Michael Richardson

In Vex Ashley’s film Machine Learning Experiments, a body – she, they, he, them, take your pick – is penetrated by a luminescent black tube. The body’s boundaries dissolve in the pleasure of becoming: animate/inanimate, human/non-human, interior and exterior, inorganic and inorganic. Backed by the steady pulse of Boy Harsher’s Augustus Muller, the series’ tripartite sequence – ‘Automation’, ‘Orgone Theory’, ‘Hydra’ (this last ‘about invading and consuming’) – offers a psychosocial exploration of transmission and penetrability of all kinds.