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Unveiled recently: two new video installations from localStyle, with soundtracks composed by Yim. Timeslips was commissioned by the Haus der Kulturen der Welt in Berlin and Choral was commissioned by 150 Media Stream, with additional funds provided by the Illinois Arts Council and the School of the Art Institute of Chicago. The former has been presented in Berlin, Chicago, and Carbondale IL, with an upcoming exhibition in London, while the latter was premiered in Chicago, with other venues under discussion for the future.

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Timeslips [click to watch the trailer on Vimeo] creates a poetic frame for considering the state of mind of an interplanetary agronomist—a lens for probing ethical entanglements that include altering the weather to protect vineyards, the Indian Removal Act of 1830, or planetary scale terraforming and biosphere transformation. Mars has a rotational period slightly longer than that of Earth at 24:39:35. In Kim Stanley Robinson’s Mars Trilogy the solution to that difference is a programmed pause between 00:00:00 midnight and 00:01:00, called the Timeslip—a time outside of chronometric time, and a suspension of the relentless hegemony of the clock that becomes an opportunity for reflection, introspection, and mindfulness. Our fictional protagonist is an extrapolation of efforts currently underway: German researchers are already exploring techniques to grow vegetables in space at Neumayer-Station III in the Antarctic, and a startup in Los Angeles is building massive AI-powered 3D printers intended one day to manufacture rockets *on* Mars. Both works call for discussion beyond the realm of speculative/science fiction. People have intervened with our planet for millennia, with varying degrees of unintended consequences. But confronted by the hyperobject of the climate crisis, we find ourselves in the midst of an overdue debate about if, when, and how we must alter the environment…and how much is too much?

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localStyle’s installation Choral regards coral reefs as the metaphorical ‘voice’ of the Anthropocene, hence the title (and the soundtrack’s otherworldly electronic choir). Although our computerized 3D visualization of various corals is initially grounded in scientific research, some of their behavior reflects our imagination via speculative underwater world-building. The habitats that corals create are fundamental to the sustainability of a quarter of all marine species, but these ecosystems are in crisis. Despite major challenges, there are possibilities for fostering coral regeneration and recovery, and reason thus for guarded optimism. Choral is our artistic contribution to a larger-scale human response. [click to watch the trailer for the premiere at 150 Media Stream]

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Also underway is a commission (originally, before the onset of the pandemic) due in the spring of 2020 from the Chicago Center for Contemporary Composition. The University of Chicago has requested a new work for the their resident new music group, the Grossman Ensemble. Now rescheduled for premiere during the 2021-22 season, Yim has conceived of a project that is functionally a second piano concerto: Listening is Forgetting the Name of the Thing One Hears (Rhapsody in 7#9 with Shirt of Noise).