sections or sequences that were rehearsed so that they could be put in any order and done at any time. Although the use of chance operations was considered an abrogation of artistic responsibility, Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from the repertory, while those that did were celebrated as serendipitous discoveries. Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences. In the use of chance procedures, Cunningham abandoned the more traditional structured form of dance. He did not believe that dance needs a beginning, middle or end. Examples in works In Sixteen Dances for Soloist and Company of Three (1951), Cunningham used Indeterminacy for the first time in this piece; the changing element for each show was the sequence of the sections. In Field Dances (1963), Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they could do as they pleased. This included exiting and entering at will, executing it in any order and as many times as desired. In Story (1963), Cunningham experimented with the variables of costumes and sets. Before each performance dancers chose an outfit from a pile of second-hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set for every show with items he found in the theatre. Suite by Chance (1953) was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements. Canfield (1969) was created by using playing cards. Each movement was assigned a playing card and chosen randomly. Use of technology Cunningham's lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program LifeForms, a software made by Zella Wolofsky, Tom Calvert, and Thecla Schiphorst. Cunningham explored motion capture technology with digital