Cunningham wrote of this dance that it gave him "the feeling of switching channels on the TV ... the action varies from slow formal sections to rapid broken-up sequences where it is difficult to see all the complexity." Cunningham used the DanceForms computer software to develop the choreography for the dance, which unfolds in a number of sections: solos, duets, trios, and ensemble dances. The décor for BIPED was a collaborative exploration of the possibilities of the animation technology of motion capture. The digital artists Paul Kaiser and Shelley Eshkar, working with Cunningham, captured 70 choreographed phrases performed by two dancers. The phrases were transposed into animated digital images and abstract patterns (vertical and horizontal lines, dots, clusters) and, during performance, were projected on to a scrim at the front of the stage, behind which the live dancers may be seen. Gavin Bryars composed the same-titled score for BIPED for an ensemble comprised of electric guitar, cello, violin, percussion (amplified stones and glass materials), and an optional part for double bass & synthesizer performed by Bryars himself. The ensemble is accompanied by a backing track of electronics. Suzanne Gallo's costumes were constructed from a light-reflecting metallic fabric. At one point in the dance the men, additionally clothed in outfits of a transparent fabric, bring tops in the same fabric for the women. Aaron Copp designed the lighting to divide the stage floor into squares lit in an apparently random sequence, as well as curtained booths at the back of the stage that permitted the dancers to appear and disappear. Filmmaker and longtime Cunningham collaborator Charles Atlas filmed the dance in 2000 at La Filature Scène Nationale, Mulhouse, France.