Mike Hall Video

documentation of fine art works, performance, and critical historic events of the third millennium

works

A portfolio of video productions, visual imagery and writings that challenge convention and explore alternative forms of perception

contact

Edge Case   In software engineering parlance, an “edge case” is any situation that is so remote that it only exists on the edge of possibility. Sometimes edge cases require more attention than other more common situations because a system designed for the center can crash when applied to the edge. On the other hand, the expression can also be used in the course of a design discussion to describe the insignificance of an expected contingency; the implication being that anything that exists on the edges can be brushed aside. This video was captured during the inaugural feedback session conducted at Studio II in Allston, Mass. Two projection feedback setups were positioned side by side, so that only their extreme edges were connected, allowing imagery created on one side to jump to the other. This video has no sound. Optical Resonance Theory  an introduction Optical resonance occurs when a live image of a physical surface is continually superimposed upon itself. This causes an exaggeration of all prominent visual features of the projection surface. Optical resonance can be triggered through slight imbalances in a video frame’s level of luminance or chroma. “Illuminant resonance” begins on any rounded surface that can provide a focused spot of reflected light. “Chromatic resonance” occurs when there is a close similarity between the color received by the lens and the color that is cast upon the subject by the video projector. You may be tested on this one day, so pay attention. this really happened  a study in conventional video feedback By connecting a video camera to a large LCD television and aiming the camera almost directly at the center of the screen, patterns emerge that to some extent can be shaped and molded with the hands. This is due to a tendency for the video stream to achieve equilibrium of overall brightness when the camera´s auto-exposure feature is enabled. The color variations were brought about by maximizing the color saturation and balance controls on the television screen. When the highest level of stability has been achieved, a gelatinous entity takes form, which exhibits life-like qualities. The colors that undulate over what appears to be a three-dimensional surface shimmer as if composed of some liquid substance. Pattern Formation Syndrome  on the recombinant behavior of disparate video electronic devices This sequence shows how two distinctly separate pieces of video electronics equipment can be combined to produce a result that is remarkably lifelike. It is theoretically possible for "edge-enhancing" algorithms commonly found in both video cameras and video projectors to combine forces to create stable patterns when connected together to produce a video feedback sequence. What was not expected was that the behavior of the worm-like shapes that are generated would actually be worm-like. No software was written to generate this video, and except for some minor jostling of the camera, there was no input from the environment whatsoever. In other words, once the equipment was adjusted to create a stable feedback pattern, the newly created system was allowed to run its course. The Recursion Paradigm  experiments in projected video feedback On April 23, 2005, the Art Interactive (Cambridge, MA) hosted an after-hours party featuring many illustrious video artists, including NKV4, Walter Wright, Benton Bainbridge, dj Flack, and sosolimited. In a separate performance before the show, I set up my camera and projector to experiment with video feedback. In this session, I projected upon a surface with different shades, which caused regular geometric patterns to be produced under certain strictly controlled conditions. The eventual setup was so sensitive that the vibration of the floor caused by the music was carried through the tripod to the camera, making the images pulse to the same beat. Inertia  an urban manifestation The streets of New York City are never calm, but during the final days of August in 2004, there was an unrest of such proportions that, at times, traffic was stalled by masses of people who took to the street without obtaining permits to march. On August 30th, one day before the widely anticipated events of "A31" which would result in 1200 arrests throughout the city, a march beginning at the United Nations and ending at Madison Square Garden was inexplicably sanctioned by the police, even though it was one of the largest acts of civil disobedience that had ever occurred in the city. My camera was placed on a stone wall as they passed. Light Floes  about as much fun as you can have with a cardboard stick and a flashlight On November 3rd of 2004, though consumed with apprehension about the outcome of the presidential election, I was nevertheless able to discover a phenomenon of projected light that continues to baffle and amaze me. Under certain precisely controlled conditions, it is possible to create swirling patterns that resemble fluid fingerprints, using only a camcorder and a video projector. I repeated this experiment during the Waltham Mills Open Studios of November 6th and 7th, and subsequently in my studio, as seen in this video. Most everyone commented how the patterns have a mesmerizing or serene flow, and the young at heart of all ages seemed to enjoy playing with the swirls by casting upon them both shadows and beams of light. Melodicon  bridging the gap between sight and sound Acoustically enhanced video feedback is a combination of two graphic generation techniques I´ve been developing and experimenting with since the summer of 2003. Video feedback is produced by connecting a video camera to a video projector, then directing the camera at the live, projected image. By intercepting the signal from the camera to the projector and enhancing selected colors, shades, and degrees of saturation based on some acoustic input, a form of visual entropy ensues, creating a wide variety of abstract images. Central Park West  one hour of evening sky captured in May of 2004 On May 13th, at approximately 7:30pm, I set up my camera on a tripod in Central Park and videotaped the night sky until dusk. I was thrilled to discover that a bright celestial object, perhaps a planet, was poised to enter the frame just as night was falling. The purpose of this shoot was initially to provide a video backdrop behind a dance performance held by the of Boston. However, I consider the piece to be an elegant chronicle of the painted sky, shrouding the active city below. The Blob Sessions  Gelatinous pools of light can make good pets Of great popular interest among those who have experienced video feedback first hand is the creation of highly stable, luminous objects in the center of the projection area. These stable forms do not occur without considerable effort applied to the settings of pan, tilt and zoom functions of the camera and tripod, as well as the relative positions of all the video equipment and the amount of both ambient and directed light in the room. When a stable configuration is achieved, the result is affectionately referred to as "The Blob."