Choreographic Investigations
CREATIVE ENQUIRY:
Through a series of choreographic investigations, explore how I might co- design hybrid worlds utilising digital media to animate performative environments, to inform Lauren Tucker's practice- led research, to explore The notion of digital freedom.
'What does DIGITAL Freedom mean to you?'
A self- initiated series of choreographic investigations created to analyse, understand and depict how the digital world is affecting our lives, as an evolving creative enquiry built in research led prototyping, to enhance my practice led research with time to explore, question & test, to re-imagine ‘hybrid’ online/ offline experiences as creative outputs.
In the choreographic investigations, I have been able to:
-work with a range of digital technologies and AI as collaborator, to co-create an ambitious, multi-faceted
work, working alongside others in the process.
I have explored my choreographic identity.
I spent a lot of time playing with tech and I could spend more time dancing with tech.
Some of the play were light touch- getting to know the tech, other labs allowed me to explore how I might use the tech to support choreographic tasks.
I have been able to prototype various phygital ideas. As a child in learning environments I was encouraged not to fidget, and now I want to allow children a space to freely phygit.
Used AI to learn the art of storytelling, to transform narratives into hybrid online/ offline
performance spaces.
This space highlights how I might take my work forwards in future creative processes and the following MA creative processes.
-Experiment and evidence the processes & methods to take an idea & develop it into an iteration of a creative and digital placemaking project, with an ambition to develop the project after my MA is complete.
This space online is a curated space to creatively document the process, self-evaluating at each stage, recording the critical analysis of reviewing & reflecting on the experience, collecting reflective feedback from peers/ audiences.
I still have a desire to explore MOCAP and create digital exports for a phygital train leading to a performance experience. I believe I am well positioned to do this.
Reclaiming Freedom is the title of this web page inspired by Elisa Macauley's input to chat GPT- AI.
A self- initiated series of choreographic investigations created to analyse, understand and depict how the digital world is affecting our lives, as an evolving creative enquiry built in research led prototyping, to enhance my practice led research with time to explore, question & test, to re-imagine ‘hybrid’ online/ offline experiences as creative outputs.
In the choreographic investigations, I have been able to:
-work with a range of digital technologies and AI as collaborator, to co-create an ambitious, multi-faceted
work, working alongside others in the process.
I have explored my choreographic identity.
I spent a lot of time playing with tech and I could spend more time dancing with tech.
Some of the play were light touch- getting to know the tech, other labs allowed me to explore how I might use the tech to support choreographic tasks.
I have been able to prototype various phygital ideas. As a child in learning environments I was encouraged not to fidget, and now I want to allow children a space to freely phygit.
Used AI to learn the art of storytelling, to transform narratives into hybrid online/ offline
performance spaces.
This space highlights how I might take my work forwards in future creative processes and the following MA creative processes.
-Experiment and evidence the processes & methods to take an idea & develop it into an iteration of a creative and digital placemaking project, with an ambition to develop the project after my MA is complete.
This space online is a curated space to creatively document the process, self-evaluating at each stage, recording the critical analysis of reviewing & reflecting on the experience, collecting reflective feedback from peers/ audiences.
I still have a desire to explore MOCAP and create digital exports for a phygital train leading to a performance experience. I believe I am well positioned to do this.
Reclaiming Freedom is the title of this web page inspired by Elisa Macauley's input to chat GPT- AI.
[Input] Artificial Intelligence and Sentient Dancer- generated by Deep Dream Generator
See some examples below. I have been interested in children and young people's rights and freedoms in the digital age for a number of years.
Alexa, Take Me Back To Reality
RECLAIMING FREEDOM ONLINE GALLERY
Nothing is secret in the Information Age Image Created by AI CHAT GPT and Typorama
CREATIVE ENQUIRY: DIGITAL AND CREATIVE LABORATORIES TO EXPLORE HOW WE CAN BUILD IMMERSIVE WORLDS...
DEAR LAUREN,
PLAY WITH THE PROBLEM
Don't try to solve it.
Best wishes,
Choreographic Investigations
Inspired by a trip to London:
Avatar Design Ideas using Dalle 2
Poem about grounding
Oh, the earth beneath my feet,
So alive, so strong, so sweet!
With each step, a connection true,
Grounding me, making me anew.
As I walk barefoot upon the land,
I feel the magic in the sand.
The rhythm of the earth's heartbeat,
Beats in time with my own, so sweet.
My toes sink deep into the soil,
A sense of calmness starts to uncoil.
My worries, fears, and troubles cease,
And all that's left is purest peace.
With each step, I feel renewed,
My spirit lifted, my heart imbued,
With nature's beauty, love, and grace,
A gentle smile upon my face.
So let us all take time to ground,
And let our feet touch earth's sweet sound,
For in this simple act we find,
A peace and calm, so pure and kind.
Prompt: Write a poem about grounding processes and walking barefoot in the style of a Disney princess
So alive, so strong, so sweet!
With each step, a connection true,
Grounding me, making me anew.
As I walk barefoot upon the land,
I feel the magic in the sand.
The rhythm of the earth's heartbeat,
Beats in time with my own, so sweet.
My toes sink deep into the soil,
A sense of calmness starts to uncoil.
My worries, fears, and troubles cease,
And all that's left is purest peace.
With each step, I feel renewed,
My spirit lifted, my heart imbued,
With nature's beauty, love, and grace,
A gentle smile upon my face.
So let us all take time to ground,
And let our feet touch earth's sweet sound,
For in this simple act we find,
A peace and calm, so pure and kind.
Prompt: Write a poem about grounding processes and walking barefoot in the style of a Disney princess
What does intimacy mean to you? [Input in Chat GPT]
As an artificial intelligence language model, I don't have personal feelings or experiences, so I don't have a personal definition of intimacy. However, generally speaking, intimacy refers to a deep connection between people that involves emotional, physical, or spiritual closeness. It can involve vulnerability, trust, and a sense of being truly known and understood by another person. Intimacy can be expressed through various forms of communication, such as verbal and nonverbal language, physical touch, or shared experiences. It can exist in different types of relationships, such as romantic, platonic, or familial, and can be an important aspect of human connection and well-being.
