Limitations and self limitations, those impediments born of the physical or mental status of the individual, are explored in this visual creation. A female, the dancer Li Lingxi, draws to a crouching position, a moment held in suspension before she stands upright, simultaneously walking further from the visual fore of the digital plane, where she recoils, pivots and strides towards the observer. A culmination in a leap straight above with an arm outreached to its full is experienced visually, her descent to the invisible ground once again sweeps her into a coil…suspension of movement and momentary relapse in a cycle of this self in visual time. Choreography and compositions on the stage seek to explore parameters of physical movement, the art of movement, expressed in an open environment where the subjective interpretation of the dancer is welcomed. Here, an altogether different dimension is explored as the dancer, documented by video and relayed through the LED medium, is reduced to a 2-dimensional abstract symbol. Physical liberation and freedom of movement encounters the necessary cage of a non-spatial tier in her representation to the viewer. The scene which engenders itself is one of distance and proximity towards the linear extension of the eye: retreating from and then returning to contest the observer without variation or horizontal deviations of movement. Mind Myself seemingly relegates the sphere of movement to the possible exemption of the actual body: the mind's innate choreography dictates the limitations as much as the suggestions of an interactive sequence to be registered in a digital replication of an artist at work. Creative volition is therefore challenged in this work which contradicts itself as an experiment in form betrays the limitations of artistic direction (external: Liu Dao) and the principal antagonist (internal: Li Lingxi) in this experimental collaboration. [Rajath Suri]