There are many layers in the architectural or spatial void and peak performance of freediving that hold such creative and transformative bodily potential. French freediving champion Guillaume Néry can descend to 125 meters and return with a single breath. Combining aesthetics, performance, film and exploration, Néry practices his discipline as an art form, and it has become his way of life. Professionals report that peak performance in static apnea while "not breathing underwater" is achieved when fewer avoidance tactics are used to mitigate or escape threshold moments, such as when the body screams for air due to a buildup of carbon dioxide in the blood (Pellezarri and Tovaglieri 2004). In mindfulness, mindfulness, and focused concentration, the underwater artist can increase discomfort tolerance and reduce anxiety, thereby extending static apnea performance capabilities (Housley 2007). In contrast, Taoism of 'breathing underwater', the emptiness of the mind is open to the subconscious to examine oneself in the reflection of nature as an impartial observer. “Unhindered movement, involving the whole self, inside and out, draws every part of me, visible and invisible, towards the light… this is what it is like to breathe under water, and above water too.” (Emerson 1993: 3). For highly conditioned freediving practitioners like Néry and Pellezarri, the liminal aquatic performance of inhaling versus exhaling, to breathe or not to breathe, is symptomatically on par in psychophysical and psycho-ecological terms. Because Aquabatics is not weightlessness: and it differs from aero and aerial performance. The embodied performance experience of Aquabatics is specific to the activities and perceptions of the body in the aquatic domain... middle of paper... Interactive Entertainment Conference: Matters of Life and Death 24-30.Privette, Gayle (1983)" Peak experience, peak performance, and flow: A comparative analysis of positive human experiences". In Journal of Personality and Social Psychology, 45(6): 1361--1368. Pullen, Kirsten (2010) “More than a Siren: Ether Williams, Performance and the Body,” In Women's Studies: An inter-disciplinary Journal 39 (8): 877--900. Ross, Helen E. (1990) 'Orientation and Movement in Divers', In The Perception and Control of Self Motion, edited by R. Warren and A. H. Wertheim, Hillsdale: Lawrence Erlbaum Associates. 463--486.Sarah Jane Pell Online (2014) http://www.sarahjanepell.com accessed 1 June 2014.Sydnor, Synthia (1998) “A History of Synchronized Swimming.” Journal of Sport History, 25: 252--267.White, Frank (1998) The overview effect: space exploration and human evolution. AIAA.