Info about the piece: Inspired by both experimental band formats, futurism, and virtual bands, "I Sing the Body Cybernetic" presents mannequins outfitted with wearable electronics that serve as instruments as well as augmentations. Over the course of a month, a cyberpunk band periodically performs various sound pieces which are composed algorithmically using custom software. At the end of each month, the band makes a virtual appearance via a visual release hosted on this site. Using various creative coding techniques, this web component will combine original lyrics, interviews, and performative vignettes. This virtual component marks the end of the work for that particular band, the mannequins are reconfigured, augmentations are changed and a new band representing a different genre is introduced. Though the sound in the physical installation are determined by custom software patterns, the 3 bands take personality cues from variations on genres such as new wave, post hardcore, art rock, and experimental music. Thanks to Matt Mehlan for curating me into the ACE Artists in Residence program @ ACE Hotel Chicago where the ideas for this project congealed into an actual plan.
Info about the process: "I Sing the Body Cybernetic" was an exercise in quick and sturdy physical and digital projects as well as a love letter to performance art rock as a hybrid practice. Here were my practical parameters: Make sure that there were learning curves, but that they weren't huge. Work with materials that I had in my studio already and skills that have been tried and tested (though I allowed some room for newly acquired skills in the web components). Use less pieces and depend a little on scraps of stuff I had around the studio. For the overall concept, I decided on the concept of virtual bands. In the end, these weren't bands, but performance artists pretending to be in a band - much like myself. ESS was lovely enough to hunt down 3 mannequins that I could dress with robust wearables. I decided to be playful and give them unique (yet motionless) personalities in the space and then build smaller performative projects around them online in the form of visual web releases. As far as a the physical installation for LCRC (the first band), I used a circuit I've pretty much considered my favorite (a driver), a Max patch that I'd tested several times for driving the electronics, and parts from Home Depot. The Max patch was also driving the sound, which was written from start to finish the night before the install. The online component is a web project giving me the chance to try some javascript based on strictly choreographed events using the p5.js library. It was written in 3 days. ULLA's (2nd band) physical installation was run through a Max patch as well. She was designed to be not-of-this-earth so I used squirrel cage blowers and built an inflation system for her augmentation. The online component was more of an assembly of media in After Effects. The interview was performative yet sincere. Tat2 (3rd and last band) was a free standing installation with no tether to a laptop. The sound was totally mechanical, so it all ran through an efx processor in the space to add depth. Its web component is a walkthrough made in Unity, my goal being to do something in Unity. I kept it simple as I only had a little over a week to get it together before it went live on the day the installation closed. These are 3 down and dirty projects that were designed to get me to practice the Art of Getting Out of My Head and the other Art of Not Being "The Most" with the complicated projects I am used to producing. Fast and furious making....
Band #1 Jan 25: Light Cycle Repair Clinic installation link
Band #1 Feb 24: Light Cycle Repair Clinic web release link
Band #2 Mar 3 : ULL4 installation link
Band #2 Mar 24: ULL4 web release link
Band #3 Mar 31: Tat2 Installation documentation link
Band #3 Apr 28: TaT2 web release link
