The synchronized screens represent one path viewed from four different perspectives. Together, the perspectives augment ordinary experience, giving the viewer opportunities to construct narratives without constraint. The outcome reveals the relationship between dimension and perception, creating a multi dimensional narrative out of a single scenario.
Taking each individual perspective to individual monitors, I was able to arrange the perspective recordings in a numbers of ways. As the monitors became the extension of each perception, it allows the possibilities for me to think of the relationship between dimension and perception. As a way for media content to come out of two-dimensional space and being arranged within the actual space. While being exposed to multiple perceptions at the same time, I have realized the human limitation of perception, that no one can preserve four different views simultaneously. Through that context, the synchronized monitors enhance human capacity…multiplied by four. Moving into the narrative possibility of multiple dimensions is another kind of enhancement of our limited perception of the individual.
Synchronized Directors Installation, Single Viewer
Synchronized Directors Installation, Multi-Viewers
I wanted to establish that with our stories, for all the technologies that are available to us, we don't do much with it. We don't experiment enough with our current technologies, relying too greatly on the use of a single camera and one passive perspective. What my thesis reveals is the radically subjective way we perceive the world, with our eyes as the camera. The camera is not just the extension of our eyes, but also more than our senses, it also can be one of our eyes.
I turned my focus onto narrative contents and the mediators' perspectives. At this point of my investigations, "synchronization" was my next aspect of study. I invited a team of directors, Ji Su Choi, Jeremy Eichenbaum and Geoffery Ka'alani to walk down to a coffee house two blocks away from the studio space. Each of us has one video camera of our own, four cameras in total. We were strung together in equal distances from one another, which forced us to stay at the same speed and move together as a whole. As a whole group, the camera views pointed to the front, right, left and back in an order. There were points in which I directed that all the cameras be pointed to the same objects or down at each of our shoes.
Synchronized Directors on Four Individual Monitors, II
Synchronized Directors on Four Individual Monitors, I