S C A N
< to look over quickly >
< to examine closely >
CAROLE KIM direction/video installation
OGURI + ROXANNE STEINBERG dance
AARON DRAKE sound
JESSE GILBERT audio visualization
MOSES HACMON live-feed video
JANELLE WEATHERFORD lighting design/technical direction
BILL BALLOU technical direction/design
SCAN is a sculptural video installation that was brought to life through performance. The single channel video by the same name was created from the live footage shot from the subjective point-of-view from within a tunnel-shaped space carved out of multiple layers of black screen mesh. The video traces the journey of a person passing through a hypothetical scanning device of human consciousness as he enters into "mind space." Immersion has been an important keyword in the circles of media artists working with installation. Carole Kim's installations have less to do with a desire to attain an "augmented reality" or a "virtual reality" than a hybrid space in which both illusory and actual merge together in an other worldly environment. The black mesh becomes a matrix to hold the floating gesture: sewn mono filament, drawn trails of glue, planes of a tonal range of netting. To move through and experience this interstitial projection space might be just one way of comprehending space in a slightly different way than we are used to encountering, allowing us to observe and contemplate the unexpected.
“The Mysterious Flame: Conscious Minds in a Material World," by Colin McGinn
“The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos” by Brian Greene
"Maybe objective space has a structure that enables it to contain both mind and matter in a smooth and natural way, but the manner of this containment is not part of our current understanding of space...In other words, it is only our ignorance of space that makes us think that consciousness is nonspatial." [Colin McGinn]
Untitled #17 for the project "In one ear...and in another"
CAROLE KIM video
MARK TRAYLE sound
MTrayle: Grunts, breaths, and other 'unintentional' vocalisations were extracted from news and punditry broadcasts. These are played randomly in time (within limits) and trigger a sort of fast tape scrubbing through a long soundfile of speech.
CKim: Mark’s sounds made me think of a troubled diaphragm. In the video I chose to highlight the contrast between the expletive grunts with the moments of breath.
“In one ear...” refers to a body of work conceived of by interdisciplinary artist CAROLE KIM that explores left and right channel aural compositions by artists, writers, and musician/composers. This is a long term project that has and will continue to take many forms including multi-media installation and performance, single-channel video, dual-voiced spoken word.
MARK TRAYLE is a California based musician and sound artist working in a variety of media including live electronic music, improvisation, installations, and compositions for chamber ensembles. His work has been noted for its use of re-engineered consumer products and cultural artifacts as interfaces for electronic music performances and networked media installations.
N.B.: Some of the footage for Untitled #17 was generated with a new audio/visual interface developed by sound designer JESSE GILBERT called SPECTRAL. Spectral is a visual instrument that employs an interactive software system to generate real-time 3D animation in response to live or recorded sound. Employing a number of computational analytical tools, including Fourier analysis and oscilloscope-style waveform deformation, Spectral reveals the deep structure of sound in a visual language that is both intuitively and aesthetically linked to our emotional experience of music. Spectral's interface gives the performer the means to generate highly dynamic 3D scenes that place the observer in a visual relationship that both enhances and reflects on the process of listening.
UNDER_GLASS (single channel based on a performance)
CARL STONE sound
CAROLE KIM live media installation
w/special guest PAUL OUTLAW
presented by Newtown/LA FilmForum/Cinefamily, LA, CA
MAY 12, 2010
The visuals and text for this piece were initially inspired by the book, "GLASS: A World History" by Alan McFarlane and Gerry Martin. This anthropological history explores how the development of glass for precise optics, mirrors, and windows transformed our relationship with the natural world and impacted the divergent courses of Eastern and Western civilizations.
This piece furthers my interest in the reflective and porous qualities of a translucent membrane as investigated in my previous work on the theme of Narcissus (see "N1"). In shooting, I wanted to present Paul Outlaw with situations that were experiential, durational and unrehearsed--more about doing than acting. Playing with the Renaissance practice of drawing on a glass pane to represent perspectival space, Paul instead draws the outlines of his own reflection.
The technology was programmed and routed with the objective of being able to incorporate sync sound and image from a roving a/v cart. I designed an i-touch controller for Paul Outlaw to determine playback of his pre-recorded footage and audio clips. The computer on the cart communicated data to my laptop to sync image on my computer and send sync audio to Carl Stone.
"The projections were black and white and often murky-misty. They somehow had the quality of seeming to greatly expand the size of the room, creating an open, outdoor, sacred space, something like the ruins of a Greek temple in an alternate universe. Outlaw’s area was the theater’s perimeter and his purview was the personal...Outlaw on the vivid color video screen was a compelling, dominating presence, while he became a more mystical one when Kim toyed with his video on her larger playground.
Stone, on the other hand, ... is a master of non-counterpoint. Rather than accept rules of how one line of music must behave when it comes into contact with another, he makes magisterial layers of sound. He tends to start simply and end his journey filling a listener’s head with a rapturous sense of thrilling multiplicity... One never had a clue watching him, the mad scientist at his laptop, as to exactly how he was chopping, dicing and combining his ingredients. But he made fragments grow into fabulous new sonic species. " -- Mark Swed, LA Times
CHASING THE POOLS (single channel)
CAROLE KIM, direction, video
JESSE GILBERT, sound design/spatialization
YORGOS ADAMIS, wind instruments
G.E. STINSON, electric guitar
LIZ HOEFNER, choreography, dancer
ASTRA PRICE, live mix
PABLO MOLINO, live mix
BETH BIRD, live-feed
EVE LUCKRING, live-feed
MAILE COLBERT, live-feed
ADELE HORNE, documentation
MIRABELLE ANG, documentation
BARNSDALL ART PARK
outdoor pine tree grove
This is a single-channel video based on an immersive performance/installation exploring live cameras on dancers seamlessly integrated into the landscape of live-mix video projection. Their lit bodies became one moving image, dematerializing or re-materializing the body, while the background remained another. These channels were projected onto numerous scrims in a large tree grove. The video combines the composite live-feed image with the original source material.
CAROLE KIM video
Meditation on dirty dishes and soapy water,
The pool of light through my kitchen window.
Cleaning with sunlight.
I C E: a multimedia invitational improvisation
CAROLE KIM installation
1000 drinking glasses
2 live-feed video projections
2 overhead projectors
drawers of fresh herbs
Eagle Rock Cultural Center, LA
In this Spanish-style building and former library, the shelves were filled with drinking glasses. 25 participants including musicians, filmmakers, movers, family, friends were invited to set this piece in motion. We had 2 hours.
A very complex world of microcosms kept forming, colliding, interacting. After exhausting one’s initial ideas, there was a hush to the room, the tangibility of the focus of the group took on more weight. This piece was about a certain warming process, if you will, breaking down the ice to smaller pieces. After an arduous two-year battle with cancer, my father had managed to beat it. There was reason to celebrate.