McConsciousness looks at the underbelly of computational space, the circuit, the microcontroller, the hardware and thinks about it through the idea of waste and commercial branding. Although interactive robots which respond to different sensor systems (whether through code or built circuits) uniquely, ie. with sound, movement, etc, the sculptures maintain a commercial trash aesthetic which makes them look more or less like the found trash parts they're structurally made of. Like other works of mine, they do not black box the parts that make them up, but make them visible, and favour a piecemeal process aesthetic over one polished and unproblematically the product of a given author. The entire project can be seen to operate as an archeological engagement with computational literature, as object poems, kinetic works, non-semantic representations or whatever your preferred framework might be.
This work was shown in part in the Summer of 2012 at Quinary Art Projects.
McConsciousness is accompanied by a conceptual document (linked below) which explores, through science, fiction and satire, some of the concepts implicated in the project. Both the work and its documentation are similarly aesthetic products, bordering any functional aspects closely with non-referential fabrication.