These made me very aware of my unconscious head tilt because these lines looked slanted when I stood "normally!" The slanted lines were so off-putting that I was compelled to hold my head straight. The vertical lines made the vanishing point on the horizon pretty transfixing, which also changed my gaze and my walk.
(Do people on the street always look at me like this, or does this way of walking attract attention, or do I never notice people looking at me because my gaze is always on the sidewalk?)
These were calming. I felt like I was hiding under a willow tree.
These were by far the most disruptive. I barely lasted ten minutes with them on. They did make me notice the temperature drop in a shady area a moment before I processed the darkness of shade, and I'd never experienced that before. When I took them off the world looked crisp and vibrant.
Disappeared from my notice very quickly. A friend tried them on and said they made her feel safe and hidden, like she was peering at the world from behind blinds.
Also a gentle feeling. Easy to look past.
their uniforms – patriotic and militaristic aims – also support how transfixing the choreography is!
This choreography also makes me understand waves in a more satisfying way than I ever have before.
Loyalty to one audience over another: Who does this storytelling device benefit? Who does this storytelling device strengthen? Who does it make more vulnerable?
"Inform" and "contextualize" and "build exposition" are not morally neutral concepts.
that the Wendy Williams show costumes its audience really effectively.
Bright, solid colors, please!
I think they must suggest specific colors because the audience matches the flowers:
Oh, wait, whoa, no specific color suggestions!
Is there a dress code?
Okay, so next question: when the audience members are choosing their outfits and thinking "WENDY!" are they remembering past floral arrangements?
How did they get it so right? Maybe the producers ask the florists to go with colors that are on-trend in women's clothing. Or maybe the whole thing is cultural competency so complete that it's just mass intuition at this point.
It's hard to unsee what I've been trying to see, but I thought I'd give you a chance just to look at the dots and have your own associations with them.
Futzed with embed code for what felt like forever, couldn't get the videos to start where I would have liked, which would have been 3:56 and 20:15, respectively.
This morning I had a nightmare. A whole bunch of my friends and I were being held by this horrible guy who was torturing us, and this went on for years. Toward the beginning of our captivity I thought, "I know what will save us. That one guy we all laughed at, that misfit, is going to confront [our captor] with [our captor's] big fluffy cat. Then [the captor's] heart will melt, and he'll remember his humanity, and then he'll remember our humanity, and he'll let us free." The misfit never presented our captor with his big, fluffy, long-forgotten cat. Toward the end of the dream, while crying during one of the torture sessions, I thought, "Why isn't the plot working?"
I've been thinking about John, the man who cuts my hair, and how he told me about his experience on a reality TV show. He said the producers interviewed him for about ten hours before casting him, and what he thought were more or less innocuous questions turned out to be cold-hearted trickery. They asked him about what situations really made him "lose it," and then put him in precisely those conditions. It was like torture for him. On agreeing to be on the show: "I've done a lot of things in my life, but that's the only one I regret." The producers wanted aggressive behavior for the plot.
I've been thinking about what it felt like, when making autobiographical shows, or doing memoir-type writing, when I tried to fit my experience into a plot. It was baffling at best, disorienting, often maddening. It felt imprecise and unjust. I wanted to fight against it.
I've had similar experiences even in fiction. In Doppelganger, the cast and I co-created the story. I would give improvisational prompts, and each performer would develop her own character through responses to those prompts. I was also responsible for making sure we had five plot arcs, and that each of the plot arcs enriched the others. This part of my job often clashed with the understandings the performers had developed of their characters, and we had to do re-writes of internal motivations that they found frustrating at times.
I've been thinking about the work of making a show in which the protagonist is the audience, like in Two by Two. I've been thinking about how I would like to articulate ethical guidelines for that.
Inserting real-life people into plots can be really painful to those people. Prioritizing plot can do real damange. Plots are also a way to make a story accessible to an audience. We understand plot structure. I mean, we the audience do. So there's a tension there.
I've been thinking about Vonnegut's way of thinking about plot. This week I want to plot (Plot! Ha! Literally!) my days on a grid like that. It's an imperfect setup, but I'm going to see what it gets me. I've set a timer to go off every hour between 8a and midnight. I'll rate my state of being on a scale of 0 – 10, and also make a little note about what I was thinking, doing, or feeling.