'Color Phase' is a series of site specific installations made from colored construction paper and a pair of stereo phasing mini RGB spotlights.
Materials and space for version above : colored construction paper and 2 color mini spotlights on matte black background in a dark room.
Dimensions are variable but in the example above the 5 panels of colored paper = 3' 9" x 1'.
Video documentation by Fana Feng
Detail of a set up for 'Color Phase'. Color construction paper on matte black background.
'Surface Patterns' 2016
’Surface Patterns’ is an installation that alters our perception of space by activating subtle subconscious sensations through haptic stimulation to move the participant gradually through a range of states.
'Surface Patterns' 2016
It consists of a square white two tiered wooden platform with two steps on all sides placed inside a dark space.
'Surface Patterns' 2016
As the individual stands on the platform the system comes alive as an object set in motion. A series of precomposed stereo vibrations begin to sound from below their feet and two rings of warm white light emanate around them as sympathetic resonance to reinforce the movement of the vibrations. Beginning from a place of quiet contemplation the waves move slowly towards more intense interference patterns transferring the kinetic energy up through the body to create a dynamic sense of movement and directly affect a persons consciousness.
'Small Surface Patterns' 2016
'Small Surface Patterns' is a site specific condensed single channel version of 'Surface Patterns' created for Wavefarm's WGXC benefit festival 'The Lodge' in Roundhill, NY Aug 2016. It utilizes inaudible low frequency sine waves composed as vibration within a small wooden box that the audience holds in their hands. The vibrations are composed to move the participant through a range of states and create the allusion of movement within a tiny space.
'Wave Stand' 2015
'Wave Stand' is a square wooden 25" x 26" x 4 1/2" platform that the audience stands on. There are two tactile transducers underneath the platform that output an inaudible ultra low frequency sine wave composition that is felt through their feet. The sine waves are tuned to specific frequency relationships to create binaural beating patterns that are meant to effect brain wave patterns to specific alpha, delta and theta states associated with things such as meditation, rem and anxiety.
'Stream / Train' 2015
’Stream / Train’ is one iteration of a series of handheld vibration boxes that utilize field recordings of actual spaces. It was created as an attempt to capture movement inside a simple tiny vibrating wooden box. With these, the field recordings of objects and places are edited to remove all the sound aside from the sub audible bass frequencies so you are only left with how a space or movement feels. This was done to expressly to see if it was possible to convey a sense of place or movement simply through touch. This version was for two boxes, one with a contact mic recording of a subway commute and another of a stream upstate.
Current release : Beast 'Ens' Label : Thrill Jockey Year : 2018 Format : LP/CD/DL For more information & full list of releases go to : www.koenholtkamp.com/music-1/ Purchase : koenholtkamp.bandcamp.com
'Yellow Blue Red' 2016
Duration : 18:04 Music : from 'Voice Model' Umor Rex 2016
'Long Beach Idyll' 2015
Duration : 05:32 Music : Koen Holtkamp & Chris Forsyth From : 'The Island' Trouble in Mind 2015
'Slow Boat' 2014
Duration : 11:38 / Silent
Between Visible Things '2014'
Duration : 07:07 Music : from 'Motion' Thrill Jockey 2014
Duration : 20:53 Music : from 'Liquid Light Forms' Barge Recordings 2013
'Living Lens' 2013
Duration : 04:56 Music : Koen Holtkamp & Brendon Anderegg From : Mountains - 'Centralia' Thrill Jockey 2013
Mountains - Blue Lanterns on East Oxford
Duration : 05:37 Music : Koen Holtkamp & Brendon Anderegg From : Mountains - 'Air Museum' Thrill Jockey 2013
Single sided 7" w red text printed on clear acetate, hand assembled, numbered and initialed.
Except from a single channel audio installation drawing its source material from Andrei Tarkovsky’s ‘The Mirror’. All of the visual elements, music and dialog have been removed.
"Above all, I feel that the sounds of this world are so beautiful that only if we could learn to listen to them properly, cinema would have no need for music at all" - Andrei Tarkovsky, Sculpting in Time
*Due to the extremely limited nature of this release only one per customer please.
About the installation : I've always been particularly enamored by the amount of space there is in the soundtrack to Andrei Tarkovsky’s ‘The Mirror’ (1975) and the way in which it creates a unique focus on incidental sounds and subtle details. The more I thought about this aspect of the film I became curious what the experience would be like if you were to do away with everything else and it consisted only of these elements. With this in mind the idea was to remove all of the visuals as well as any dialog or music in the soundtrack to hear what we are left with.
After editing out these parts the left over pieces were kept in linear order so they follow the same sequence as the original. The edits are made as clean as possible without altering sound with fades etc to highlight the content rather then the edits themselves. The film is originally 108 minutes in length after these edits we are left with 30 min of incidental sounds. The full 30 min audio is intended to be played back on a single speaker in a dark room.