Only Afterland

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Announcing the virtual exhibition of Jack Kincaid’s MFA thesis production project.  Through the exclusively sonic medium of audio drama, his technical work aims to emulate codes of representation from classical film practice with stereophonic positioning as key to his practice.  When conceptualized as an intermedial virtual staging, spatial positioning within a stereo image provides an added dimension to the form wherein the making of meaning is not limited to the relationships of elements positioned in time.  This allows for the added layers of artistic complexity utilized by more popular or “higher” art forms such as film.

Only Afterland continues the traditions of Jack Kincaid’s life work through the lens of cyberpunk, which questions societal norms and how hegemonic structures dictate them.  A very special thanks to Jack Kincaid’s MFA committee: Mark Shepard, John Fiege, and Laura Kraning at the Department of Media Study at the University at Buffalo.

This production is produced for headphones.  You can listen at a place and time of your own choosing, in the spirit of the podcast age, as a privatized experience.  This sonic exhibition on the Internet Archive never closes and you are free to share this file, as long as the venue is noncommercial.

Only Afterland is a science fiction story in the vein of The Twilight Zone, whose stories are renowned for introducing an element of the weird, mysterious, or supernatural to generate social commentary.  In the futuristic dystopia of Hegenheim, special prisons function as rehabilitation centers for outliers or “sufferers” who have experienced decline from the consumer culture and technologies that frame society.  There, a social worker named Neil Duphery meets a mysterious prisoner, known only as “Afterland”, who claims to be a traveler of many worlds.

The story was written by Jack Kincaid. Post-produced by Jack Kincaid (aka Slipgate Nine Entertainment) at the University at Buffalo. Voices are performed by Jack Kincaid, Kaya Renwick, and Fiona Thraille. Sound effects are derived from Jack Kincaid’s sound design studio resources and recordings, through public domain resources, or sound libraries released for free use. Music heard in this production is used by permission or through the creative commons, including Damiano Baldoni, Kevin MacLeod, Jason Dixon, and Revel 9.  Or it comes through public domain resources such as musopen.org, including music by such composers as Johannes Brahms, Modest Mussorgsky, Gustav Mahler, Pyotr Ilyich Tchaikovsky, Brian Boyko, Felix Mendelssohn, and John Bliss.

Released HERE.