I will use computer imaging of the power lines to create a gradual disintegration of the structures themselves, leaving traces of the electromagnetic energy patterns along the power lines.  The disintegration of the original images will occur with the same visual phrases as the original images.  I will vary and transform the patterns of the steel structures of microwave towers with computer imaging.  The variations of images of power generators that I create will be edited with the fast, mechanical rhythm of the generators, creating a rhythmic disintegration of the images.

The music integrates found, environmental sound—the 60-Hz hum of power lines and transformer stations, the mechanical, rhythmic sounds of power generators, the high-frequency sounds of computers, fax machines and cellular phones, and the extremely low frequencies (ELF) from video display terminals.  More sounds will be recorded with Michrowski’s device—the sounds of traffic lights, car phones, radio towers and satellite dishes.  I will develop more sounds with the interference patterns created with car radios in close proximity to high-tension power lines.  The movement of the theme toward transformation and re-integration will be expressed through a transformation of the music to a more harmonic rhythmic language.  Finally, the stage of re-integration will be expressed musically with the integration of the sampled sounds of acoustic instruments (violin, cello) and percussion instruments with computer-generated and synthesized sounds, which will be grounded in coherent rhythmic structures, and with music based on the overtone series and on principles from chaos theory.

I will create the transition to more coherent energy systems visually with images based on principles that represent coherent energy systems.  For example, I plan to use images of the U.S. pavilion (now known as the “biosphere”) from the Expo ’67 site in Montreal, Canada.  This structure was designed by Buckminster Fuller and is based on harmonic geometric principles.  Other images include the symbol of the Sri Yantra—a Hindu symbol that represents an ordering of chaos—seen as a simultaneous, rather than a linear time process.  In the context of the film, the symbol represents the integration of the individual with the environment.  These images will be subjected to as many computer-imaging and optical-printing techniques as possible, in order to create endless variations and to put the images themselves through a process of transformation and re-integration.

I am developing the basic building materials of the film—the music, visual images and dance—contrapuntally and grounding them in rhythm.  I am arranging the relationship of the different elements in the form of a “score”, in which each element is notated and organized in layers.  The music, visual images, and dance will evoke disintegration and deterioration by functioning somewhat independently; throughout the film, these three elements will go through a process of transformation.  As part of this process they will become re-integrated and synchronized.  I think of each element as an independent instrument, or part, that interacts with the other parts contrapuntally and rhythmically through time.