All I Ever Am

TikTok. Covid19. Facebook. A custom pizza order. Reddit. Your phone number... All I Ever Am is a sensory mash of real time web scrapes, generative video and modular sound exploring 40 trillion gigabytes of information and the rise of data as the most valuable resource in the world.

At the beginning of 2020, the number of bytes in the digital universe was 40 times more than the number of stars in the observable universe. All I Ever Am, the latest work from kdmindustries (Mark Haslam), harnesses raw technological power and some manic creative coding to take a joyous trip through this raw information; ripping apart the internet in real time to plumb the depths of the 0s and 1s stored in those hundreds of football-ground-sized buildings all over the world (and that’s just Amazon and Google).

In front of the audience there are two bodies wrapped in a virtual space, acting as both performers and technical operators. They mix real-time data streams from around the world (including live scrapes of TikTok and Reddit) with both live and harvested video content, manipulated spoken text and a live graphic representation of their heartbeats. The images stream to both a large rear projection screen and onto a holographic scrim downstage, creating unique images which wrap around them. Each visual has a sonic equivalent, triggered precisely with the images, creating a layering of information that ebbs and flows as a live realisation of network traffic.

All I Ever Am highlights the all-pervasive impact of technology and emphasises the enormous scale of data being created at any single moment in time – data that is now never lost, just logged and stored in infinite 0s and 1s. It also explores how humanity uses this technology to evolve, respond to contemporary challenges and connect in profound ways to each other. Technology is often viewed as an opposing element to humanity. All I Ever Am shows just how human it is – how all those 1s and 0s are testament to the human need to build and to connect, and how those fundamental needs are both exploited and celebrated every second of our lives.

 

Form and Style:

All I Ever Am is an imaginative hybrid of visual theatre and technical performance. It draws from conceptual and performative visual art practice, then mashes those together with a music video aesthetic and the pop sensibilities of a million memes. A theatrical performance more than a DJ/VJ set, it sits at a crossroad of contemporary performance, electronic arts, and internet culture that is unique in the West Australian context.
The two performers are set within a triangle of projection surfaces. They generate the work live over 45 minutes, mixing sonic and video streams in real time. Interactions with the audience allow for unique moments of data sharing within the performance, such as the audience texting in their email addresses to see if they’ve been involved in major data breaches.
All of this combines to create a provocative performance experience uniquely suited to the current times.
Community and Audience Engagement:

Company is available to run a workshop with local audiences demonstrating the process of generating technical performance, including how to integrate sound and video and an approach to communicating with audiences through technical elements.

Company can also demonstrate the nuts and bolts of the show, and the creative coding involved in generating all the sound and video for the performance live.

These workshops can be useful for students undertaking performance making in schools, as well as those looking for a strong visual and aural examples of creative computer programming.

 

Available Marketing:

  • High resolution images
  • Video trailer
  • Poster / flyer artwork
  • Sample media release can be generated

 

About the people involved:

MARK HASLAM – Concept / Design / Visuals

Mark’s practice is a hybrid of technical production, design, direction and performance, with a particular focus upon raw performance styles and the integration of media into contemporary performance. He established kdmindustres in 2009 as a vehicle for cross-artform collaborations and remains as the company’s Artistic Director.

He has worked with many leading Australian and international contemporary arts companies and practitioners across performance, dance, music and visual arts practice and has toured work across 4 continents. He has built major projects with Societas Raffaello Sanzio, erth Visual and Physical, Marregeku, Branch Nebula, Stalker Theatre, The Farm, Legs on the Wall, Force Majeure, Company B and Sydney Theatre Company as well as unique festival performances with artists such as Wesley Enoch, Nigel Jamieson and Shaun Gladwell.

He has lit some of the worlds top DJs (Fatboy Slim, Carl Cox, Sasha) and fashion houses (Alexander MacQueen; Gucci).

 

JAMES LUSCOMBE – Sonic Composition

James is a sound engineer and designer, specialising in live mixing, live performance programming and composition for dance and theatre with a passion for reproducing live performances as technically accurate as possible every show whilst retaining energy and spontaneity from the artist.

