_______. ____.

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Media: Installation for one-person experience.

Technique used: High sensitivity video recording, video projection, light control, sound control, temperature control.

1. The Question

How does very little information convey sensations? How does the technological, spatial, and other sensory environment influence this?

2. The Video

My approaches to recording very little information on video include the recording of darkness and the recording of a very brief moment. !e video in question here is a record of a very dark situation shot with MK III, in fact, based on a score, which is an initial process of my practice in general. However, here I am skipping the score and the mechanism behind this very dark video, as they do not contribute to creating the environment for experiencing the video. The important aspects of the experience of this video to be achieved in the presentation are the very substantiality of (the) very little information contained in the video and the video’s double-sided ability to make the audience concentrate on (the) very little information while they can attend to the richness of the non-information–the darkness.

What the video “looks” like is the following:

This is a video that contains very little information. Over the length of its 4-minute duration with no sound, the video is dominated by darkness with the exception of brief moment where very small figures come to be perceivable by their light emitting or light reflective property. Otherwise, the video is of no information, meaning no light, very dark, black, RGB property (0,0,0).

In order to create the condition for experiencing the video, I needed an environment that is dark, with minimum sensory interruption, and for one-person experience.

3. The Shape, the Light

All the decisions made in the space were the process of cancelling information other than the very “very little information” in the video.

The presentation was going to be a straight forward video projection. The video projection was on a square wall on the opposite side to the entrance, to maximize the scale of the projection. For the projector, Optoma ML750 Ultra Portable LED Projector was chosen for its small size, little noise, and its ability to express bright light. It was installed on a regular sized tripod. The size and shape of the tripod was normal enough not to attract unnecessary attention, and the projector was small enough so that some people could not even notice it.

For the projection and (the) very little information in the video to be effective, the light in the space had to be minimized. However, the space is not an ideal space for fine control over light. Instead of trying to block and seal the windows and the door, I decided to invite the audience after dusk.

In order for the guests to concentrate on the darkness and the small figure of (the) very little information, one minute of total darkness and “fteen seconds of total darkness were added in the front and at the end of the four-minute video, as a dark temporal envelop.

4. The Sound

Limiting other sensory information was also important in highlighting the tiny visual element. In addition to the choice of the projector that makes less noise, noisecancelling headphones were going to be used by an individual audience. The headphones, with the switch on, cancel out ambient sounds by creating frequencies that nullify the frequencies of the noise at your ear. The traffic sound from outside and other sounds that the space itself creates would be decreased to form a quasi-silent sensorium. Bose QuiteComfort 25, which is considered to be the best model in the market at the time, was chosen.

5. The Temperature, the Scent

The space has a radiator on the squarish wall near to the entrance opposite to the projection wall. It was December and it was cold outside even for December days. I turned up the radiator to the maximum to create warmth for two reasons. For the muscular relaxation of the audience so that their visual senses are less interrupted by the physical stiffness and shivering and for the creation of the clear contrast between the inside and the outside of the space. I found the temperature to be a powerfully effective way to create and set the boundary of a space. The space smelled of radiator, which I felt contributing to the sense of relaxation and territorialization.

6. Camomile Tea

Since the space is for individual experience for about five minutes, there may be people in waiting. To ease the stress from the day’s work and soothe the physical stiffness from the cold weather, and to make them prepared for experiencing the space, camomile tea was prepared. Even when there was no wait, visitors could have tea as a welcome.

7. Score

***THE VIDEO RECORDING***

1. The digital video file contains one take of a dark seashore at night.

2. The format of the video is the highest possible resolution. !e frame can vary, but it is set to face the horizon. The aperture, the shutter speed, the sensitivity, and the focus can vary.

3. The recording starts when any of the following is activated, and ends when all of the following are fulfilled:

  • the section, THE GIRL IN GRAY
  • the section, THE BLINKING HELICOPTER
  • the section, THE PASSERS BY

***THE END OF THIS SECTION***

***THE SEASHORE***

1. The wave repeats uprush and backwash.

*** THE END OF THIS SECTION***

***THE GIRL IN GRAY***

1. A girl in gray slowly comes into the frame from the left, crossing it to disappear out of the frame to the right. !e girl is holding a small torch.

2. While doing 1., the girl looks for black sand on the swash zone and repeats collecting a handful of it every time after each backwash.

*** THE END OF THIS SECTION***

***THE BLINKING HELICOPTER***

1. A blinking helicopter comes into the frame and crosses it to disappear out of the frame.

*** THE END OF THIS SECTION***

***THE PASSERS BY***

1. A (group of ) passer(s) by comes into the frame and goes out of the frame.

2. A (group of ) passer(s) by comes into the frame and goes out of the frame.

3. A (group of ) passer(s) by comes into the frame and goes out of the frame.

*** THE END OF THIS SECTION***

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