In exploring Burkhart's simulations, Phelan brought on director Tim Richardson, who is Phelan's partner both personally and professionally. Richardson has a background in photography and has worked in directing and mixed media in large commercial works from Nike to Dior, as well as with superstars such as Lady Gaga and Billie Eilish. “When I showed Tim Blakesley's simulations, he was inspired to explore and abstract the ideas through visual art,” Phelan said. 

Richardson invited video artists KLSR and Reinfected.Me to develop a digital installation inspired by the simulations that is projected onto a screen. “The screen gives you the visual metaphor and the choreography gives you the physical metaphor,” Richardson said. Collaborator James Newberry created an original score for the piece, which involves repeated rhythms. Richardson said that the pulse-like rhythm of the score highlights the cyclical nature of life and death, both for humans and stars. 

“The score has a deep bass that's a rhythmic cycle throughout,” Richardson said. ”The screen also creates a pulse: A lot of the imagery has a flickering quality to it, which is almost meditative.” Phelan and Richardson hope to create an emotional experience for the audience which lends toward greater considerations of human existence. 

“I think the most striking thing in diving into astrophysics has been how inherently emotional the universe is,” Phelan said. “When you zoom out and you realize how tiny we are, why don't we just get along?” Burkhart, too, was moved by how studies of star formation organically lent themselves to choreographic and emotional expression. “What struck me in working with Marla is how naturally these simulations lend themselves to choreography,” Burkhart said. “They are full of tension between order and chaos, creation and destruction—patterns emerging, breaking apart, and reforming. Dance captures the dynamic nature of star formation in ways that other art forms cannot.”