SWP-1138 Skyfish (Crawford Mix)

On Soundcloud:
SWP-1138 Skyfish (Crawford Mix) - Forest King by FNTSY FLGHT RCRDS

And on Bandcamp:

Written and Performed by Lucas Thurston.
Produced by Mac Pepler.

Flow Charts

Captain III (Final Space Walk) (Crawford Mix)

On Soundcloud:
Captain III (Final Space Walk) (Crawford Mix) - Forest King by FNTSY FLGHT RCRDS

And on Bandcamp:

Written and Performed by Lucas Thurston.
Produced by Mac Pepler.

Deep Space (Crawford Mix)

On Soundcloud:
Deep Space (Crawford Mix) - Forest King by FNTSY FLGHT RCRDS

And on Bandcamp:


Written and Performed by Lucas Thurston.
Produced by Mac Pepler.

Budget

Thesis Proposal

I: The Edge by Supercompact Wormhole Propulsion is a collaborative Interactive Mixed Media Installation, comprised of a sculptural component, a video component, and an audio component. Skyfish-- the artist collective of Mac Pepler, Lucas Thurston and Steven Wright-- explores the relationship between technology and humanity within a contemporary context; I: The Edge by Supercompact Wormhole Propulsion probes the beauty and harms of humanity’s growing dependence upon technology. The primary visual element consists of life-sized sculptures (created by Steven Wright), enhanced by both video screens and iPads (content created by Mac Pepler). The primary audio element, comprising two kiosks with headphones, will provide immediate access to the concept album (created by Lucas Thurston) which informs the entire piece; audio CD’s will also be provided for individuals to take with them.

The album combines the use of analog and digital synthesizers through a conceptual, ambient soundscape; in other words, the album is itself an exploration of our travels into the digital world. Influences for the music include Brian Eno (for his pioneering ambient work), La Monte Young (for his textural drones), Aphex Twin (for his mathematical drum programming), and Cluster (for their electronic soundscapes). The synth instruments--producing all esoteric sounds--will be created using Digital Audio Workstations, namely, Protools and Ableton Live, in addition to programs such as Pure Data and Processing. The music will feature drones, echoing chords, crackling drums, deep bass, and reverb to symbolize the infinite space surrounding the crew; using digitally processed acoustic instruments allows us to further explore the balance of the analog and digital. We will draw further influence from North American folk and jazz music to vocalize the crew, while samples will be taken from 1950s science fiction films and other sources. 

The video installations explore the technological evolution of society, presuming surveillance via digital connectivity are inherent to the system. We are using video as the primary means of content delivery; its place in history as one of the most prolific forms of information dissemination is undeniable. The sub-context of the video is a mixture of Closed Circuit Surveillance Footage and News footage: the video will be broken into nine pieces located throughout the gallery (see attached plot outline). In conjunction with the Narrative created to inform the gallery space, this component will be created to appear as a slightly malfunctioning video screen as though the information is accidentally filtering in from the outside. 

The sculptures will draw upon the progression towards a post-human society to explore the meaning of being human; constructed to mirror human form, they will transform over time. They will also serve as the physical manifestation of the crew from the concept album. The first sculpture will mime Da Vinci’s Vetruvian Man, the embodiment of human perfection. Constructed entirely from winterstone, it will be solid and white. This first sculpture will also take influence from the contrapposto nature of greek sculpture; his pose will welcome viewers to the space around him. He is to symbolize the last bastion of human perfection at the dawn of the technological revolution. He will be equipped with touch and infrared sensors in his hands to detect the presence of viewers. The touch sensors will enable him to speak to the viewers about his journey towards the edge of the universe. This will be pre-recorded dialogue. 

The second sculpture depicts humanity’s conflicted relationship with technology: the sculpture comprise of two human forms embracing in a dance-like pose. The figures will be made of the same winterstone material, but will, however, be augmented with metallic spaces resembling the human skeletal systems. These sculptures will take photographic information from the video installation and project it onto the face of one sculpture. This dance represents the surgery we will inflict upon our bodies as we endlessly augment ourselves.

