Reminiscence is an interactive installation piece that allows users to fast-forward, rewind or play a compilation of video footage representing ones memories. The memories selected are based on the soundtrack chosen by the character in the beginning of the video; in this case the song is reminiscent of my travels to Seoul and Tokyo
The concept behind this piece is inspired by the people of New York. Each day millions of people rush up and down the streets of the city, most of whom have earphones in their ears. We alienate ourselves from each other but find a comfort and connection with ourselves. What goes through their minds as they shuffle through music tracks and do certain songs trigger memories from their past?
I hoped to capture this notion through this readymade project that i would like to develop further using multiple record suitcases, showcasing the memories of different people and their experiences.
I found a vintage suitcase and converted it into a record player using acrylic plastic that I designed and laser cut.
The record is attached to a thin aluminum rod that i connected to a stepper motor using a shaft to ensure smooth, seamless movement.
The video is projected directly onto the record and users are able to push three buttons to scan through my memories, stop at a point they find personally intriguing, rewind to something they may have missed or fast forward ahead.
Henry is at a high tea with his family and extended community members. Sure, he enjoys the good food and conversation but sometimes Henry just wants to escape this pretentious lifestyle and get down to some funk.
When the people around him gossip, chatter and get involved in conversations that are of no interest to him, Henry rebels a little and starts to boogie to Uptown Funk.
Sometimes he gets out of control and he’s noticed. Of course he stops immediately and acts as if nothing happened, until the chit chat begins again.
Using Max Msp and Arduino Henry the teacup responds to sound. Hi saucer is mounted onto a 12V stepper motor that has been programmed to alternate directions back and forth embodying a “boogie” feel to his movement.
When the room is loud enough i.e. the pretentious crowd around him chatting, he sneaks into funk mode and begins to dance. Once the room noise levels quiet down to the point Henry knows he will be noticed, he instantly stops jamming. This is detected in Max.
On the occasion of the meeting, Leslie and Evan discover they are both interested in “creating a space” and “making fun project”.
They lunched an umbrella that aims to bring its user to a magical romantic land, under the dome shaped with Careless Whisper.
Here’s the photo, giant circuit,
And finally it works! Look how happy Leslie was!
For final edition, it comes with a readymade box and brand new pink LED lighting! More romantic.
I know I am kinda showing this process backwards but I think it makes since to see it from end to beginning because when I first imagined this piece it looked like the Third iteration.
I fed 7 meters of Neo Pixel strips into all the pipes, Neo Pixel rings at the ends of each exit and mic amplifiers to trigger the lights and enable the interactions.
I made a reactive processing sketch that I projection mapped onto the pipes and used Neo Pixel rings at the ends of each pipe.
I used a Wave Shield for the sound, relay shield for the lights, and Mic amplifiers to trigger both the lights and sound.
For the final project, I returned to my broom from the sound project earlier in the term. Fitted with an accelerometer, arduino, and at-some-point-functional bluefruit ez-link, the broom serial communicates with Max, triggering sounds upon crossing certain thresholds of acceleration. In this case, I wanted to tell a story purely with sound and a sound exposing object. I recorded hundreds of samples of myself breaking and sweeping glass and sweeping cans and plastic bottles and cartons around the floor of my apartment. I imagined the broom being the sole prop in a performance. I would either live mix or use motion tracking to trigger the sounds of certain actions in certain parts of the room (e.g. the glass is in the northeast corner of the room, and the plastic bottles are scattered a few meters away in the center of the room). The actor or actress would not know where the invisible objects were but would have to discover them by sweeping the floor. A narrative would unfold, and in this case be particularly shaped by the title of the piece. For example, calling it “When She Comes Home Drunk” would give the audience and actor a developed narrative to latch onto as the sole prop and the sole movement in the performance play with invisible, unreal objects. Here’s a demo video:
For the video project, I wanted to play with a few ideas that had been resonating in my head, namely the similarities between the healthcare industry and the entertainment industry as well as Slavoj Zizek’s musings in Examined Life, particularly his idea about learning to love the sights of trash and disrepair as a necessary step towards becoming pure, clean, and mathematical beings, what ought to be the goal of humanity. Regarding this latter concept, I decided to use facemask respirators as a medium — attached to a canvas in an attempt to elevate them to the realm of aesthetics. Regarding the first concept, I wanted to draw similarities between the spectacle of marketing and advertising in the entertainment industry (using the Las Vegas/New York halal cart style of neon/LED sign display as inspiration, hence the symmetric arrangement of masks on the canvas) and the vulnerabilities and addictions the American healthcare industry widely exploits. Using projection mapping to illuminate the masks in a sequence of text and light, the first iteration of the project appears to be a mixed media advertising display encouraging the viewer to question their health.
