Images form a complex and dense rhythmic structure, stretching, smearing and distorting ‘real’ time. The dancer's gestures and bodies, poised and isolated, gradually become intertwined, indistinguishable and frenetic – turbulent, mutated fragments that form and reform.

A few frames of internal body image blast in as subliminal interventions or as momentary abstractions, leaving fleeting impressions of parallel structures – organisms, mutant animals, ghosts, mechanical insertions. 

Raw footage of improvised and choreographed performance by Australian Dance Theatre dancers is confronted with compositional techniques applied in the post-production stage. 

The image processing creates new traces of movement that appear as blips in transmission or digital ‘vibrations’ where the body and its image tune–in, momentarily, then become ‘unplugged’ leaving behind traces of skin–print as after–images. Ultimately the image remains recognisably human, but only just.

The score is specially commissioned music from Fennesz, whose own computer manipulation and processing of ‘analogue’ source sound echoes Czarnecki’s approach to the treatment of image, in turn, influencing the final edit of the piece.

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