The final sequences of "Spider Web Castle" : inside the castle, Lady Washizu (aka lady Macbeth) persistently washes her imaginary bloody hands while Lord Washizu (aka Macbeth) catches thousands of arrows launched by his own archers in a spectacular showdown; outside the castle, the SpiderWeb forest, the oppositional force in camouflage, advance towards the castle. "How can a forest move? It must be a vision." Lord Washizu utters in frenzy as he recalls the prediction from the witch in the forest - "You will never lose a single battle, unless the Spider Web forest begin to move and approach the castle." The drama unfolded are tales of greed, ambition, betrayal, revenge, rebellion, and civil resistance.

Moving Forest reinvents a modern edition of a Castle Central and a city in revolt. Inside the castle, the downfall of the assumed power; outside in the city, the mobilized urbanites march with generated sounds of insurgence towards the imaginary Central. Moving Forest plans to collaborate with sound artists to compose acts and scores, at the same time, drafts a PD (pure data) conspiracy scheme, performing live with citywide wifi transmitted intervention.

The opposition is AMONG us.

The central is AMONG us.

Urban Jungle. Digital Forest. Multitude. Age of Empire. Liquid Architecture. Flash Mob. Swarm manoeuver. Urban warfare. Moving Forest locatess itself at any given decayed urbanscape and plots an urban renewal with DIY take over. The SpiderWeb forest is now the DeepWeb forest of social networked space - both virtual and urban. Inside the castle, a revolt manifested by arrow downpour; outside the castle, the resistance on the move with electronic branches. Each camouflaged tree branch is now a self-powered transmitter with its stick-out antenna. The long march towards the imaginary castle maps the city's public wifi airspace. Revolt and insurgency from within and out orchestrates a sonic performance with multiple sound input/output - code/de/code.

Moving Forest, updated with wireless and mobile technology, reflects upon the current net culture practice in digital commons, locative media, open system and distributed social networks. The orchestration written in PD (Pure Data) patches merges internal and external, local and remote networked sonicscapes. Ultimately, Moving Forest loops Spider Web's final 12 minutes film sequence in variations and deviation.

[concept] [scenario] [collaboration]

Prelude/pre-scene/pre-zero:

A transition from the filmed scene (a section of the Kurosawa film Throne of Blood inspired by the story and language of Macbeth) into another time and space: the city as conspiratorial forest with an imaginary central castle (immediate reference Kafka The Castle). Mobile city, Maxwell City (the four equations pointing towards the presence of electromagnetic [EM] phenomena and a certain play with light - pink light and again references, conspiracy theory is all about making connections, Philip K Dick - cross modulation with some other information source - cold war or of alien origin), invisible twin or ghost city of these phenomena which suggest an alternative architecture to be moved through, an alternative (real) physics and a question itself of time and space (light, that EM particle, the luminiferous aether). A transition from the filmed scene into city-wide action and mobile software acts or process; being in that outside (outside the castle), with a device which possesses a locked code interior. Again, we return to a grand drama of interface (code as a hiding/world as interface). Slowly underscored by the image of a ruined city (Berlin): paranoiac wanderings incensed by devices (device also as logo/initials: "rocketman was here").

Hardware: The scrying boards - low power xxxxx mobile wireless platform in development. Any mobile, networked device (hive networks, free wireless networks, associated routing protocols, micro-radio initiatives - all of these spider web groups and groupings, exchanges and spectral interests).

Software: Life coding practise is now enriched by city EM flaneur activity - scrying boards (language-driven) divining this invisible or hidden space (the city and its EM double) as both data/constructive software and as divined intensities. Collaborative routing software and networks, Pure Data (PD) patches, signal strength extensions, spectral analysis - all towards a series of soundscapes - of orchestrated software acts as follows:

Software as a decoding in process. Life (de)coding across Berlin city building-scape: decoding an alternate (primarily of hidden metal, hidden signals, hidden emissions and power sources) data, a paranoic detail of connection (nodes). On the one hand this act of EM revelation (of code), on the other production (of antenna) and (illicit) transmission lays the roots of a potential paranoiac apparatus of communication (encrypted of course). Reference W.A.S.T.E network in Pynchon's Crying of Lot 49 (a network which may or may not exist according to forensic detail). Other systems of data transmission, WASTE, VALIS, alternatives in and as fiction par excellence.