Here’s quick video documentation.
Note that my use of emojis as the shapes of the project light I now see as extraneous — while they are used in such a way to communicate the ideas above, they are unnecessary and detract from the piece by claiming too much attention and for being too connotative. Moreover, I think this project ought to be separated into several iterations, the first being just the respirators on canvas, with no other media (i.e. light). For this, the canvas ought to be painted white, and when that is done I believe the respirators, and all they stand for, may be elevated to the realm of aesthetics as I mentioned above. I originally painted it black as I thought it’d be a more appropriate backdrop for projection.
Live-Shot: After John Lockwood from Nick Hubbard on Vimeo.
My final project for Readymades is Live-Shot: After John Lockwood, the evolution of my Video Readymade inspired by Internet Hunting. Live-Shot is an interactive installation where a user controls a remote miniature rifle and web camera with a standard mouse, aiming the rifle at animals inhabiting a custom-made diorama viewed on a monitor with a live video feed. When the user is on-target and the mouse is clicked, found video footage displays on the monitor, souvenirs from strangers’ hunting trips that include the kill-shot and posing with the trophy animal.
Bitter(NOT)Sweet is a series of readymade vintage cameras that feature found footages from the Lebanese civil war. The user will flip through the clips by clicking as if they were taking a picture. Though instead of looking inside-out the camera, this time the user will be looking inside the camera only.
The first Spartus Camera I found is one of the few things I brought with me from Lebanon to new York. I found it in a flea market 12 years ago, and I felt the need to reimagine what this camera has been through, so the idea of the civil war suddenly made sense.
My first iteration was using one camera for the previous project, though I decided to create a series of them where each one of them features different contrasts of moments in time of Lebanon rising and falling.
This project has been a truly emotional subject to me as I had to revive old unpleasant memories from my childhood growing during the civil war conflict, which rendered my country broken for decades, if not centuries to come…
Rear Window from Gladys Chan on Vimeo.
“Rear Window” takes the form of an unassuming, cardboard doll house. Inspired by the Hitchcock movie “Rear Window,” the audience is invited to spy on the lives of inhabitants of the dollhouse. Looking at the doll house initially, there seems like nothing to be seen. When seen through the lens of a special camera, however, the dollhouse comes to life, characters materialize–exercising, walking around, staring out at you–from behind the windows.
Secrets are fascinating. Maybe it’s human nature to want to know. Prompted to create a readymade that combines a found object with video, Evan and I brainstormed far and wide, but found ourselves coming back to “spying” “secrets” “looking in” at each and every turn. Secret it is.
How do we recreate the experience of spying on a secret? We brainstormed for forms this could take/ what the interaction could be: looking through blinds out a window, looking into keyholes, holes in the wall, hiding behind walls, windows. Binoculars, spycams, … We finally settled on creating a dollhouse, inspired by the movie “Rear Window”, but also for practical reasons (the dollhouse has the same general rectangular shape as a monitor and it’ll be very straightforward to implement).
We found a video online about “secret monitors” – by taking the polarized layer off of a regular LCD monitor, the screen of the monitor becomes all white and no one could see its contents. We made use of the same concept with our dollhouse. We bought an old monitor and a cheap camera off eBay, and then proceeded to transfer the polarized film to the lens of the camera. In the process, we realize the orientation matters:
Throwing the facade in front of my monitor at home: