A lot of people Olivia works with confess that they don’t really see individual people in their audience.
Even a newbie at public speaking knows they should make eye contact.But the term eye contact is rather vague. When considering where businesses should locate their data centers, risk of natural disaster, as well as the potential impact of associated damage, must be of prime consideration. Enterprise data center architecture is in the midst of the most dramatic change in decades. SML taught NHTSA compliant Master Radar Laser Instructor course to law enforcement agencies in Las Cruces, NM in March 2010.
SML To Serve Texas State University As Consultant-SML met with professorial faculty of Texas State University in March to participate in a longitudinal study on the effectiveness of a state-wide ban on hand held cell phone use in school zones. As Texas has made the use of cell phones in school zones a primary offense, officers can make a traffic stop for the offense. SML Launches Research Into Double Fines-During the quarter, SML has conducted research in work zones with and without Double Fine laws to determine if therei?? is a difference between work zone speeds with and without the notifications. SML Testifies For Corpus Christi, TX As An Expert Witness-At the invitation of the Prosecutora€™s Office of Corpus Christi, TX SML served the court as court recognized a€?expert witnessa€? in a January 2010 trial. Navajo Nation Law Enforcement Agency Invites SML To Assist In Controlling Speeds-February saw SML travel to Window Rock, NM to assist the Navajo Nation Police Agency in exploring new technologies in controlling speeds in what has become the deadliest highway in the i??nation, U.S. Illinois HB6083 Laser Gun Judicial Notice Bill Close To Reality-HB6083 filed on 11 March 2010 standardizes laser gun judicial notice state-wide.
SML Teaches DBC At North Richland Hills, TX Police Department-In February 2010, SML taught officers of the North Richland Hills Police Department, 120 sworn officers, the Distance i??Between Cars, DBC, feature of their new Laser Technology Inc. Annual Detector Test Date Finalized-SML has announced 25,26,27 June 2010 for the dates of its Annual Detector Test. SML Serves Ohio As Expert Witness-At the request of the Hamilton, Ohio Prosecutora€™s Office, SML testified as a court recognized expert witness in severali?? a€?judicial noticea€? trials during April 2010. Members of he Chicago Bar Association comprised of judges, defense lawyers, prosecutors, and officers from the Chicago Police Department attended the meeting in early April in downtown Chicago.
Public Roads To Publish SML Work Zone Speed Limit Research-Public Roads Magazine, NHTSA, has been forwarded SML Research Project: #SML10-286-Speed Limit Compliance In Deadly, Dangerous Work Zones. Results of the SML research ranged where only .03% of Texas drivers were obeying the work zone speed limit of 50 mph to 15% obeying the work zone speed limit of 60 mph in Arkansas. All new models of radar detectors werei?? evaluated to see if theiri?? performance matched their claims. SML Contracted To Teach NHTSA Standard Radar Laser Instruction At Navajo Nation-SML has been contracted by the Navajo Nation Police Agency to teach Master Radar Laser Instructor Curriculum to officers in Shiprock, New Mexico in late July 2010. SML taughtA  NHTSA compliant Master Radar Laser Instructor course to law enforcement agencies in Las Cruces, NM in March 2010.
A A A  As Texas has made the use of cell phones in school zones a primary offense, officers can make a traffic stop for the offense. SML Launches Research Into Double Fines-During the quarter, SML has conducted research in work zones with and without Double Fine laws to determine if there is a difference between work zone speeds with and without the notifications.A  This research compliments current SML research into compliance with interstate work zone speed limits began in 2009.
Navajo Nation Law Enforcement Agency Invites SML To Assist In Controlling Speeds-February saw SML travel to Window Rock, NM to assist the Navajo Nation Police Agency in exploring new technologies in controlling speeds in what has become the deadliest highway in the nation, U.S.
