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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

2017-18

5 min excerpt; TRT 18 min

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

2018; 4 min; color, sound

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

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.  

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.

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).

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.

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

2015

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

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

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.