How do choreographic dance strategies develop in times of new media and technology? How do the latter use what the dancing body is “saying” and what are they bringing to the theoretical discourse around contemporary dance? Dancing has now become an important part of the new media art, which is based on dance movements or, more broadly, on the phenomenon of motion in general, technologically “picking” it, coding and then processing it into other media. New qualities, forms and artistic meanings that are created in this way reflect on the status of dance and choreography, in particular on the fact that the audience takes over the role of a dancer and even the role of a choreographer. In the discussed hybrid works by William Forsythe from the Choreographic Objects series, the traditionally understood dance/choreographic subject is often invisible, and the dance begins to be considered in terms of transmediality.