SML Teaches DBC At North Richland Hills, TX Police Department-In February 2010, SML taught officers of the North Richland Hills Police Department, 120 sworn officers, the Distance Between Cars, DBC, feature of their new Laser Technology Inc.
All new models of radar detectors were evaluated to see if their performance matched their claims.
SML Contracted To Teach NHTSA Standard Radar Laser Instruction At Navajo Nation-SML has been contracted by the Navajo Nation Police Agency to teach Master Radar Laser Instructor Curriculum to officers in Shiprock, New Mexico in late July 2010.A  Officers will follow dictates of the benchmark court decision of Honeycutt v. There was a retrospective of my single screen video dance work as part of the Rotation 03 Festival at the Kiasma Theatre, Helsinki, in association with Helsinki Museum of Contemporary Arts and Finnish National Gallery for Modern Art. This event recognized the achievement to date of a body of work and the evolution of a specific aesthetic and approach to making dance for the screen that has been internationally recognized.
My initial impulse to make video dance came when, on graduating from the Laban Centre, London in 1988 with a degree in Dance Theatre, I felt the urge to bring dance to as wide an audience as possible.
Fifteen years later, I remain as inspired and excited by video dance as an artistic medium. I am in no way disheartened by this outcome, for what has also happened over the past 15 years is that video dance has come into its own as an art form and there are now many opportunities beyond television for this kind of work to be funded and seen.
One of the benefits of having made most of my work independently is that I have been to a great extent free to explore very particular ideas, lines of enquiry and methods of working, in collaboration with many different choreographers and dancers. From a formal point of view, I found Lucinda Childsa€™ exploration of the effect of repetition on our perception of movement intriguing. On reading about Yvonne Rainera€™s work, particularly once she had moved from dance to film-making, I related very strongly to her suggestion that we should find alternative structures than simple narrative closure, in which everything in a story ties up and makes sense by the end. After Laban, I went to art-college in Dundee to undertake a post-graduate course in Electronic Imaging.
I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence. By the time I graduated from art-college, I had made my own connections between various artistic practises and had formed a clear idea of the kind of ideas that inspired me. The camera, and its relationship to the human body, is central to my approach to making video dance.
Whatever the idea for the work, my choices about how to use the camera are strongly influenced by my belief that at the heart of video dance is the expression of human emotion.
Through the use of close ups and different angles, the camera can take the viewer to places they could not usually reach.
In my experience, it is often the movement of the body parts outside the frame that creates interesting and active viewing.
How the camera moves in relation to the performers is another important aspect of filming dance. However, what I have also discovered is that the carefully choreographed camera can lose out on an important element of dance: the feeling of spontaneity, the energy of the moment, which can make watching someone dance live such an exhilarating experience. When I started out making video dance, I would storyboard everything I planned to film, designing exact shots which explored framing and camera movement in relation to the choreographed dance movement.
In order to redress this, and in an attempt to retain the integrity of the dancersa€™ performance, I started to explore a more fluid approach to making video dance. The idea of improvisation is that those working, in this case the dancers and camera operator, decide how they should move (or how they should film) in the moment. When developing a new video dance work, as the director, I set a series of improvisations with a€?rulesa€™ suggested by knowledge of the possible spatial and motional relationships between camera and dancers. Shooting on video helps this process immensely, as the performers, camera operator and director can look back at the material and together evaluate the effect of certain decisions and types of movement and how things could tried differently. In the context of making video dance, improvisation can be a misunderstood a€“ and scary a€“ word. Whilst it may be accepted that improvisation could be a valid tool for generating ideas and developing material, when it comes to filming material that will be used in the finished video dance, it is usually thought to be wiser to set and rehearse everything before committing to tape.
In a€?Pacea€™ (1996), dancer and choreographer Marisa Zanotti and I set out to explore ways of conveying energy and speed on screen. The energy and rawness of a€?Pacea€™ comes very close to what Marisa and I had envisaged and on this basis of this experience, I have continued to use improvisation in many of the video dance works that I have directed.
