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29• Piece Information:• Title: (Untitled) (title forthcoming)• Medium: performance, tempera on plywood• Dimensions (if applicable): approx. 3x4ft.• Equipment Needed (media related): possibly a projector• Run Time: 3-5 minutes• • Artist Statement, Biographical/Conceptual Information • (Untitled) is a performance piece consisting of a sheet of plywood, paint, dance shoes, and my self, where I

dip my shoes into paint and proceed to dance on the wooden floor, dipping my shoes back in the paint as needed and therefore interrupting the flow of the dance. There is no music accompaniment so that the audience only hears the percussive steps as they watch me slip and slide though the splashing paint. At the end, what appears to be an abstract expressionist painting emerges from under my feet.

• I am an Art History major who recently decided to double major in Studio Art. This is my first performance piece and its development is still in progress. Its basis is in flamenco, a genre in which, very simply speaking, the participants build off each other’s creative energies to get lost in the moment. Improvisation and the transient nature of our lives is key to flamenco music and culture. (Untitled) is an attempt to record the otherwise ephemeral dance steps that are so integral to the dance form, recording a series of movements that are not likely to be repeated and are meant to exist only for the short second in which they are executed.

30• Space In Between • This piece was inspired by multiple performance

experiences of “Garden of Forbidden Loves“ (2006-2008), choreographed by Yolande Snaith in collaboration with dancers Eric Geiger and Tonnie Sammartano. In the fourth section of this piece, I was directed to sit on stage and gaze out into abyss. I layered my own intention of reminiscing about things of the past and wonder of the future. The other two dancers, Geiger and Sammartano, were engaged in an intricate duet during this section. My experience of this duet was only what I could see in my peripheral focus, sometimes called soft focus. These drawings represent this experience. The elements that were the most powerful were the space in between the dancers and the extension of line in space that inflicted an awareness of extended space. The sensory experience of these qualities heightened my kinetic experience of dynamic stillness and my directed divided attention. The space in between seemed to glow with a hidden history of past, present and future; and even though I was still during this piece, my felt sense offered a direct connection to the space and dancers.

31Recursion SutraInteractive Acoustic & Visual InstallationIncorporating ideas of rebirth and memory, “Recursion Sutra” reacts to, records, processes, and plays back ambient sound in a recursive cycle. Through the iterations, previously recorded sounds evolve as new sounds are folded into the composition. A projected visualization of seven independently spinning, pulsing mandalas responds to the acoustic progression. The piece utilizes Pure Data, Flash, computer, pressure zone microphone, speakers, and Buddha statue.

32Statement:30 minutes in Indiana77's room, Berlin, is part of a series of ink drawings presided overby the tension between intimate spaces and quantitative data. I select data feeds fromdomestic spaces submitted by users on Pachube, an online platform where peopleprovide access to sensor readings in real-time, and then use a Processing.org programto read the data every 15 seconds and generate a sine wave that corresponds infrequency to the numeric value of the data. Playing multiple sine waves for multiple datacategories results in beats from the interference of their frequencies, and I drawfollowing the rhythms and pitch variations of these sounds. The marks do not attempt tofaithfully replicate the variations in the data as a data visualization would, but are drawnhaphazardly, scattered and propelled forward by the continuous sounds.

32bStatement:Craigslist-assisted Readymade is a piece that picks three random items from the freeitems section of a random region, and displays them on a table, cycling through everyregion in the U.S. It is accessible online, and all of the free-items are current, so theviewer could go to the location and collect all of them. The three items develop newpossible associations and relationships by being placed next to each other, and alsobecome a portrait of America through its discarded/devalued objects.

32cStatement:This is a novelty website that fills the browser with looping flash video of a laptoplooking at itself in a mirror, lit by the glare of its own screen. It's a study of space as itoccurs simultaneously in the physical, real environment and on the virtual environmentwithin the screen of the laptop, also considering the distance between the laptop andwhat is before it – in many cases, the person using it.

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Ugh, what the fuck???

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Gavin Halm - Project DescriptionTitles:1) Three films by Wong Kar-Wei compressed to the point that I no longer feel love.2) Three films by Michelangelo Antonioni compressed to the point that I no longerfeel sorrow.General Description:These two pieces should be considered as one unit. The two video projections willplay back, at a very high speed, films by the two directors mentioned. Theprojectors will be placed on small pedestals (or a table) next to one another at aclose distance to the wall. Also, the films frame size will be extremely small (about1.5x3 inches) when projected upon the wall. Both projections will play at the sametime, side by side, in a continual loop.

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Piece Information:Title: UC5DMedium: Video projectionDimensions (if applicable): projection size minimum 6ft screen size. Could be on wall orscreenEquipment Needed (media related): projector, sound equip (speakers), dvd playerVideo/Music Run Time: 2min 49secOther Special Needs/Requests/Diagrams: Need-darkened space for projection. Willloop every 8 minutes

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Artist Statement. This piece is a live performance consisting of audio and video manipulations. It is an experiment in synthesizer construction and sound/image relationships. The sounds produced are created by small analog synthesizers (which I have built), and are controlled by photo sensors connected to two monitors showing video images. Video image manipulation controls the types of sounds produced and those sounds are then manipulated further. The monitor set-up will be projected on a wall or screen via a live feed camera.