As an artificial intelligence language model, I don't have personal feelings or experiences, so I don't have a personal definition of intimacy. However, generally speaking, intimacy refers to a deep connection between people that involves emotional, physical, or spiritual closeness. It can involve vulnerability, trust, and a sense of being truly known and understood by another person. Intimacy can be expressed through various forms of communication, such as verbal and nonverbal language, physical touch, or shared experiences. It can exist in different types of relationships, such as romantic, platonic, or familial, and can be an important aspect of human connection and well-being.
Freedom
As a child, freedom is a bird
With wings so wide and strong
Flying high up in the sky
Singing its joyful song
Freedom is running through fields
With the wind blowing in our hair
Laughing and playing without a care
With the sun shining everywhere
It's the feeling of being able to explore
And discover new things each day
To climb trees and chase butterflies
And make our own way
Freedom is the ability to dream
And imagine endless possibilities
To be creative and express ourselves
Without any rules or responsibilities
For a child, freedom is precious
A gift that we hold so dear
It's the chance to be ourselves
And to grow without any fear.
As a child, freedom is a bird
With wings so wide and strong
Flying high up in the sky
Singing its joyful song
Freedom is running through fields
With the wind blowing in our hair
Laughing and playing without a care
With the sun shining everywhere
It's the feeling of being able to explore
And discover new things each day
To climb trees and chase butterflies
And make our own way
Freedom is the ability to dream
And imagine endless possibilities
To be creative and express ourselves
Without any rules or responsibilities
For a child, freedom is precious
A gift that we hold so dear
It's the chance to be ourselves
And to grow without any fear.
Freedom, Ownership, Re-finding, Presence, consciousness, voice, communication - In the style of a Stormzy rap
(Elisa’s input)
Verse 1:
Freedom, it's a basic right, can't be denied,
We gotta fight for it, never let it slide,
It's a human need, can't be ignored,
Gotta stand up tall, and fight for what we've been fighting for.
Chorus:
Ownership, gotta own our own,
Never let them take it away, gotta hold the throne,
Re-finding, gotta find ourselves again,
Presence, gotta be in the moment, no pretend.
Verse 2:
Consciousness, gotta be aware,
Of the world around us, and the people who care,
Voice, gotta speak up, make it known,
Communication, gotta listen, understand, and grow.
Chorus:
Ownership, gotta own our own,
Never let them take it away, gotta hold the throne,
Re-finding, gotta find ourselves again,
Presence, gotta be in the moment, no pretend.
Bridge:
We're all in this together, we gotta unite,
Never let the hate win, gotta fight for what's right,
Freedom, ownership, re-finding, presence,
Consciousness, voice, communication, let's make a difference.
Chorus:
Ownership, gotta own our own,
Never let them take it away, gotta hold the throne,
Re-finding, gotta find ourselves again,
Presence, gotta be in the moment, no pretend.
(Elisa’s input)
Verse 1:
Freedom, it's a basic right, can't be denied,
We gotta fight for it, never let it slide,
It's a human need, can't be ignored,
Gotta stand up tall, and fight for what we've been fighting for.
Chorus:
Ownership, gotta own our own,
Never let them take it away, gotta hold the throne,
Re-finding, gotta find ourselves again,
Presence, gotta be in the moment, no pretend.
Verse 2:
Consciousness, gotta be aware,
Of the world around us, and the people who care,
Voice, gotta speak up, make it known,
Communication, gotta listen, understand, and grow.
Chorus:
Ownership, gotta own our own,
Never let them take it away, gotta hold the throne,
Re-finding, gotta find ourselves again,
Presence, gotta be in the moment, no pretend.
Bridge:
We're all in this together, we gotta unite,
Never let the hate win, gotta fight for what's right,
Freedom, ownership, re-finding, presence,
Consciousness, voice, communication, let's make a difference.
Chorus:
Ownership, gotta own our own,
Never let them take it away, gotta hold the throne,
Re-finding, gotta find ourselves again,
Presence, gotta be in the moment, no pretend.
Image by Deep Dream Generator: Secret Garden
Words produced by MA Cohort around AI
When I'm Down and Blue
When I'm feeling down and blue,
And don't know what to do,
I head outside and feel anew,
Because nature heals me through and through.
The trees sway in the gentle breeze,
And the birds sing with such ease,
Their melodies fill me with peace,
And all my troubles seem to cease.
The grass beneath my feet,
Is soft and cool and sweet,
And the flowers all around,
Make the most beautiful sound.
The sun warms my skin,
As I take it all in,
And I feel like I can win,
Against any pain within.
Nature is my friend,
Until the very end,
And I know that it will always mend,
My heart and soul, my mind to tend.
So I'll keep coming back,
To the great outdoors' embrace,
And let nature's magic tracks,
Bring me to a better place.
And don't know what to do,
I head outside and feel anew,
Because nature heals me through and through.
The trees sway in the gentle breeze,
And the birds sing with such ease,
Their melodies fill me with peace,
And all my troubles seem to cease.
The grass beneath my feet,
Is soft and cool and sweet,
And the flowers all around,
Make the most beautiful sound.
The sun warms my skin,
As I take it all in,
And I feel like I can win,
Against any pain within.
Nature is my friend,
Until the very end,
And I know that it will always mend,
My heart and soul, my mind to tend.
So I'll keep coming back,
To the great outdoors' embrace,
And let nature's magic tracks,
Bring me to a better place.
The Secret Garden: A POEM written by chat GPT
In a secret garden, hidden away,
A magical place, where children play,
With flowers that sing, and trees that sway,
And sparkling streams that light the way.
The garden is full of mystery and charm,
With secrets to share and stories to disarm,
And every child who enters its gate,
Is filled with wonder and love so great.
The flowers whisper secrets as you pass,
And beckon you to lie down in the grass,
The trees rustle with a language so sweet,
And the gentle breeze rocks you off your feet.
In the garden, you'll find a world of delight,
Where imagination can take flight,
And as you explore its winding paths,
You'll discover magic that will last.
So if you ever find the secret gate,
And venture into the garden so great,
Take a moment to savor the joy it brings,
And let your heart be filled with wondrous things.
Poem written by chat ai
A magical place, where children play,
With flowers that sing, and trees that sway,
And sparkling streams that light the way.