For example, in one sequence around two minutes into a€?Pacea€™, the camera moves with the dancer, following a triangular floor pattern through the studio. Beyond the new technology and the creative opportunities it offered, a€?Pacea€™ was also the first time that I worked with visual artist and editor Simon Fildes. Each of the twenty or so video dance works that I have directed have been very different in terms of their starting point, who I have been collaborating with and the context in which they were made. At some level, all explore a€?perceptiona€™ and the idea that our understanding and interpretation of an action, relationship or moment in time depends on our point of view and the information we are given. Around three or four years ago, I became particularly interested in developing this idea of how different levels and types of perception, both visual and aural, effect the way in which we understand a situation.
In the process of my research, I came across an English company, Touchdown Dance, who work with dancers with visual impairment in the Contact Improvisation form. In a€?Sense-8a€™, the challenge we set ourselves was to take the viewer in deeper and deeper into the performersa€™ experience. Perception is also a strong theme in a€?The Trutha€™, which takes as its starting point the widespread use of CCTV or surveillance images by the media and how these are exploited to develop speculative narratives around certain high profile events.
Together we - Kate, Karin, Simon & Katrina - came up with the concept for a€?The Trutha€™.
So we approached the choreographers a€“ Fin Walker (UK) and Paulo Ribeiro (Portugal) - to create the movement for us. So, although I did come into the studio as the choreographers were creating the movement and look at the movement though the lens, I did not start to make decisions about how the movement would be framed until the choreography was completed.
The third element of material that runs through a€?The Trutha€™ is the surveillance-style images, set on the concourse of a station. Just as the concept of the film is that the truth can look different depending on your point of view, so the camera and editing offer many different points of view on the same moments. Whilst sharing certain stylistic approaches and techniques with the video dance work, the documentaries a€?Adugnaa€™ and a€?Symphonya€™ differ significantly from the video dance work in terms of intention.


The challenge in making these films was to capture the essence of the incredible work being done by Royston, his colleagues and the people they work with. Another way in which the documentaries differ from the other works is that the choreography existed in its own right and was not created specially for the camera. My ambition is to find and communicate ideas that can only be expressed through this hybrid medium and using a style and syntax that is unique to video dance. Particularly a longer work like a€?The Trutha€™ demands us to allow ourselves to experience the emotional flow of the work, to look carefully and actively and to suspend our judgement. What I am more interested in is to take the viewer on an intense emotional journey, one that cannot necessarily be rationalised or explained away in words. I saw work by video artists like Bill Viola and Gary Hill, which seemed to me to also to take human movement as its subject and through it conveyed the very essence of human existence.A  A touring programme of German video art from the 1980a€™s particularly impressed me. How the camera moves in relation to the performers is another important aspect ofA  filming dance.
To buy the DVD Five Video Dances at A?25 including postage and packing you can use the PayPal secure server by clicking here. Hyperscale data centers have pioneered the software-defined data center (SDDC) on industry-standard hardware. The focus of the study is to determine if the ban has reduced accident i??and fatalities in school zones. When seat belt legislation was first passed it was viewed legally as a secondary offense meaning the officer could not make a traffic stop for the infraction. The Chicago Police Department presented a PowerPoint presentation of training and use of laser systems by the Department. The focus of the study is to determine if the ban has reduced accident and fatalities in school zones.A  TSU intends to use SMLa€™s long term study of cell phone use in school zones in Illinois, Colorado, and Texas completed in late 2009.
Both research projects will be combined for national publication in police and public safety publications.A  Analysis has been made in Mississippi, Alabama, and Colorado. The Annual Test will take place in El Paso on a test course SML has used for the past ten years. Both El Paso and Las Cruces enacted city-wide bans on hand held cell phone use while driving in early spring of 2010. Digital Ally has renamed the new entry Laser Ally.A  See Digital Allya€™s website for specifications and details about the new entry. Although I was keen to be a choreographer, I was reluctant to make work that, I felt then, would only be seen by other dance enthusiasts at one of the small, dedicated dance theatres in the big cities. These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.
