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The viewer is given a pair of "fashion specs" with an infrared sensor attached. He/she enters into a booth with 6 monitors positioned in a circle, but can only see 3 of the monitors at any one time.
These monitors always play a "talking head" video of a newscaster. The three monitors behind the viewer play silent footage portions of the story that did not make the broadcast. As the viewer turns in the booth, the videos turn with him, so that he can only see the talking heads in front of him. Only by taking off the glasses can he see the other videos directly. |
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Laughter is full of subtly and variation - between individuals and cultures. It's intonation can be hurtful or uplifting. It can bridge or widen the differences between us. This booth would explore our perception of laughter in culture and the implications of laughter in a global context.
The participant can push a button on a globe to launch a 20 second video track of someone laughing in the corresponding place. If more than one button is pressed a cacophony of laughter is layered in sound, and the video display divides. Within the 20 second period, up to 10 different laughing tracks can be combined. Video is projected from the ceiling onto an enclosed screen in the booth. |
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| Stereoscopic Mask Interface |
Five to Eight masks hang in the gallery space on a hat rack. The viewer is instructed to place a mask in the box on the right and peer inside. Upon placing the mask (to be hardwired with couplings and magnets) in the display area, a stereoscopic image begins to play behind the mask.
The video images would consist of footage shot from 4mm cameras installed on the actual bodies of the people whom the mask were molded. Each subject would be participating in the same activity from different viewpoints. (sociopolitical activities related to individual rights in society or a glimpse into each person's private life.) The experience would be intimate like the stereoscopic viewers of the 1920's. |
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Creatures are dynamic animations that respond to the movements of the viewer/s in the gallery space. For each person in the gallery a new creature will appear. Creatures will respond to two variables: position and variation of movement.
Two states of being will be available to a creature - aggression and submission. While aggressive creatures can eat submissive creatures, only submissive creatures can reproduce with each other. Aggressive creatures will be difficult for the viewer to control and submissive creature will remain very responsive and approachable. A study for this is available in Projects : Interactive Studies. |
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Four video tracks of the same journey from point A to point B are filmed. The perspectives are: car, man, turtle, and an ant. The video tracks are synced so that you can view the same point in the journey from four different vantages by physically moving a view mask up and down a track. In order to see the ant's perspective the viewer would be required to lie on the floor.
Journey Box would focus on our perception of speed, and the fascinating world we leave behind when we travel at high speeds. Highlighting our detachment from our environments and our obsession with decreased travel time, journey box asks us to crawl to work and enjoy every minute of it. |
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What appears to be an innocuous picture on the wall is actually a video monitoring device that produces a crude image of the viewer in a substance that changes color with heat input (like the mood rings from 1980s). The box takes one sample only when the viewer is in close proximity of the box. The image appears as an afterimage and lasts for up to 10 seconds, a fleeting portrait. |
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| New Media in The Gallery Space Proposal, 2004 |
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In the spring of 2004 this proposal was submitted and reviewed at the University of Virginia. I am including it here for anyone interested in the possibility of interdisciplinary collaboration and as a record of my teaching initiatives. I would love to teach and participate in a class of this nature someday. |
