This work was a study of human information processing and began an engagement with machine information processing. In past works such as "Desiderata" and "Echo & Narcissus," I found many barriers to simulating and augmenting human memory and perception using a computer process. The barriers I hit emerged from the difference between human and machine processes of cognition. Trauma is an exceptional human state that can not be replicated by machine intelligence. "Shi.ko Ltd.," constitutes an effort to reveal and make manifest those differences. This work is also inspired in part by the drive of researchers to model computers after humans, in terms of behavior, perception and learning. I am interested in seeing machines and humans for their respective strengths and as mutually exclusive. I work to emphasize what machines are capable of that humans are not, and what humans can do that machines can not (at least in the present).

In "Shi.ko Ltd.," there are five (audio) "heads," each with memory systems that allow each individual character to interpret information uniquely. Their differences are aural -- they each have their own voice. I was interested giving each head a memory system that mirrored the human filtering that occurs when processing information. The thing is, they can only process the information in an extremely limited fashion. Where they surpass the human though is that they have an incredible ability to focus, retain, and process information endlessly.

In "Shi.ko Ltd.," I am interested in the idea of interface -- what lies behind that which is visible, by what is masked by that interface, and the gap in the interface between human and machine. Computer interface masks the underlying technology and structure -- the means and the end for those developing the software. I am interested in our expectations when faced with certain codified signs, and the way that changing their meaning has the power to disrupt conditioned responses. By creating an apparent learning process which mirrors human learning, I hope to work to set up certain expectations of a direct human interface for the observer, and to then disrupt habituated understandings of that interface.

The highly designed nature of the space and the interaction of the mechanisms with the viewer are structured to play into the desires of the viewer: the space is shimmery white, opalescent silk walls, a padded, opalescent vinyl floor, and a soft furry exterior, with heads which mimic and mirror the viewer. The "heads" are translucent plastic, with LED heartbeats and fiber-optic sprouts of hair. They each have pink plastic orifice/mouths. They are sitting on pink velvet pillows in a semi circle around the solo viewer (only one person enters the space at a time). Visually they are very "cute," and their simple mimicry of the human voice makes them appear like young children.

I work to engage the audience by exaggerating the attempt to anthropomorphize the "Shi.ko's" in the interface. The first few interactions with the "Shi.ko's" are simple mimicry. The interaction is simple to give the viewer a feeling of being the teacher, the center of attention, with their supplicants surrounding them. Over time, the power relationship shifts, as the interaction proves that these beings are not there for you, but rather you are there for them. They continue to mimic the viewer for a number of interactions, but get increasingly more aggravated and belligerent with the viewer. Eventually, they are singing, chanting, and mumbling in rapid fire "conversation" amongst themselves. The words/tones are made up of the recorded sounds of everyone who has been in the space and played with the system.

I anthropomorphize the Shi.Kos so that the audience can identify them with humans. Over time that expectation is disrupted as the viewer expects them to act like humans, but they don't. The interaction becomes so confusing over time that the viewer begins to think that the system is broken yet it is merely following a preconceived set of behaviors, leading to noise, and to a breakdown of human understanding, interrogating the trust in the system, the cute, and the technology. This acts as a means of pointing out rigid behaviors in our own conditioning. It also speaks of the limits of using computer to simulate human experience by underlining the difference between human and machine memory.