Recently I have been taken by the fluidity of meaning and truth, and more specifically in regards to scientific and spiritual contexts in a rapidly mechanized world. My past few projects have explored different aspects of this, the “Electric Monk” mechanizing the process of prayer and its second iteration adding in concepts of importance of personal experience vs recorded history. Keeping in the similar vein of science and spirituality, I am interested in exploring re-allocation of meaning and importance in my next piece.
As of now, my piece will take the form of a coin-operated, electric votive candle stand. A telescope will be attached to the back and, if all goes to plan, will be charging a central battery via starlight. When the viewer donates a quarter, an empty votive candle will be ‘lit’ using ‘star’ energy stored in the central battery. Further, I may incorporate a small LCD in front of each candle to display a unique mantra/prayer given to the donator for the duration of each candle ‘life’. Conversely, such as coin-operated fortune tellers, the machine could print out the unique prayer for the donator to take with them.
With this setup, the ‘re-allocation of meaning and importance’ can be found on a few different levels. One is within the viewer interaction of trading an object of pre-defined worth (a quarter) for a personal experience. This is strengthened by the gathering of the ‘star’ energy and transferring it to power an electronic votive candle light; the use of a scientific instrument such as a telescope to power a prayer generates an interesting question of immanence and meaning. What is more important in this system? Where the energy that lights the candle comes from? Or the metaphysical prayer that it represents? Also, how is it that importance and meaning can be so easily traded between the physical and metaphysical? Finally, the piece acts as a loose metaphor for our beginnings in the stars and the re-allocation of atoms from dead stars as the building blocks of human life…
A short piece I did with dancer, Annie Chang, exploring multiple pathways and possibilities of form that arise when moving between two simple shapes.
CGI short exploring ideas of reference frames, point of views, and labyrinths!
A short narrative with focus on using stereoscopic technology in Maya.
Credits: Gaelen Sayres, Nina Marien
The following is my aural cinema piece that was included in the Summer 2010 Juried Show, Jacob Lawrence Gallery, Seattle, WA.
Description and inspiration below:
“…I chose to analyze Jorge Luis Borges and would now like to apply my observations of his work to create an aural cinema in the style of his narratives. A few trademarks of his work that I have observed are that he uses common academic literary tools (such as footnotes, postscripts, and historical facts) to base his fiction in reality and explores his main theme from multiple perspectives (explicitly and implicitly) each changing and adding layers of understanding to the truth/theme behind the narrative. With the combination of the above, he creates an interesting mix of logic and fantasy where it becomes hard to tell one from the other.
Following these observations, I would like to create a piece that causes the listeners to approach a single theme from multiple different perspectives until they question what perspective is true (if there is one). In order to base the piece in “logic” and abstract it into “fantasy” I intend to use sounds with a wide range of recognizability and compose each one’s inherent cultural, physical, and historical information. By using recognizable sources and real sounds as a starting point to create a realistic soundscape that the listeners can easily relate to, I will then begin to mess with the combination of elements that make a sound seem natural: recognition of the source (such as a bird chirp), where the sound is located (such as up in a tree), and the place the sound inhabits (such as the slight reverb of a forest). Using SuperCollider, I should be able to break the normal relationships between these elements and shape them into new perspectives on what is commonly recognized as “real” or “natural”. In a sense, as Borges is composing with the images and experiences that each word evokes to the reader, I will be trying to do the same with the specific information listeners can gather from a single sound.
Since this will be a tape piece, the only equipment I need will be speakers for playback. I am guessing it will end up being a two channel piece, but I may attempt at a four channels so I can have more flexibility with positioning sound. SuperCollider-wise, I think I will be working a lot with buffers and filters to modify source material, as well as FFT analysis and reverb to create my own iterations on a source. ”
Below are three recent spots that I did the motion graphics for!
“Sumos In The Way”
Created the motion graphics and replaced/added the screens!
Worked on the motion graphics and sky/screen replacement!
Stemming from my own personal experiences surrounding the events of Japan’s March 11th earthquake, this piece seeks to explore the relationship and balance between indoctrinated faith and personal belief in times of peace and great stress.
Using “Torii” (Japanese Shinto shrine gates) as a focal point, the piece also tries to explore how they are objects that exist both in the spiritual and physical world; how they are more a gateway into a different mindset rather than physical space.
I gathered most of the footage (still shots and film) during the few weeks proceeding the quake and have spent the past few months trying to put it together in a meaningful way. I would love feedback as I plan to work on it more in the future!
Coming from a more experimental background, this film is one of my first serious attempts at creating a narrative drama. From concept to final product, I wanted create as much of a cinematic experience as possible in the four weeks that I had and no budget.
The film was shot mainly on a 7D using a Sigma f/1.4 30mm (awesome lens by the way) and composed for 2.39:1 aspect ratio.
I want to thank everyone who helped out with the production, I really couldn’t have pulled it off without them.
Written, Directed, and Edited by:
Directors of Photography:
Brandon Nevins as “Erik”
Briana Chicha as “Jane”
“A dream of sorts” – supersole
“Dark tech (feat R08028)” – supersole
“Smooth Depth” – Greendjohn
“Threads” – Kachkin
DXARTS 490 B