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ANIMATED CHAPTERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 23 16 13 10 5 3 1 27 30 34
Introduction
Crash
An intersection in Boyle Heights
Lucha's Childhood
Lucha's Quinceañera Song
Mariachi Plaza, Boyle Heights
Jameson's Story
Jameson Portrait
The 2nd Street Tunnel, Downtown Los Angeles
The Reunion
A Rehearsal Studio in the Arts District
First Kiss
Hollenbeck Park, East Los Angeles
Angel's Point
Angel's Point, Elysian Park
Love and Fractals
The Floating Nebula
The Corn Fields, Los Angeles State Historic Park, Chinatown
Wedding
City Hall, Downtown Los Angeles
The Next Years
The Phone Call, Part 1
Traversing between the Arts District and Boyle Heights
A Fortune
Chinatown Plaza
Orlando's Story
Orlando's Fairwell
Evergreen Cemetery
Interlude (Car Wash)
AirStream Trailer, Elysian Park
Passengers
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
Despair
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Hades
Bowtie Parcel, Los Angeles River
Breakthrough
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
Orfeo
The Million Dollar Theater
Orlando Portrait
Libros Schmibros Book Store, Boyle Heights
Farewell From the Roof Tops
Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Old Age Like a Dream
The Phone Call, Part 2
Chavez Ravine, Elysian Park
Finale
The Central Hub

The Experiment

Location: 3rd Street and Broadway
Jameson: David Castillo
Lab Assistant: Clayton Farris
Boatman: Jonathan Cebreros
Recorded voices: Marja Liisa Kay
Music by David Rosenboom
Text by Erin Young
Brain-sensing headbands by InteraXon for Muse
Four test subjects arrive to experiment with Jameson’s obsession: a headband device that reads and transmits brainwaves. Jameson hopes that this will be a breakthrough into our understanding of consciousness; instead, the experiment makes him snap, as he sees a surreal vision of a mythical boatman. He flees the experiment.

Notes from Director, Yuval Sharon:

“This must have been one of the most puzzling chapters for audiences: it was darkly funny and strange but also terrifying in its own way, and it’s the last time we see Jameson in the piece. The animation in Chapter 13 established his obsessive devotion to neuroscience and introduces the image of a headband capturing brainwaves. In this chapter, the audience became the guinea pigs of Jameson’s experiment: each one wore a headband, and their real-time reactions to Jameson’s increasingly terrifying questions produced musical events. Jameson finally breaks down with a mini-aria: ‘Hell is in the mind, waiting, waiting…’ Suddenly a mysterious figure in a white suit, Lucha Libre Mask, and oar appears in the window, rips open the door, and pulls Jameson out. With that, he disappears from the story. The mysterious figure reappears in Chapter 26 as the boatman on the river to Hell.

“David Rosenboom introduced the idea of using headbands early on; he had been wanting to explore using the audience’s own brainwaves as material for a participatory concert. The headbands by Muse were connected by Bluetooth to a computer carried in the front seat by the assistant stage manager for this chapter, and they actually worked: when audiences were terrified, the music became more layered and louder.

Thanks to Interaxon for Muse™ brain-sensing headbands.

Composer David Rosenboom laughs about how art imitates life, especially in Hopscotch.

“I loved how the audiences entering this car were suddenly thrust into a new form of spectatorship – active participants in a story they probably didn’t really understand. One of the strategies in disorienting the audience was constantly changing the relationship between them and the artists: some scenes inspired a more detached spectatorship, like Chapter 32; others created an immersive environment, like the Bradbury Building in Chapter 25; and chapters like this one and Chapter 15 involved the audience in a direct, participatory relationship to the narrative. Audience members were forced to constantly renegotiate their relationship to the piece, chapter by chapter, car by car.

“Now I know why I’m living while dying. Flames scald my flesh, waiting to destroy me. It lies in wait for us, it bides its time, it burns slow, and in the end consumes. Hell is in the mind, waiting, waiting.”