Index Catalog // Scholar@UC

Type:: Media
Description/Abstract:: "Ye Ying Di" uses a video camera to track the movement of a dancer on stage. The performer's speed and position determine which sounds are heard and what image is displayed.
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 08/04/2016
Date Modified:: 05/09/2019
Date Created:: 2005
License:: All rights reserved

Type:: Media
Description/Abstract:: Inspired by Mists, Iannis Xenakis, 1981, Live audio visual improvisation on 03/11/11 at Atlas Intersections Festival, Washington DC.
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 08/06/2016
Date Modified:: 05/08/2019
Date Created:: 2011
License:: All rights reserved

Type:: Media
Description/Abstract:: Belinda Reynolds (music), Ting Luo (piano and poetry), Charles Woodman (images) WORDS is a multimedia piano work with spoken words and visuals. The vocal part consists of an aural collage of Miss Luo, reciting in Mandarin and English, a poem written by herself, about the story of her grandfather, a composer during the late 20th century in China. The interplay between the audio collage, the video, and the piano part, create a multimedia composition that immerses the audience in a blanket of enticing, reflective sound-visual experiences.
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 01/12/2022
Date Modified:: 01/12/2022
Date Created:: 2022
License:: All rights reserved

Type:: Media
Description/Abstract:: Short loop produced at a Signal Culture artists residency in 2014. Made using the newly built, Nam Jun Paik designed, Wobulator. Produced by sending the output of the oscillator to the Paik Abe Wobulator, with the raster on that device collapsed. This image was then filmed off the screen. "Wiggle" was created in response to an invitation to show a short silent work at Peephole Cinema in San Francisco. In the end, they Peephole Cinema elected to show an excerpt from "Roman Spa."
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 03/06/2016
Date Modified:: 05/07/2019
Date Created:: 2015
License:: All rights reserved

Type:: Media
Description/Abstract:: A cameraless video, made by mixing analog waveforms, with some additional digital processing. Produced at Signal Culture, 2014.
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 03/07/2016
Date Modified:: 05/07/2019
Date Created:: 2014
License:: All rights reserved

Type:: Media
Description/Abstract:: The original material for this video was produced during a residency at Signal Culture in 2014 using three oscillators. The output of the first two was mixed by keying those images into portions of the output of a third. Subsequently, that footage was slowed down to about 10% of the original speed. During my stay at the Headlands Center for the Arts in 2015, I was struck by similarities between this material and the sound work of Brian Chase, another Artist in Residence there. This video is the result of an experiment in juxtaposing my video with Chase's sound work.
Creator/Author:: Chase, Brian and Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 03/06/2016
Date Modified:: 05/07/2019
Date Created:: 2015
License:: All rights reserved

Type:: Media
Description/Abstract:: Live audio visual improvisation on 12/13/2015 at Shapeshifters Cinema in Oakland, CA. Zachary James Watkins (guitar and elecronics), Charles Woodman (images)
Creator/Author:: Watkins, Zachary James and Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 08/08/2016
Date Modified:: 03/12/2019
Date Created:: 2015

Type:: Media
Description/Abstract:: I was commissioned by Concert Nova to produce this viual accompaniment to the score by George Crumb. Images were shot at the Monterey Aquarium. Music: George Crumb, "Vox Baleanae," 1971
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 03/15/2016
Date Modified:: 05/07/2019
Date Created:: 2009

Type:: Media
Description/Abstract:: Demo version of my first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space.
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 04/06/2016
Date Modified:: 05/10/2019
Date Created:: 1989

Type:: Media
Description/Abstract:: My first attempt at a multi-channel video installation. The work was highly influenced by Nam June Paik’s retrospective at the Whitney and by Steina Vasulka’s “The West”. This piece was produced while I was living and working at the Vasulka’s House/Studio in Santa Fe. I had persuaded them to let me house sit while they spent six months in Japan. Access to their equipment, particularly to 4 adjacent monitors and four ¾” video decks, was what made it possible to compose a multi image work. “Virtual Space” was originally an eight channel work, mounted as two 2X2 stacks of monitors facing each other across a narrow space. Standing in the middle, the viewer had to look back and forth between the two sides. One side (L) is an assembly of footage gathered at the Lightning Field (a land art project in southern New Mexico by artist Walter Di Maria.) The other side (V) features four views of the interior of the Vasulka’s live/work interior as a handheld camera slowly and continuously pans across interior surfaces in the space. Subsequently, each of the 2x2 grids of images composing the two sides (L&V) was transferred to a single tape. These are represented here as LX4 and Vx4.
Creator/Author:: Woodman, Charles
Submitter:: Charles Woodman
Date Uploaded:: 03/24/2016
Date Modified:: 05/18/2019
Date Created:: 1989

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