"In Principles of Uncertainty, which is to be a model itself for large-scale multi-media performance, fifty drummers in two circles (one inside the other) beat in unison and there emerged fifteen white-clad dancers, accelerated like atoms, racing -- colliding, moving, reversing, glancing -- for fifteen long and glorious minutes. Moving video was projected on the exposed wall of the building to the west (the vacant site was the modernist Lithographic Building) forming a dynamic and self-acknowledging temporal mural. The mural was three videos, the first and most powerfully visual was a swirling circle of the site itself: the buildings across the street, the blank wall, the bridge. Around and around it went. To the north were the dancers projected in muted stance, practicing modern and traditional dance, as antiques. At the base of the wall was an undulating bar graph, capturing the particle acceleration and collision, and a clock, which enhanced the power of temporality. At eleven minutes thirty seconds the Speedline train passed over head and motion extended in all directions."