top of page
Galatea X31 (in-progress)
for countertenor, synthesizer, fixed audiovisual media, and dance
overview
"Galatea X31" is a two-movement, interactive multimedia work that explores interactions between human sexuality and technology through the story of a delusional incel named Doctor Dynamo (countertenor) and his self-made sex robot, The Galatea X31.
project inspirations + origins
I was originally inspired by the story of Pygmalion and Galatea from Ovid's Metamorphosis, in which Pygmalion falls in love with a statues he makes himself. I found a strong connection between the dynamics in this story and those found in the minds of men who identify themselves as incels (short for 'involuntary celibate'), both incels and Pygmalion possessing a strange, idealized view of and deep frustration towards women.
I began weekly visits to the Kinsey Institute, a research center dedicated to the study of human sexual behavior, named for its founder Alfred Kinsey. During these visits, I read up on sex devices, Pygmalionism (the sexual attraction towards statues), incels and the manosphere, and sex in the digital age. I focused my last couple visits on the technological advances of sex devices of the last 100 years and after doing so, I decided that my project would concern itself with the convenience, anonymity, and disconnection which characterize sex in the today's digital and market-defined age.
Galatea X31 is an unsettling realization of the male pursuit towards a 'better (sex) life.' She lacks all that Doctor Dynamo considers an inconvenience, including:
- the ability to communicate openly, including the ability to resist
- any need for compromise
- any financial support from her partner / owner
- a desire for or ability to give children
- a desire for companionship
- the inevitability of human imperfection
- the possibility of not reciprocating love / attraction
I. do you wanna have fun? (fixed media, dance)
In the piece's first movement, the Galatea X31 introduces herself to us directly, inviting 'real men' to call the number on the screen, buy her, and then to explore their 'wild side' with her.
This movement's sound world consists of 31 EDO harmonic progressions, manipulated moans and slaps, and recorded text, both as Galatea's voice and a granulated sound layer.
This movement's visuals are hypnotic, featuring close shots of a model's exposed body, which are also transformed into kaleidoscopic imagery. When Galatea speaks, a neon pink font flashes.
The first movement and its text are below.
Text
do you remember your first time?
it was so new, so delicious.
you remember, don't you???
and you've been chasing that sweet taste ever since...
come –– taste it, smell it, drink it, swim in it
do you wanna have fun?
come –– tell me your fantasies, your secrets.
tell me what a man wants, a real man like you.
i can give you anything you want.
anything.
the best part of having fantasies is sharing them with someone,
especially someone you don't know.
i won't tell anyone.
24 hours a day,
i'm waiting to talk with studs like you.
call now.
1 855 HOT - 4YOU
that's
1 855 HOT - 4YOU
buy your own Galatea X31 today.
it's the world's first robot designed by your desires.
explore your wild side –– call now.
II. still, it's the same (countertenor, synth, fixed media, dance)
The piece's second movement is in ternary (ABA) form.
Story
A: Doctor Dynamo (countertenor) marvels in his invention, explaining how owning a Galatea X31 lets you have it all. He lists her technological features and how they benefit her users. There is a repeated chorus in which he argues for the legitimacy of a relationship with a Galatea X31.
B: Doctor Dynamo demonstrates her abilities by having her perform oral sex on him (this is portrayed sonically, with only text being projected). When after awhile it becomes apparent that he can not maintain an erection, his language and actions become violent, which triggers an unexpected reaction in the Galatea X31. She responds with violence, scaring Doctor Dynamo.
A: Doctor Dynamo is now terrified of his invention. He sings some of the same text from the first A section before repeating the chorus, which has transformed from proud to frantic and deranged, until the end of the piece. A cacophonous sequence of metallic clanks signals a destruction of the Galatea X31. No new sounds are made after this sequence, and the piece ends with the decay of whatever sounds were made before the sequence.
Sound and Visuals
I am developing a MIDI program in Max / MSP / Jitter that allows me, as Doctor Dynamo, to play the synthesizer, as both a pitch-producing instrument and as a video jockey instrument. The Max patcher retunes the sound of a pan striking a pot to specific pitches on the keyboard. Other keys produce triggers in video and audio, including distorted footage of breasts, legs, and fractals, as well as the sounds of a blender whirring, people talking, and body slaps. I've composed the A sections in a minimalist style. The second A section, however, has more elements, including real-time time stretching and pitch shifting. The text will be projected in time with the music.
While the Max patcher is not finished, I have produced a fixed rendering of the first 40 seconds, minus singing and dance, below. This is a rough estimate of the final sound and visual material + quality. A transcription is provided below, as well.
Text
verse one
if offered both love and convenience,
why must you choose?
a silicone polymer lady
with electroactive, touch-responsive boobs
of course, no woman's made perfect,
but no need to settle and lose.
buy your own data-driven girlfriend,
your all-consenting, superhuman muse.
refrain
still, it's the same
but not the same.
a woman's a woman, no matter the brain.
of course, it's real ––
i mean, she's real.
what does it matter if she's flesh or steel?
verse two
your heart's been damaged not nourished
by woman you'd bleed to protect.
i know that you're only deserving
of cutting-edge, sophisticated sex.
infection is yesterday's worry,
and so are pregnancy scares.
she doesn't require your money.
you'll never again need or have to share.
(refrain)
an adjustable, motored vagina
for all your ever-changing wants.
telekinetic properties
to generate appropriate response.
her computer writes solutions
in time you can't conceive.
simply put, you won't be bothered.
she reciprocates whatever you need.
- - -
Let me show you her in action. Galatea, come over here!
Yes, master.
That's a good girl.
You see, gentlemen, Galatea didn't question my authority. Not only did she come when I commanded it of her, but she has begun rubbing my chest with on hand, and the inside of my thigh with the other, both without me needing to ask her. She's used her telekinetic abilities to know that I am wanting to receive oral sex.
Now, she's removed my boxers and is putting her mouth where I want it, how I want it. It's remarkable, isn't it? If she senses, I'm not completely satisfied, she'll adjust without my asking.
It seems today, though, that she's not working properly. I shouldn't have to tell her that I want to stay hard, should I now, Galatea? This hasn't happened before, but let's give her a chance to redeem herself.
Oh my fucking god, why won't you work for me? I've done everything to make you what you are, to ensure my needs are met, and you somehow you can't fucking me fucking hard, can you? Why won't you work? Why won't you work for me, you worthless piece of shit?
You worthless piece of shit. Yes, master, you worthless piece of shit.
Can't keep an erection, can you?
Why are you talking back to me?
Worthless piece of shit. Can't keep an erection, can you?
I swear this has never happened before. She never talks back.
Can't keep an erection, can you, you worthless piece of shit?
of course, no woman's made perfect,
but not need to settle and lose.
buy your own data-driven girlfriend,
your all-consenting, superhuman muse
still, it's the same
but not the same.
a woman's a woman, no matter the brain. (3x)
of course, it's real ––
i mean, she's real.
what does it matter if she's flesh or steel?
dance
Dance has not been addressed in this project proposal / plan. I have a choreographer and dancer that I will collaborate with when I workshop this piece in Jan/Feb 2025 in Bloomington, IN. I will have a better idea of what the dance looks like then.
bottom of page