What is unexpected is that, of the twenty or so video dance works that I have directed in the intervening decade and a half - and although I have directed many hours of broadcast documentary arts programmes - only one of the video dance works I have made has been commission by and seen on television. The money to make the majority of my video dance has come from both public and private commissions and the resulting works have been screened all over the world - at festivals and in cinemas, theatres and galleries. This article sets out to describe some aspects of this journey and I hope that it will provide an interesting and illuminating context for the five works a€“ three video dances and two dance documentaries a€“ that are being screened as part of the a€?Rotation 03a€™ festival in Helsinki. Whilst at Laban, I came across the work of the post-modern dance makers, for example, Lucinda Childs, Steve Paxton and Yvonne Rainer.
I saw a connection between Childs work and the use of repetition in the music of minimalist such as Steve Reich and Brian Eno, as well as in the dance music that I lost myself in on the dance floor at clubs at the weekend. To paraphrase Rainer, real life often does not have the comfort of closure and so maybe art should not be so tidy either? I wanted to make dance for the screen and I realised that, in order to do so, I would need to learn about video production.
These experiences where brought to bear on a series of different collaborations and creative environments. With the camera, I try to create an energy that involves the viewer in the movement, allowing them to become an active participant in the action, rather than simply a passive observer. When I look at movement through the lens, I try to do so as though I am involved in an interaction with the person or people in front of me. The lens can enter the dancera€™s kinesphere a€“ the personal space that moves with them as they dance a€“ framing the detail of the movement and allowing an intimacy that would be unattainable in a live performance context.
The framing I chose often focuses on a detail of movement, frustrating the audiences view of the a€?wholea€™, whilst at the same time creating dynamic and tension within the shot and forcing the viewersa€™ imagination to come into play. The choreographed camera, moving through space in relationship to the dancers, alters our perception of the dance, rendering it three-dimensional and creating a fluid and lively viewing experience. This dilemma, and the search to find a solution, has also significantly informed my approach to making video dance.
However, over time, I began to feel that what was gained in carefully contrived shots was being lost by a certain lack of fluidity and immediacy in the dancersa€™ performance. Over a number of works, and in collaboration with different dancers and choreographers, I began to use structured improvisation as a creative tool. They base this decision on their experience of what they see and feel in the moment, informed to a greater or lesser extent by certain ideas, rules, restrictions or a€?scoresa€™.
Through rehearsal and repetition, a vocabulary of framing and movement is built up, forming a palette of video dance material that is then a€?choreographeda€™ in the edit suite. In the process, the dancer and camera really do become dancing partners and a sense of a€?livenessa€™ is captured on tape. However, in my experience, there is a qualitative difference between the performance of video dance material that has been set exactly and that material which retains elements of improvisation. We were determined to make a video dance work a€“ in this case for broadcast on BBC television a€“ that would have the audience sitting on the edge of their seat.
Over a couple of weeks in the studio, Marisa and I developed a series of structured improvisations which were rehearsed and refined until we knew that, come the shooting days, they would generate the type of images we wanted for our video dance.
It is through the juxtaposition of different shots and sounds that the work assumes its emotional impact, as characters are revealed through fragments of action and the viewer is drawn through a series of events and states.
Firstly, there is editing for the continuity of the live choreography, where the timing and structure of a work originally made for the stage is more or less maintained.
However, it was not until a€?Pacea€™, which was the first time I had the opportunity to use a non-linear digital editing system, that I was really able to push this approach to a new extreme.
In the edit, we initially a€?recreateda€™ this journey by montage-ing shots from different takes of that particular improvisation.
