Cannibal Mécanique is a synthesis of analog electronic systems, recording processes, and choreography. The project is expansive in that it encompasses original sound score, real time multi channel video mixing, and the choreographing of dancers as well as camera crew. The work also involves the sound composition as a limited edition hand cut vinyl release.

I developed Cannibal Mecanique through a reflexive process, tracking and dissecting my body movement in relationship to the analog machines I work with to compose sound and video. Electromagnetic energy is a very energypresence in my studio environment. So much so that the subtle motion of a fingeror shifting of a foot alters the sound and/ or video signal in the room. The slight rotation of a dial can significantly shift the soundscape, or collapse a recognizable signal.   I wanted to expose this particular choreography in the effort to decipher these signatures that have become my own operative language with the machine.

The first iteration of Cannibal Mécanique was at the Museum of Art and Design as part of the Makers Biennial in 2014. Exhibited was a 9 channel surveillance video installation with CRT monitors to view live signal within a chroma blue carpeted room. The installation culminated in a live performance involving a complex choreography of 6 performers within the space, documented by a live 9 channel video mix. The chroma blue carpeting was keyed out to show video feedback of body movement.

In developing the work further, I stripped components down to a minimum. Focusing instead on one performer within a circle, surrounded by camera stations. In place of surveillance cameras, handheld broadcast cameras were operated by a six person live camera crew. Each camera pairs with a 19” CRT monitor facing outward from the circle. A line out from each monitor links to a large video switch. The composition has been divided into two parts; A/B (also released as a limited edition vinyl recording). A single performer is choreographed within the circle pertaining to side A /B. I choreographed the six person camera crew to engage on parts of body, negative space, areas of focus as well as body movements throughout entire score. The focus for the choreography was magnetic pull and electricity. The work was performed again at Fridman Gallery in New York city on July 22, 2017.