This paper suggests that the manipulations of animality in the animation Beyond, in both content and form, lead to the productive possibility of a hybrid animal/architectural drawing that makes explicit the inherent mobility of traditional drawing. The paper follows the narrative line of Morimoto's Beyond because, in the accumulating patterns of the story, a porosity between categories (animal/human/drawing/architecture) becomes apparent in the movement of the text and its inhabitants.

In her essay "Without End, no, State of Drawingness, no, rather: The Executioner's taking off" in Stigmata: Escaping Texts, Hélène Cixous considers movement in drawing in relationship to the 'living of life' and also finds in selected drawings 'intimations of mortality'. She stresses the difficulty of drawing in terms of a distance suggesting that it is "always beyond my strength"¹. She writes of drawing, both engaged and critical, that looks back at itself, not unlike the animation Beyond.

In the paper, as a form of play that operates with side-by-side orientation (instead of the more usual situation in which theory leads and structures drawing) selected writings from Hélène Cixous' menagerie stories, seen as peripheral colouration and transformative companions, are set in conjunction with the narrative of the animation.