channels

channels

channels

channels

channels is a multisensory performance exploring the intricate pathways of the body.

 Lin understands us all to inhabit multiple bodies: ones made up of what we commonly think of as our physical body composed of its parts and organs, and others seemingly invisible, extending beyond the skin, taking the form of energetic fields and ki

Lin understands us all to inhabit multiple bodies: ones made up of what we commonly think of as our physical body composed of its parts and organs, and others seemingly invisible, extending beyond the skin, taking the form of energetic fields and kindred relationships.

 In her work, she generates connections within and between these bodies through the concept of qi 氣, networked technologies, and disabled embodiment. As materials for this exploration, she uses and amplifies the connective tissue of her own body as w

In her work, she generates connections within and between these bodies through the concept of qi 氣, networked technologies, and disabled embodiment. As materials for this exploration, she uses and amplifies the connective tissue of her own body as well as the care relationships that bond two or more bodies together.

 The first movement, “channel 1,” investigates the internal pathways within the body, exploring the energetic channels of qi 氣 moving through the body as conceptualized by Chinese medicine, and the cyclical nature of the body living with chronic illn

The first movement, “channel 1,” investigates the internal pathways within the body, exploring the energetic channels of qi 氣 moving through the body as conceptualized by Chinese medicine, and the cyclical nature of the body living with chronic illness.

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 As both qi and this cycle are seemingly invisible to the eye, the artist examines the illegibility of the body in illness, pain, and healing, combining poetry with animations derived from what she calls her ongoing “soft data” archive.

As both qi and this cycle are seemingly invisible to the eye, the artist examines the illegibility of the body in illness, pain, and healing, combining poetry with animations derived from what she calls her ongoing “soft data” archive.

 “channel 2” explores external pathways of the body through movement and sound.

“channel 2” explores external pathways of the body through movement and sound.

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 Using wired microphones attached to the artist’s moving body, electronic musician  Despina  samples the creaking and crackling sounds of the artist’s connective tissue in motion, transmuting the sounds into a generative soundscape.

Using wired microphones attached to the artist’s moving body, electronic musician Despina samples the creaking and crackling sounds of the artist’s connective tissue in motion, transmuting the sounds into a generative soundscape.

 The artist responds in turn, augmenting the music with movement sensors, channeling herself as an instrument. Reflecting the ever-changing body, each performance is unique, no soundscape ever the same.

The artist responds in turn, augmenting the music with movement sensors, channeling herself as an instrument. Reflecting the ever-changing body, each performance is unique, no soundscape ever the same.

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  Through deep listening, the duo engages in an interdependent, cyborgian feedback loop of generative music and dance.

Through deep listening, the duo engages in an interdependent, cyborgian feedback loop of generative music and dance.

 The final movement, “channel 3,” invokes ways of being together across distance.

The final movement, “channel 3,” invokes ways of being together across distance.

 Choreographed and performed live with New Zealand/ Aotearoa based artist  Pelenakeke Brown  through means of virtual communication, the duo plays with the subjectivity of placehood.

Choreographed and performed live with New Zealand/ Aotearoa based artist Pelenakeke Brown through means of virtual communication, the duo plays with the subjectivity of placehood.

 Experimenting with presence and crip movement,  Pelenakeke’s creates live line drawings, transforming the walls of the room into a pathway for communication and play.

Experimenting with presence and crip movement, Pelenakeke’s creates live line drawings, transforming the walls of the room into a pathway for communication and play.

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 A screen hangs overhead like a thought bubble. Poet danilo machado live describes the sound in the performance through speech-to-text software, invoking an access channel and yet another cyborgian loop.

A screen hangs overhead like a thought bubble. Poet danilo machado live describes the sound in the performance through speech-to-text software, invoking an access channel and yet another cyborgian loop.

 Slowly, Pelenakeke emerges as a projection silhouette, and the duo dance together through describing their movements using audio description, utilizing description as a way to move together with and through the glitch stream.

Slowly, Pelenakeke emerges as a projection silhouette, and the duo dance together through describing their movements using audio description, utilizing description as a way to move together with and through the glitch stream.

 This piece exists as an homage to the movements of the disabled community, whose connections are made, and togetherness found, without leaving the walls of one’s own room.

This piece exists as an homage to the movements of the disabled community, whose connections are made, and togetherness found, without leaving the walls of one’s own room.

 To the audience, Lin poses a series of questions: What channels exist within ourselves that connect us to ancestral ways of knowing? Can pain be a portal, and care a feedback loop?

To the audience, Lin poses a series of questions: What channels exist within ourselves that connect us to ancestral ways of knowing? Can pain be a portal, and care a feedback loop?

 What are the electrical currents that we signal to one another, reminding us that even in continued isolation, we are not alone?

What are the electrical currents that we signal to one another, reminding us that even in continued isolation, we are not alone?

 Made in collaboration with Despina & Pelenakeke Brown  Real-Time Graphics - Torin Blankensmith  Interactive Design - Avneesh Sarwate  Fashion Design - Weijing Xiao  Make-up and Hair - Alice Moru  Fabrication & Screen Design - coralys carter

Made in collaboration with Despina & Pelenakeke Brown

Real-Time Graphics - Torin Blankensmith

Interactive Design - Avneesh Sarwate

Fashion Design - Weijing Xiao

Make-up and Hair - Alice Moru

Fabrication & Screen Design - coralys carter

Lamp Design - Brian Oakes

Creative Production - David Lee Sierra

Audio Description - A. Sef

Sound Description - danilo machado

ASL - Joyce Hom and Sara Ahn from Body Language Productions

Lighting Design - Itohan Edoloyi

Audio Design - DJ Potts

Rigging / Carpentry - Josh Galitzer

Head Video - Micah Zucker

Head Audio - Seth Haling

Stage Coordination - Caren Celine Morris

Scenic Design Coordination - You-Shin Chen

Electricians - Maytté Martinez and Stuart Burgess

Production Management - Pope Jackson

Marketing - Phillip Griffith

Production Support - Maggie MacTiernan & Sarah Khalid Dhobhany

Curatorial Support - Solana Chehtman & Tamara McCaw

Photography - Steve Dabal & Zack Filkoff & Ahad Subzwari (Courtesy of The Shed)

 Commissioned by The Shed for Open Call 2020  Duration - 1 hour  Performed July 8 + 9 2022  For more information, read about the commission  here .     SELECTED PRESS & AWARDS    Digital Dozen: Breakthroughs in Digital Storytelling Awards, 2023

Commissioned by The Shed for Open Call 2020

Duration - 1 hour

Performed July 8 + 9 2022

For more information, read about the commission here.

SELECTED PRESS & AWARDS

Digital Dozen: Breakthroughs in Digital Storytelling Awards, 2023

The Creative Independent, 2022

Tetsudo, 2022

Nasty Magazine, 2022

The Shed - Between Artists: Benjamin Akio Kimitch and Yo-Yo Lin, 2022