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Abstracted Reflection
Kadet's interactive sound installation creates a sonic representation of movement in the surrounding space, just as Josiah McElheny's "Model for Total Reflective Abstraction" scultpture was designed to create numerous visual reflections of its surroundings. The sounds triggered are illustrative of the chosen art piece; in this case the samples are resonant, vibrant and spherical to represent how McElheny's mirrored objects might sound if they could actually emit tones. Not only will spectators have an experience of seeing themselves and the gallery's artworks in the reflections, but also of hearing themselves in the space as if reflected off the sculpture itself.
Presented at the de Young Museum as part of Volume's re/Visioning the Collection volumeprojects.org
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Slayed Still
Slayed Still is an interactive sound installation in which sliced up audio samples are triggered and layered into a resultant composition. As a viewer moves near the designated work of art, motion sensors are activated which randomly select and play audio samples. These splats, knife cuts, stabs and flesh ripping sounds are intended to represent the inhumane measures that are often taken to produce animals for consumption. As multiple viewers enter the gallery space, the density and severity of the soundscape becomes a cacophonous representation of a slaughterhouse.
The interactive aspect of Slayed Still implicates the viewer as the perpetrator of the violent actions that are being heard but not seen, ideally bringing to mind relevant topics related to our connection to the food we ingest daily. Within the longstanding tradition of incorporating food objects in art for aesthetic pleasure, the aim of Slayed Still is to emphasize how humans are involved in a complex relationship to food that extends far beyond self-satisfaction.
Presented at LACMA as part of Fallen Fruit's Let Them Eat LACMA fallenfruit.org
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Holding Pattern IV: Fight or Flight
Hold your breath for this tempestuous ride through bondage, suspension and the power of the mind. Electrical impulses produce reactionary states in this adrenaline-packed spectacle, as charged sonic frequencies express various states of embodied dissonance and willful determination. Fight or Flight features a bound figure in flight, held in position by an unrevealed source. This unknown source points to whether or not the figure is in a consensual position with the goal of addressing what one may feel bound or liberated by, and what choices may be involved in those conditions. The universality of experiencing internal and external limitations, discomfort and anxiety in one's own skin and the trappings of mind contrasted by determination and liberation of spirit is explored. Single channel installation, 2009.
Download article about Holding Pattern Series I-IV by Maja Manojlovic
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Holding Pattern III: Infinite Delay
"A restrained subject surrenders to a sublime state of waiting in a mysterious underwater world." -Sundance Film Festival
Infinite Delay is an audiovisual work that constructs an experiential narrative through the mediating function of consciousness and embodiment. The images of an overtly restrained
subject explore a dialectic - possibly depicting someone being forced to wait, or alternatively representing a subject actively constructing an erotics of waiting, an active desire
brought on by an infinite delay of gratification. The sensing body surrenders itself, and all questions of identity and placement are dissolved into a blurring of lines - between the
inner and outer world, self and other, and past and present. Original score by Kadet and Mem1. Single channel installation, 2007.
Download Press Kit
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Holding Pattern II: Causal
Causal is an interactive video installation about conditioned reactions as they relate to control, the senses and the nervous system. Using infrared motion detector sensors with customized software, the image of a plastic encased and tightly bound body is projected into a platform container from directly overhead. As the visitor moves around the body, the constricted body writhes and reacts to the external sensory data and moves toward the visitor. The visitor becomes emotionally implicated as the sensors track his/her movements in space and thus becomes viscerally engaged with the integral positioning of the body. The simultaneous sense of dominance and helplessness that the viewer may experience holds them in a pattern of both action and reaction. Interactive or single channel installation, 2005.
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Holding Pattern I: Synaptic
Synaptic is an interactive video installation about reactionary states of being, wherein the visitor's body interacts with frenetically pulsating images reflective of our body's internal and responsive neuronal activity. Using infrared motion detector sensors and customized software, close-up images of a pulsating, swirling and distorted figure are projected onto a screen or wall. As the visitor moves in the space, the images and sounds of the figure intensify into a highly agitated and frenzied state. When the spectator's body comes to a standstill in relation to the figure on the screen, its movement slows down as well. The jump-cut, erratic movements are analogous to the synaptic firings in our brain that are in a constant state of signaling reactions within the nervous system, making a direct statement about the effects of perception and thought. Interactive or single channel installation, 2005.
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Scan: series
SCAN: is a series of audiovisual works in which human communication is translated into audible frequencies. The movements of the visual subjects serve as controls for audio playback and become a tool
for instrumentation. As progressing patterns of the visual information trigger, transform and manipulate sounds into a composition, a reconstructed map of the movements becomes the language itself.
With the absence of words and the presence of a translated score, various levels of interpreting and projecting onto the images are explored. Multiple or single channel installation, 2006.
Download Press Kit
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Core
'Core' is an audio/video installation that fuses found medical footage with sounds generated by medical technologies to create an investigative journey through the core of our being: the brain. Immersed in a layered sonic pool of fluids, pulsations and moving instruments, one can travel through the construct of the human head, slice by slice.
An earlier version of this installation was originally created for the Life Support show at Belcher Street Gallery in SF, 2002. Life Support was a fundraiser for 'Hard Candy,' a theatrical piece which aims to bring AIDS awareness to its audiences through music and dance. With sound samples of invasive medical procedures, liposuction, blood flow, echocardiograms, surgery, breathing, heart monitor machines and laboratory ambiences, 'Core' alludes to the invasive yet requisite world of medicine as we examine our physiology through time-lapsed motion graphics. Multiple or single channel installation, 2005.
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Sensorium
Sensorium is an interactive, audiovisual installation created in collaboration with Reto Schmid. Located in a virtual environment, one can navigate through three-dimensional space into portals based on the RGB color spectrum. Along this visual journey are ambient soundscapes that emerge and build with one's own interactive pathway. Sensorium's design is inspired by the perceptual phenomenon that results from the ways we process white light and white noise. The wavelengths of light and sound that we are sensitive to stimulate our perceptions and sensations, defining our impressions and memories of the world around us. Interactive, single channel installation with customized controller, 2004.
Download Press Kit
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White Room
In any space in which there are multiple sound sources one engages in selective hearing, consciously or not. The patterned structure for the White Room sound installation is based on this spatialized experience. With 12 customized playback devices adhered to the ceiling throughout an empty room, the composition remains in a constant state of change due to the varying loop lengths and vantage points of the participants as they move through the space. The samples chosen for these devices are two forms of white noise: static and tonal.
On the floor are placed two video monitors with a live video feed. As the participants step in front of the screen, their presence is captured in real-time and made audible by a high-pitched, pulsating tone that alludes to radio frequency interference. This interactive experience effects the overall sound composition as well as engages one in becoming aware of their physical presence in the space. The playback devices were developed by Palle Henckel and Sara Roberts. Two channel video/12 "channel" sound installation, 2004.
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Segmented Path
Interactive installation that yields a sound composition, lasting until its next performance. It originated as a score that I invented called the 'The Segmented Patch Score' which became a point of departure for further development in collaboration with Sara Roberts and Palle Henckel.
The resulting score is 'Segmented Path' - part game, part composition scheme. The aim of the piece is to involve a group of volunteer participants in an event that will heighten awareness of their surrounding environment and end up as a spatially distributed sound composition that can remain in place until the next group of participants records new sound loops. The customized recording units, called 'Earbees' were designed and developed by Palle Hencke. Interactive sound installation, 2003.
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| c+p 2009 Kadet Kuhne / Tektonic Shift. All rights reserved. |
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