When I was walking outside one night with a friend, I came across this really neat structure in the park. It was part of the remnants of an old railway station with bright lights on these long beams, which converged at the center. They were enveloped in these pretty, winding vines; a deserted garden sanctuary illuminated against the evening sky. As I walked underneath the rusted beams overhead, I counted along. There were twelve beams like the graduations of a clock. We playfully disputed over this. I envisioned the hands of a clock spinning around the structure as I ran underneath it trying to count them. But in the late night haze, I quickly lost track of where I started. And as we stood under the structure, exchanging words and laughing exhaustively, the darkness of the night continued to encroach until all we could see was a dark plane beyond our habitable spaceship in time.

This project had taken on many different shapes along its progression. I sat down with my collaborator in our discussion of the narrative tracking for this film and described how it related to my dealings with mental illness. I wanted to freely express how I was feeling as a sort of dialogue between our conceptions of temperamentally in nature and human psychology. I expressed two personalities we would be portraying in the film as fire and ice, or hurricane and typhoon, representing these separate, opposing halves that are more similar than different. The lighter spirit glides through nature and harmonizes with its environment, while the darker spirit is disconnected, expressing themselves freely yet aimlessly searching before they succumb to possessing the spirit of the other.

This piece explores the concepts of reconnecting with an intrinsic side of yourself that lives within nature and feeling awe in aimlessness. Part of the journey of living is accepting that there will be moments where you have lost direction or are overwhelmed by preternatural pressures that confound our ancestral instincts as human beings. As long as the forests exist around us, these organisms will be there to lay witness to our lives passively and provide a meditative site of exchange. The plants are personified in the role of orchestra and dancing company in the sonic-visual relational space, swaying and vibrating to the music they emanate. This piece seeks to awaken the lineal need for familiarity in our world, and activate the senses by connecting different modes of synthesization: digitally processed frequencies and naturally occurring visuals and auditory samples. Daytime visions transform to night as the forests follow a similar chronobiological rhythm to us.