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Specific elements within the Story Bridge precinct became a source for movement study, initiating choreographic ideas that would later be worked upon in the studio. Kinaesthetic translation of micro-body in macro-environment became maps into two and three-dimensional space. The action and impetus of framing choreographic enquiry for both camera and environment has been a substantial challenge, with rare moments of satisfaction. For example the scene ‘Edge of the Abyss’ is concerned with contrasts in scale and weight. This is translated through the delicate movement of the dancer whose shape mimics the projected image of the Bridge’s steel structure while simultaneously referencing the movement of birds that inhabit that structure. This contrast is a shift in perception where the choreography blurs the distinction between rational and metaphysical imagery. Empathy between the body and environment, between emotive and dynamic movement sequences are body maps juxtaposed against the hard and soft environmental elements. Rebecca has developed her dance vocabulary for Bridge Song through the principal of structured improvisation, which is echoed in the delivery of live music and live video manipulation.