The final sculpture will be entirely augmented with technology showing the birth and culmination of the post-human state. The sculpture’s outstretched arms will be clasping at its head; this will display its turmoil as its body is forced to endure the loss of human identity, forever trapped in a technologically driven cultural loop, reliving its most painful moments. Indeed, the loss of its humanity nonetheless is enacted as an attempt to memorize what humanity once was. The technological loop will be demonstrated by the self generated video feedback loop emanating from the sculpture’s mouth.

We hope to create an experience that fosters the development of new ideas, while critiquing our relationship to technology. This piece will provide a forum for the viewer to contemplate their own dependent relationship with technology and the nature of our being through the use of cutting edge technology. 

I: The Edge by Supercompact Wormhole Propulsion explores human fallibility in our constant pursuit of physical and mental perfection. We seek mastery of our own flesh; new technology gives us elements of control only dreamed of in science fiction. Humanity has an interdependent relationship with technology; our installation will convey this in detail using interactive video to draw the observer into the world of the concept album, a bleak totalitarian world governed by the pursuit of knowledge and perfection. The sculpture tangibly convey the progression of this world, giving the audience a chance to interact with moments transpiring within the world of the concept album. The installation informs the viewer about the dangers of a future that has yet to occur by exploring how our dependency upon technology could lead us to discard our own humanity. Every facet of I: The Edge by Supercompact Wormhole Propulsion has been constructed to represent and allow the viewer to interact first-hand with the concept of a bio-technical sub-culture.

The project will require 11 iPads for video and audio playback. The convenient form factor for the iPad makes it perfect for this application. The iPads will also be connected to infrared sensor-equipped Arduino micro-processors. This is to allow the pieces to sense the presence of an observer. The iPads will require two sets of headphones. The sculptures will require PICO projectors and infrared sensors, as well as Arduinos to control LEDs and trigger audio playback. Additionally, touch sensors will be placed in the hands of one sculpture, while the final sculpture will use a video camera to connect to its projector, creating a feedback loop. The technological requirements for the album range from traditional audio editing software to a wide array of microphones and amplifiers. The nature of the music is experimental, as such the total technical requirements cannot be recorded as of yet. In addition, there will be directional speakers placed above the sculpture to play the final track from the concept album.

We are all regimented and dedicated workers but as is the nature of all work there are overlapping skills and individual strengths. Lucas is a highly skilled programmer and musician, however he is not a practiced filmmaker and he has fewer fabrication skills. Mac is a very skilled filmmaker and fabricator, is a proficient audio engineer, but is a less proficient programmer. Steve is a very skilled sculptor and artist, has a great deal of practice with audio recording and filmmaking, but is a less proficient programmer. Knowing our strengths and weaknesses going into this project allowed us to structure the work to maximize our diverse skill sets, while minimizing the difficult programming to concentrate upon physical interaction. 

In the piece I: The Edge by Supercompact Wormhole Propulsion we explore our relationship with technology and the dependencies that develop therein, using interactive sculpture and video to articulate the story flowing within the concept album. The viewer will experience first and second hand accounts of life in this world, finally being exposed to the music that informs the entire piece. Video screens located around the gallery will lead the viewer around the space, guiding them toward the sculptures. Spaced a few feet apart, leading across the floor and projecting onto the wall, the sculptures will stand tall waiting for the viewer’s approach. Our society’s rapidly growing dependence upon technology is already so prevalent that it is necessity for us to convey our message via technology; however, knowledge is empowerment.

