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I think AI is going to change everything,” San Francisco Ballet Artistic Director Tamara Rojo told me earlier this year. “We just don’t know how.” Artificial intelligence’s influence on the creative industries can already be seen everywhere in film, television and music, but dance relies heavily on live bodies performing in front of an audience. As a format, it appears to be somewhat isolated. However, this week, choreographers Ao Nakamura and Esteban Lecoq, collectively known as AΦEis launching Lilith.Aeon, what is billed as the world’s first AI-driven dance production. The performer, Lilith, is an AI co-created with Mr. Nakamura and Mr. Lecoq. “She” appears in an LED cube, which the audience moves around, and their movements trigger Lilith’s dance.

Nakamura and Lecoq argue that they are interested in enhancing storytelling, rather than pursuing cutting-edge technology for its own sake. Working as dancers with the theater company Punchdrunk opened their eyes to the idea of immersive experiences, which led to virtual reality (VR), augmented reality (AR), and now AI. Their question is always, “How can we make this technology happen?” But it’s not like robots are going to take over the world.

Lilith.Aeon’s story is inspired by transhumanism (using technology to evolve beyond human limitations) and began as a script written by an AI bot. Nakamura and Lecoq provided all of their research to AI, including images, audiobooks, and discussions. “And we were able to interact with the AI, collaborate with it, and co-create the work together.” The two created a “dictionary-like” step that Lilith was trained on; The AI continued to generate new “words” of its own. They were excited when Lilith did something they never expected, but the choreography is still tailored to their aesthetic. “It’s not random,” Lecoq says. “I’m not interested in looking at things like screensavers.”

You can’t talk about AI in dance without talking about Wayne McGregor. Always at the forefront when it comes to technology, I first started researching AI 20 years ago. McGregor developed it in collaboration with Google. Somais a choreographic tool trained on his 25-year archive of work that can analyze thousands of hours of video and derive real-time suggestions, just as dancers improvise in the studio. He used AISOMA to generate a new version of his 2017 work autobiography It varies from performance to performance. His latest project, which opens next year, is on another earthdeveloped with Professor Geoffrey Shaw in Hong Kong, uses a 360-degree screen with sensing technology to allow viewers to build their own experiences.

choreographer alexander whitley We are also developing ways to use AI to integrate audiences into our work. The VR version of The Rite of Spring works on using audience movements as triggers for avatars trained on Whitley’s database of choreography. This technology allows amateur spectators to make their movements more artistic, and even allows them to arrange their movements to the music, like a dance version of Autotune.

Technology is developing rapidly. A type of motion capture that was once the province of Hollywood studios is now accessible through an app on your phone (try it) Move.ai), much of the progress is being driven by the gaming industry. However, there are some pitfalls that are worth looking into. Video game performers, including motion capture actors, impressive In the US, due to concerns about being replaced by AI (similar to the actors’ strike in 2023). Dancers are already being recorded by companies that build motion banks (“We’ve done about a million projects that require motion capture, like someone spinning on their head,” McGregor says). And the issue of rights and royalties when using dancers’ movements (and expertise) to train AI is a big one. McGregor said outright acquisitions were common in motion capture deals in the past. “We didn’t understand how the technology would be applied in the future.” He is currently working with Arts Council England on intellectual property (IP), motion data and “ethical AI”. I would like to take action. If done well, this could become a new source of income for dancers. “Coding choreo makes coin,” quotes Jonzi D from a hip-hop show. frayedfeaturing AI-generated dancing avatars.

But what if you want to create coins for others? Dancing is an ever-changing art form, passed down through dance floors, studios, and now social media, and where ideas originate. It can be difficult to know or prove what happened. You can copyright a dance piece, but you can’t copyright a step, as dancers who tried to sue the makers of the video game Fortnite discovered. Files can be copyrighted. Nigerian choreographer Kudus Onyikeku uses AI to recognize and classify movements to build a dance databank and protect intellectual property, especially of black artists, which has often been exploited in the past. We are conducting research.

Artists who are serious about AI are partnering with big companies like Nvidia, Amazon, and Dell. They get technology, and in return companies get ideas, accolades, and importantly, data. Are they selling their souls or just pragmatism? Potentially, it affects both directions. “We don’t want to be an adopter of technology,” McGregor says. “You want to be part of the conversation from the beginning and be the voice. If you want to stay ahead of the curve, otherwise you’ll just be servicing the technology.” Often developing tools Commercial funding is the only way to do so, and some tools have the potential to democratize dance and demystify it. Whitley is working on software that can be used in education, allowing students with no dance knowledge to create their own choreography on screen.

“I think humans and AI can do great things together,” says Jonzi D. But he also notices that most of the AI-generated content he sees has a certain similar look. “It comes down to how creatively you can use it.” Lecoq agrees that if everything is trained on the same content, everything will look the same. Art will undermine itself. “It would be lazy not to push the boundaries further,” he says. AI is not a shortcut when developing technology as we go along, as AΦE does. “It’s a long cut. It’s a very difficult and lonely process.”

Rojo thinks of several useful applications for AI in dance. For example, algorithms that can solve the headache of recasting a ballet when someone is injured can calculate who is available, who knows the role, etc. in seconds. Less useful, she says, “is if the composers were changed, the set and lighting designers were changed,” and the choreography patterns were created by artificial intelligence. “And it’s not outside the realm of possibility.”

However, computer intrusion into creativity is nothing new. “Computers are the future of dance,’’ said the choreographer. Merce Cunningham Back in 1995, he had already been working on the LifeForms program for six years, manipulating avatars on screen and transmitting the results to dancers. The intention was to shed the dancers’ natural habit of one movement instinctively leading to another and find something new, which choreographers have always tried.

So is that good or bad for the industry? “I try to avoid the binary of technology as either a savior or a destroyer,” Whitley says. There will inevitably be disruptive effects on the industry, “but there are also some really exciting possibilities that come with it.” Not all dancers will lose their jobs. “I’m not worried about turnover at all,” McGregor says. For him, it’s about using technology to better understand the complexities of the human body. “And we are far from building a version that somehow replicates the brilliance of the human body. Human virtuosity and ingenuity are what we are most often associated with.”

Watching dance is also about getting to know the limits of the human body and seeing it reach its limits. There’s no point in having an avatar that can do anything. Mr McGregor said: “There is no danger in the digital world.” But even if there is AI intervention in the choreography, “when performed by living, breathing humans, it becomes meaningful and tangible.” says Whitley. “Certainly, live performance cannot replace digital experiences,” Nakamura says. She’s not interested in seeing real people replicated on screen (“What do you mean?”), but with Lilith.Aeon, she wants to create something that couldn’t exist otherwise. I’m thinking. But despite the fact that AΦE is pioneering the latest in artificial intelligence, Lecoq claims that they are not very interested in technology. “The best technology that I like is the washing machine and the microwave.”