In the 1980s choreographers began using computers as an aid to making work. For some it was simply an economic and efficient way to sort out their movement ideas before going into the studio but for others, such as Merce Cunningham, who pioneered the use of the Life Forms software programme, it became a radically creative tool. Manipulating dance figures on the computer screen allowed Cunningham to explore new possibilities of movement and co-ordination, and resulted in his works acquiring an even denser complexity of choreographic construction. More recent developments include Wayne McGregor's work with cognitive scientists, developing a soft-ware programme capable of making its own choreographic decisions. This would be unlikely ever to match the sophistication of human choreographers; the immediate goal would be to create a tool for jolting the choreographer's creative processes out of existing patterns and habits. Choreographers have also developed interactive dance programs that have allowed their audience to play an active role, via computer installations or home computers, in determining the action on screen.