To expand upon the embodied dimensions of our tools today, we need to reconsider the machine as the site of intervention. Motion data and performance envelopes surrounding our tools extend beyond the projective reenactment of the machine and offer us a means to measure the derivative of what it takes to produce a drawing, a surface, or a construction. This thesis dislocates the spline from its formal geometry associated with slipstream construction and recasts it as a way to record the tumble-type inscriptions surrounding an object’s performance — a tactic to mutually mark and negotiate the activity between humans and machines.