Source material, improvisational expressive human motion

Re-imaging source data: Curves for both the left and right hands are generated then used as rails in constructing the surface--a direct representation of the space enclosed by the hands over the corse of the motion

Examining the curve: contour lines demonstrate the primacy of time in forming the surface; left and right hand curves are connected based on simultaneous position (rather than geometric distillation)

Analysis through sequential exaggeration: New surfaces created through the extension of hands (and now shoulder and feet) surfaces based on extension of contours. This algorithm applied sequentially produces non-linear rates of exaggeration

Derivation and Integration: With each separate animation-based investigation, aspects of the original dance (which is, by nature, animate) are derived to a static state, then integrated (that is grown based on self-informing geometries) back into a similar state. This process of presenting, viewing and framing the anylitic process in the same time-based format of the source material promotes clarity through complexity and wholeness through variation.

Fleeting simultaneous sections are the result of the treatment of traced geometry as animation controls. The resulting condition is dynamically self-referential.

In this later experiment, the traced motion in turn becomes the tracer. Dynamic frame is projected to correspond with built frame to establish variable perceptions of image and space.

a digital projector is calibrated to align animation to space