The garden is full of mystery and charm,
With secrets to share and stories to disarm,
And every child who enters its gate,
Is filled with wonder and love so great.
The flowers whisper secrets as you pass,
And beckon you to lie down in the grass,
The trees rustle with a language so sweet,
And the gentle breeze rocks you off your feet.
In the garden, you'll find a world of delight,
Where imagination can take flight,
And as you explore its winding paths,
You'll discover magic that will last.
So if you ever find the secret gate,
And venture into the garden so great,
Take a moment to savor the joy it brings,
And let your heart be filled with wondrous things.
Poem written by chat ai
This text could inform the projection of the audio visual moving image artwork using Isadora.
Collecting open source video content from Pexels website -
flowers, garden, trees rustling, grass, winding paths, secret gate...
This media can be used in Isadora to create a more immersive world.
Collecting open source video content from Pexels website -
flowers, garden, trees rustling, grass, winding paths, secret gate...
This media can be used in Isadora to create a more immersive world.
Choreographic Lab: Move LIKE A MUSHROOM
Activity One: Move like a mushroom- improvisation exploring growing out of the ground, based upon human imagination.
Activity Two: Use AI to create some images. (See Below.) Move in response to the images.
Compare and contrast: Second task felt like there was more to draw from. An expanding dataset to inspire movement, emotions and feelings.
Activity Two: Use AI to create some images. (See Below.) Move in response to the images.
Compare and contrast: Second task felt like there was more to draw from. An expanding dataset to inspire movement, emotions and feelings.
Psychedelic 3D Digital Art of Mushrooms Growing in nature made using Dalle- 2
Text produced by CHAT GPT
Can you tell me in a creative poem what it means to be human in an online world?
We're human, we're real, we're flesh and bone,
Our hearts beat strong, and our souls have grown,
But in this digital world, we're more than that,
We're thoughts, we're ideas, we're where it's at.
We're online, we're connected, we're everywhere,
Our voices carry, beyond borders, beyond the air,
We share our stories, our dreams, our pain,
In a world where human connection's never been the same.
We're more than avatars, or profiles on a screen,
We're complex, we're messy, we're everything in between,
We're a mix of emotions, and experiences galore,
We're human, and that's what makes us so much more.
In this online world, we can be whoever we choose,
A warrior, a hero, a lover, or a recluse,
But at our core, we're still human, we're still real,
With hearts that beat, and emotions we feel.
We crave connection, we long to be seen,
To be heard, to be known, to live out our dreams,
So let us embrace this digital age,
And use it to connect, to learn, to engage.
For being human in an online world,
Means we have the power to touch, to move, to swirl,
To make a difference, to be heard, to be seen,
To connect, to love, to be all we've ever been.
We're human, we're real, we're flesh and bone,
Our hearts beat strong, and our souls have grown,
But in this digital world, we're more than that,
We're thoughts, we're ideas, we're where it's at.
We're online, we're connected, we're everywhere,
Our voices carry, beyond borders, beyond the air,
We share our stories, our dreams, our pain,
In a world where human connection's never been the same.
We're more than avatars, or profiles on a screen,
We're complex, we're messy, we're everything in between,
We're a mix of emotions, and experiences galore,
We're human, and that's what makes us so much more.
In this online world, we can be whoever we choose,
A warrior, a hero, a lover, or a recluse,
But at our core, we're still human, we're still real,
With hearts that beat, and emotions we feel.
We crave connection, we long to be seen,
To be heard, to be known, to live out our dreams,
So let us embrace this digital age,
And use it to connect, to learn, to engage.
For being human in an online world,
Means we have the power to touch, to move, to swirl,
To make a difference, to be heard, to be seen,
To connect, to love, to be all we've ever been.
AI Produced images
Can you tell which of these images were created through describing movement?
Movement Improvisations that came from these images allowed a great starting point to generate different movement qualities. Particularly in creating spirals in the body.
I wanted to explore the idea of Metaphor: the mind as a garden
Fixing up an over grown garden as a metaphor for Neuro linguistic processing...
The garden was tangled and overgrown,
With weeds and vines, all twisted and prone.
A mess of green, an entangled knot,
A place that seemed impossible to be sought.
But she knew that beneath the overgrowth,
Lay a garden full of life and growth.
It was just a matter of clearing the way,
Of removing the weeds and the decay.
And so she began to work, with gloves on her hands,
With tools and clippers, she took her stance.
She worked and worked, day after day,
And little by little, the mess gave way.
With every weed that she pulled from the ground,
With every vine that she cut and wound,
She began to see her own mind revealed,
The tangles and twists, that her thoughts concealed.
Neuro linguistic processing was the key,
To understand how her mind came to be.
She began to see patterns in the way she thought,
And with each insight, a new path was sought.
Just like the garden, her mind was complex,
But by understanding it, she could make it less.
By removing the weeds, the negative thoughts,
She could create a new reality, one that she sought.
The garden was now a place of beauty and light,
A testament to the work done right.
And in her mind, there was now space,
For new thoughts and ideas to take their place.
Fixing up an overgrown garden,
Is like Neuro linguistic processing, in a way.
It takes time, patience, and dedication,
But the results are worth the excavation.
The garden was tangled and overgrown,
With weeds and vines, all twisted and prone.
A mess of green, an entangled knot,
A place that seemed impossible to be sought.
But she knew that beneath the overgrowth,
Lay a garden full of life and growth.
It was just a matter of clearing the way,
Of removing the weeds and the decay.
And so she began to work, with gloves on her hands,
With tools and clippers, she took her stance.
She worked and worked, day after day,
And little by little, the mess gave way.
With every weed that she pulled from the ground,
With every vine that she cut and wound,
She began to see her own mind revealed,
The tangles and twists, that her thoughts concealed.
Neuro linguistic processing was the key,
To understand how her mind came to be.
She began to see patterns in the way she thought,
And with each insight, a new path was sought.
Just like the garden, her mind was complex,
But by understanding it, she could make it less.
By removing the weeds, the negative thoughts,
She could create a new reality, one that she sought.
The garden was now a place of beauty and light,
A testament to the work done right.
And in her mind, there was now space,
For new thoughts and ideas to take their place.