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Strange Erosion

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41 The conception of “Seen” was initially inspired by two recordings of greatcontemporary composers: Alvin Lucier’s “Music On A Long Thin Wire” and La MonteYoung’s “Poem for Chairs, Tables, and Benches, etc.” When I first heard the songs, Ifelt that the sounds represent well an atmosphere of huge dynamic contrast anduncomfortable emotions. Therefore, I sampled the recordings, made minimal changes,and edited them for my specific emotional expression; in this case, I wanted to expressmy calmness and the anger, resulted by the unwelcome challenge. Since the soundsare so abstract, I also wanted to use them to represent the development of discomfortwhen it comes to cheating, thereby implicitly putting forward the message: cheating isbetraying your ownhonesty. At the very most, the created music can thought of as atribute to Lucier and Young, and at the very least, this is simply my creative play ofartistic expression using simple sampling techniques.

The title “Seen” can be considered in several ways: the cheater’s inner thoughtsbeing “seen,” the test being “seen” by the cheater, and the act of cheating being “seen”by the proctor… etc. The ending of this video was also produced in a way that it issuitable for questions and different interpretations. The viewers are left to ponderqualities such as responsibility and fairness. Did he successfully cheat and did not getcaught? Was he caught cheating and was on his way to face the consequences? Or didhe ended up following his conscious and chose to not cheat, though risking hisgrade? These are all questions that the audience may think about, and video shouldserve as a good reminder of their academic integrity.This video was recorded using both the XBox Kinect’s normal camera and depthimage sensor. The normal camera views are used to establish the test-taking settingand the apparent struggles of the main character, and the depth image shots give theviewers sneak peeks of the cheater’s inner feelings. The switching from normal cameraview to depth image view is also matched with the musical cues to express his innerstruggles at various intensity levels.

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43Project Pedestal:

My friend works at a hardware store and gave me a call about some random white boxes that they were throwing out. I emptied the trunk of my car, and drove to the dumpster toward the back of the store. I managed to fit five white pedestals in my two door sedan. Driving home I thought of the uses of them individually and combined. I thought of stacking, combining, attaching, cutting, painting, throwing, smashing, sitting, and carving them. Instead of transforming the original shape and color of the pedestal I decided to use the pedestal to transform certain spaces, and surroundings.

The concept of Project Pedestal comes from the theatrical exercises of object exploration. The piece combines theater performance with public inconvenience. As spatial and non-spatial changes occur the definition of the individual with respect to the pedestal undergoes a constant metamorphosis. Defining and meaning become a great part of the piece, as the very road regularly used for public transportation becomes a space for an individual to understand an object and explore the tangibles and intangibles.

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Title: Untitled

Medium: Yarn crocheted in the form of the jacket grandmother passed away in, and in an 80 year old pattern

Dimensions: Approx: 8'x8'x6'The piece is in two parts-- a jacket will be hung by fishing line from the ceiling over a large floor piece.Born and raised in Southern California by parents of mixed Asian descent, I spent my childhood reconciling the deaths of my grandparents. My traditionally Chinese upbringing imbued a strong sense of pride and value in my heritage, underscoring the importance of remembering the past. The powerful and sentimental nature of memories fuels my practice, influencing crocheted pieces based on my vivid yet continually diminishing memories.

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Title: Inhabitable SpacesMedium: Recycled ClothingDementions: Approx: 5 feet by 5 feet It is an installation that is to be installed on the floor.

I am interested in communication and connection between humans through art forms such as installation, where by manipulating a space with intention, one can actually re-create a space allowing for further possibilities. I am interested in the integration of materials that we find most familiar, such as clothing or paper, Things that are easily found in a home. My intention is to build organic like structures or spaces, out of in organic materials, connecting The human life to the more natural forms of life outside of the human created world. Here, I can begin to explore the possibilities of what happens when we inhabit these so called spaces. Animals build comfortable homes, just the same as we do, and these “spaces” create an open forum for community to gather, interact, as well as isolate and recoup. I find that humans are as part of nature as any other animals inhabiting the same spaces. We try so hard in this society to distinguish ourselves and create our own image of individuality, but in our truest essence, we are all connected through being creatures that inhabit the same spaces. Whether or not the space we inhabit makes us human, or whether being human makes us inhabit space, I am not sure, but I feel that exploring the relationship between humans and these sort of natural forms of inhabitable spaces opens a forum for discussion. This is the second nest that I have built with the intention to inhabit the space. The first nest I constructed out of Shredded paper, this nest I made out of weaved fabric, both things that contain information, and history about people. The fabric is all recycled clothing, and other materials found and used around a home. The intention is that the nest becomes a space that connects participants who choose to inhabit the space, as well as the history of each garment- while creating a new space, that allows for new possibilities in breaking down the individual, and building a community.