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Cannibal Mecanique, 2017 (live excerpt)

Excerpt from part 1 of the live performance, Cannibal Mecanique, at Fridman Gallery July 22 2017, NYC
Cannibal Mécanique is an immersive live experience incorporating sound, video and choreography.

In 2017 a 7" limited edition of sound composition was released with In Context Music (NYC). This release culminated in a live performance at Fridman Gallery July 22, 2017.

Movement : Elisa Santiago and Felicia Ballos

Cannibal Mecanique (excerpt 2) from live performance at Fridman Gallery July 22 2017, NYC

Excerpt from part 2 of the live performance, Cannibal Mecanique, at Fridman Gallery July 22 2017, NYC
Cannibal Mécanique is an immersive live experience incorporating sound, video and choreography.
In 2017 a 7" limited edition of sound composition was released with In Context Music (NYC). This release culminated in a live performance at Fridman Gallery July 22, 2017.
Movement : Elisa Santiago and Felicia Ballos

LINES

2017
TRT 3:00 min loop
Materials: Ikegami tube broadcast camera, JVC monitors, zither string, hands. Recorded on DV Cam 124

54 days of blank sun in July (through the lens of Ben Riley's snare), and then

TRT 2 min
Media: Nasa daily photographs of sun, Nasa footage of coronal explosion, photographic sound, analog recording, montaged drum score taken from a Ben Riley drum solo 1964

Project Iridium

2017

Acra, NY42° N x 74° W

(From top left: July 3:East, July 4:North, July 5: South, July 6: West)

TRT 40 min (recorded footage taken at approximately 10PM)

 

During a 10 day residency at Wavefarm in Acra, NY I conducted nightly sessions tracking Iridium and Cosmos satellites in orbit, as well as debris from the 2009 collision that occurred in LEO between Iridium 33 and Cosmos 2251 satellites (debris flares are mapped in this video). The video shows four sessions at 4 directional coordinates (NSEW) using satellite tracking software. The soundtrack is composed of notes that signal the tracking of each Iridium or Cosmos satellite that comes into "frame" of night sky. Additional sound is from the processing of signal through LFO and oscillation as well as the hum and mechanical motion of the mobile ENG van studio that was used to record these sessions in an open field.

This footage, approximately 40 min duration, come from longer nightly sessions. The footage was recorded via DVcam and played back and filmed through a series of CRT monitors housed in the van. The resulting deterioration of readable text enables a look at pattern formations from individual sessions and as a whole in dialogue with each other. In this case, a mouse cursor can be seen clicking on points of screen. At moments, a visible orbital track can be seen following a highlighted satellite. 

With this work, the viewer can actively or passively engage, tuning in at moments as one would look up to watch the sky. In this case however, one sees a remarkably cluttered sky in motion, otherwise more or less hidden to the human eye.

Desert Run

2016

Four channel analogue video/ sound composition. Digitized for projection/ playback. 

This four channel work for sound and video originates from footage taken with hand wound 16mm Bolex in the Mohave Desert in California. The footage was transferred to analog video signal wher eit was put though a Dave Jones Colorizer that was patched to a Serge Synthesizer. Also used was Naim June Paik's Wobbulator that was again patched into the synthesizer. 

The composition elicits a kind of endless sci fi trailer. The Mohave desert acts as alien terrain, with sounds from the Serge, pushing one to the outer limits. The four video channels become four windows to a frenetic world of varying movement and perspective. The sound, directly linked to the video, is both the environmental buzz that fills the landscape, as it is the directing pulse that pushes the viewer between each plane. 

 

Distributed through Lightcone, Paris FR

You Don't Say Much, Do You?

2016

By Victoria Keddie and Scott Kiernan

Double projection pairing teleprompter with production cue direction. Teleprompter contains a series of nightly news opening statements. The production cues list identifiable cues (ie long shot, extreme close-up) with constructed words used within cinema (ie Bullet Time, Whip Pan).

Three Rooms

2016

Three channel analogue video/ sound composition. The sound moves the color by way of modular synthesizer through analog colorizer. Digitized for projection/ playback. Playback via single channel or multi projection.

