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SUPER VISION tells three stories
1. As he crosses successive borders, a solitary traveller gradually is forced to reveal all of his personal information, until his identity becomes transparent, with no part of his life left outside the boundaries of datasurveillance.
2. A young woman (Jen), addicted to the white noise of constant connection, maintains a long-distance relationship with her Grandmother. As she makes efforts to digitally archive her Grandmother's past, the Grandmother slips into senility.
3. A father covertly exploits his young son's personal data to meet the demands of the family's lifestyle. This ploy escalates beyond the father's control, until he is compelled to disappear. His wife and son are left with a starkly diminished data portrait, and his escape is shadowed by the long reach of the datasphere.
Dan Dobson: In the end, I will go back to the little guitar motion capture thing. We had video with a lot of numbers floating around. So when we were tapping away on the guitar, there was just something nice about an acoustic instrument. Then somewhere I heard this crazy Flamenco guitar riff and that is ‘data’ right there. That was one of the Columbus ideas that stuck - using a little bit of guitar sound. I forget exactly how the birds got into the story, but something about the birds entered the script. It was just in the script. It was like: ‘so you want me to make a bird sound?” I don’t want to make a bird sound – so Constance DeJong brought in some bird sounds she had – and the idea of data birds came in. So that turns out to be a good data sound - the sounds of flocks of birds.