ABSTRACT
The history of abstract animation and light performance points towards an aesthetic of temporal abstraction which digital computer graphics can ideally explore. Computer graphics has leapt forward to embrace three-dimensional texture mapped imagery, but stepped over the broad aesthetic terrain of two-dimensional interactive dynamic abstraction. Several experiments in using pure human movement as the interface to dynamic abstract systems are presented with the goal of creating phenomenological interfaces that engage the unconscious mind directly. These applications are visual instruments that allow immediate understanding of a dynamic system, but point towards infinite challenges in their mastery as any good artistic medium. The lessons from these experiments can be applied to computer animation, human-computer interface and the aesthetics of time-varying light.