Ball Drop

2015

TRT 00:36 sec (loop) Analog video loop for mirrored monitor system

Souvenir (live excerpt)

This excerpt is taken from live performance using sound as a modifier of visual planes. Content is from an early stereoscopic book of photographs detailing areas at Versailles. The software was developed for this project with developer, Ethan Miller. First performed live as part of New Ear Festival 2016 at Fridman Gallery in NYC. 

Note from developer, Ethan Miller: The performer’s audio signal is used to peel apart and modulate the color channels of an anaglyphic stereo image. The red and blue images, originally intended to converge into a three-dimensional picture of Versailles now float independently, with the audio signal creating a new third dimension.

Helios Electro, 2014

Sound and video feedback systems with signal generation. Camera halogen with monitor feedback through multi channel mixing console to create a multi layered composition involving pure feedback. Sound recorded from video systems with synced output, as well as magnetic tape recordings that have been recorded continuously and played back through localized transmission.

Distributed through Lightcone, Paris FR

Headbanger: Lines

2015
TRT: 30min (performance)

The performative installation involves a visual score, a visualized sound recording, fabricated stainless steel sculpture, and a live performance.

For the visual score/ sound based composition, I focused on the subtype of sleep related rhythmic movement disorder (RMD), “Headbanging”. This RMD typically involves repetitive lifting of the head and forcibly banging the head into the pillow or mattress; or slamming the back of the head against a headboard or wall. This banging exercise in sleep demonstrates a violent percussion, that through EMG analysis, happens often in sequence and in somewhat "rhythmic" intervals.
My performance involves the translation of these violent actions in the unconscious, registered as electromagnetic signals, with a composition for sound using the very elements of signal to signal response, human movement, and quasi-rhythmic sequencing.

Aelita

2014

Sound and video composition involving signal generation, DAC, wavetek, oscillators, T- resonator, surveillance camera, CRT monitor feedback, For-A, and other things.

Composition focuses on synced pattern repetition of sound and video signatures in dialogue with each other. The work comes from a live session balancing video and sound waves at a near point of signal collapse.  For the Queen of Mars.

Mosquito

2014
Sound and video composition. signal generation, feedback, wavetek synthesizer and sweep, oscillators, T- resonator, surveillance camera, CRT monitor feedback, For-A.

Composition focuses on synced pattern repetition of sound and video signatures in dialogue with each other. Editing technique involves the parsing and rebuilding of these signature patterns to create a multi layered dialogue between video and sound waves.  

Victoria Keddie and Rose Kallal (live)

Live sound and video collaboration for Modular Equinox Festival, Silent Barn, Brooklyn NY October 11 2014

33

2014

By Victoria Keddie and Scott Kiernan

For.A MF-300, Microtime Image Processor, Panasonic MX-50, Sima 09, Surveillance camera, feedback chains, Ensoniq ESQ-1, Moog Ring Modulator, Glamour Box, Bruel & Kjlaer Oscillator, Wavetek Sweep Generator, DAC-1

Cannibal Mécanique, 2014

CANNIBAL MÉCANIQUE IS A MARRIAGE OF ANALOG ELECTRONIC SOUND, ANALOG VIDEO FEEDBACK AND SIGNAL GENERATION, AND CHOREOGRAPHY. THE COMPOSITION IS A SYNTHESIS OF ANALOG ELECTRONIC SYSTEMS, RECORDING PROCESSES, CHOREOGRAPHY, AND THE UNIQUE (ENERGY) EXCHANGE BETWEEN MAN AND MACHINE IN AN ACTIVE MAGNETIC FIELD.

THE Video is edited from live footage at the Museum of Art and Design in 2014. The CONTROLLED ROOM IS OUTFITTED WITH: 9 COLOR SURVEILLANCE CAMERAS, 9 CRT MONITORS, CHROMA BLUE CARPETED INTERIOR, SIGNAL GENERATOR, 9 CHANNEL SWITCH, MICRO TIMER, AND VIDEO MIXER. THE PERFORMANCE IS RECORDED LIVE AND SIMULTANEOUSLY PLAYED BACK ON A 9 MONITOR WALL. THE PERFORMANCE IS BEING MIXED LIVE THROUGH 9 CAMERA CHANNELS AT BOTH AERIAL AND EYE LEVEL.

