installation/performance sessions using modified found electronic equipment. With Gail Pickering at the Center
for Metamedia, Plasy Monastery, Czech Republic.
In conjunction with "Fairytales" Symposium.
and machines mold human bodies and our movements as much as we
have a hand in molding them. From craning your wrists to tap onto
keyboards, to inserting your body into a carseat, bodies become
as much conjoined and synthesized with machines as they utilise
them. Human voices become processed as they speed through telephone
wires and digital computer fonts become our means of standard
attempting to communicate with other humans via telephones, sending
email and faxes, live web links, radio transmissions and playback
of recorded sound, we learn to read our machines' bleeps and flickers
of light as communication signals as well, as they tell us of
low battery power, errors in their systems, and their general
state of well-being. This form of communication commands us to
learn their language and patterns as much as we have created theirs.
small compact room within the monastery was fitted with a green
carpet hedged by a painted white perimeter line, and a chaotic
scattering of machinery and technology littered the floor. The
installation reclaimed and recycled pieces of outmoded machinery--finding
a new functionality, they were transformed with a new visual and
audible aesthetic--a Macintosh II finds itself masquerading as
an iMac--perhaps a new object of desire; a malfunctioning reel-to-reel
tape player is switched on purely for the purring sound of its
semi-working mechanism. These were combined with high-end contemporary
gadgets: talking powerbooks, beeping pagers and cushioned CD players.
"Hand-made" and non-functional machine components (e.g.
placebo mobile phones made of foam) immitated and integrated themselves
with the "real" machines.
the isolation of the Centre for Metamedia in Plasy, the community
of artists relied upon technological agents to connect and communicate
with their outside lives and some displayed a further reliance
in their work on a variety of modern technology (powerbooks, video
projectors and so forth). In contrast to this, the CMM itself
was littered with out-moded technologies of communication. "I
Love Technology and Technology Loves Me," a collaborative
installation/performance by Gail Pickering and Stephanie Syjuco
and borne directly out of the environment of the CMM, seeks to
explore this modern (co-)dependency between humans and technology--for
communication and social status, the post-functionality of redundant
technologies, and the new language structures emerging from the
superiority of the eye in contemporary culture bypasses a consideration
for the sounds of our daily lives, with universal languages taken
for granted. Passing through cables and across airwaves, the sounds
of connection and contact are generally isolated to the lone user.
"I Love Technology..." harnessed these sounds, made
them multiples and musical scores: pre-recordings, live recording
and playback, re-recording, live microphone pickup--all were amplified
and orchestrated into tidal waves of the chaotic noise of a communicating
world, a cacophonic symphony of machine-voices seeking their listeners.
performance was transmitted live on air-band to the immediate
outside vicinity of the monastery--a police car stopped and stayed
awhile, perhaps confused at what its radio tuner was receiving
and then drove on.
visually refurbished Macintosh II
reel-to-reel tape players
Macintosh G3 Powerbooks
broken record player
Marantz tape players/recorders
hand-held cassette player/recorder
sets of speakers
LED bicycle lights
furniture and lighting design included:
carpet recycled from a Martin Kippenberger installation
2: custom-made speaker and custom-carpeted room.