Two video cameras placed directly above and in front of the performers extract gestural and topographical information used for the manipulation of sound and projected video.

The first section explores the time-honoured activity of painting the body, but is it a body preparing for war or seduction? Whichever battle is engaged is prefaced by this ritual. The second section of the piece takes as inspiration the rituals of fish and other animals who display their colours to communicate emotions, physical states and territorial possession. Part three further explores the movement vocabulary established in the first sections in almost every permutation possible for the three dancers while they progressively change all or parts of their costuming. The colour changes in the costuming are reflected in the sound by changes in instrumentation, texture and mapping procedures.

Finally, as the work lights come up, the dancers bodies are revealed for what they really are and the system is destabilised so that chance lighting artefacts in the environment are just as likely to affect the colour-tracking system as the flesh-tones and rehearsal clothes of the dancers are. The system is 'Dis-Patched', which refers also to the programming environment of 'patching' that the system is created from.