This study aims to define design parameters for body based temporal designs. Through 30 sketches on the hand, the body of work allows for patterns to emerge and be defined. A selection of the individual experiments are discussed by placing the examples together two and two or three and three with the purpose to define, problematize or motivate a particular finding. Two methodological parameters are defined. One related to arrangement and the other to attachment. 

 1.1 Arrangement – same material
1.2 Arrangement – relation of points
​1.3 Arrangement – fitted form
2. Abstraction
3. Different functions of the body 
4. Same movement different expressions
5. Same line different movements and expressions  
6.1 Material movement - texture
6.2 Material movement - texture
6.3 Material movement - texture
6.4 Material movement - form
7.1 Extensions 
7.2 Extensions ​
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1.1 Arrangement – same material

These examples show that whatever materials used the arrangement, how it is put on the body is the parameter that mainly determines how the end result is categorised. 
The three examples are based on similar technique. Different line based materials extend the body and reform an elastic tube. The more abstracted the form is, the more tendency to have less versatile movement possibilities, the body is at risk of being over simplified till the point it does not matter what is underneath, it is primary a material form. Finer units/textures tend to transform the body as movement and form, allowing the body to move with less movement restrictions but still allowing versatile and unexpected movants and forms to occur. Examples based on movement principles of the body tend to introduce new stance and positioning of the body a new clear movement language of form for the body to explore, sill they can be at risk of being to simplified. The more units the more possibility of movements of the body, the more possibility for the body to effect and change the form but less clear distortion.

​1.2 Arrangement – relation of points

These examples are also based on similar material but differ in arrangement. Though both examples are based on a selected relation of points, the yellow and pink straws are systematically arranged according to the twisting of the hand, the beige barbeque sticks are arranged randomly on the hand. Therefore the first expresses a function while the other is creating a texture and is distorting the body since it not arranged accordingly to the body. The first is creating a new stance and a clear movement language, it suggests an understanding of a particular movement. The scale of the material affects the distortion present in the texture category, if it would have been smaller it would allow more of the body form to transcend, therefor, both these examples have the possibility to distort from and movements but it isn’t necessary used this way.

​1.3 Arrangement – fitted form

In the examples, material is fitted on the body, meaning that all parts of the hand affect the material expression. The material movement is dominating both expressions. The material of the red foam form, is providing more resistance and is arranged in larger breaking points, not according to the joints but accordingly to the form, the movements of the hand transcend less, the hand in itself becomes secondary to the material form and thus its role becomes to manipulate the form. The rubber bands, allow more of the hand movements transcends and is directly interpreted in the material. It is build up by a repetition of small units. In both examples the hand is in dialogue with the tactile material, in the read foam by restricting and the rubber band enhancing fast and jerky movements. The material qualities affect the categorisation but the arrangement of the material determents the categorization

​2. Abstraction

These examples are both based on movement functions of the hand. While the purple circles are abstracting the joints of the hand into 3 levels, the cardboard sheet, is abstracting the bending of fingers and of thumb through diagonal and horizontal cuts. The cardboard is over simplifying the form into a geometric 2d form. The form and cuts that are distorting the folding of the hand rather than articulating it. The degree of abstraction and distortion of the lines puts the example in the form category even if it is based on the body. The sheet also show how an over abstracted movement in the end becomes in the same sense over simplified as movement qualities. It becomes less versatile and therefor a less interesting tool for movement expressions. The purple circles have more movement possibilities due to the fact that it is based on the 3 levels of the body.

​3. Different functions of the body 

There are several different functions of the body to design based on, all of them providing equally true expressions. The white sticks are expressing the angularity that the joints preform while the yellow and pink straws are expressing the twisting of the joints. Both of the examples are equally true interpretations. Both of them, as most of the designs based on movement prinsiples, primary encourage the movement of the function expressed and there for act slightly limiting in terms of movement qualities, still they create a new stance and individual movement language
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​4. Same movement different expressions

The expression of one movement can drastically change depending on what material is used and how the material is arranged. Above, the same movement is performed, the simple bending of the metacarpophalangeal joint, the simplest trigger for change. By being put in three different material arrangements the expression of this movement changes. The pink ball is designed to express the movement function while the cut paper is a texture arranged on the body on points below and above the joint to make use if the movement, and the balloon is an external form responding to the movement of the joint. Since the white paper is only placed on a specific relation and the material is so strong so it will only let through the simple open and closing of the form. It is arranged slightly different from the other examples of texture, an arrangement more similar to the one of form or function.

​5. Same line different movements and expressions  

In the examples above the material is arranged on the same line of the body in two different materials and forms. The outline of the hand is spatially extended by the use of materials. The form and arrangement of the textile further encourages different aspects of the movement preformed on this line. The blue felt, mainly explores the shifting of directionality of the fingers while the white foam explores the open close, as this movements are those who visually and tactilely are giving the most response to the hand. The examples display the possibility of varying expressions resulting from the same points of the body and how this in the end will inform different types of movement patterns.

 ​6.1 Material movement - texture

In the design examples above the movement quality is highly influential to the movement the body will perform. The material is tactility choreographing the movements that is performed. The rubber band has a direct response to the movement preformed, encouraging movements that are mainly fast, asymmetrical and jerky while the texture of the plastic paipre has more of a resistance creating slower, more controlled and smaller movements.

 6.2 Material movement - texture

The example of the umbrellas represents a texture that primary informs movements through the visually while the black fringes informs primary from the tactile response. While the umbrellas mainly informs a visual reforming, the fringes is in tactile dialog with the material in every movement preformed. Since the fringes are fast and fluid it encouraged movements that are fast and jumpy. The fringes provides a slight eco of the movements while has a is direct response.

 6.3 Material movement - texture

In these examples, both of the materials are highly affected by gravity. The units are systematically arranged in both examples, even if example the copper clippers lacs texture of on the top layer. The two different materials provide different responses through different weights and stiffness for the body to react to. The information to the hand is primary tactile. Both the materials provide a tactile echo to the movements that informs the different tempo and quality of movement preformed.

6.4 Material movement - form

In the examples above the primary design aspect and choreographic information for the body comes from the form, how material is
arranged as a structure in itself. The circular form is encouraging horizontal movements of the fingers to manipulate this form, while the read foam encourages vertical movements due to the form and breaking points making this movement simpler to preform.

7.1 Extensions ​ 

Several of the forms extend the movement into spatial form. The umbrellas are arranged randomly on the hand, since random points are spatially extended this enables a transformation the movement of the hand through the material as a filter. In the fringes, points of the hand is extended equally far outside the body but since material is not rigid the extension of points changes in response to gravity. Both of these examples are categorized as texture due to amount of and repetition of units. The umberellas uses the change in relation of points while the fringes uses fitted form on body since all parts of the hand affects the expression. One could assume that the fringes for this reason would give a more accurate expression of the hand movement (functions of the hand movement) but since the material is dominant both these examples are equally distorted.

7.2 Extensions 

The extended points of the examples with the white sticks are systematically extended according to a specific function, even if the new spatial points are distant and having another behavior than the hand they clearly express an idea of the hands movements. The umbrellas on the other had are arranged randomly on the hand, since random points are spatially extended this enables a transforming of the movements of the hand. The hand, the. source of movement, is more or less visible in example first two examples while hidden in the third which further contributes to the mystification of the form