Fixing up an overgrown garden,
Is like Neuro linguistic processing, in a way.
It takes time, patience, and dedication,
But the results are worth the excavation.
Reflective moment: The text here allowed me to create some images with my own mind to work from. Movement material drawn from the text felt really enjoyable to do and get lost in. This was my favourite improvisation as I connected to the text, the motion inspired language that was generated. I really enjoy working with action words and patterns.
I will continue to add the creative outputs and digital exports to document the creative and generative processes.
Creative Enquiry
Deep investigation to explore how we might co- design hybrid worlds utilising digital media to animate performative environments, to inform Lauren Tucker's practice- led research, to allow for phenomenology of perception, and develop our embodied understanding of experiential experience.
Target audience: 8-25 years old
How can Artifitial Intelligence support a multi- disciplinary creative process, idea development and immersive world building?
"Looking forward, the most successful ideas likely won’t come from bright thinkers alone but from those best at mindfully steering intelligent machines while remaining firmly in the driver’s seat."
— Jan Bieser, Senior Researcher and Speaker, Gottlieb Duttweiler Institute
(Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.7)
"Thinking about how you want your audience to feel is one of the most important questions you can ask in designing your experience, because it helps establish the tone of your experience, which we will discuss in a
later section." (Kerrison, M. (2022) p.46)
Burning Anticipation Awe
Wonder
Practice as research: World Building- Immersion and Perception in choreographic investigations
Exploring the body, the receptivity of senses, embodiment, phenomenolgy to recreate feelings and emotions to stimulate improvised responses within the hybrid performative worlds.
Immersive storytelling methods, to explore the complex relationship between physical and virtual worlds.
Exploration of digital technologies to inform the creative process, and to build my personal digital literacies to enable the choreographer to dance at the intersection of physical and virtual environements. her to dance at the intersection of physical and virtual environements.
Emerging conversations: Is technology a threat or a catalyst to our freedom of human creative expression?
Practice-led research
Kershaw, B. (2009) defines practice- led research as 'works which use creative processes as research methods.'
Digital embedded in the methodology
Working with AI to generate visual art or text as a stimulus. Working with isadora to explore multiple view points and perspectives.
World Building
Creating dens as pop upworlds within the world of the physical space.
Phenomenological Storytelling
Communicating the personal feelings and interpretation of emotions to support the world building process.
Improvisation
Expressing task driven movement to embody thoughts, feelings, energy, sensations, personal experiences and relationship with projection.
Practice-led research
There are four ways you can increase your audience's likelihood feel moved and transformed. Truth, Personal,Status Quo and Community (Kerrison, M. (2022) p.55)
Truth
Six word storytelling task to express the themes freedom, environmental consciousness and connection to nature. Audience to contribute to the world building.
Personal
The phenomenological aspect of the work. The audience walk in the shoes of my personal story as if they are me on a pivotal day in my life.
Status Quo
It is felt more time engaging with the target audience would benefit the unlinear storytelling process to achieve this principle. Meet the audience where they are- in ordinary world in normal life before visting the imagined world and propelling them in to their
journey.
Community
Creating a worldwhere they can connect with others. A shared purpose and agenda with multiple meeting points and interactive moments facilitated through the flow and design of the work. A dedicated space to come together to reflect and share their thoughts, to gather to connect with nature mindfully.
World Building as an immersive construct
Digital Media and Technologies are opening up new possibilities within the choreographic process. The choreographic investigations have enabled me to test and refine approaches to create hybrid performative worlds.
"World Buildingcan serve as a model for many diverse practices, from literary practice and futuristic exploration of architectural scenariosto the production of expanded reality (or cross reality) (XR) Projects." (Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.5)
Key questions emerging: What perceptual states are required to suspend belief? How can the choreographer facilitatearrival at the perceptual states and focus audience's attention
within the world building design?
"Hence the environment engenders its own narrativity, by the mere fact of its existence. What is at play is no longer narrativestructure but an invented world exists within certain boundaries and is organised according toits own specific rules." (Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.7)
World Building: Spatiality
In other words, spatiality whether imagined in a literary or virtual form, is at the core of the practice of world building. In fact, the practice of environmental storytelling is based precisely upon this affirmation." (Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.7)
Through constructing the space, and creating the conditions for awe and wonder, the vision for the work and creative ideas for interactivity and visual effects for projection mapping of the space have begun to emerge.
World Building: Digitally
The proliferation of digital media is transforming my creative practice and enabling me to give audience agency and choice within the immersive performance experience. I am interested in how I can provide audiences a number of ways to experience the work.
Please see literature collated in the form of a padlet: https://padlet.com/tuckshopdancetheatre/digital-thinking-2ajc6i0xy2u5u93l
Software explored in this practice-led research: Isadora, Social AR, QR Code Maker Apps, AI: Dragon, Davinci Resolve, Imovie, Creative Captioning Apps, DALL-E 2, AI Chat GPT, Melodia, Typorama, Deep Dream Generator
Digital Storytelling
AI: Dungeon - Secret Garden
"The little boy was talking to a robin. It's feathers glittered in the sunlight. As he was speaking to the robin it started to fly off at the speed of light. It stopped at the end of a scary dead maze. He saw the end and he saw the black cold gate. He got a key out of his pocket and unlocked the creepy door. Some of the door fell off like a cat dribbling. He crept in silently. It looked horrible, dead and black. In the archway there were lots of twigs that stuck
out. He saw a pond that had..."
Where do we go from here?
Artificial Intelligence
"AI is a set of algorithms designed to function as parallel to human intelligence actions such as decision-making, image recognition, language translation/comprehension, or creativity." (Mazzone, M., & Elgammal, A. (2019)
"Digital art is an incredibly diverse field, intrinsically in dialogue with innovations and challenges within science, technology and also the terms of public engagement. Yet within circles of art-making, art- viewing and art-critique, there remains great scope for conversations that broaden and extend our understanding of what digital art can, and will, become." (NEED REFERENCE)
Artificial Intelligence: What are the key moral and political questions regarding
AI and Children and Young People?
What are the opportunities and challenges for children and young people's cultural learning and development?
How can creativity and culture facilitate these processes?