DANCERS: KEVIN LOVELADY, RENATA ESPINOSA, ELISA SANTIAGO, MARIANGELA LOPEZ, JOANNE HSIEH, ALISSA BESHER

COMPOSED AND DIRECTED BY VICTORIA KEDDIE

Dot Drone (excerpt)

2012

Analog video composed of signal generators, ring modulator, video mixer, tv monitor Using basic TV monitor testing patterns drive outputted through mixer to create a nervous balance of structure and a literal meltdown of form into unique rolling geometry.

KotoKino (live)

Performed live at The Kitchen March 30 2012. The work is a collaboration of instruments working to build and breakdown visual and auditory patterns. Sound and video signals interplay to create a unique composition that effect and modify each other simultaneously. The monitors resonate through a metallic koto as well as the strings when played, interject the signal "static." What transpires is a thick dialogue of sound and vision, articulating the rapid birth and decomposition of signal and pattern sequence. We are melting signals.

Drum Circle (live)

Drum Circle (excerpt) 21:56 min TRT

A performance installation involving low frequency. Snare drum to activate with low frequency resonance and trigger oscillators for sound dialogue. Visualize sound during process of signal dialogue. 

Materials: Sencore signal generators, sub woofer, wavetek, modulator, 2880, sequencer, crt monitors, snare drum

Performed at Public Assembly, Brooklyn NY, April 8 2013

Black Box Theatre, Atlas Building, University of Boulder, CO, April 23, 2013

 

Cannibal Mecanique, 2017 (live excerpt)

Excerpt from part 1 of the live performance, Cannibal Mecanique, at Fridman Gallery July 22 2017, NYC
Cannibal Mécanique is an immersive live experience incorporating sound, video and choreography.

In 2017 a 7" limited edition of sound composition was released with In Context Music (NYC). This release culminated in a live performance at Fridman Gallery July 22, 2017.

Movement : Elisa Santiago and Felicia Ballos

Cannibal Mecanique (excerpt 2) from live performance at Fridman Gallery July 22 2017, NYC

Excerpt from part 2 of the live performance, Cannibal Mecanique, at Fridman Gallery July 22 2017, NYC
Cannibal Mécanique is an immersive live experience incorporating sound, video and choreography.
In 2017 a 7" limited edition of sound composition was released with In Context Music (NYC). This release culminated in a live performance at Fridman Gallery July 22, 2017.
Movement : Elisa Santiago and Felicia Ballos

LINES

2017
TRT 3:00 min loop
Materials: Ikegami tube broadcast camera, JVC monitors, zither string, hands. Recorded on DV Cam 124

54 days of blank sun in July (through the lens of Ben Riley's snare), and then

TRT 2 min
Media: Nasa daily photographs of sun, Nasa footage of coronal explosion, photographic sound, analog recording, montaged drum score taken from a Ben Riley drum solo 1964

Project Iridium

2017

Acra, NY42° N x 74° W

(From top left: July 3:East, July 4:North, July 5: South, July 6: West)

TRT 40 min (recorded footage taken at approximately 10PM)

 

During a 10 day residency at Wavefarm in Acra, NY I conducted nightly sessions tracking Iridium and Cosmos satellites in orbit, as well as debris from the 2009 collision that occurred in LEO between Iridium 33 and Cosmos 2251 satellites (debris flares are mapped in this video). The video shows four sessions at 4 directional coordinates (NSEW) using satellite tracking software. The soundtrack is composed of notes that signal the tracking of each Iridium or Cosmos satellite that comes into "frame" of night sky. Additional sound is from the processing of signal through LFO and oscillation as well as the hum and mechanical motion of the mobile ENG van studio that was used to record these sessions in an open field.

