In the arts, qualitative usage of the center of attention (CA) has long been successfully employed by visual artists. For dance, a center of attention was defined by Kasia Williams in a paper at the 2012 Bridges conference as a means for mathematically studying how choreographers and dancers tend to create and manipulate the CA in dance works. It is quantitatively calculated by an interpreter of video frames assigning weights to the dancers based on the choreographer’s intent as applied to dancer configurations and locations on stage as the performance proceeds. Using Excel and Mathematica, the authors have been exploring methods of calculating and displaying the CA as a trajectory along with statistical and other quantifiers from analyses of a variety of dance performances. The hope is that the center of attention might emerge as a new useful tool in understanding, classifying, and improving audience enjoyment. Once quantified, there is the possibility that other dance parameters may also be calculated and provide a means for comparing dances. We will present our latest results and suggest ways how these ideas might be adopted beyond dance performances. These might include classroom activities and perhaps related attention-producing technologies dominated by configurations changing in space and time.