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Modular Radiation

Modular Radiation was originally a project of mine and David Moré. This project first started in 2003 and resulted in a number of performances in the Baltimore/DC area. Modular Radiation uses optical video processing to manipulate live television imagery along with software written with Jitter to process the feedback in the system. The audio was created with a wide band radio receiver that could pull in standard radio as well as television signals along with various spring-based contact mic audio systems invented by David. The main thrust of Modular Radiation was to take what's in the air and physicalize it in order to build-up a trance-like state in viewers.

This project is unique among television remix projects in its methodology and goals. Most remix projects rely on the pop-culture aspects of remixology to create too-fast-for-your-brain epileptic image sequences. Modular Radiation took it in the other direction by giving a physical presence to the remix process through optical and mechanical systems, slowing down the pace of the imagery to the point that it builds a continuous field that immerses viewers in shifting color forms and layers of droning vibrations.

The video was performed by manipulating various knobs on the television set as well as parameters in the video processing software that controlled the feedback. A half-silvered mirror was used to optically mix the television image and the computer processed feedback. A camera was trained on the mirror, and this signal was sent to both the computer and the projector, which the audience viewed. I used an optical mixer to get a more physical feel into the imagery and to overcome the bandwidth limitations on computer processing. A computer monitor was placed opposite the television set to project the feedback image on top of the live television image. In order to avoid the sharp lines of pixels, I placed the computer monitor slightly out of focus so that those edges would blur. However, the video was still perceived as in focus because the television image was in sharp focus. I also used a slow shutter setting on the camera to slow down slightly the television imagery

Using the optical mixer provided some interesting possiblities for playing with perceptual cues. First, the television set was black and white, and when it was brought into the computer, it was colorized. When the colorized feedback was mixed with the black and white television signal, the feedback could be placed, perceptually, in front of or behind the television signal by changing the relative brightness of the colors compared to the black and white image. This allowed me to move between flatness and depth during the performances, enabling the creation of entry points into more continous forms than simple jump-cut remixes will get you. I was also able to pull out and propagate particular forms and lines through the feedback processing, shifting focus away from the raw television signal. I kept attention on these shapes by subtly shifting the colors of the forms through the color spectrum such that it required special attention to recognize and would pull the audience into a more active mode of viewing. In most of the video, the color changes are so subtle that the process is only consciously perceived well after the fact although there are times when severe changes in color would occur to provide a counterpoint.

The duration of a performance of Modular Radiation is entirely variable. We would play for a minimum of 30 minutes, and our longest public performance was around 3 hours. We played in private for up to 6 hours during our longest session. In the Spring of 2005, I gave a 7 minute cut from a recording of Modular Radiation to Alex Olwal without any soundtrack. He came back with a completely different style of sound, but one that I feel is more than appropriate for the material. It really brings out the elements that I appreciate most in the video.

Video Stills