Each time this sequence is repeated, a number of shots are dropped, until in the end it is made up of only three shots. I very quickly realised that Simona€™s input went way beyond being able to operate the editing software. However, there are certain themes that have remained constant throughout almost all of the works. They also all incorporate the fact that the interplay between vision and sound has a great impact on our perception of what is happening on the screen. I also started to think of making a video dance work which would communicate whether you could see it, hear it or see and hear it.
Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge.
We hear the dancers describe, to each other and the viewer, what they are seeing, as they move and as they observe. It explores the idea that the same situation can give rise to completely different interpretations, depending on point of view, perspective and other related information. Usually, I will work with a closely with choreographer to evolve a new idea for a video dance. Related to the idea of different interpretations of the same information that is at the core of a€?The Trutha€™, we then decided that it would add interest and intrigue to work with two choreographers, whose vocabularies and styles differ greatly, thereby giving two different versions of events in the choreography.
We asked them to respond to the concept of a€?trutha€™, but we left them in the dark as regards almost every other aspect of the production a€“ location, costume, sound, filming style and soundtrack.
Usually I spend a lot of time in the studio with the dancers and choreographer, developing the camera framing and movement as the dancersa€™ movement evolves. Here we see the four characters, appearing to relate a€“ or not to relate a€“ to each other in very different ways. They challenge us to look again at the same moment a€“ or movement a€“ from a different perspective and to experience how this changes the impact of that moment and the perceived relationship between the characters.
They were made as awareness and fund-raising films for Dance United, a UK-based dance development company, headed up by the visionary teacher and choreographer Royston Maldoom. We stove to create two films that contain the factual information that needs to be imparted and whilst at the same time communicate the power and potential of dance as a means of expression and as a tool for social change. However, the approach we took to filming the choreography was to re-structure it entirely for the screen. What we are making is not a dance, nor is it a video of a dance, or even for that matter, simply a video. Because it is screen-based work a€“ and therefore by default associated with television a€“ there is the danger that the expectation is that everything should be obvious straight away and on one viewing and for there to be a sense of narrative closure.
These offered a refreshing alternative to the broadcasts of full length ballets a€?livea€™ from the stage at Covent Garden Opera House that then made up the majority of dance on UK television.A  Now experienced film and television directors and choreographers were being brought together to experiment with movement, cameras and editing and the results were broadcast to audiences that, although perhaps small by prime-time television standards, were inconceivable in a live theatre context. Here, highly textural abstract images, unidentifiable, yet obviously derived from images of human action, were edited using repetition, the sound and image interacting and building up rhythms which I found both compelling and very moving.


Here, my two main areas of interesta€“ improvisation as a creative tool and visual and aural perception a€“ seemed to converge.A  Together with Touchdowna€™s director Katy Dymoke, I developed an idea which would eventually become a€?Sense-8a€™, a video dance commissioned by the Arts Council of England as part of their Capture scheme. SMLa€™s role was to describe to the members the history of lasera€™s use by law enforcement, present a summary of legal cases from around the country on laser use by law enforcement, and a description of the scientific principles involved in laser assessment of speeds. Las Cruces recently passed a ban on all hand held cell phone use in the city of 100,000.A  El Paso, Tx, some 45 miles away passed a similar ban by a city council vote of 5-3.
It further intends to use SMLa€™s research of compliance with the new law related to enforcement of the legislation. Such a listing is necessary to compile reliable data on cell phone use before and after causation. SML intends to expand the sample size to include New Mexico, Texas, and Arizona in the final analysis. By attaching speed displays to patrol units via a standard 2a€? trailer hitch, many objections of speed displays are eliminated.A  The use of radar trailers is cumbersome and requires a spot to set them up. The TruCam also features a built-in GPS module along with video capability.A  Other attempts have been made to mate a digital camera with laser guns. Officers will also be required to estimates speeds and distances of vehicles in the establishment of a valid visual tracking history. There are now many individual artists and collaborative teams who have made several video dance works and who, over time, have developed their own unique approaches to making dance for the screen. Mainly through the books of Sally Banes, and a very few video documentation of performances, I learnt about their revolutionary approaches to making dance in New York in the a€?sixties and a€?seventies. On visits to the south of Spain, I saw Moorish art that used repetition to create beauty and invoke contemplation.
