Around the turn of the millennium reviewers noted that the marriage of dance and technology had produced a few significant works which startled audiences and shifted attention to what we now call digital performance. While the growth of computer-based art is an accepted phenomenon in globalized technological cultures, the genre of digital performance is still adolescent and thus in need of historical and conceptual underpinnings. 1 The more sustained lineage of dance on screen and multimedia performances which incorporate projections of screen images offers a background for understanding the compatibility between live dance and the moving image, yet the incursion of software into choreographic working process is a different matter.