On 22 June 2017, the 16-year-old Junaid Khan was stabbed to death on a Mathura-bound train by a mob that allegedly mocked his skullcap and called him a beef-eater. Responding to the growing number of cases of mob lynching triggered by hate-driven communal politics in India, this work studies the actions that constitute prayer. In examining four movements — bowing, kneeling, lowering the forehead to the floor, and bringing one's palms together — 'the extremities of a surface are lines' poses questions of deference and resistance. How does the body perform its beliefs? What is the physicality of deference? What notions of space and time are embedded in the act of praying? Can deference, when performed outside its usual contexts, and repeated ceaselessly, transform into an act of resistance? How do shape, topography, orientation and horizontality inform our understanding as performers of belief? The soundscape features Junaid’s mother Saira’s testimony about her son’s death, looped and transformed into a haunting call against hate and oppression. In doing so, it references the politics of Steve Reich's 'Come Out' (1966), which loops four seconds of testimony from a wrongfully detained man in Harlem, as a potent reminder of the injustices the civil rights movement sought to address. This work stemmed out of engagements with the #NotInMyName campaign. It was briefly titled Bodies of Dissent and then presented as a work-in-progress with the title 'Pray' as part of 'Long Nights of Resistance'. The work was subsequently called 'Geometries of Faith', and then 'Geometries of Belief'. It is now titled 'the extremities of a surface are lines', in resonance with the Euclidean sense of geometry its choreographic treatment has invoked. The changing titles have had much to do with the subject of faith and belief. They cannot be defined with absolute conviction and can only ever be performed as an embodied proposition, subject to the conditions of a given time and space.

A sonic theatre "Gong ex Machina" is created based on the sound composition. The event will also highlight and develop the presence of sounds as its anchor. “Gong ex Machina”, is a word play from a technical term in ancient Greece in the 5th century: Deus ex Machina, which more or less means God in or out of the machine. The term refers to the technique to present actors playing as gods on the stage of a Greek tragedy using equipment like cranes, moving up and down, or a trap door, to allow the actor coming from below the stage. Hence, Gong ex Machina, a gong in or out of the machine. The concept of the performance evolves from a reflection following an extensive research by Morinaga on the gong culture throughout South East Asian countries. Gong ex Machina also stems from the history of an encounter between music or sound cultures and the modern technology of sound recorder and player: phonograph or gramophone. Similar to other encounters between tradition and modernity—happened against the background of the industrial revolution and European colonialism in the 17th to 20th century—the encounter of gong culture with gramophone is a story of a complicated acquaintance. Apart from stories of adaptation and appropriation are also stories of distortion and manipulation. It was an encounter that changed the way we experience and understand music, in particular, or sounds in general.