A series of works made that explored the rapid evolution of technology, questioning what kind of relationship we can expect to have with machines and the tensions could arise. The majority of the works featured repetition and subservience as a theme.
THE BABEL FISH ( 3mins, colour, Hi-8, 1999)
I used the computer translation programme Babel Fish to create an artificial sounding voice. I then lip read a piece of text in sync with the computer voice. My Identity becomes blurred as I engage with the neutrality of the machine. (text 2000)
ELECTRONIC DISCIPLINE part1, (May 1999, Hi-8, 1hr 30mins.)
This performance was made in front of a video camera and involved clicking a mouse for 90mins. The action identifies the problematics of repetitive technology. The composition within the video crops the head of the subject and implements the viewer within the spatial environment as external voyeur and integrated performer. This situational detornement seeks to address the balance between physical dexterity, mental agility organic mechanisms, human identity and the faceless bodies that technology creates. The video below is a 30 minute excerpt. (text 2000)
Monitor (1998, performance)
in this performance, I used a Heart Rate Monitor (HRM) that was shown live on a TV monitor via a camera. The exercise bike was peddled and my elevated and changing heart rate was show to the audience on the TV monitor. Essentially an excersisein futility, a closed off cycle of 'Cause and Effect', where the manual dexterity is the cause and the on screen HRM is the effect. It was an object time exercise in pitching human against a machine, when actual fact we create the machines and it is us who control them but for how long can the control be maintained (text 2021).
WE HATE HUMANS (1999, Hi-8, 23mins, colour)
This piece is a continuation of the Babel Fish theme. I sit behind a large desk, adopting the persona of a news reader. To my left is an audio cassette player containing a recorded sequence of a machine voice reciting an individuals constitutional rights. I attempted to align my cognitive perception with the metaphorical embodiment of the 'machine' and proceed to read the same information from a text sheet. It begins smoothly and my voice flows in harmony with the machine. The situation moves rapidly from a controlled exercise to the break up of structured forms. The two voices - machine and human - converge and diverge and become abrasive to each others presence. The question I asked is exactly how much subjectivity is permitted by the automation of machines (text 2000).