Figure #20, #21 and #22 – Harness

Figures #20, #21 and #22 are constructed to be worn by a human. They consist of a backplate with transparent plastic straps suited to attach to the humans back. A smart servo drives a double shaft on each plate that connects to a more extensive double linkage, translating the simple rotational movement to a more complex motion. The backplates have electronics and battery mounted to make them untethered.

Impetus

The impetus for figures #20, #21, and #22 continue that of swimmer In that it suggests a symbiotic relationship. Figure #19 joins with figure #16 to enhance their capabilities. Similarly, figures #20, #21, and #22 join with a human body to attain mobility. From the human perspective, whether the relationship is symbiotic or parasitic is an open question.

It has seemed a continuous challenge to find ways to incorporate human figures with non-human figures. However, the multitude of capabilities humans can appear to have when side to side with the figures, in combination with an audience’s natural affinity with other humans, prompted a gesture of inclusion. Figures #20, #21, and #22 aim to provide that.

The harness that the performers wear at the end of the stage version of For one for many for all is a gesture of inclusion but also of power. Although these extra appendages to the human restrict them, I find that these restrictions resonate with the figures. The human performers should not take over the performance space (or be taken over by the figures) but co-exist, and these figures rise out of that. Yes, the human performers are seemingly much more capable and mobile when compared to the figures, at least from a human point of view. Still, their willingness to subjugate themselves to access suspension of disbelief carries the potential to level the field.