Special thanks to everyone who helped film and be a part of this process:
Chris Langer, Veronica Carnero, Molly Merkler, Katie Atherton, Diana Arnold, Sari Eitches, Matt Ruby, Isadora Dantas, Chris Choi, Ann Marie Kuo, Julynn Benedetti, Eric Benedetti, Cynthia Lawson, Mike Ballard, Dean Scott, Bryan Rosenberg, Jessy Smith, Lauren Yalango, Madeline Buck, Liz Kauff and Adrian Krauss.
Half way done with my in home performances for this round. Special thanks to those who participated, you know who you are! Can you spot your apt?
Only 8 more to do, so if you want to be part of this initial piece sign up fast! Bellow is a super rough compilation of the videos. The syncing is still a little off, and I need to work on the timing of the beginning, but all in all, it’s coming along!
I got my 3 monitors today! Now I need to figure out out to connect them to my computer so I can get each of these videos onto separate screens. We start the gallery install next week…I better hurry up!
In an attempt to completely destroy a JPG through consecutive saves, I discovered that the JPG eventually reaches a threshold. After a certain point, no more information is extracted from the JPG during the compression.
I decided to separate the “information” that photoshop’s compression algorithm deems important from the unimportant data. Below are the series of images. The first is the original image followed by the the JPG after around 800 compressions. The next three PNGs are the extracted information: important, unimportant info blacked out from compression, and then the extracted unimportant information form the original image.
So over the weekend I was very busy testing different iterations of my newest project, The Living Room Series. I performed at the AUNTS monthly performance series/party, and began doing performances in people’s living rooms.
The response and feedback I got from the AUNTS party was overwhelming. I was performing in front of over 100 people, and they were literally right in front of me. I had never before performed in a setting where the distance between the audience and performer was non existant. The energy was amazing, and really drove me in my performance. Afterwards, tons of people came up to me and thanked me for sharing my performance with them. Again, nothing I had ever experienced. People were so grateful that I could give them a piece of me that they really related to. One girl told me it made her cry. Another man told me is spoke so perfectly to our generation. I was even approached by a producer at Dixon Place , who wants to include this in one of his festivals. I was really overwhelmed by the response.
Performance @ AUNTS – 03.05.11:
I decided that although this performance was extremely successful, I still wanted to try it in a more intimate setting. In an effort to replicate the home video I went over to my friend Molly’s house and informed her that together, we would make a home video. I wrote out a script (that follows what my Aunt said in the original home video), asking her to use today’s date while filming. We then talked about the different scenes we would film: the intro, a commercial, and the song/dance performance. My goal was to try to replicate my home video as closely as possible.
Original Home Video:
Home Video at Molly’s – 03.06.11:
Molly is very familiar with with this piece, and she has seen it several times in both formal performance settings and more informally during rehearsals. She loved the intimacy of having it performed in her home, just for her. She also felt like she had a very active role in the performance, not only from her “lines”, but from the active choices she made while filming. In the performance I say “Go to my feet!”, and she zoomed the camera onto my feet.
She also had an interesting observation while filming. She was watching the performance through the LCD screen on the back of the camera, and at one point thought that it was the original version. She couldn’t believe how in sync I was with the tape! She then realized that it was in fact me. Even without the original VHS playing in the background, she was forced to choose between me on a screen and me in performance.
Talk with Molly after performance:
I think it is very important that I perform this for someone who is unfamiliar with this dance. I have several more “performances” lined up, and will talk to them about their experiences with both the performance and participation.
This part that I am “testing” is also an excerpt. The original home video is about 20 minutes long, consisting of several commercials and other dance numbers. I am in the process of learning the whole thing, so the performances will be more in depth once I am familiar with the entire tape.
While digitizing all of my home videos at the beginning of the school semester, I came across a series of videos of me performing in my grandparents living room. The content of the videos is similar in format to one man variety show; 7 year old Adam telling jokes, performing commercial breaks, and dancing to various songs from popular Disney movies. In an attempt to capture the essence of those moments, I decided that I would begin to learn the content. I have started by learning the choreography that I performed to The Little Mermaid’s Under the Sea and Part of That World.
Below is a clip of me performing in sync the video performance of me as a child:
In line with my thesis concepts, I am very interested in what is lost/gained/changes through the repetition and reproduction of this specific memory. I am about to embark on a series of performances that will take place in someone else’s living room. For the first performance all I would request is that the “host”, document my performance as I dance in tandem with the video of me as a child playing in the background. I would then ask my host to refer me to another person, for them to then host the next “installment” of the Living Room Series. At that performance, instead of playing the original video of me dancing as a child, I would play the documented video of me dancing to the video. This performance process would essentially become recursive over time. After several iterations I would be dancing to a video of me dancing to a video of me dancing to a video of me dancing to a video of me dancing as a child. It goes on and on….
With each repetition the original image/content gets pushed farther and farther into the background. In addition, what changes to my performance as I do it time after time? I imagine that as the dance is practiced it becomes less authentic and more “rehearsed”.
Alas we shall see as I embark on these series of performance/experiments.