In the last three decades, the term Dance and Technology became a thing, a niche where choreographers strove to enhance and marry kinetic movement with digital, animation, film and video. Brilliant failures and successes ensued, depending on how the collaborators gelled with each other. One of the great triumphs was “BIPED,” (1999) where Merce Cunningham partnered with Paul Kaiser and Shelley Eshkar's dazzling projected animation imagery and the murky, sonar-like thuds of Gavin Bryars' score. The dancers' shimmering tourmaline costumes furthered the underwater impression and the choreography swam, receding, wavery, elusive.
Amy Hall Garner's film New Heights