Spending a majority of his time living out of a suitcase he has toured the world with various bands such as: The Cat Empire, RÜFÜS Du Sol, Golden Features, Gang of Youths, Vera Blue & San Cisco, performing various roles such as Tour & Production Manager, Monitor Engineer, Playback Tech & Programmer and Backline / Guitar Tech.

James has worked with companies that include; Black Swan Theatre Company, Barking Gecko Theatre Co, Perth Theatre Company, Maxima, Steps Dance Co. His most recent theatre production with Barking Gecko Theatre Co; My Robot was nominated for ‘Best Music’ in the 2017 Performing Arts WA Awards.

 

Ella Hetherington – Visual Dramaturge

Ella Hetherington is an actor and physical performer who has worked extensively in theatre, circus and contemporary performance since graduating from Total Theatre in 2004.

As an actor she has worked with all the major Western Australian theatre companies and is a regular collaborator and devisor on the independent scene. Works include The Red Balloon, Blithe Spirit, Shadowboxing, Red Dog (Black Swan Theatre Company); Duck, Death and The Tulip, This Girl Laughs, This Girl Cries, This Girl Does Nothing, The Red Tree, The Lost Girl, Fatty Wombat, Castle Rascals (Barking Gecko Theatre Company); Selkie, The Tribe, The Book of Death, A Story of Life (Renegade Productions). Echo Cushion Concerts, WWW, Beethoven’s World, Dischord Hunter (WASO) among other works for Performing Lines, Kaleidoscope Ensemble, Strut and Fret, Perth Theatre Company and The MoxyCollective.

As a circus and physical performer she toured internationally with her award winning show Ayers Rock Surf Lifesaving Club and has worked nationally and internationally alongside companies such as La Fura Del Baus, Erth, Legs on the Wall and as a core ensemble member of Force Majeure.

As a writer she has had works commissioned by the West Australian Symphony Orchestra, Bizircus, The WA Museum and in 2015 her first major work ShadowBoxing was commissioned and produced by Black Swan State Theatre Company. It completed it’s second state-wide tour in 2016.

Ella has received several equity nominations for her theatre roles and a Helpmann nomination for The Red Tree.

 

https://vimeo.com/446283282

 

 

Availability

Feb 2021

Artforms

Multidisciplinary

Audience

15 - 45. Audiences interested in technology and the impact of virtual lives upon contemporary culture. Audiences who interact with visual arts practice as well as performance. Audiences who appreciate new and contemporary performance styles. Pretty much anyone who has used and/or understands TikTok.

Duration

45min

Bump In

4 hours (must be able to be in dark space)

Bump Out

2 hours

Costs

- Weekly Fee: $5,700
- Remount: $5,750
- Royalties: $50 per performance
*Above fees do not include touring costs

Company Contacts

Mark Haslam
0403 721 935
mark@kdmindustries.org

Company Website

https://kdmindustries.org



Tell me more




Technical

Venue Format

Proscenium Arch, Black Box, Gallery space suitable for video work

Touring Party

3

Considerations

First possible performance: 1.5 hours after load-in

Minimum break between shows: 2 hours

Minimum stage width: 8m

Minimum stage depth: 10m

Minimum stage height: 6m

Staging and Set Description: 3m x 6m hinged rear projection screen; 3m x 7m Laser Tulle scrim set downstage of screen; 2.4m trestle table set within triangle created by these screens

Lighting provided by the company: N/A

Lighting to be provided by the venue: 1 x profile able to be dimmed; House lights

Audio provided by the company: 1 x audio interface; Laptop; Modular Synth rack

Audio to be provided by the venue: Full-range PA (including subs) suitable for the venue, 1 x foldback speaker, 1 x FOH audio console, All associated cabling required between stage and FOH console.

No. of additional staff to be provided by the venue: 1 x lighting, 1 x sound, 1 x multi-tasker

Dressing Rooms Required: 1

Other technical or performance notes: Company provides 2 x projectors, cable and all associated projection requirements.