Shelly Eshkar. Since 1997 Eshkar and longtime collaborator Paul Kaiser have been creating museum and stage works with performers such as Merce Cunningham. These include Biped (1999) a 45-minute stage work combining live and digital performers; Loops (2001) an digital artwork based on the motion of Cunningham's fingers, and Lifelike (2001) their second digital work for Merce's stage. In 1998, Eshkar, Kaiser, and choreographer Bill T. Jones premiered Ghostcatching, a digital installation some called 'virtual dance.' In 2001 Eshkar and Kaiser began collaborating with digital artist and artificial intelligence researcher Marc Downie from the M.I.T. Media Lab. With Merce Cunningham they created Loops, an algorithmically generated digital artwork based on the motion of Cunningham's fingers. The team is now collaborating with Bill T. Jones and Trisha brown in two works of stage performance where dance motions are captured in real-time to interact with software-driven imagery. |
 Shelly Eshkar |
