I'M SEARCHING FOR A MORE VISCERAL LINK BETWEEN MYSELF AND OUR COLLECTIVE PROSTHESES - THE TOOLS THAT SHROUD THE FRAIL BODY IN UNRIVALED ABILITY. THESE AUGMENTATIONS CONFER A CERTAIN POWER. THE CAPACITY TO REVEAL OR OBSCURE, TO CHANGE SCALES, MEDIATE COMPLEXITY, OR TO COLLAPSE SPACE. THESE DRAWINGS EMBODY THIS COLLECTIVE ANATOMY OF MACHINE AND BONE. THEY BELONG EQUALLY TO THE HUMAN AND THE APPARATUS, BUT ARE FOREIGN TO BOTH. I'M SEARCHING FOR A WAY TO DRAW, OUTWARD AND INWARD.

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THIS DRAWING REPRESENTS THE FIRST AMBITION AND CURIOSITY OF THIS PROJECT. HOW CAN A DRAWING BE MADE USING THE ENTIRE BODY? WHAT IS LOST WHEN ALL MOTION REDUCES TO A LINE? WHAT IS GAINED?

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THIS DRAWING REPRESENTS THE CULMINATION OF THIS PROJECT AND IS THE PLAN FOR THE ULTIMATE CONSTRUCTION OF THE DRAWING MACHINE THAT FULFILLS THE AMBITION IGNITED BY PROSTHESIS NO. 0. IT OWES ITSELF TO THE MANY OTHER INTERVENING INVESTIGATIONS DOCUMENTED BELOW.

THREE DIMENSIONAL FULL BODY MOVEMENT IS CONDENSED INTO A SINGLE LINE. EIGHT VECTORS PROJECT AND PIVOT THROUGH THE PLANE BEHIND. THEIR POINTS IN SPACE ALL RELATIVE TO EACH OTHER CONSTANTLY VARY WITH MOVEMENT. THIS CHANGE IS HARNESSED WITH A CORD WHICH TERMINATES AT A PEN.

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A DARK WOODEN HOOD AFFIXED TO THE WALL BY A HINGED ARMATURE TRANSLATES THE MOVEMENT OF THE BLIND OPERATOR INSIDE VIA TWO METHODS: A DIRECT MECHANICAL CONNECTION THROUGH A SERIES OF PULLEYS MOVES ONE SIDE OF A PEN GONDOLA ON THE PAGE AND ACCELEROMETER DATA FROM THE HOOD PROGRAMMED TO CONTROL A SERVO MOTOR MOVES THE OTHER SIDE.

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A CAMERA TRACKS MY PUPILS AND BY INTERPRETING THE ELLIPSE IT SEES, CALCULATES THE LOCATION OF MY GAZE. RECORDED POSITIONS BECOME VERTICES AND LINES ARE DRAWN CONNECTING THEM. THE POINTS ARE RECORDED AT FREQUENT AND REGULAR INTERVALS. A COHERENT IMAGE EMERGES FROM THE CHAOTIC ACCUMULATION: EYES DARTING WILD AND UNCONSCIOUSLY BACK AND FORTH.

FOR THE READINGS TO BE ACCURATE, THE HEAD MUST BE FIXED STEADILY RELATIVE TO THE CAMERA. A CUSTOM DESIGNED HEAD CLAMP ACHIEVES THIS.

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A DEVICE TO CAPTURE THE MOTION OF THE SHOULDER. IT INSCRIBES ITS MOVEMENT INTO A SPHERE, TRUE TO FORM. HOW TO DEVELOP A CONTOUR FROM A SPHERE TO A TWO DIMENSIONAL PLANE HAS MANY IMPERFECT SOLUTIONS, EACH WITH VARYING CONSESSIONS. I ATTEMPTED TO FLATTEN THESE MARKS IN TWO DIFFERENT WAYS. ONE BY AN INTAGLIO PRINTMAKING PROCESS WHEREBY THE INSCRIBED SPHERE BECOMES THE PLATE, HOLDING INK, TO BE PRINTED DIRECTLY ON PAPER. THE OTHER IS MORE AKIN TO MAP PROJECTIONS WHERE THE MARKS WERE CAREFULLY PLOTTED AND DRAFTED.

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A MECHANISM TO CHANGE SCALE. TWELVE FEET HIGH OR FIFTY, COHERENCE DISSOLVES STEADILY AND RELIABLY IN THE PHYSICAL TRANSMISSION.

A PEN IS PLACED AT THE HAND AND AT THE OUTER LIMIT OF THE STRUCTURE. THE DUPLICATION IS NOT EXACT DUE TO INHERENT DISTORTION RESULTING FROM THE DEVICE'S GEOMETRY AND THE AMPLIFICATION OF IMPRECISION.

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IN A STRUCTURE THAT EXISTED TO SEARCH, WHERE INFORMATION WAS ONCE AMPLIFIED TO IMMENSE SCALES, NEW PROJECTIONS UNFOLD. AN ABANDONED RADAR TOWER IS REPURPOSED TO FIND NEW TRUTHS.

THE BODY IS PERCHED HIGH ABOVE, SEATED IN THE VACANCY OF THE DOME. ARMS AND LEGS ARE CONNECTED VIA CABLES AND PULLEYS TO THE TOP OF A 75 FOOT LONG STEEL ROD. ITS FULCRUM SITS JUST BELOW. TWO DRAWINGS ARE MADE: ONE AT THE TOP OF THE ROD AND ONE AT THE BOTTOM. THE TOP DRAWING IS EFFECTIVELY A POINT. THE BOTTOM IS THE AMPLIFICATION AND DISTORTION REVEALING THE HIDDEN COMPLEXITY OF THE POINT. SCALES SHIFT; INFORMATION IS GAINED AND INFORMATION OBSCURED.