Hair, as an extension of the central nervous system, has always been perceived as something somewhat
insignificant and even trivial within the concept of “body” and “sense”. However, hair has also long been weaponized in a way that shapes the subconscious narrative within identity, gender, class, and queerness.
In Language Death, hair is reimagined as an individual being that continues to grow after one’s demise - completely detached from the organic human system, where hair then is no longer an extension, but a dominant sensor as well as body itself that fills up the skeleton, visually, sonically, and cross-sensorially.
Residing inside a metal cage, the sculpture narrates an assembly of a coffin where hair starts to interact with and respond to its environment, visually and sonically. Throughout this process, the sound of such “growth” is hypothesized with the aid of four sensors - 3 ultrasonic and 1 load cell each of which interplays with the environment (the audience in this case) with designated sonic parameters written in a Max MSP patch.
In the vein of Language Death, the hypothesis of manifesting hair as body itself, as sense(s), as flesh and skin is established. Extracting the animalistic essence of “hair” from a both human and non-human context, hair becomes fur, feather, and a crucial sensor in survival, perception, and indicative signals.
In collaboration with: Yutong Wang
Advised by: chukwumma (Harvard AFVS) & Peter Whincop (MIT Music & Technology)
Tools used: Ableton Live/ MAX MSP/ Reaper/ Premiere Pro/ Arduino/ Ultrasonic Sensor/ Load Cell