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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
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
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
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Bowtie Parcel, Los Angeles River
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
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
The Central Hub

Interlude (Car Wash)

Location: AirStream Trailer, Elysian Park
Mother: Victoria Fox
Father: Bobby Gutierrez
Tuba: Brandon Davis
Bass: Ben Finley
Music by Veronika Krausas
Text by Guy Debord
Electronic soundtrack by Adam Borecki
As defined by theorist Guy Debord, “pyschogeography” refers to how a location’s geography affects an individual, psychologically, and emotionally. Practioners of the concept experience a location’s geography through the dérive, focused movement through a location, which theoretically is devoid or normality of routine and instead focuses on sub-conscious motivation, in order to determine the location’s effects.

This scene is based on the idea of a rite of passage, and that passage between secular or sacred spheres requires a ceremony or ritual. He also uses the metaphor for a passage as when a person changes rooms in a house. Rites of passage have three phases: separation, liminality (transition), and incorporation.

Texts are taken from Guy Debord’s On The Passage of a Few Persons Through a Rather Brief Period of Time (1959) and loosely based on the three stages of a rite of passage. The texts are read by the narrator in English while echoes of the original French text are sung.

–Veronika Krausas

Bobby Gutierrez as the father in Chapter 18 looks out the AirStream window at the \"car wash\"

“This scene had a pretty tortuous evolution into becoming the strange scene experienced in the performance. Veronika wanted to write the interlude as a musical car wash, an idea I loved. But easier said than done: an operational car wash would never give up all their business on weekends for the same car to pass through it again and again. I thought I found a solution when I passed a defunct car wash on 7th Street downtown…only to discover that the owner was currently in jail for using that location for a money laundering scheme. Veronika thought we should make it a virtual reality car wash, which was intriguing but way beyond our budget. But the idea of the virtual car wash stuck when we decided to fill the windows with the video of moving through a car wash.

“Based on the way the Green Route was shaping up geographically, we needed a stationary chapter in Elysian Park to connect Chapter 9 and Chapter 35. That’s where the idea of a parked camper came up. Suddenly the piece took on a domestic quality: it started to become about the roads as a home, how mobile living contributed to the dissolution of the traditional family unit. It became a kind of twisted genesis story for a new society born out of car culture. AirStreams exude that frontier spirit and optimism of California in the 1950s, a history still embedded in the landscapes we visited in Hopscotch. In this context, Guy Debord’s text speaks prophetically of the revolution of the 1960s.

Debord was one of the chief inspirations of Hopscotch. In 1958, he developed a concept he called the dérive, or “drift,” a technique of a quick passage through varied surroundings to study the urban environment and contemplate how it effects us psychologically. He coined the term “psychogeography”, which he defined as “the study of specific effects of the geographical environment, consciously organized or not on the emotions and behaviors of individuals.” The derive was meant to expose how “cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.” In many ways, I aspired for Hopscotch to be a 21st century derive for the city of Los Angeles.”

– Yuval Sharon

An early imagination of Hopscotch’s route system. Guy Deboard texts are reprinted with permission from the translator, Ken Knabb, from the Situationalist International Anthology (2006) and Guy Deboard’s Complete Cinematic Works (2003)