{"id":1925,"date":"2025-04-10T10:25:56","date_gmt":"2025-04-10T08:25:56","guid":{"rendered":"https:\/\/curiousculture.eu\/?p=1925"},"modified":"2025-12-10T18:11:05","modified_gmt":"2025-12-10T17:11:05","slug":"ai-as-a-partner-in-the-performing-arts","status":"publish","type":"post","link":"https:\/\/to-mo.org\/en\/ai-as-a-partner-in-the-performing-arts\/","title":{"rendered":"AI as a partner in the performing arts"},"content":{"rendered":"\n

<\/p>\n\n

Marijke: \u201cAI has already been used extensively in recent years. Great examples include projects like Pulse, a collaboration between Innovation:Lab and the Dutch National Ballet, where dancers generate AI visuals through motion capture. Or Urland, which had an entire script written by ChatGPT. Of course, they still make tweaks and layer programming over it, ensuring it remains a true collaboration. In these kinds of examples, AI is primarily used as a software tool. In that sense, it\u2019s not very different from other digital techniques, like projection software. <\/p>\n\n

In general, AI applications in theatre often remain stuck at the prototype phase. We have to ask ourselves: is AI a means or an end here? We don\u2019t want to be an R&D tool for big tech companies, simply showcasing what their software can do. Instead, we need to critically assess what AI actually adds.\u201d <\/p>\n\n

\u201cWe have to ask ourselves: is AI a means or an end?\u201d<\/h2>\n\n

Linda: \u201cAt the same time, as a cultural sector, we have the opportunity to show what technology can do and how AI can truly enhance the audience\u2019s experience, as seen with Urland and Innovation:Lab. We can explore possibilities while also questioning ethical and sustainability aspects. I believe the arts, especially the performing arts, play a crucial role in this.\u201d<\/p>\n\n

Marijke: \u201cYes, you\u2019re touching on something really interesting here. Ideally, we\u2019d have AI systems designed specifically for our sector\u2014the performing arts and the music industry. And hopefully, those models would be trained on datasets that we know, that we\u2019ve compiled ourselves, running on local Dutch servers. <\/p>\n\n

\"Marijke<\/figure>\n\n

<\/p>\n\n

The problem right now is that we\u2019re working with AI systems trained on datasets we don\u2019t know, which generate enormous carbon footprints and have major business models behind them. That\u2019s not what we, as artists, want to reflect in our work. These models also come with massive biases. For example, if you use AI to generate images based on dancers\u2019 movements, it often produces an overly sexualized female body with large breasts. And I look at that and think: why? It\u2019s because the model wasn\u2019t built by the people performing the work\u2014it\u2019s based on 30 years of internet history. And 30 years of internet history is sexist, racist, and created by a very homogenous group.\u201d <\/p>\n\n

\u201cThen there\u2019s the question: should AI use always be disclosed? It depends. As long as most major AI systems rely on this, I, as a viewer, want to know if they\u2019ve been used\u2014because it\u2019s not above board. But recently, I saw a concert where the musician used an AI model specifically developed for their project\u2014one that ran locally, consumed little energy, and wasn\u2019t tied to a big business model. In that case, I didn\u2019t care whether AI was used or not. Knowing about it only distracted me. I don\u2019t want to attend a concert and have the band explain which bass pedals they\u2019re using before I can enjoy the music. I just want to feel something. That\u2019s when AI truly becomes a tool, an extension of our artistic expression.\u201d <\/p>\n\n

\u201cThe goal is art that moves us\u201d<\/h2>\n\n

This touches on the philosophical question: what is art? Can true art ever be created by AI? <\/p>\n\n

Linda: \u201cWhen used well, AI is a means, not an end in itself. Our goal is art that moves us. If AI fails to achieve that goal, we, as humans, won\u2019t appreciate it. Right now, I don\u2019t think AI generates that kind of output. That doesn\u2019t mean that when AI is used in an artistic process, it can never give that kind of output, but I do believe that, at this moment, AI still needs a human factor to create truly soulful art. So, to put it bluntly: art has a soul, and AI, in my view, does not. I can immediately tell when someone on LinkedIn has written a blog post using AI\u2014it\u2019s amusing the first time, but not beyond that. AI is not a replacement for humans. It can, however, enhance our best qualities.\u201d <\/p>\n\n

Marijke adds: \u201cAI doesn\u2019t take over the creative process. If you believe AI can fully replace artistic creation, you\u2019re oversimplifying how a work of art emerges from a network of communication, collaboration, and human input. AI can accelerate connections, but it cannot replace them.\u201d <\/p>\n\n

