A Radical System Art production, presented by the Chutzpah Festival. At the Norman and Annette Rothstein Theatre on Saturday, February 18. Continues until February 20

It seems fitting that a dance work called Telemetry, one so inspired by radio frequencies and echolocation, should feel like complex choreographic calibration.

Creator Shay Kuebler bounces the score's skittery electrobeats off tap dancer Danny Nielsen, who reacts with his own clicking maelstrom, which spurs ripples of movement through a corps of dancers who in turn seem to stimulate a new wave of rhythms from Nielsen.

The effect is like constantly looping kinetic feedback, that feeling heightened by the fact that Nielsen circles around the six contemporary dancers on a round track that's ringed by sound-activated light stands. The troupe heaves, rolls, dives, and toprocks, its explosive movement often staggered and fractured like spreading sound waves. Sometimes one of Nielsen's smashing feet can send bodies recoiling like they've received a 400-volt jolt, or it can bring the entire, sweat-soaked corps to a halt.

Kuebler, a genius at fusing forms like hip-hop, martial arts, swing, and contemporary, has reached an extremely high level of play here, sculpting the breathlessly fast movement to the nth degree, but never losing the raw, loose feel that his street-smart style demands.

Wound like a tight spring that explodes over and over again in release, Kuebler is often his own best interpreter, particularly in the speed-of-sound, toprock-amped footwork that echoes Nielsen's frenzied beats. But he's matched by a crack team of dancers whose individual "chutzpah" is encouraged, from the pure energy of Lexi Vajda to the smooth hip-hop-inflected acrobatics of Tyler Layton-Olson to the laid-back, lanky extensions of Nicholas Lydiate to the muscular grace of Maxine Chadburn and the polished contemporary edge of Hayden Fong. These are, without a doubt, exciting dancers to watch, and when they solo across the stage, there's just a touch of the intensity of a battle. Nielsen, of course, is top-flight, hoofing with an innate new-school sense of overlapping, sampling rhythms that simply blows the mind. Don't even try to figure out how they're counting this stuff.

The piece's arc is less clear, sailing through sections of laws-of-motion-pushing swing partnering into chaotically convulsing masses of movement, with blurring forms running at full speed on and off the stage. At times, the driving rhythms and fragmenting movement are so relentless it's difficult to take it all in. The idea is that bodies are the vessels for countless memories and experiences here, but the pace is so breathless, Telemetry also feels like a visceral metaphor for the information overload we are all struggling with in these wired times.

It all pulls together in a climax of such all-out intensity that you'll be left gape-mouthed, the dancers pushing themselves to whole new heights of speed and athleticism just when you think they should be collapsing. They finally find some kind of unison.

A residency at the Chutzpah Festival has helped Kuebler expand Telemetry into a full evening from a shorter, less developed piece last year, and the piece should travel well. Kuebler is operating at some higher wavelength in Telemetry, and you'll leave the show buzzing.