What I had not anticipated was that I would come across a whole different area of art a€“ video art a€“ which, in my view, shared much in common with the post-modern dance practises which had so inspired me.
Whilst the initial starting point for each of the video dance works I have directed may have be different, the work shares common concerns and approaches. In the need to ensure that a pre-planned camera movement could happen or a certain light and framing came into play, fixed points in space needed to be reached by the dancers. The various sections of the finished work are based on a series of improvisations which explore different relationships between camera and dancer, and the effect of various lenses, framing choices and ways of moving camera in relation to a variety of explorations of movement ideas by the dancer. The significance of a moment, or movement, is explored as time is slowed down, stretched, speeded up, repeated or stopped by the editing. Secondly, there is the a€?montagea€™ approach, in which shots are taken from different spatial and temporal contexts and are re-ordered, breaking down completely the sequence of the live action and creating a spatial logic and rhythm unique to the video dance work. By using the possibilities offered by this new media, I began to really explore the effect on the perception of time and movement of repeated and altered patterns of montage. When you watch the sequence in the finished video dance, in your minda€™s eye the truncated sequence still covers the same ground as it did when it was made up of the full 12 shots and the performer seems to compete the phrase in a dramatically shorted space of time. He understood the ideas that Marisa and I had been exploring and was able to take them onto new levels through his understanding of editing. This is something that is often done when a dancer with visual impairment or who cannot see at all, is part of a group of Contact Improvisers. In the case of a€?The Trutha€™, however, it was two dancers, Kate Gowar and Karin Fisher-Potisk, the Artistic Directors of the dancer-run company Ricochet Dance Productions, who approached myself and Simon to make a new video dance work. It was very exciting for us all that these two talented choreographers embraced the challenged of this very a€?hands offa€™ collaboration with such imagination, understanding and commitment.
However, this time it felt important that the choreography should follow its own line of development and be created according to the choreographersa€™ and the dancersa€™ understanding of the characters relationships and interactions.
As video dance progresses, our perception of the relationships between these four characters and their relationship to each other is continually altered by the accumulation of information that we glean through the different scenes and interactions a€“ both a€?choreographeda€™ and a€?reala€™ a€“ that we see the characters involved in.
Again, the intention was to capture the essence of the choreographed work and the impact of the dancersa€™ performance.
In all the video dance that I have directed, my collaborators and I have tried to make work that, on one level, demands analysis and thought, and on the other, can be enjoyed on an impressionistic or experiential level.
As a young dance-maker, I saw many of these short a€?video dancea€™ works and was inspired and excited by the potential I could see in this new, hybrid medium.
SML also presented to the members Illinois use and legislative approval of laser based photo systems used in Illinois work zones per the legislature approved law 625 ILCS 7-Automated Traffic Control Systems in Highway Construction and Maintenance Zones. Radar Signals replaces the newsletter Radar Waves.A  Radar Waves is updated every three months. With laser guns, SML recommended to the court a Daily Laser Verification Log be kept by all officers using laser guns for speed enforcement.A  This log contains daily checks of the laser gun before it is put into speed enforcement use and includes a Known Distance Test and Vertical and Horizontal Sight Alignment test. However, these attempts have been bulky and heavy.A  The TruCam gives police agencies evidence of speeding inA  a compact package easily used by one officer.
Moreover, whilst when I started out, I was amongst the first of the so-called a€?hybrida€™ video dance artists, having trained in both dance and the moving image, now in the UK and elsewhere, many undergraduate dance courses offer video dance as an area of both practical and academic study.
