Phase Repair (2015-16) 2 Channel HD, 8’24” /

How will machine vision influence performance? The aim here was to produce images that might point towards a system that narrates itself. As narrative is built from conflict, this could not be a celebration of interactivity so much as a candid process of debugging. The images are edited by the actor himself, who projects his actions forward in time via a detection algorithm calbirated to tag video at three different water levels. By pouring water, the actor narrates real-time feedback as well as a projected afterlife called post-production. The detection algorithm produced metadata that was, in turn, used to create the timeline of a second channel. If the actor assimilates this system, language and code fall in sync. If he does not, language is cut loose from the set and looks for other beliefs to attach to. 

Night music, Taped houses.

Robert Watts and George Maciunas acknowledged a new code for the scripting of an event and it representation. The above clips avoid and exhaustive claim to the full spectrum of affects at play in this performance, but in the context of this website are more than enough.

R Rapoport