This footage, approximately 40 min duration, come from longer nightly sessions. The footage was recorded via DVcam and played back and filmed through a series of CRT monitors housed in the van. The resulting deterioration of readable text enables a look at pattern formations from individual sessions and as a whole in dialogue with each other. In this case, a mouse cursor can be seen clicking on points of screen. At moments, a visible orbital track can be seen following a highlighted satellite. 

With this work, the viewer can actively or passively engage, tuning in at moments as one would look up to watch the sky. In this case however, one sees a remarkably cluttered sky in motion, otherwise more or less hidden to the human eye.

Desert Run

2016

Four channel analogue video/ sound composition. Digitized for projection/ playback. 

This four channel work for sound and video originates from footage taken with hand wound 16mm Bolex in the Mohave Desert in California. The footage was transferred to analog video signal wher eit was put though a Dave Jones Colorizer that was patched to a Serge Synthesizer. Also used was Naim June Paik's Wobbulator that was again patched into the synthesizer. 

The composition elicits a kind of endless sci fi trailer. The Mohave desert acts as alien terrain, with sounds from the Serge, pushing one to the outer limits. The four video channels become four windows to a frenetic world of varying movement and perspective. The sound, directly linked to the video, is both the environmental buzz that fills the landscape, as it is the directing pulse that pushes the viewer between each plane. 

 

Distributed through Lightcone, Paris FR

You Don't Say Much, Do You?

2016

By Victoria Keddie and Scott Kiernan

Double projection pairing teleprompter with production cue direction. Teleprompter contains a series of nightly news opening statements. The production cues list identifiable cues (ie long shot, extreme close-up) with constructed words used within cinema (ie Bullet Time, Whip Pan).

Three Rooms

2016

Three channel analogue video/ sound composition. The sound moves the color by way of modular synthesizer through analog colorizer. Digitized for projection/ playback. Playback via single channel or multi projection.

Ball Drop

2015

TRT 00:36 sec (loop) Analog video loop for mirrored monitor system

Souvenir (live excerpt)

This excerpt is taken from live performance using sound as a modifier of visual planes. Content is from an early stereoscopic book of photographs detailing areas at Versailles. The software was developed for this project with developer, Ethan Miller. First performed live as part of New Ear Festival 2016 at Fridman Gallery in NYC. 

Note from developer, Ethan Miller: The performer’s audio signal is used to peel apart and modulate the color channels of an anaglyphic stereo image. The red and blue images, originally intended to converge into a three-dimensional picture of Versailles now float independently, with the audio signal creating a new third dimension.

Helios Electro, 2014

Sound and video feedback systems with signal generation. Camera halogen with monitor feedback through multi channel mixing console to create a multi layered composition involving pure feedback. Sound recorded from video systems with synced output, as well as magnetic tape recordings that have been recorded continuously and played back through localized transmission.

Distributed through Lightcone, Paris FR

Headbanger: Lines

2015
TRT: 30min (performance)

The performative installation involves a visual score, a visualized sound recording, fabricated stainless steel sculpture, and a live performance.

For the visual score/ sound based composition, I focused on the subtype of sleep related rhythmic movement disorder (RMD), “Headbanging”. This RMD typically involves repetitive lifting of the head and forcibly banging the head into the pillow or mattress; or slamming the back of the head against a headboard or wall. This banging exercise in sleep demonstrates a violent percussion, that through EMG analysis, happens often in sequence and in somewhat "rhythmic" intervals.
My performance involves the translation of these violent actions in the unconscious, registered as electromagnetic signals, with a composition for sound using the very elements of signal to signal response, human movement, and quasi-rhythmic sequencing.

Aelita

2014

Sound and video composition involving signal generation, DAC, wavetek, oscillators, T- resonator, surveillance camera, CRT monitor feedback, For-A, and other things.

Composition focuses on synced pattern repetition of sound and video signatures in dialogue with each other. The work comes from a live session balancing video and sound waves at a near point of signal collapse.  For the Queen of Mars.

Mosquito

2014
Sound and video composition. signal generation, feedback, wavetek synthesizer and sweep, oscillators, T- resonator, surveillance camera, CRT monitor feedback, For-A.

