C H A M B E R installation/performance AUGUST 4+5 @ 8:30 PM Women’s 20th Century Club of Eagle Rock CAROLE KIM direction/video installation/live mix OGURI dance ROXANNE STEINBERG dance MICHAEL SAKAMOTO dance SARA SCHOENBECK bassoon (Sun) ELLEN BURR flutes (Sat) CAT LAMB viola LETICIA CASTANEDA sound ALBERT ORTEGA sound JESSE GILBERT sound design ASTRA PRICE live mix video LISA TCHAKMAKIAN echo’s cave MIRABELLE ANG live-feed REBECCA BARON live-feed CHRISTINE MARIE live-feed BO SUL KIM live-feed CHAMBER is an improvisatory performance/installation of dance, sound, text and video projection contemplating the myth of Echo+Narcissus and the act of reading. Casting an empowering light on this tale of longing, this piece explores Echo’s transformative impact on language, sound, and image. It follows a parallel trajectory of how the act of reading and relegating text to memory resides in the mind as echo chamber. Narcissus is considered obliquely from the perspective of his aging reflection mirrored by a younger contemporary Narcissus as window washer/gardener. Through the use of layered video projection on translucent scrims, an illusory architecture takes form, creating permeable chambers within the larger space. Within this landscape the viewer is asked to comprehend the simultaneous presence of live performers and their mediated presence transmitted through live-feed video. With live roaming instru-mentalists, sound artists and live processing, the audio contributes greatly to amplify the experience of localized and spatialized sound within the spaces. The Women’s 20th Century Club of Eagle Rock, an historical landmark Craftsman building, very much influenced the character, shape and structure of this performance.

“Chasing the Pools,” an immersive 2-hour long live performance/installation was the first time Carole Kim was to experiment with the use of live-feed video in collaboration with dancers. The live presence of dancers is integrated into the layers of a multi-channel live-mix video installation. The body is thus mediated so that it resides in this illusory landscape all the while preserving the dynamic edge of the live performer. Through live-feed cameras the movement of dancers was mixed into the alpha channel of 3 video mixes. Their lit bodies became one moving image, dematerializing or re-materializing the body, while the background remained another. The dancers were able to monitor how they were affecting the composited image, essentially dancing with the image. These channels were projected onto numerous scrims in a large tree grove. Twelve channels of sound by live musicians (GE Stinson, Yorgos Adamis) were mixed and spatialized throughout the site by sound designer Jesse Gilbert. The architecture of a tree grove naturally imposed a decentralized structure upon the viewer where one’s experience was shaped by the act of meandering through, never being allowed a view of the whole. Barnsdall Art Park outdoors in the pine tree plaza ****************************************************************************************** CAROLE KIM, direction, video JESSE GILBERT, sound design/spatialization YORGOS ADAMIS, wind instruments G.E. STINSON, electric guitar LIZ HOEFNER, choreography, dancer videographers: ASTRA PRICE, live mix PABLO MOLINO, live mix BETH BIRD, live-feed EVE LUCKRING, live-feed MAILE COLBERT, live-feed ADELE HORNE, documentation MIRABELLE ANG, documentation dancers: MAGGIE LEE BELINDA CHENG SARA LEDDY AMY DORE DEBORAH ROSEN

TOSHI NAKAMURA, no-input mixing board LEWIS KELLER, electronics CAROLE KIM, live-feed video ******************************************************************************************************** Center for Experiments, Art, Information and Technology (CEAIT) Festival 2007 @ REDCAT, Los Angeles ******************************************************************************************************** For this performance, I set up an IV drip into a dark pan. As the water filled a reflective surface formed allowing for an image to emerge. ******************************************************************************************************** TOSHI NAKAMURA, starting as a guitarist, has evolved a unique style of sound performance based on the use of a small sound desk with no signal inputs. Instead, this "no-input mixing board" as he calls it, is set up to loop outputs to inputs, running in outboard effects to produce a delicately constructed web of feedback tones and other "accidental" sonic raw materials. Un was a recording of his duo with Sachiko M ("no-no duo," with Sachiko M's no-sample sampler). Since 1996 Nakamura has been a composer/sound designer for the theatrical works of Bagnolet Choreography Concours-winning dancer Kim Ito, which have been performed in Japan, the U.S., England, France, Germany and Israel. Since 1998 Nakamura has also organized, hosted and performed in a monthly improvised music gathering with guitarists Taku Sugimoto and Tetuzi Akiyama in Tokyo, which has become an important meeting point of the Tokyo improvised music scene. ******************************************************************************************************** LEWIS KELLER plays percussion, guitar and electronics and is a composer and sound artist based in Los Angeles. His work deals with the perception of time and space as well as the roll of technology in his culture and its impact on Earth. He is interested in focusing people's awareness by manipulating these memes and often subverting their usual understanding. He finds sounds in electromagnetic radiation, contact miked objects, field recordings, hacked and repurposed consumer items, and found objects in addition to more traditional instruments. He builds instruments acoustic, electronic, found and virtual. Much of his compositional language addresses improvisation and constrained stochasic events. Pieces range from the dense and hyper complex to tissue thin simplicity. He plays in solo, duo and group situations as well as creating interactive and static sound installations.

DE: Materia is a multi-media immersive performance/installation. Through the use of layered video projection on semi-translucent scrims, an illusory architecture takes form. Within this landscape the viewer is asked to comprehend the simultaneous presence of live performers and their mediated presence transmitted through live-feed video. The body is transformed to truly integrate with the image both in how it is “rematerialized” (for instance, turned into dust) and how the dancer essentially dances with and within the image. The seamless cinematic distance of pre-edited film viewing is ruptured by the awareness that the moving image is being constructed in the moment. DE: Materia is a responsive dialogue between dancer, cameraperson, video mixer and musician. This work follows a poetic arc with mythic overtones. The body dematerializes, gets obliterated and then contemplates its origins once again. The two dancers never occupy the same space/realm except within memory or desire. ******************************************************************************************************** CAROLE KIM, direction, video installation OGURI, dance BELINDA CHENG, dance GE STINSON, electric guitar NELS CLINE, electric guitar JESSE GILBERT, sound design & spatialization ASTRA PRICE, live video mix MAILE COLBERT, live-feed video ADELE HORNE, live-feed video MIRABELLE ANG, video documentation

LIZ HOEFNER, dance/choreography CAROLE KIM, live-feed video installation YORGOS ADAMIS, sound design Diavolo Dance Theater March 2006 ************************************************************************************** LH: The choreography for this piece was based on the accounts of numerous people who have had near-death experiences and have described in detail being drawn to a light at the end of a tunnel. I was also thinking about experiences and thoughts of people diagnosed with a terminal disease. In END LIGHT the dancer has already passed into the described dark tunnel (metaphorically speaking) and has the possibility of going forward towards an unknown light, back towards a familiar home base (life as we know it), or remaining in flux between both places. *************************************************************************************** CK: It was my intention to create an environment that spoke to these different states of coming/going/stasis through the imagery, the live feed camera angles that differed from the point of view of the audience and through the translucent layers of projections. As the piece progresses the solo dancer becomes increasingly “mediated” and embedded within the installation, all the while maintaining the dynamic edge of the live performer but having her presence meld with the video projections and the world that it creates.