. 


The viewfinder then moves into a remnant of the Newgate Gap area - another location of interest to dyzlocation. Read more about the Newgate Gap Incursion here. After a brief sojourn through more layers, deeper into the sub-temporal architecture, we begin to enter into a crossover zone. That is to say that everything including and following the pink-lit ‘bunker’ appears to originate from an extra-celestial realm. The presence of the as yet untranslated language, associated with the F 78/D leads us to conclude that these remnants are from their domain.


Deeper still, we encounter a remnant of the Liminal Gallery itself, descending from a brightly-lit passage above. That we then ascend an adjacent passage into a dimmer, differently-lit landscape, we can presume that this is not where the remnant descended from. As has been noted elsewhere, at the deeper levels of the sub-temporal architecture, physical and geographical space becomes fractured and linear chronology has very little impact. 


The Fort Hill Anomaly, as with most chronometric playbacks, raises questions. dyzlocation is closer to understanding the safest methods of subcelestial fissure construction, as well as documenting the adjacent phenomena experienced and mapping (as much as is possible) parts of the sub-temporal architecture. 


However, uncertainty remains regarding the intentions of the more figurative temporal incursion types. Similarly, we are no closer to understanding why certain locations seem more susceptible to fissure creation than others.
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