robotcowboy consists of a wearable computer system and various peripheral devices which enable a single performer to become a mobile, technological “one-man band”. It is an exploration into a post-digital renewal of embodiment and physical instrumentality in electronic musical instruments. The system is built with low-cost in mind and utilizes readily-available hardware and free, open source software in order to make a concept feasible to the everyday computer performer who wishes to step out from behind the screen. It is hoped that the concept of “wearable music computer” can one day become as ubiquitous as that of “laptop musician” in a return to the fragility and excitement of live music.
I have developed an approach to creating and performing music into a manifesto of sorts: the “10 tenets of robotcowboy”.
1. the cyborg embodies the computation: all of the gear must be worn on the body
I am interested in returning the focus of human-computer performance to the body as opposed to the machine. This can be achieved through the modern“one-man band” as a cyborg entity who is a hybrid body extended by technology.
2. plug and play: plug in the system, turn it on, it works
The computer processes should be enabling, not distracting, the performer should be able to focus on the performance, and the hardware should be reliable in a rough environment. I want the system to behave as my guitar and amplifier: walk on stage, plug in, and play.
3. human frailty: there must be room to fail
The digital process should not be perfect: playing live music should be like walking a tightrope. There can be no proficiency of musicianship if there can be no failure.
4. human energy: live sweat must be felt when listening to every song
The human half of the cyborg should infuse the performance with live energy: the sound should reflect an organic hybrid of man-machine.
5. good with the bad: the human is enabling/disabling, the machine is enabling/disabling
The melding of man-machine should reflect the strengths and weaknesses of both. For instance, I have shown this aesthetically through a long power/audio “umbilical cord” required by the machines which anchors the human performer to the performance area.
6. a real prototype: new ideas and gear must be tested in a real environment, risks must be taken
Live experimentation and iteration must be a part of the creation process. I must be prepared for hardware/software failures by making them part of the performance. Audience members will sometimes be required to break the fourth wall in order to help me repair my machine half.
7. the non-recording artist: the performance is the commodity, recordings should be live
I want to escape the notion of recorded music as the musician’s product. The hardware/software is designed so that all performances are recorded live. The songs are thus organic, not single, static recorded elements to be replayed over and over.
8. WY SEE IWYG: sound and action should be proportional
The digital instrumentation should be visually apparent. The timbre and loudness of the sound should be proportional to the action in ”creating it” in a similar manner to more traditional instruments. Huge, disembodied sounds should be avoided.
9. WY HEAR IWYG: everything should be reproducible live
I am avoiding heavily produced, pre-recorded backing tracks. The sound should be minimal and focused on what instruments can be performed live.
10. creative freedom: open source software should be used as much as possible
The software should be open, malleable, and adaptable to the performers needs. It should not be reliant upon a single system or vendor and all efforts should be made to make it “future resistant”.
Dan Wilcox