Kellen Jackson

suppose a beam of light is an audiovisual correspondence between kellen r jackson and jeffrey ellom. Woven into the shared letter are wonderings about deep time, queer kinmaking, the portal-nature of microscopes, quantum optics, tunnelling, entanglement, and the experience of oscillating between weave and grain. This piece treats kente cloth as text, its threads fiber-optic cables, transmitting messages whose legibility and substance can change with scale. Time is also scaled within the audio composition, with the prominent theme being a two-note dyad which teeters more and more slowly as the tempo steadily decreases. The tension within this dyad rhymes with the tension between warp and weft, as well as that of the multiple meanings which are relayed through the spacetime of ancestry. Shot on Super8, hand-processed in Caffenol. Text remixed from Introduction To Modern Optics (Fowles, 1975).

In "Water Over Glass," the tension of a mind adrift and in conflict with itself is captured and bookended visually by the vast mutability of sea and sky, where water and air surfaces suggest both static and the dissolution of the individual. A doppelganger, a crime scene and the tidal erasure of what might have taken place: discomfiting moments in a bright, almost psychedelic, arc. Assembled from 16mm, Super 8, and digital video, stop motion collage and digital compositing animation, "Water Over Glass" works backwards from an original story by Jason Zumpano and its musical articulation—Vancouver outfit The Cyrillic Typewriter’s 2018 album of the same name—to suspend a visual form over a sonic narrative.

Kinet's Halloween Omnibus feature.

A virtual love story set in Vancouver, New York, and the dying world of a massively multiplayer online role playing game.