Literature review: https://padlet.com/tuck.../digital- thinking-2ajc6i0xy2u5u93l
https://youtu.be/b5w1UySlRjI
The Ultimate Purpose of these choreographic investigations: Raising Awareness
As a creative practitioner, I have a duty of care to my audiences and children and young people. I think it is important to engage in dialogue with children and young people and people with an invested interest in their futures to raise awareness of the capabilities and threats of technology in my work. We must work together to explore the potential harms and opportunities through designing a safe and inclusive research methodology.
Will Artificial Intelligence Innovations align with human values, contribute to the sustainability goals and to begin to explore how artifical intelligence will impact society and children and young people's rights and freedoms.
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The Ultimate Purpose of these choreographic investigations: Raising Awareness
Mentimetre: https://www.menti.com/alqi3ns16uym
Alexa: Make Me Disappear https://www.youtube.com/watch?v=dQuy7z1PxOY
Alexa: Film Trailer:https://www.youtube.com/watch?v=FcAKHAgEJHU&t=7s
Full Show: https://vimeo.com/820868615?share=copy
Snapchat implemented Chat GPT as a function, with 100 million users under the age of twenty five.
"The relationship between society and technology is yin and yang, with every massive enhancement accompanied by the potential for danger." (Grossman (2020)
Ethical and Safeguarding Considerations
Just because it's legal doesn't make it ethical. Exposing Children to online risks at a crucial age of brain development :
Will results be age appropriate?
Unpredicatable and uncontrollable content outcomes pose risks that could put participants, audiences, and creative collaborators at risk of harm.
Ethical and Safeguarding University of Salford Considerations
Drawing on the Convention on the Rights of the Child, the guidance offers nine requirements for child-centered AI:
Support children’s development and well-being Ensure inclusion of and for children
Prioritise fairness and non-discrimination for children Protect children’s data and privacy.
Ensure safety for children
Provide transparency, explainability, and accountability for children Empower governments and businesses with knowledge of AI and children’s rights
Prepare children for present and future developments in AI
Create an enabling environment.
(Policy guidance on AI for children. (n.d.). UNICEF. https://www.unicef.org/globalinsight/reports/policy-guidance-ai-children)
AI and Creativity Debate
“Is anything ever new and not derivative?” responds Luba Elliott. “As humans, if you’re a writer, you go to school, you read a lot of books, and that becomes part of your own dataset. Your brain with its own algorithm, processes this and you write whatever you want, but consciously or subconsciously, it will be influenced by what you read.”
Artificial intelligence and next generation storytelling. (2023, February 24). The Space. https://www.thespace.org/resource/artificial- intelligence-and-next-generation-storytelling/
I have found that access to a broader data set has enabled faster idea development and a multi-disciplinary appraoch. I can see it helping to aid communication when I pitch and discuss concepts.
AI and Creativity Debate
Models
Text is the most advanced domain. However, natural language is hard to get right, and quality matters. Today, the models are decently good at generic short/medium-form writing (but even so, they are typically used for iteration or first drafts). Over time, as the models get better, we should expect to see higher quality outputs, longer-form content, and better vertical-specific tuning. Code generation is likely to have a big impact on developer productivity in the near term as shown by GitHub CoPilot. It will also make the creative use of code more accessible to non developers.
Images are a more recent phenomenon, but they have gone viral: it’s much more fun to share generated images on Twitter than text! We are seeing the advent of image models with different aesthetic styles, and different techniques for editing and modifying generated images.
Speech synthesis has been around for a while (hello Siri!) but consumer and enterprise applications are just getting good. For high-end applications like film and podcasts the bar is quite high for one-shot human quality speech that doesn’t sound mechanical. But just like with images, today’s models provide a starting point for further refinement or final output for utilitarian applications.
Video and 3D models are coming up the curve quickly. People are excited about these models’ potential to unlock large creative markets like cinema, gaming, VR, architecture and physical product design. The research orgs are releasing foundational 3D and video models as we speak.
Other domains: There is fundamental model R&D happening in many fields, from audio and music to biology and chemistry (generative proteins and molecules, anyone?). (Huang, S., Grady, P., & GPT-3. (2023)
"Computational creativity is a rapidly growing field that is poised to disrupt the current creative workflow and expand the definition of what creativity can be." 'Machine-generated art is not a lesser form of art' (Reben (2022)
I believe that as a tool it has the potential to provide multi-disciplinary scaffolding to support creative processes.
"We can only build structures of governance and regulation for AI, machine learning, and algorithms by wrestling with questions about the character of our shared world and how we relate to one another as co-inhabitants of physical and digital public spaces. And that is ultimately what democracy is for: providing a structure, a shared set of processes and institutions, to empower us to answer those questions as a society over time." (Simons, J. and Frankel, E. (2023)
‘"Digital rights’ is a phrase that’s grown up over time, and it covers the rights within and across digital/online distribution.You can also protect that digital copy by putting ‘digital rights management’ (or ‘DRM’) technology on top of it." (https://assets.thespace.org/Toolkits/The_Space_Digital_Rights _Toolkit.pdf)
"Questions over important issues like copyright, trust & safety and costs are far from resolved."
(Huang, S., Grady, P., & GPT-3. (2023)
AI, Digital Rights and Intellectual Property
"Entire segments of choreographic practice were digitalised, which has raised important issues with regard to intellectual property; monetisation; resistance to abandoning live physical encounters; the lack of technical and human resources; the carbon footprint of digital activity; the quality of experience for users / audiences; new forms of dramaturgy and aesthetics; and issues related to mental health, among others." (EDN (2021)
Literature Review
Literature uncovered themes such as; AI for health and wellbeing
AI for overcoming trauma
AI for social good
AI and The Creative Process
AI and Bias
AI and Intellectual Property
AI and Child Rights and Freedoms AI and Democracy
AI and Intimacy
Recommendations
Key Recommendation
Digital Storytelling
AI: Dungeon - Secret Garden
"The little boy was talking to a robin. It's feathers glittered in the sunlight. As he was speaking to the robin it started to fly off at the speed of light. It stopped at the end of a scary dead maze. He saw the end and he saw the black cold gate. He got a key out of his pocket and unlocked the creepy door. Some of the door fell off like a cat dribbling. He crept in silently. It looked horrible, dead and black. In the archway there were lots of twigs that stuck
out. He saw a pond that had..."
