The Morning Line was conceived as an inherently collaborative structure, an interdisciplinary intersection for information congruence, where artists, architects, engineers, physicists and musicians would each contribute their own specialized information to create a new form; a mutable structure, with multiple expressions and narratives intertwining in its physical structure, projected video and sound environments. The project is inscribed in space as a drawn and spatialized moment, available for interpretation by the collaborating artists. The geometry becomes the basis for scores and the building becomes an instrument to be played. Sensors register the movements of anyone inside and convert them into new stories. Interactive in multiple ways; the content grows and adapts as the structure changes both physically and in information depth over time.
This synthetic process is accomplished chiefly through drawing, where form and content, geometry and expression can become one. This is partly in answer to the holographic principle that the visible universe can be understood as a hologram, isomorphic to the information inscribed on its boundaries. In other words, the universe is a kind of picture. Ritchie's project of constructing a personal cosmology that incorporates the languages of science, myth and religion into a single systemic visual language becomes here a system for encoding these multiple narratives.
The Morning Line proposes a conversion of place into language that tells the story of the universe and humankind's attempt to understand it. It draws this story from a provisional conception of our universe's laws using the latest thoughts from today's leading physicists. Made from a universal bit, a truncated polyhedral shape, the Morning Line is a fractal cycle, a model of the universe that scales up and down while also producing cycles. There is no single way in or out. There is no single narrative, no beginning or end, only movements around multiple centers. Built around a new cosmological model, the "epikrotic" theory of Paul Steinhardt & Neil Turok, the Morning Line is a dynamic cyclical structure, a holo-tectonic system where geometry and expression are united. Infinitely self-scaling its modular units increase or decrease around a fixed ratio but can expand or contract in any size or direction.
Looking back and forward in its physicality, the Morning Line is both ruin and monument. Conceived as an anti-pavilion – it imagines a place that might exist after the second fall of humankind. It inverts the obsolete technocratic optimism usually associated with pavilions and replaces this hubris with a site primarily concerned with generating potential meanings. This is the most important acknowledgement of all, since it is only the human need for meaning that makes the world a place at all. In other words, as a picture of the universe, it is a wager at best. The dynamic cycle is a song, whistled as we walk past the graveyard.
As with any event, the Morning Line can only be understood by looking back to it from a future moment. Named after a British morning daily that publishes the daily odds for horses at the race track, The Morning Line is about a consuming interest in something impossible to predict; as the future arrives daily, it cannot be understood except through the past. All components are interchangeable, reusable, demountable, portable and recyclable. The Morning Line might as well be the best chance you've got at seeing the future before it arrives.