As the volume of video shot increases, we turn to software to automate some of the editing process. This creates a new dynamic between production and post-production, or actor and editor. This is a process that can employ predictive analytics (to guess what kind of automated film to make for a given user). How is performance altered when it has to communicate to human and non-human alike? The central force that the ritual of the iterative frame gives form is the omniscient participant observer. This force increasingly edits our experience of content (filtering articles, playlists). As long as it remains disembodied, it causes anxiety. The 'iterative frame' describes a space in which predictive analytics can be inscribed on the body and thus, narrated.

Machine-learning is increasingly implicated in both the production and consumption of video, and as this technology spreads to consumers it will continue to model our understanding of the social world. AI has the potential to detect and sequence certain events, like birthdays and weddings, as they generally occur within a limited set of identifiable gestures. My research considers video production as a microcosm of a larger shift toward social representations dependent on predictive, automated processes, and aims to highlight the performative, narrative, and social implications of these increasingly new forms of technology.

Modes of video post-production increasingly project themselves forward in time. Performances must be database ready. What does method acting looking like in this context? I focus on moving image production as a microcosm of larger cultural shifts brought on by automation. Because of how a video shoot compresses time it enables a specific kind of reflexivity for the people involved. 

http://www.leuphana.de/en/research-centers/cdc/digital-cultures-research-lab/members/fellows/robert-rapoport.html
https://leuphana.academia.edu/RobertRapoport

"States of trance or possession have always been a test for filmmaking—they are the moment in which culture is at once most embodied and yet least accessible to representation.* This is a moment when the edit must fall silent because it cannot enter the mind of the possessed. This however has not stopped it from trying. This is an attempt to assimilate the grammar of ritual to montage. 

                                      --Catherine Russell. Experimental Ethnography. Durham, NC: Duke University Press.1999: 218