Where do we go from here?
How can AI enable us Artificial Intelligence
A free - associative writing prompt
Imagine If... AI changed our world as we know it. Imagine a world where AI technology has advanced beyond our current understanding and the only place you can escape to, where you are safe and protected is a 'Secret Garden'
Create a Seven Word Story.
Input Seven Words as a promt for a utopian/ dystopian story, a poem, a spoken word poem, script, in the style of a letter, diary entry etc. In the style of Eminem, Shakespeare, Amanda Gorman etc. Generate Text.
Respond to your text and image to engage in a somatic improvisation
Create movement material Describe movement material
Input description of movement material add 'in motion' to the instruction prompt into DALL-E- 2
Critically reflect on the outputs. Are there any limitations in the results?
Extension Task
Use Typorama to put generated text over image design.
Use media as an imput in an Isadora Patch, improvise in the technological physical performance environment with Isadora Projection Mapping Visuals generated by AI Media.
Result
Choreographic Investigations has opened up some explorations of principles, and practice to explore the possibilities and potential of AI in my creative practice.
I am much more curious about AI as an area to explore and inform a future creative enquiry: How can we use dance to give meaning to AI generated text and visual outputs.
Media produced today will be re-used and repurposed for crowd sourced content and Isadora Software and Dance Experiments to support projection mapping within immersive worldbuilding activities.
A broader data set to work from and to embody.
I will continue to explore the artistic qualities, limitations and opportunities from critical reflections on engaging with AI, creative laboratories and choreographic investigations.
Recommendations
Further research is needed to navigate ethical and safeguarding considerations in the creative processes concerning work with, by and for children and young people.
Co-create a cultural experience, with, by and for children and young people that raises awareness of the concept of children's rights and freedoms in the digital world.
Encourage creatives to create a network of people invested in child - centred approaches in principles and practice to share learning to influence and inform policy and practice.
Include children and young people's voices in the creative processes to explore what children and young people need in creative and cultural ai and digital contexts.
Continue to explore 'how do we protect children and young people, including the most vunerable, in creative technology projects?
Continue to work with children and young people to develop their critical thinking skills, digital literacy skills and provide equality of opportunity for children and young people to engage in creative and cultural learning.
Key Recommendations
To facilitate a participatory group maker space experiences to share some of my digital learning.
To shift from an investigative focus towards shaping an audience experience that brings together some of the learning and outcomes of this process.
To working with children and young people in cultural learning contexts. Communicate the learning across multiple platforms.
Implement, explore and validate research through creation of participatory performance experience.
Continue to engage in dialogue around the future implications of AI on our wider society.
Continue to play with AI to learn how to master how we can harness the power of AI for immersive world building.
Key conclusions or recommendations of learning from reflections from Choreographic investigations:
-Continue to focus on the ethical implications for born digital hybrid choreographed worlds.
Target audience: 8-25 years old
How can Artifitial Intelligence support a multi- disciplinary creative process, idea development and immersive world building?
"Looking forward, the most successful ideas likely won’t come from bright thinkers alone but from those best at mindfully steering intelligent machines while remaining firmly in the driver’s seat."
— Jan Bieser, Senior Researcher and Speaker, Gottlieb Duttweiler Institute
(Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.7)
"Thinking about how you want your audience to feel is one of the most important questions you can ask in designing your experience, because it helps establish the tone of your experience, which we will discuss in a
later section." (Kerrison, M. (2022) p.46)
Burning Anticipation Awe
Wonder
Practice as research: World Building- Immersion and Perception in choreographic investigations
Exploring the body, the receptivity of senses, embodiment, phenomenolgy to recreate feelings and emotions to stimulate improvised responses within the hybrid performative worlds.
Immersive storytelling methods, to explore the complex relationship between physical and virtual worlds.
Exploration of digital technologies to inform the creative process, and to build my personal digital literacies to enable the choreographer to dance at the intersection of physical and virtual environements. her to dance at the intersection of physical and virtual environements.
Emerging conversations: Is technology a threat or a catalyst to our freedom of human creative expression?
Practice-led research
Kershaw, B. (2009) defines practice- led research as 'works which use creative processes as research methods.'
Digital embedded in the methodology
Working with AI to generate visual art or text as a stimulus. Working with isadora to explore multiple view points and perspectives.
World Building
Creating dens as pop upworlds within the world of the physical space.
Phenomenological Storytelling
Communicating the personal feelings and interpretation of emotions to support the world building process.
Improvisation
Expressing task driven movement to embody thoughts, feelings, energy, sensations, personal experiences and relationship with projection.
Practice-led research
There are four ways you can increase your audience's likelihood feel moved and transformed. Truth, Personal,Status Quo and Community (Kerrison, M. (2022) p.55)
Truth
Six word storytelling task to express the themes freedom, environmental consciousness and connection to nature. Audience to contribute to the world building.
Personal
The phenomenological aspect of the work. The audience walk in the shoes of my personal story as if they are me on a pivotal day in my life.
Status Quo
It is felt more time engaging with the target audience would benefit the unlinear storytelling process to achieve this principle. Meet the audience where they are- in ordinary world in normal life before visting the imagined world and propelling them in to their
journey.
Community
Creating a worldwhere they can connect with others. A shared purpose and agenda with multiple meeting points and interactive moments facilitated through the flow and design of the work. A dedicated space to come together to reflect and share their thoughts, to gather to connect with nature mindfully.
World Building as an immersive construct
Digital Media and Technologies are opening up new possibilities within the choreographic process. The choreographic investigations have enabled me to test and refine approaches to create hybrid performative worlds.
"World Buildingcan serve as a model for many diverse practices, from literary practice and futuristic exploration of architectural scenariosto the production of expanded reality (or cross reality) (XR) Projects." (Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.5)
Key questions emerging: What perceptual states are required to suspend belief? How can the choreographer facilitatearrival at the perceptual states and focus audience's attention
within the world building design?
