Abstract
The Eshkol-Wachman (EW) Movement Notation was originally devised for the composition and recording of dance [1]. I have written in Leonardo and elsewhere about its use in the visual arts [2-4]. In this latter application of the notation, shapes are treated as if they were paths swept out by lines or chains of lines. The notation is used to describe the generation, growth, decay and also the motion of shapes. It serves as a record of the exploration of sometimes complex phenomena, allowing for the control of their many variables and of their analysis. It is a conceptual tool and a means of communication. A complete notation score is a set of directives for the execution of a 2-dimensional [4] or potentially a 3dimensional visual artwork in a stipulated medium. A composition resides in the score independently of any one exemplification (artifact) and, in principle, is more permanent. The characteristics of this notation, with its precise definitions and quantitative basis, suggest potential common ground with ideas that underlie developments in 20th-century art such as Serial Art, Systemic Art, Constructivism and Kinetic Art. These kinds of art often
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