ABSTRACT
This introduction presents an overview of key concepts discussed in the subsequent chapters of this book. The book focuses largely on the designer, emphasising the means employed to analyse and communicate the experience of movement. But, of course, any discussion of movement after the event requires some means of representation, which might include texts about walking and travel, written choreography or reels of film. The creative use of tools for representation always requires an understanding of the medium, of its limitations and of the relation between the medium and the thing represented. The distance between the representation and its object is particularly clear in the case of movement and the experience of movement. The perceived equivalence between the model and the thing modelled is particularly true of contemporary digital representation and implies tacit assumptions about the power and instrumentality of projective drawing. The computer has become a great translator and producer of representation.