"Hence the environment engenders its own narrativity, by the mere fact of its existence. What is at play is no longer narrativestructure but an invented world exists within certain boundaries and is organised according toits own specific rules." (Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.7)
World Building: Spatiality
In other words, spatiality whether imagined in a literary or virtual form, is at the core of the practice of world building. In fact, the practice of environmental storytelling is based precisely upon this affirmation." (Breuleux, Y., De Coninck, B., & Therrien, S. (2019) p.7)
Through constructing the space, and creating the conditions for awe and wonder, the vision for the work and creative ideas for interactivity and visual effects for projection mapping of the space have begun to emerge.
World Building: Digitally
The proliferation of digital media is transforming my creative practice and enabling me to give audience agency and choice within the immersive performance experience. I am interested in how I can provide audiences a number of ways to experience the work.
Please see literature collated in the form of a padlet: https://padlet.com/tuckshopdancetheatre/digital-thinking-2ajc6i0xy2u5u93l
Software explored in this practice-led research: Isadora, Social AR, QR Code Maker Apps, AI: Dragon, Davinci Resolve, Imovie, Creative Captioning Apps, DALL-E 2, AI Chat GPT, Melodia, Typorama, Deep Dream Generator
Digital Storytelling
AI: Dungeon - Secret Garden
"The little boy was talking to a robin. It's feathers glittered in the sunlight. As he was speaking to the robin it started to fly off at the speed of light. It stopped at the end of a scary dead maze. He saw the end and he saw the black cold gate. He got a key out of his pocket and unlocked the creepy door. Some of the door fell off like a cat dribbling. He crept in silently. It looked horrible, dead and black. In the archway there were lots of twigs that stuck
out. He saw a pond that had..."
Where do we go from here?
Artificial Intelligence
"AI is a set of algorithms designed to function as parallel to human intelligence actions such as decision-making, image recognition, language translation/comprehension, or creativity." (Mazzone, M., & Elgammal, A. (2019)
"Digital art is an incredibly diverse field, intrinsically in dialogue with innovations and challenges within science, technology and also the terms of public engagement. Yet within circles of art-making, art- viewing and art-critique, there remains great scope for conversations that broaden and extend our understanding of what digital art can, and will, become." (NEED REFERENCE)
Artificial Intelligence: What are the key moral and political questions regarding
AI and Children and Young People?
What are the opportunities and challenges for children and young people's cultural learning and development?
How can creativity and culture facilitate these processes?
Literature review: https://padlet.com/tuck.../digital- thinking-2ajc6i0xy2u5u93l
https://youtu.be/b5w1UySlRjI
The Ultimate Purpose of these choreographic investigations: Raising Awareness
As a creative practitioner, I have a duty of care to my audiences and children and young people. I think it is important to engage in dialogue with children and young people and people with an invested interest in their futures to raise awareness of the capabilities and threats of technology in my work. We must work together to explore the potential harms and opportunities through designing a safe and inclusive research methodology.
Will Artificial Intelligence Innovations align with human values, contribute to the sustainability goals and to begin to explore how artifical intelligence will impact society and children and young people's rights and freedoms.
Page 81
The Ultimate Purpose of these choreographic investigations: Raising Awareness
Mentimetre: https://www.menti.com/alqi3ns16uym
Alexa: Make Me Disappear https://www.youtube.com/watch?v=dQuy7z1PxOY
Alexa: Film Trailer:https://www.youtube.com/watch?v=FcAKHAgEJHU&t=7s
Full Show: https://vimeo.com/820868615?share=copy
Snapchat implemented Chat GPT as a function, with 100 million users under the age of twenty five.
"The relationship between society and technology is yin and yang, with every massive enhancement accompanied by the potential for danger." (Grossman (2020)
Ethical and Safeguarding Considerations
Just because it's legal doesn't make it ethical. Exposing Children to online risks at a crucial age of brain development :
Will results be age appropriate?
Unpredicatable and uncontrollable content outcomes pose risks that could put participants, audiences, and creative collaborators at risk of harm.
Ethical and Safeguarding University of Salford Considerations
Drawing on the Convention on the Rights of the Child, the guidance offers nine requirements for child-centered AI:
Support children’s development and well-being Ensure inclusion of and for children
Prioritise fairness and non-discrimination for children Protect children’s data and privacy.
Ensure safety for children
Provide transparency, explainability, and accountability for children Empower governments and businesses with knowledge of AI and children’s rights
Prepare children for present and future developments in AI
Create an enabling environment.
(Policy guidance on AI for children. (n.d.). UNICEF. https://www.unicef.org/globalinsight/reports/policy-guidance-ai-children)
AI and Creativity Debate
“Is anything ever new and not derivative?” responds Luba Elliott. “As humans, if you’re a writer, you go to school, you read a lot of books, and that becomes part of your own dataset. Your brain with its own algorithm, processes this and you write whatever you want, but consciously or subconsciously, it will be influenced by what you read.”
Artificial intelligence and next generation storytelling. (2023, February 24). The Space. https://www.thespace.org/resource/artificial- intelligence-and-next-generation-storytelling/
I have found that access to a broader data set has enabled faster idea development and a multi-disciplinary appraoch. I can see it helping to aid communication when I pitch and discuss concepts.
AI and Creativity Debate
Models
Text is the most advanced domain. However, natural language is hard to get right, and quality matters. Today, the models are decently good at generic short/medium-form writing (but even so, they are typically used for iteration or first drafts). Over time, as the models get better, we should expect to see higher quality outputs, longer-form content, and better vertical-specific tuning. Code generation is likely to have a big impact on developer productivity in the near term as shown by GitHub CoPilot. It will also make the creative use of code more accessible to non developers.
Images are a more recent phenomenon, but they have gone viral: it’s much more fun to share generated images on Twitter than text! We are seeing the advent of image models with different aesthetic styles, and different techniques for editing and modifying generated images.
Speech synthesis has been around for a while (hello Siri!) but consumer and enterprise applications are just getting good. For high-end applications like film and podcasts the bar is quite high for one-shot human quality speech that doesn’t sound mechanical. But just like with images, today’s models provide a starting point for further refinement or final output for utilitarian applications.
Video and 3D models are coming up the curve quickly. People are excited about these models’ potential to unlock large creative markets like cinema, gaming, VR, architecture and physical product design. The research orgs are releasing foundational 3D and video models as we speak.
