artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open-source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video Westbeth (1974) in collaboration with filmmaker Charles Atlas The computer program later became DanceForms and uses avatars of dancers with color-coded limbs as a platform for choreography. In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast Mondays with Merce. Perspective The use of stage space also changed in Cunningham's choreography. The "front and centre" spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's studio, for instance, audiences are seated in an L-shaped configuration). The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity. Merce Cunningham saw randomness and arbitrariness as positive qualities because they exist in real life. Most of Cunningham's choreographic process works to break the boundaries of "putting on a show," the removal of centre stage is an example of this—without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary... or not. Legacy Plan The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his company once he was no longer able to lead it, and preserving his oeuvre. The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the