The title of chapter 8, "Configuration Spaces," just sounds like a large topic, and it is.  There is a quite startling amount discussed in this chapter.  There were several, very impressive examples provided in the chapter of pendulums, camp locations, and stage lighting.  Mainly my points deal primarily with the overall topic of configuration spaces.  
	First, I was curious about the occupations that are involved with configuration spaces.  While understand that we all, at some time or other in our lives, use our own sense of configuration spaces to assess some promblem, what type of jobs are their that do this for a living?  Is this strictly the realm of applied mathematicians or has it become more expansive than simply strict mathematics?  It seems clear from the variety of examples of configuration spaces in the chapter that it has become a much more broader topic than just merely math.
	Next, I wanted to discuss for a moment the computer models.  You mentioned in the chapter about the amazing similarities that enabled your computer models to help Kocak and Bisshopp.  What kind of computer technology made all of that possible and what lies ahead in the future of computer technology for use with configuration spaces.
	Finally, I have a question about the dance show.  You said in class that you would have done some things differently if you had had any more say in the matter.  What would you have done differently?  I was thinking perhaps putting them behind the wall instead of on it.  By using the shadows of the dancers, the second dimension could be applied in a slightly easier way.  Also, this would enable more freedom behind the wall (by wall, I mean simply a white sheet or such that would enable the dancers' shadows to be seen easily by the audience).