Technical Requirements

I: The Edge by Supercompact Wormhole Propulsion utilizes a combination of analog and digital technologies to create a musical narrative that explores humanity’s relationship with technology. The crew on board the ship become too blinded by the power of their vessel’s technology to see the failings of their mission. As they pass through a wormhole, directed at the edge of the universe they are temporarily one with their spacecraft, but they become forever alienated from their own humanity. An interplay between older analog technology (sound on vinyl, tape samples, guitar, etc.) and new technology (tangible user interfaces, digital audio workstations, etc.) is present throughout the 16 tracks of I: The Edge, one that is a more harmonious relationship between humanity and technology than the story they tell. The presentation of the album will combined with Mac Pepler’s interactive video installation and Steve Wright’s interactive sculptures, so please refer to their reports for the technologies they are utilizing. However, physical copies of the album will be printed onto vinyl and CD for free distribution in the gallery, as well as a being available online for free download on the project’s website.

Analog recording technology is required for the recording of I: The Edge. Mics, mixers, and compressors are necessary for recording any part of the album that requires an acoustic instrument. High quality analog mics and mixers produce much higher sound quality than digital mixers and small built-in computer microphones. Reel-to-reel tape recorders and analog compressors give the album a certain sound that is reminiscent of older recordings. These pieces of analog recording equipment give a more organic sound to I: The Edge, and represent the humans on board the ship.

Digital Audio Workstations and other computer programs for processing audio (Processing and Pure Data sketches) act as a main song building tools. DAWs, such as Pro Tools and Ableton Live, are where all audio is sent and each track is processed and mixed. Processing and PD sketches gives me complete control over the sonic palette of my recordings, as I can process incoming audio signals to the minutest degree through the depth of programming. Digital programs allow me to synthesize sounds that would not be possible otherwise, and they create multiple virtual spaces for digital recording. As well as being excellent environments for complex audio processing, DAWs and other programs represent the incredibly advanced spaceship and the technology that surrounds the crew.

HTML5 will be required to make a website for hosting the digital copy of the album and the documentation. The website will be programmed using Dreamweaver. An extended experience can be created with the website, as extra content can be uploaded and shared. The free download of the album demonstrates my personal view of digital copyright, but also allows for easier distribution.

The album will be printed on vinyl and CD for distribution at the gallery. The vinyl, CD, and digital download copies of the album represent humanities shift to a more digital and ephemeral form. I: The Edge is split into three segments, and over the course of these parts the humans shift from their organic selves (vinyl), to something resembling a trans-human (CD), and finally to nothing (digital download).

I am well accustomed to all the audio technology mentioned, and Processing is a language I use frequently. Pure Data and HTML5 are programming languages that I am not completely comfortable with. CD and vinyl printing will have to be conducted by a business, as I do not have access to such equipment.

DAWs have been a part of my sound creation for a couple years now. Processing is a comfortable environment for creating tangible user interfaces, and programming in general is something I can wrap my head around.

Pure Data and HTML5 will be two programming languages with which I will have re-familiarize myself. The Internet is vast resource for tutorials on both of these programming languages, and as I have been programming for many years now, I do not find it difficult to learn new programming languages.

Technology Requirements

◦ How does each technology work to convey your concept?

My piece has a very specific set of technological requirements, each supporting my work’s theme of surveillance and the transition towards a post-human society. I am using iPads and Arduino Micro-Controllers equipped with USB keyboard shields to create iPad connectivity. The iPads themselves should be equipped with a camera already, however if they are original iPads I will need to attach a camera to one or all of the video installation pieces. The video pieces themselves will require the use of both digital and analog film technology, as this will best display the transition from human to trans-human; this pairing is important, since my piece explores the nature of narrative and the evolution of society through surveillance and digital connectivity.

◦ Why are they necessary and what effects will they create?

The nature of the hardware I will use will not directly reflect the nature of the information that my piece will display, rather it will act more as a metaphor. I intend to create an enclosure to hide all of the internal components. I do not intend for anyone from the audience to have any idea that the displays are iPads, as they will be used solely for convenience and its simplicity—however, this ease of use is mimicking humanity’s likely progression towards trans-humanism. I am using video as my primary means to deliver my message; its place in history as the most common form of information dissemination is undeniable. The context of my video is a mixture of Closed Circuit Surveillance Footage and News footage. In conjunction with the Narrative created to inform the gallery space, the pieces will appear to be slightly malfunctioning video screens in order to appear as if the information is accidentally filtering in from the outside.


