10 Tenets of robotcowboy

1. The cyborg embodies the computation: all of the gear must be worn on the body

The focus of the human-computer performance is to be returned 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 through 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. The system should behave as 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 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, a long power/audio "umbilical cord" required by the machine 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. Hardware/software failures must be prepared for by making them part of the performance. Audience members will sometimes be required to break the fourth wall in order to help repair the machine half.

7. The non-recording artist: the performance is the commodity, recordings should be live

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 and no longer 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

Avoid 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 2007, 2018