This professionally composed video is interesting as a distinct contrast to the other three videos, amateur and professional alike: though drawing from the same mocap movement data, the avatar consists entirely of clothing-like material rather than an integrated body. The dance is thus performed not by a body, but rather by the absence of a body, with the plastic- and canvas-like material emphasizing both the dance movements and the movement of the material. The clothing appears in the overall form of a traditional Odissi dance costume, with a [sari, loose pants, and bangles on the wrists], but with material far distinct from the typical brightly colored silks and jewels of traditional Odissi ornaments. We are curious to ask the animators and fashion designers more about their creative choices in crafting this representation of the data, but at present [after our conversation] we see this video as offering both representational advantages and disadvantages. On the one hand, this video is a high-quality production born of a conversation between several highly creative individuals: a dancer, an animator, and a fashion designer, all of whom have stakes in the final product and shape it in some way. This form also shows the fluid, connected movements of Odissi—the movements between each movement, that connect the poses as a continues flow even when the dancing figure is frozen for a moment [talk more w/Kaustavi and fine-tune]. On the other hand, this video has the disadvantages of erasing the dancing body altogether—especially challenging to work with when considering the history of gendered, racialized bodies that have traditionally been erased/silenced [check]. The video also draws attention to the ornaments surrounding Odissi dance rather than the movements of the dancing body in and of themselves for their own sake, which was one thing that Kaustavi was trying to avoid in focusing on the mocap data to begin with—to try to separate out the “pure” motion as a distinct unit of analysis [check] in response to an over-emphasis on affective/visual channels. This video, like the other four, thus serves as a model both of creative potential and limitations—neither better nor worse and each with their own unique affordances.