◦ What are your strengths and weaknesses in working with the above mentioned technologies.

I am a proficient filmmaker; I have always used video as an aspect of my artistic practice. The programming for this project will be done using the Arduino, which is a language we have been using since first year and I have become fairly proficient with. The other half of the programming will be done in HTML, a language I have been using for many years. This is not to say I don’t have any weaknesses, rather I chose to highlight my talents when designing my portion of the project.

◦ Which technologies are you comfortable with?

I am comfortable with almost anything I can get my hands on. I am not the world’s most proficient programmer but with the aid of the Internet and friends anything is possible. My video piece is in collaboration with Lucas Thurston and Steven Wright. I will be working with Lucas to help record and produce his music; and both Lucas and Steven will be involved in the production of my video pieces and I will help Steve construct the installation space in the gallery. As such, we will all be working primarily to our strengths, while also working within each other’s chosen mediums.

◦ Which do you need to learn still? Describe your strategy in

I have been working on this project for three years, during which time it has evolved many times. Taking this much time to flush out my idea—to explore other concepts and then in the end let them go—has enabled me to tailor this project to highlight what I do best; the same is true for Steve and Lucas. There are always challenges yet to be discovered and we will meet those challenges with fervent dedication. We are able to be this confident given that our skills are quite different, allowing for a breadth of knowledge to be utilized; we felt this was the most creative and useful way to both surpass and learn from potential shortcomings.

TECHNOLOGIES Req.

Part 2- Technologies

My installation is broken into three’s: three sections, three sculptures, and three dominant technologies; exploring the timeless question of what it means to be human? I want to know what tools are used to define us and how, with the use of technology, we can achieve a higher state of being?

I draw on inspiration from Lucas Thurston’s concept album, it details the journey of astronauts on a trip to find the meaning of their existence. The first sculpture incorporates technologies designed to recreate human to human interactions; exploring the evolution our senses in a technologically enhanced environment. Depicting the dependency we have on technology and how we use technologies to extend our current senses. It also connects the crew members(from the concept album) to the spectators in the gallery space. They will be exposed to audio logs when they place their hand on the touching sensors in the out stretched hands of the sculpture. The first sculpture will also have IR sensors in the orbital cavities constantly scanning the crowd; these sensors will trigger a visual change on the sculpture.


The second sculpture captures the moment at which the biological and the technological have created one entity. I am paralleling the moment in Lucas's Thurston's album when ship carrying the crew travel through a black hole. This act crushes them all into one atom, after they exit the black hole they are re-assembled, but how can you go back when you've been part of a larger whole. I use this moment in the installation as a representation of man-kinds change into the trans-human. The technology required here is a projector mounted within the head of one which then reflects back onto the face of the other. Mac Pepler's installation will be gathering the images of faces during the show and these face will be projected onto my sculpture. This will connect the people in the gallery space to the big picture I am exploring. I feel it will remove the space between spectator and actor because they become active participants in the installations presentation.


The final sculpture will require a similar set of technological tools, however the projection is not of the people in the gallery but that of itself. The face of the sculpture will include a camera and a mini projector creating a feedback loop. This feedback loop is a demonstration of mans eternal need to understand ones self. I feel the question of what it means to be human will forever be asked as our relationship with technology expands to an era known as the post human where technology is as biological and living as our environment.


My strengths and weaknesses will surely be tested throughout the development of this installation. I feel confident that what I have set out for this can and will be achieved. Two points of interest are the touch sensors that will relay on/off to audio logs transmitted through the mouth of the first sculpture. With help by Harout Yaacoubain I know the physical computing for this can be completed as he has practiced with these technologies. The other point of interest is the transmission of images taken by ipads from Macs installation to mine. We will be using wireless networks to connect the ipads to the projector which will have to be connected to a mac mini or similar device.