Last fall, Erin Drummond graciously agreed to to wake up at the break of dawn in a cold fall morning to film with me in the water and rolling around in the sand. We were finding sand in our hair and our ears for weeks (possibly even months) and and it took me almost a year to make anything with the footage.
I’ve just started to brush the surface of what is possible with Isadora, a program that allows the stage to become and interactive link between dance and technology. This study, rather than being for the stage, has buttons that a user can use to control what they can see from two differed “realms.” (I may or may no have watched Stranger Things the before I made this.)
The green slider on the right controls the time of the initial video (it can play forward and backwards at different speeds), and the blue slider controls the visibility of the second realm and also brings in music. Then the teal “Next Axis” button moves to the next scene. The (somewhat long) video below is an example of what is visible while someone plays with the sliders and buttons. Feel free to skip around in the video, which, unfortunately, does not include the sound.
Brianna Rae Johnson 
I am so captivated by the entrance into the water (analysis of movement quality and symbolism of water’s edge could be a whole other post) and then the re-emergence at 1:38 converged with this other, ghostly figure walking in a different time scale, (seemingly) at the same time. Is it my/our familiarity with this medium– with shots and screens and linear time– that gives the understanding that the juxtaposed moving images are happening on separate time planes (because we know enough about the technology to recognize they were shot at different times)? Experiencing them together reminds me of how the experience of thoughts and memories can be such a multiplicity, but this is hard to depict in language. The visual experiment you’ve created spills narratives into each other like intercoursing dreams.
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