A key formal development during my MFA resulted from a meeting with Professor Daniel Jolliffe in which he suggested slowing the movie rate so the viewer would be able to see what I saw on the frames – the lush textures, the gestural marks, and the sensuous forms. Slowing them down was a paradigm shift. It redirected the focus of the animation from trying to read it as story to perceiving visual images changing over time. Suddenly the very short, looping animations operated by way of the compelling nature of the images themselves to generate sensation and feeling. For example, the needle puncturing a resistant material and the chair doing a cartwheel generated for me a visceral feeling and a haptic sensation.