In April this year I met a computer artist called Robert Meek. He talked about a potentially infinite text, a text that wasn't created by human beings, (but by a) computer programme that would be able to generate random but gramatically correct and intelligible texts. We talked of a project that might involve the human being and play with the clash, friction, complicity...whatever a meeting of such 'bodies' - mechanical/technological and physical - may produce. We talked of the ways in which the performers and the computer could mutually influence each other in the performance. We thought of the individual voices of the performers defining the vocabulary of the machine and vice versa....Victoria Beattie.


The project takes audiences through some of the most painful of questions relating to feelings of human insignificance, loneliness, desire, incomprehension and disempowerment in the face of progress, and then flips them over to feel the opposite of almost all the initial negatives.

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In April this year I met a computer artist called Robert Meek. He talked about a potentially infinite text, a text that wasn't created by human beings, (but by a) computer programme that would be able to generate random but gramatically correct and intelligible texts. We talked of a project that might involve the human being and play with the clash, friction, complicity...whatever a meeting of such 'bodies' - mechanical/technological and physical - may produce. We talked of the ways in which the performers and the computer could mutually influence each other in the performance. We thought of the individual voices of the performers defining the vocabulary of the machine and vice versa....Victoria Beattie.


The project takes audiences through some of the most painful of questions relating to feelings of human insignificance, loneliness, desire, incomprehension and disempowerment in the face of progress, and then flips them over to feel the opposite of almost all the initial negatives.