Sonically speaking, the posthuman era is not one of disembodiment  but the exact reverse: it’s a hyperembodiment.

Kodwo Eshun, More brilliant than the sun, 1998.

I’m your body is closely related to Flesh+Prosthesis #1 (2013) for  quartet and soundtrack (written for Nikel Ensemble, premiered  at Wien Modern Festival 2013), which is also related in a similar  way to the 8-channel electronic composition Hybridae (2012).  In Hybridae I applied digital sound-processing techniques (based  on feedback principles) to a series of violin samples in order to  generate a hybrid sonic body that constantly occupies different  regions in the spectrum between the physical (clearly recognisable  violin samples) and the digital (heavy digital processing) realms.  This composition was then used as a point of departure for  Flesh+Prosthesis #1, in which I envisioned a hyper-hybrid body,  adding instrumental and electronic layers to an edited, cut-up version of Hybridae. In I’m your body, this hybridisation procedure  is then taken one step further: Flesh+Prosthesis #1 is subjected  to similar procedures as those previously applied in Hybridae, thus adding a second instrumental layer in order to create  a multid

imensional hybrid body somehow similar to the multidimensional meta-bodies that we have become ourselves. The body and its digital avatars. The flesh and the prosthesis.  The mechanics of the flesh. The utterances of the body – a portal  to the inexplicable.

Stefan Prins