
THE ASSEMBER DILATOR is a two-part networked performance examining a scientist’s search for the absolute in the universe. Part one takes place in a glass laboratory in the remote woods of upstate New York, where a modern day Thoreau-like scientist performs eye dilation experiments on himself alone while connected to the Internet live via satellite; part two is a full-scale performance work, situated in a gallery or performance venue, which depicts the scientist’s involvement as a lab rat in his subsequent medical trial. This work examines themes of control, and the necessary but dangerous relationship between scientific discovery and corporate investment.
The first part of the project is an outdoor installation in upstate New York with live, Internet-based performance elements. As this technologically advanced hermit/scientist retreats deep into the woods, he sets up shop with everything he needs to “stay connected.” From this glass chapel/laboratory, inspired by the organic architecture of Lloyd Wright (son of Frank Lloyd Wright), the scientist tests his eye drops and reports to the world via satellite on his progress. This is where several networked sensory objects are introduced.
The project will then exist as a performance piece in a theater or gallery. The scientist is joined by two other characters as the work plays out in the form of a time-based performance. The glass house and networked objects, as well as video from the first part of the project are included in this second part. One of these objects is a large industrial chair that is fitted with cameras and sensors that focus on a performer’s pupils. Experiments in X-Ray vision are performed with dilating eye drops and neurologically stimulating sound waves. The scientist undertakes the role of lab rat in his own medical trial as the audience watches the drug bring revelation and later, tragedy as the scientist discovers he is able to see more than he can handle.
The audience ideally gains access to the project in its first part, when they view the scientist’s daily routines in the woods through the Internet. They then join the process months later in person when a replica of the house is built in a performance space, and see the latter half of the story unfold.
31 Down has a history of production with networked objects and full-scale performance and installation work. The company’s regular team of designers, writers and technicians are in place for this project. Matt Bua joins the company again as a designer and has dedicated his land upstate for the first part of the project in 2008-09.
Participants include:
Matt Bua, founder of the b-home project in Catskill, NY, an area that hosts an environment that demonstrates alternative, experimental and vernacular building styles that celebrate Visionary Architecture.
Ryan Holsopple, artistic director of 31 Down and specialist in networked objects and physical computing.
Shannon Sindelar, director and designer.
Mirit Tal, video designer.
Tara Fawn Marick: Costumes
And Performers: Caitlin McDonough-Thayer, Jonathan Valuckas and Ryan Holsopple.
Production Timeline and Project Budget
Elements from the first part of the project will be included in CRIBS at Kidspace at MASS MoCA. CRIBS is a large-scale artist collaborative project organized by Kidspace at MASS MoCA with renowned installation artist Matt Bua of Brooklyn and Catskill, New York. The project will have three openings: in early spring 09 at Kidspace, in early summer 09 throughout the local Northern Berkshires, MA area, and in early fall 09 in Catskill, NY.
Construction on the X-Ray house will begin on Matt Bua’s property in Catskill, New York in late fall 2008 and the online installation/exhibition will take place in spring 2009. The performance piece will take place in late summer/early fall of 2009 in New York City.