Composition focuses on synced pattern repetition of sound and video signatures in dialogue with each other. Editing technique involves the parsing and rebuilding of these signature patterns to create a multi layered dialogue between video and sound waves.  

Victoria Keddie and Rose Kallal (live)

Live sound and video collaboration for Modular Equinox Festival, Silent Barn, Brooklyn NY October 11 2014

33

2014

By Victoria Keddie and Scott Kiernan

For.A MF-300, Microtime Image Processor, Panasonic MX-50, Sima 09, Surveillance camera, feedback chains, Ensoniq ESQ-1, Moog Ring Modulator, Glamour Box, Bruel & Kjlaer Oscillator, Wavetek Sweep Generator, DAC-1

Cannibal Mécanique, 2014

CANNIBAL MÉCANIQUE IS A MARRIAGE OF ANALOG ELECTRONIC SOUND, ANALOG VIDEO FEEDBACK AND SIGNAL GENERATION, AND CHOREOGRAPHY. THE COMPOSITION IS A SYNTHESIS OF ANALOG ELECTRONIC SYSTEMS, RECORDING PROCESSES, CHOREOGRAPHY, AND THE UNIQUE (ENERGY) EXCHANGE BETWEEN MAN AND MACHINE IN AN ACTIVE MAGNETIC FIELD.

THE Video is edited from live footage at the Museum of Art and Design in 2014. The CONTROLLED ROOM IS OUTFITTED WITH: 9 COLOR SURVEILLANCE CAMERAS, 9 CRT MONITORS, CHROMA BLUE CARPETED INTERIOR, SIGNAL GENERATOR, 9 CHANNEL SWITCH, MICRO TIMER, AND VIDEO MIXER. THE PERFORMANCE IS RECORDED LIVE AND SIMULTANEOUSLY PLAYED BACK ON A 9 MONITOR WALL. THE PERFORMANCE IS BEING MIXED LIVE THROUGH 9 CAMERA CHANNELS AT BOTH AERIAL AND EYE LEVEL.

DANCERS: KEVIN LOVELADY, RENATA ESPINOSA, ELISA SANTIAGO, MARIANGELA LOPEZ, JOANNE HSIEH, ALISSA BESHER

COMPOSED AND DIRECTED BY VICTORIA KEDDIE

Dot Drone (excerpt)

2012

Analog video composed of signal generators, ring modulator, video mixer, tv monitor Using basic TV monitor testing patterns drive outputted through mixer to create a nervous balance of structure and a literal meltdown of form into unique rolling geometry.

KotoKino (live)

Performed live at The Kitchen March 30 2012. The work is a collaboration of instruments working to build and breakdown visual and auditory patterns. Sound and video signals interplay to create a unique composition that effect and modify each other simultaneously. The monitors resonate through a metallic koto as well as the strings when played, interject the signal "static." What transpires is a thick dialogue of sound and vision, articulating the rapid birth and decomposition of signal and pattern sequence. We are melting signals.

Drum Circle (live)

Drum Circle (excerpt) 21:56 min TRT

A performance installation involving low frequency. Snare drum to activate with low frequency resonance and trigger oscillators for sound dialogue. Visualize sound during process of signal dialogue. 

Materials: Sencore signal generators, sub woofer, wavetek, modulator, 2880, sequencer, crt monitors, snare drum

Performed at Public Assembly, Brooklyn NY, April 8 2013

Black Box Theatre, Atlas Building, University of Boulder, CO, April 23, 2013

 

Cannibal Mecanique, 2017 (live excerpt)
Cannibal Mecanique (excerpt 2) from live performance at Fridman Gallery July 22 2017, NYC
LINES
54 days of blank sun in July (through the lens of Ben Riley's snare), and then
Project Iridium
Desert Run
You Don't Say Much, Do You?
Three Rooms
Ball Drop
Souvenir (live excerpt)
Helios Electro, 2014
Headbanger: Lines
Aelita
Mosquito
Victoria Keddie and Rose Kallal (live)
33
Cannibal Mécanique, 2014
Dot Drone (excerpt)
KotoKino (live)
Drum Circle (live)