I was intrigued by the post-modernsa€™ perception of movement as interesting in itself and not necessarily representing anything other than itself and by their presentation of so-called a€?pedestrian movementa€™ as dance. The result often seemed to be that the dancersa€™ movement, and therefore performance, was impeded. For those coming from a narrative film background, where the convention is to work from a pre-written script, improvisation can seem an alien concept, although similar practises have been used by many well-known film-makers.
In other cases, such as a€?Pacea€™ and a€?Sense-8a€™, all the material that was used in the final edit was generated through structured improvisation.
The narratives that emerge tend to be subtle and intriguing, suggested rather than explained, impressionistic rather than literal. The effect is that the speed of the solo dancera€™s movement seems to increase dramatically as the space closes in. At other times, we catch a€?birda€™s eyea€™ glimpses of the scene from a surveillance-style camera position.
It highlights the fact that we all a€?seea€™ things differently and how our descriptions of what we are seeing and hearing a€“ what we pick up on - reveal a great deal about our perception of our environment. I hoped this would give the dancersa€™ performance an integrity of its own and help to produce a tension between their action and how the viewer then experiences this through the way the camera and the editing interprets and alters the action.
SML called for a standardized training program with strong recommendations on re-certification of tuning forks, radar and laser guns, and officers.
Police laser guns are distance measuring devices first patented for police speed enforcement use by Laser Technologies Inc., LTI, in 1989.
All of these assessed work zones had different work zone speed limits ranging from 50 mph-60 mph.
A unique feature of the TruCam is DBC or Distance Between Cars.A  This feature automatically monitors a lead vehicle and trailing vehicle to report if the trailing vehicle is traveling too close to the lead vehicle resulting in a citation.
A third criteria will be the officers presenting to the class a thirty minute presentation for evaluation. This maturing and widening out of video dance means that it has reached the stage where the discussion of the nature of the art form and the support of its continued development can, and must, include very different ways of working, styles of delivery and artistic intentions. I was also struck by their break away from the conventional theatre setting for dance performances. Dance makers are probably more familiar with the idea of working with improvisation, both as a means of generating material which will then be choreographed and as performance material in its own right. The drama of the chase is then relieved by the gradual introduction of new material, with a very different texture, shape and inherent rhythm. As the video dance progresses, the camera is drawn closer into the action, until as the viewer you feel as though you too are part of the Contact Improvisation jam. In the edit for a€?Sense-8a€™, we brought all these elements together, adding layers of sound to the montaged visual material to create one fluid, multi-perspective experience of the dance. The first police laser was sold in 1991.A  Laser for laser enforcement has been with us longer than the internet. Females were twice as likely to be on their phones in both groups compared to male drivers. All work zones were on interstate highways with speed limits ranging from 70 mph to 60 mph before and after the work zone speed limit.
The first working laser was introduced by Theodore Maiman in 1960 and was immediately put into use by NASA measuring the distance from the earth to the moon and determining the speed of rotation of both celestial bodies.A  As a result of SMLa€™s testimony, all defendants were found guilty and the court issued judicial notice on all laser and radar speed enforcement system used by the departments. SML reviewed research from various state DOTs and federal agencies all agreeing drivers drive the speed they feel a€?reasonable and prudenta€? regardless of the posted speed limit. SML is working with several manufacturers to have the display move showing approaching vehicle speeds under patent applied for provisions. SML did notice in both El Paso and Las Cruces a greater number of drivers using hands free devices in making calls while driving.A  This research is to be nationally published and forwarded to Texas State University for review. A total sample size of 4,413 vehicles were assessed for their speed in work zones with a Kustom Signals Inc. ProLaser III tied to a laptop containing Kustoma€™s LaserStat program which automatically accumulates individual work zone speed limit compliance percentages. Research conducted by the Texas Transportation Institute at Texas A & M University in their published article Effect Of The Work Zone Double Fine Law In Texas found such restrictions as doubling speeding fines and signs had no effect on the average speed of drivers.



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