Kissbots are single-minded, demanding creatures. They make us work hard for them, applying their lipstick, setting their switches, making the kiss sounds that light them up as they count to the prime number that triggers them to act. And then what? They fall for us, adding a kiss print to the collective array, generating a paper output of all that work. Why do we work so hard for them? Because they can do what we cannot: kiss in public. Lips by Pearl van Geest, circuit by David Ogborn, bots and installation by Hilary Martin, with prepared table assistance from Ranjit Bhatnagar. Bring your kisses, Electric Eclectics.

Hilary Martin has been making art since 1998, including experimental video, narrationless audio documentary, sound maps, field recording mashups, and granular synthesis sound portraits. More recently she’s been making creepylovely toy-like interactive ‘bots’ for collaborative installation projects presented during Nuit Blanche in Toronto. These include Public Displays of Affection in 2009 at Riverdale Farm Park in Cabbagetown with Pearl Van Geest, featuring kissbots, and Procedures in a Time of Plague in 2010 at Trinity College Chapel with Maggie Helwig, featuring paxbots. Slow Dances with Large Puppets is in the prototype stage for 2011. Her installations are about mediated intimacy. On her blog she calls her approach “electronic art you might find in a kitchen junk drawer.”

Hilary has worked as a theatre technician, arts manager and stone masonry apprentice. She has been a member of the board of directors for New Adventures in Sound Art (NAISA) since 2006. She is currently the research and outreach coordinator for a national research network and is doing her PhD in Philosophy at York University.

Loading more stuff…

Hmm…it looks like things are taking a while to load. Try again?

Loading videos…