Linda and Marijke see untapped potential in using AI behind the scenes, particularly in process optimization. \u201cThe creative process is unpredictable and chaotic,\u201d says Marijke. \u201cAI can help by generating notes, summarizing meetings, or visualizing ideas. A designer could use it to quickly sketch out a stage design, making it easier to communicate their vision to the scenographer. There\u2019s often this fear: \u2018If you start doing this yourself without formal training, won\u2019t you make a professional obsolete?\u2019 But that\u2019s nonsense. You\u2019ll still need a scenographer. AI can simply serve as a bridge, a shared language that facilitates communication. That\u2019s where AI holds even greater potential.\u201d <\/p>\n\n

\u201cYou shouldn\u2019t think of AI as a shortcut\u201d<\/h2>\n\n

For cultural organisations looking to integrate AI, a strategic approach is essential, Linda advises. \u201cIt\u2019s important to focus. If you try to tackle AI, streaming, creative coding and what not all at once, it becomes unmanageable. <\/p>\n\n

Choose what the tech world calls a North Star\u2014a long-term goal\u2014and break it down into an immediate goal (for the next three months) and an intermediate goal (for one or two years from now). If your North Star is \u2018staying digitally relevant in my field,\u2019 an intermediate goal might be \u2018integrating AI into our organisation in a way that adds real value.\u2019 Your immediate goal could be \u2018reading blogs on AI, attending a workshop, and gathering relevant examples.\u2019 <\/p>\n\n

Do your research and set aside time as a team to discuss AI, possibly with a facilitator. Consider what you definitely don\u2019t want AI to do, and what you find exciting and worthwhile. That way, you can determine your first step.\u201d <\/p>\n\n

Beyond how artists use AI, there\u2019s also the question of how policymakers, funding bodies, and the government engage with it. A major challenge in the cultural sector is the fragmentation of knowledge, Linda explains. \u201cDue to the subsidy system, organisations must constantly prove themselves and remain unique. But innovation happens when we build on each other\u2019s knowledge.\u201d <\/p>\n\n

Linda: \u201cGrant applications typically require a linear plan\u2014one that outlines everything from start to finish. But if you want to use AI in your practice, whether for artistic output or internal workflows, you need to work empirically, as we say in the agile world. You set a goal, implement an idea, evaluate whether it worked, and adjust as needed. The rigid system of predefining outcomes to ensure success doesn\u2019t work when implementing innovation because you can\u2019t foresee its full impact\u2014you need room to pivot.\u201d<\/p>\n\n

\u201cThe subsidy system requires organisations to be unique. But innovation happens when we build on each other\u2019s knowledge”<\/h2>\n\n

Marijke therefore advocates for an infrastructure where artists can share AI experiences. \u201cWithout knowledge-sharing, everyone keeps reinventing the wheel. Listen to the expertise within your organisation – people may already be using AI in their professional or personal lives without realizing it. AI adoption can\u2019t be a top-down process; it requires collaboration and knowledge exchange. That\u2019s why it\u2019s crucial for makers to come together. Unlike some management layers, makers don\u2019t just dwell on questions, they make things concrete with use cases: \u2018I used this model in this way and tweaked it like this.\u2019 There\u2019s no platform for that yet, and I miss it.\u201d <\/p>\n\n

AI offers significant possibilities in the performing arts, but it\u2019s not a solution for everything. Its value isn\u2019t just in what happens on stage but in how it supports the creative process. Artists shouldn\u2019t see AI as an end in itself but as a tool that enhances efficiency and innovation. At the same time, ethical considerations around topics like bias and sustainability must be part of the conversation. <\/p>\n\n

\u201cYou shouldn\u2019t see AI as a shortcut,\u201d says Marijke. \u201cIt\u2019s just another tool, like any other software we use in the creative process. The key difference is how we use it: does it enhance our work, or do we mindlessly accept its outputs? That nuance is crucial.\u201d Linda adds: \u201cWe can\u2019t embrace AI without being critical\u2014but it would be a waste to ignore it out of fear. The key is making conscious choices and experimenting with focus.\u201d <\/p>\n\n

A thoughtful approach to AI in the performing arts requires critical thinking, knowledge-sharing, and strategic planning. By making informed decisions and collaborating, AI can strengthen the arts sector without losing the human touch\u2026 <\/p>\n\n

Image by Dorien Hein<\/em><\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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