Page 11 - Famous

 NETWORK PERFORMANCE
BETWEEN SOUND AND SOUND NUMBER 2, 1984 – 1996
VIDEO SCULPTURE, RETROSPECTIVE AND ACTUAL, KÖLN, GERMANY 1963 - 1989

interactive network art between unspecified audiences using a satellite
and optic fiber cables. In both A and B stations, more than two monitor center of symmetry. So far we tend to believe the relation is shown in a
televisions are located top and bottom respectively. The images of an audi- mirror, but in fact a video camera reveals by far more humanistic relation
ence at A station playing the wooden drum is sent to the upper monitor at B between seeing and being seen. The relation leads to a “lag of recogni-
station. Another audience at B station plays the instrument while watching tion”, intervals between performers’ perception and action, making them
the transmitted images on the upper screen. On the other hand, the lower to generate the drum sounds in various pitch and volume that amounts
monitors at both stations present images and sounds synthesizing those to express “Ma” [Time and space] or “inner space” of each moment. The
two different data taken by two different video cameras set on the A and expression of the feet, as well as the world of generated sounds is casual
B monitors. Thus, by stepping on the flat board of the drum, the audiences or accidental, so it dares to tell realities humorously.
(performers) generate various sounds of different volume corresponding IMAGE CROSSING NO.2
to command of their feet, to take a role of a drumstick in the perfor- CALL FROM GHOST)
mance. The performance,
however, demands them
to think about the “relation
between seeing and being
seen”. With reference to
the relation between seeing
and being seen, there are
various examples, such as a
case of a mirror. In facing a
mirror and raising our hand,
it is “reflection plane” or
“symmetry plane” where our
left hand appears on the left
in the mirror, and vice versa.
Contrary to that, in case we
face a video camera, our left
hand appears on the right
side of a screen, and right
hand on the left side. Also an
object in the near distance
appears to be on this side
on a screen, and an object
in the far distance at the
back. Thus the “axisymmet-
ric” relation between seeing
and being seen in case of a
video camera requires the
audiences (performers) to
understand that they are
filmed 180 degrees around
with the rotation axis as the

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CONTEMPORARY ARTISTS