Lydia Jablonski
People wander along the cell block hypnotized by the audio tour. Their audio is out of synch and at first glance, their movements look random. But there is a sloppy choreography as each moves to the spot where they are told to stand. The closer you are standing to someone the more in sync your audio. Of course regular elevator distribution rules also remain in effect.
I feel spoiled by all this eye candy. Bright colors and curly ruffles. A stream of clothing carts that keeps coming and coming. I am pretending to be watching the stage but the real show is at the side. Groups of dancers are nervous about being next on stage so they primp, fan and twirl.
I go through three cards worth of images and see that people come in waves. People carrying folding chairs, mixed groups of the costumed with the non-costumed, kids with giant puffy carnival prizes. There is a Dalmatian mix that walks really close to the camera. He goes slowly enough that I could put the pieces together into one long dog.
A big challenge has been the sheer number of images. Why would anyone to want to look through them all? I fixate on the idea of a puzzle, something the viewer would be compelled to solve. Luckily Rob pulls me out of my “gamification” detour by talking about waves and phrasing and how a visual rhythm would carry the viewer forward. I know that he doesn’t literally mean “add a soundtrack” but it sounds like a good place to start.
After three weeks of tediously adding in detail and variation, I think I am close. But Jon says it is now stilted and jumpy. To his fresh eye it is confusing and not obvious why some parts were fast and others slow. I start over and concentrate on making clumps with roughly regular spacing. This works much better.
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