Cannibal Mécanique is a marriage of analog electronic sound, analog video feedback, signal generation, and choreography. The composition is a synthesis of analog electronic systems, recording processes, choreography, and the unique (energy) exchange between man and machine in an active magnetic field. The project is expansive in that it encompasses live performance, real time video mixing, post-production, and a living, evolving spatial environment. In short the project is: a live dance performance, a video and sound composition, and a media based installation.

The controlled room is outfitted with: 9 color surveillance cameras, 9 crt monitors, chroma blue carpeted interior, signal generator, 9 channel switch, micro timer, and video mixer. The room is a constructed set for the live dance –video based performance, and it is also a screening room for the multi camera live feed and playback. The live performance is mixed live through 9 camera channels at both aerial and eye level and outputted to the 9 CRT monitor wall.

The choreography was developed through one - on - one studio exercises with my analog machinery. The dance mimics both human movement in contact with the machinery, as well as machine signal frequencies and oscillation. The movement also reflects time lapse footage, stop motion animation, varying early film and video recording speeds, and gravity.  The dancer is telling a story through body movement detailing kinetic activity, electricity and magnetic pull. Under a 9 aerial camera system, each dancer showcases this fragmented movement, the push through space, and a play with the frame.

The surveillance footage is marked on each shot with a time marker and camera position (ie Cam 1, 2, 3 and so on). Each camera is strategically placed to coincide with the choreography. The dancers are in no way oblivious to the cameras, to the monitors, to the machinery and moments in the performance showcase this unspoken dialogue. They are well aware of each other and of the audience, as the eye exchange, positioning, and at times, rapid motion, demands awareness and connectivity.

The project is expansive in both its construction and performance.  The video is the product of multiple parts in simultaneous action, mixed in real time. The edited content performed during post is a reaction to the timing patterns present within these live performances. Through sound, movement, and camera, a dynamic vocabulary emerges creating a visible tapestry from the invisible.