Some photos for the first prototype of Han Circuit, a two-channel video installation.
The background image was a landscape image of Yeonpyeong Island just after the recent North Korean bombing. Periodically, text ran across this image, which was taken from interviews with a North Korean defector and an elderly woman who had been separated from her son during the Korean War.
The main screen was divided into five smaller sections or panels, each a visual representation of Han and haan*: archival images of Koreans during the war, a dancer performing a traditional Buddhist dance called Seung-mu, and images of fire and water.
Viewer-participants sat in between the two projections.
A live camera-feed inserted the viewer-participant’s image, also picking up the landscape image behind him, into the center frame of the main projection screen. Movements made by the viewer-participant also changed light intensities in the camera’s lens, which then effected the transparency and mixing of the images within the panels of the main screen.
He could also listen to traditional Korean folk music via headphones, which helped to facilitate a more intimate experience.
The feed from the camera was also on a delay that fed into the two side panels of the screen, so that when the viewer-participant left the installation, his image would slowly reappear and linger for a while.
* Han Circuit
Two-channel video | MiniDV | Color & Sound
Work in process
Han Circuit is a two-channel video installation that explores themes of the Korean psyche in socio-cultural and spiritual terms, as well as within the context of Korea’s modern history since the turn of the twentieth century until the present moment. There are two primary cultural forces which drive the content and form of this piece; the first being what is known as psychological han, a particular sentiment, or psycho-emotional state that is best understood as a cumulative process of suffering, longing, or resentment caused by extraneous forms of oppression. It connotes enduring hardships caused by forces outside of one’s own control, and can be especially understood within the context of Korea’s modern history, a narrative that includes colonization, civil war, and national division.
The second force at play is philosophical han. Though it shares similarity in spelling, philosophical han is distinctively different in that it is a philosophy indigenous to Korea that is concerned with the understanding and fostering of a harmonious relationship between man and the Universe. It is also an organizing factor in many forms of traditional music and dance. It is a philosophy that has existed since the very beginnings of civilization on the peninsula, and offers ways of understanding how to harmonize disparate or dissonant elements within the world. Kim Sang-Yil, a noted han scholar once stated that psychological han epitomizes the Korean psyche since national division, and philosophical han offers ways to understand how unification could be made possible.
This installation embodies the cyclical nature of psychological han while also adhering to elemental principles found within philosophical han. Cybernetic theory has offered a plentitude of possibilities in thinking about the conceptual and physical design of this piece. By understanding psychological han as a continuous pattern of generation, feedback, and regeneration, this installation has been designed as a closed circuit reactive piece, in which the viewer is also implicated into the circuit. Through this design I offer the viewer an intimate venue of experience for the understanding of the particularities and complexities of the Korean psyche.