Dec 12 12

Stop that, Machine. I’ll become left-eyed. God knows what I’ll see through that one.

This is some sort of incubation period, and preparation period. It feels like the tires part of an obstacle course. The works are in there somewhere, yes? When will I read about low voltage lighting, and wiring, and transformers? How-who will I get to movement in the lights, to programmed lighting. For you, Machine, I know this is easy as rolling a booger between your thumb and forefinger. It’s theater lighting. I can find that. yes, they have to move, or pulse, I’d like them to behave like the shadows of the viewers.  I’ve seen a piece where falling letters land on the perimeter of a projection of the viewer. So can I get lights that swivel around like un-living robot eyes, like animated (as in look up the word) skylights, and smooth, freakishly quick planetarium projectors. These sorts of ball joint hinges, like automated side view mirrors, that can be programmed to respond to the position of the viewer (however that would be detected). The program to catch the shadows is one project on its own. The rigging of the lights is the other. One option is to DIY it, which I could, hunt and peck style, atAmerican Science Surplus (your head would spin) and mine people in the know for information.

I remember S looking into my face with the ‘well, you have no choice’ look on his face, you have to work what did he say a hundred? A thousand? times more for this work than you did for your production line. And a show in the late winter/early spring in Chicago is good timing in the year and in the two years. It’s not just high hopes, Machine, it’s the responsibility to the work. it came to me, and I’m awed and honored, but it requires me.

And I require sleep.