0rphan Drift Archive

0(rphan)d(rift>) Archive
Becoming Cyberpositive
0rphan Drift : Becoming Cyberpositive

Becoming 0rphan Drift 0rphan Drift happened to us in a sense. Individually we did not set out deliberately looking for collaborators or to challenge, so extremely, conventional ways of working. We came together organically, as a response to parts of the art world we found disturbing as much as to recognition of common sensibilities. So, in this early phase we needed to learn to be a collective artist and to publicly state this. The work was a kind of manifesto during this time- and a shedding of habits. We were invited to speak often and began to develop a performative style of presentation which complicated the notion of a 'lecture'. We spent endless hours installing work in galleries, where the painstaking process of installing inadvertently became performative. We found that there was a perceived contradiction between the kinds of critical questions we were asking about production and our lush, excessive (and potentially escapist) visual aesthetic. In underground electronica, where collaboration was more of a rule than an exception, our efforts went into making arresting visual material which could be played live but resisted becoming eye candy or club wallpaper. This period of work was characterized by a distinctly analogue, lo-fi materiality.

0rphan Drift Avatar, Cyberpositive
Once 0rphan Drift had become a singularity, we began to work with avatars and fragmented narratives, as external elements which could guide us in sampling, remixing, collecting and mapping. This immersed intensive phase of 0rphan Drift's production culminated in 1999, in a calendrical project made in collaboration with the Cybernetic Cultural Research Unit based at the time within the Warwick University department of Philosophy.

Syzygy, housed at Beaconsfield Arts, was a series of performances embedded within an installation and framed as an alternative calendar in response to the mythic and looming Y2K. 0rphan Drift became artist, producer, curator and director, organizing components of the project around five avatars as embodiments of different combinations of elemental and technological characteristics. Computers had been integrated into our process by now, and a friction between digital and analogue signal visibly embedded in the work.