This process started from nothing—an intentional mission to create a theatre piece from the unknown. What emerged between the creative team of performers and designers is this production of ALL MACHINES OF LOVING GRACE.  

Conversations among the collective often orbited around the content we consume in our technological lives and its effects on us, the creators of it. The collective spirit kept being pulled towards investigating how the images we consume and create strive toward sensationalism. Something that starts as mundane is only made viral by its ability to distract, divide, or addict us to its entertaining character.  

In some ways, this piece is simple: it explores what grabs our attention and what doesn’t. In its abstract, this piece is about the repercussions of a world where our actions become designed for reactions and the internal struggles that goal places on the connections between a community of people.  

The poem the piece’s name derives from paints a technological utopia where the digital and organic reach harmony. Humanity rejoined with its ecology because of its technology becoming more like us. Using the content we produce of ourselves in these technological spaces as a mirror of our progress, ALL MACHINES OF LOVING GRACE explores what happens when people disagree on the direction our technological ecology is heading.  

ALL WATCHED OVER BY MACHINES OF LOVING GRACE 

I like to think (and 
the sooner the better!) 
of a cybernetic meadow 
where mammals and computers 
live together in mutually 
programming harmony 
like pure water 
touching clear sky.  
 
I like to think 
(right now, please!) 
of a cybernetic forest 
filled with pines and electronics 
where deer stroll peacefully 
past computers 
as if they were flowers 
with spinning blossoms.  
 
I like to think 
(it has to be!) 
of a cybernetic ecology 
where we are free of our labors 
and joined back to nature, 
returned to our mammal 
brothers and sisters, 
and all watched over 
by machines of loving grace. 

- Richard Brautigan