In Fractions I, four video monitors share the screen space with the dancers. Throughout the performance, these monitors show close-ups of the performers in the dance space, as well as images of those moving outside of the space. The images on the monitors share the same "tense" as the dancers who dance around them. Practically, this division of the video-dance and its image allowed filmmaker Charles Atlas to incorporate more dancers into a single take. Yet the fragmentation also reads conceptually. Fractions I tests the boundaries of perception through video technology and in turn demonstrates the inadequacy of any one angle or structure. With this multiplicity comes disorientation. Playfully, the video switches between black and white and color. At times the camera zooms all the way in on a monitor, allowing it to fill the screen and become the main viewpoint. The viewer moves from image to image, ultimately finding it difficult to create a "total" image of the dance, despite the inundation of perspectives and angles towards this end. Like Variations V, Fractions I suggests tension between what is seen and what is left unseen, and in turn, between different parts and their whole.