When July gets Cody’s text, she is prepared to run away. He wants to talk and she knows immediately that it is over. Cody is breaking up with her. Disappointed, heart-broken, but too tough to admit it, she tries to figure out what is wrong with the world. Why are people suffering? Why are people unhappy? She finds others who share her feelings and joins the Occupy movement that is taking off throughout the world, ignoring her best friend Helen’s cautioning voice. Helen tries to protect July, but sometimes it feels like she might be better off talking to a brick wall.
Neil has got other problems. Having just attended his father’s funeral, and just as he is helping his sister, Sam, catch a plane to New York, he gets an assignment from his agency to write a PR proposal for Wall Street. Apparently some scientists found some particles than can move faster than light – and Wall Street would do everything to get their hands on that discovery. So he buys some books, he sits down and gets to work. All he needs to do is find a human angle in a system that seems to be doing its best to make humans obsolete. However, he does not give up. He needs to figure out a solution, before the voice in the back of his head drives him crazy.
A single Max patch was used to control the projection of still images and pre-rendered videos on three screens positioned on stage as well as for playback of pre-recorded sound effects and real-time processing of amplified voice. All controls were hard-mapped to the Akai MPC40 mkII Midi controller. Video was projected onto the three screens with one high definition projector. I used jit.gl.cornerpin to fix the position of the video projections and to compensate for the angle distortion caused by the positioning of the screens on the side.
As the characters of the play were required to hold real-time videochat conversations (on and offstage), three additional Apple Macbooks were involved, running a small standalone Max patch used to stream webcam feeds captured with jit.grab and sent to each individual laptop with jit.net.send / jit.net.recv. Through a simple login/identification procedure, actors on and off stage were able to send to and receive video from every laptop involved. In the background, each instance of the standalone Max patch used jit.net.send to stream their respective webcam feed to the main Max patch running on the master control computer, from where it could be projected onto the main screens. All computers involved in the production were connected to a local closed network through a wired connection.