associates a lot of her work with athletics; for example, skiing and motorcycling, and has also expressed her interest in the circus and performance artists such as Chris Burden, Marina Abramović, and admires Trisha Brown. She wanted to gain a better understanding of the effects of movement on matter so she studied math, physics, and philosophy as Dean's Special Scholar at New York University. Streb explains that "'Pop-Action' is all about the popping of the muscles, training to utilize them over the movement of the skeleton." Custom-made trapezes, trusses, trampolines, and a flying machine give Streb a way to discover new ways for the body to move in space while being subjected to gravity. Moves consist of diving off metal scaffolding, also known as a "truss," landing level on a mat. The performers also can be found launching through the air in “Quick succession with timing so precise that they just miss occupying the same space at the same time.” Streb's work is extremely demanding and necessitates endurance, dexterity, great physical strength, and the ability to be daring. Streb focused progressively more on single actions, particularly falls and collisions. By 2010 Streb stopped performing these extreme actions herself, explaining that, “I stopped because that started to become the subject of my activity. I started to hear, Wow, you can still do that and you’re 48? It was a practical decision—three hours a day to keep in that shape?...I had been training for 30 years. It’s very boring to exercise. I stopped. I let it go, which was a good thing.” But says, “I still let extreme things happen to me.” In her recent years, productions have become less harsh and she has begun incorporating texts, videos, and projections of slides. Within her video collaborations, she incorporates camera angles that appear to evade gravity and make the dancers bound off and crash into the edges of the monitors. They also are often swung from cables and are seen leaping off platforms or hurling against padded walls or mattresses. The dancers who train under Elizabeth Streb are taught to follow movement's natural force to the edge of real danger. Collaborators on the videos include Mary Lucier, Nick Fortunato, and Michael Macilli. Communication between dancers includes verbal cues, and in place of music the dancers’ grunts and gasps are electronically recorded and amplified as well as the thuds of their landings and the