::: KADET - Media Artist :::

Infinite Delay is part of a permanent public outdoor screening from dusk to 11pm nightly at 415 South Lake Ave. in Pasadena, CA.
projectionsonlake.com

MIX NYC| Nov 14-19, 2007

Infinite Delay Installation, MIX Factory, NY. mixnyc.com

Infinite Delay at Fringe Exhibitions | April 14-May 19, 2007

Installation version of Infinite Delay, Fringe Exhibitions Gallery, LA. fringeexhibitions.com

SCAN: @ MIX Festival | Nov 8-12, 2006

Scan: series installation at the 3LD Art & Technology Center in New York City. mixnyc.org

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2005

2004

2003

2002

Nocturne | DEBS & CO. Gallery, New York
FSOK | Collective JukeBox v. 4.0, France
Resuscitate | Belcher Street Studio, San Francisco
Air Raid | Nika Gallery, San Francisco

1999-1997

Facing Fear | SF Arts Commission Gallery, San Francisco
MilkyWayout | The LAB, San Francisco
SwitchStance | SF Arts Commission Gallery, San Francisco

Holding Pattern III: Infinite Delay | 2006

Holding Pattern III: Infinite Delay is an audiovisual work that features captivating underwater imagery with a breathtaking, immersive soundscape. This subterranean pool of interrelated sounds and imagery features an original score with processed signal paths by Kadet along with artists mem1, a collaborative venture between Laura Thomas-Merino and m.cera in which sounds generated by extended cello technique are manipulated using custom software built in Max/MSP.Ý

Infinite Delay constructs an experiential narrative through the mediating function of consciousness and embodiment. The temporal narrative, combined with 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 inexpressive and voiceless figure in an indifferent underwater atmosphere investigates how renunciation and emptiness could potentially be an affirmation of power. The sensing body in its inaction surrenders itself, and all questions of identity and placement are dissolved into a virtual suspension of absolute meaning. The result is a blurring of lines - between the inner and outer world, self and other, and past and present.

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Scan: Chris Mann
featuring Chris Mann | 2004

This piece is one of a series of audiovisual works in which human communication is translated into audible frequencies. As the 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.

"What is a word? It is the copy in sound of a nerve stimulus. . .The various languages placed side by side show that with words it is never a question of truth, never a question of adequate expression; otherwise there would not be so many languages. . . To begin with, a nerve stimulus is transferred into an image: first metaphor. The image, in turn, is imitated in a sound: second metaphor. And each time there is a complete overleaping of one sphere, right into the middle of an entirely new and different one." -Friedrich Nietzsche (from 'On Truth and Lie in an Extra-Moral Sense')

"[A piece] only exists in its interpretation." -Chris Mann

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Scan: NSE (Near Sex Experience)
featuring j.frede & Marleah Tobin | 2004

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Scan: 2 Sisters
featuring Romy Suskin & Danica Suskin | 2004

This piece is one of a series of audiovisual works in which gestures of communication are delineated by and translated into audible frequencies. As the progressing patterns of the visual information trigger sounds into a composition, a reconstructed map of the gestures 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.

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Scan: The Lady's Glove
featuring Laetitia Sonami | 2005

This piece is one of a series of audiovisual works in which gestures of communication are delineated by and translated into audible frequencies. As the progressing patterns of the visual information trigger, transform and manipulate sounds into a composition, a reconstructed map of the gestures 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.

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Scan: The Couple
featuring Joe Gratziano Jr. & Anne-Marie Holman | 2005

This piece is one of a series of audiovisual works in which gestures of communication are translated into audible frequencies. As the progressing patterns of the visual information trigger and manipulate sounds into a composition, a reconstructed map of the gestures 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.

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Holding Pattern II: Causal | 2005

Interactive video installation about conditioned reactions as they relate to control, the senses and the nervous system. Using Jitter software with infrared sensors, the movies are projected onto the ground from directly overhead. As the participants move around the image, a constrained figure moves and reacts to the external sensory data. The simultaneous sense of dominance and helplessness that the viewer may experience holds them in a pattern of both action and reaction.

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Holding Pattern I: Synaptic | 2005

Interactive video installation about conditioned and reactionary states of being. Using Jitter software with infrared sensors, closeup images of a pulsating, swirling and somewhat distorted figure are projected onto a screen or wall. As the participants move nearer to the projection, the images and sounds of the projected figure intensify into a highly agitated state. When the participants settle or stop, the pace at which the figure reacts slows into a calmer yet continuously moving pace.

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Core | 2005

'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 instruments, one can travel through the construct of the human head, slice by slice.

An earlier version of this audio/video installation was originally created for the Life Support show, curated by Joe Wilson, 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.

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Sensorium (co-created with Reto Schmid/testrun) | 2004

Sensorium is an interactive, audiovisual installation that receives and correlates impressions transmitted directly to the intangible realm of the senses. 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 explores how the relationship between art and technology is changing our knowledge and modeling of the world, leading to the emergence of new cultural forms, behaviors and values.
Sensorium’s design is inspired by the perceptual phenomenon that results from the ways we process white light and white noise. In the same way that white light is comprised of all the different colors of light, white noise is a combination of all the various frequencies of sound. 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.

>more about Sensorium

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White Room | 2004

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 that triggers sound via a computer & jitter software. As the participants step in front of the screen, their presence is captured in realtime and made audible by a high-pitched, pulsating tone that alludes to a 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, called Earbees, were developed by Palle Henckel and Sara Roberts.

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Segmented Path | 2003

This piece is an interactive installation that yields a sound composition, lasting until its next performance. It has its origins in 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 Henckel

www.shoko.calarts.edu/~sroberts

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