Other domains: There is fundamental model R&D happening in many fields, from audio and music to biology and chemistry (generative proteins and molecules, anyone?). (Huang, S., Grady, P., & GPT-3. (2023)
"Computational creativity is a rapidly growing field that is poised to disrupt the current creative workflow and expand the definition of what creativity can be." 'Machine-generated art is not a lesser form of art' (Reben (2022)
I believe that as a tool it has the potential to provide multi-disciplinary scaffolding to support creative processes.
"We can only build structures of governance and regulation for AI, machine learning, and algorithms by wrestling with questions about the character of our shared world and how we relate to one another as co-inhabitants of physical and digital public spaces. And that is ultimately what democracy is for: providing a structure, a shared set of processes and institutions, to empower us to answer those questions as a society over time." (Simons, J. and Frankel, E. (2023)
‘"Digital rights’ is a phrase that’s grown up over time, and it covers the rights within and across digital/online distribution.You can also protect that digital copy by putting ‘digital rights management’ (or ‘DRM’) technology on top of it." (https://assets.thespace.org/Toolkits/The_Space_Digital_Rights _Toolkit.pdf)
"Questions over important issues like copyright, trust & safety and costs are far from resolved."
(Huang, S., Grady, P., & GPT-3. (2023)
AI, Digital Rights and Intellectual Property
"Entire segments of choreographic practice were digitalised, which has raised important issues with regard to intellectual property; monetisation; resistance to abandoning live physical encounters; the lack of technical and human resources; the carbon footprint of digital activity; the quality of experience for users / audiences; new forms of dramaturgy and aesthetics; and issues related to mental health, among others." (EDN (2021)
Literature Review
Literature uncovered themes such as; AI for health and wellbeing
AI for overcoming trauma
AI for social good
AI and The Creative Process
AI and Bias
AI and Intellectual Property
AI and Child Rights and Freedoms AI and Democracy
AI and Intimacy
Recommendations
- Crowd sourcing film content to use as media to manipulate in digital outputs/ visual effects in Isadora Programming
- Although there is temptation not to use isadora as a live projection due to creating the work outdoors, continue to focus on the possibility of live whilst using the software with a focus on interactivity.
- With use of record screen now, visual effects can be recorded using Quick Time Player Record Screen. Filmed content can be created and repurposed.
- Continue to crowd source people's six word stories in response to the themes: Garden, Freedom, and Connection.
- Continue to explore the realms of Artifical Intelligence and how it can serve as a catalyst for creativity.
- Continue to develop my digital literacy skills, to enable the creation of my work 'The Secret Garden Remixed' with a focus on transmedia and literary adaptation.
- Consolodate learning to prepare for final assessment: Lecture Demonstration and VIVA, upload documentation and reflections to website.
Key Recommendation
- To facilitate a participatory group experience test my lecture demonstration.
- To shift from an investigative focus towards shaping an audience experience that brings together some of the learning and outcomes of this process.
- Communicate the learning across multiple platforms.
- Implement, explore and validate research through creation of participatory performance experience.
Digital Storytelling
AI: Dungeon - Secret Garden
"The little boy was talking to a robin. It's feathers glittered in the sunlight. As he was speaking to the robin it started to fly off at the speed of light. It stopped at the end of a scary dead maze. He saw the end and he saw the black cold gate. He got a key out of his pocket and unlocked the creepy door. Some of the door fell off like a cat dribbling. He crept in silently. It looked horrible, dead and black. In the archway there were lots of twigs that stuck
out. He saw a pond that had..."
Where do we go from here?
How can AI enable us Artificial Intelligence
A free - associative writing prompt
Imagine If... AI changed our world as we know it. Imagine a world where AI technology has advanced beyond our current understanding and the only place you can escape to, where you are safe and protected is a 'Secret Garden'
Create a Seven Word Story.
Input Seven Words as a promt for a utopian/ dystopian story, a poem, a spoken word poem, script, in the style of a letter, diary entry etc. In the style of Eminem, Shakespeare, Amanda Gorman etc. Generate Text.
Respond to your text and image to engage in a somatic improvisation
Create movement material Describe movement material
Input description of movement material add 'in motion' to the instruction prompt into DALL-E- 2
Critically reflect on the outputs. Are there any limitations in the results?
Extension Task
Use Typorama to put generated text over image design.
Use media as an imput in an Isadora Patch, improvise in the technological physical performance environment with Isadora Projection Mapping Visuals generated by AI Media.
Result
Choreographic Investigations has opened up some explorations of principles, and practice to explore the possibilities and potential of AI in my creative practice.
I am much more curious about AI as an area to explore and inform a future creative enquiry: How can we use dance to give meaning to AI generated text and visual outputs.
Media produced today will be re-used and repurposed for crowd sourced content and Isadora Software and Dance Experiments to support projection mapping within immersive worldbuilding activities.
A broader data set to work from and to embody.
I will continue to explore the artistic qualities, limitations and opportunities from critical reflections on engaging with AI, creative laboratories and choreographic investigations.
Recommendations
Further research is needed to navigate ethical and safeguarding considerations in the creative processes concerning work with, by and for children and young people.
Co-create a cultural experience, with, by and for children and young people that raises awareness of the concept of children's rights and freedoms in the digital world.
Encourage creatives to create a network of people invested in child - centred approaches in principles and practice to share learning to influence and inform policy and practice.
Include children and young people's voices in the creative processes to explore what children and young people need in creative and cultural ai and digital contexts.
Continue to explore 'how do we protect children and young people, including the most vunerable, in creative technology projects?
Continue to work with children and young people to develop their critical thinking skills, digital literacy skills and provide equality of opportunity for children and young people to engage in creative and cultural learning.
Key Recommendations
To facilitate a participatory group maker space experiences to share some of my digital learning.
To shift from an investigative focus towards shaping an audience experience that brings together some of the learning and outcomes of this process.
To working with children and young people in cultural learning contexts. Communicate the learning across multiple platforms.
Implement, explore and validate research through creation of participatory performance experience.
Continue to engage in dialogue around the future implications of AI on our wider society.
Continue to play with AI to learn how to master how we can harness the power of AI for immersive world building.
Key conclusions or recommendations of learning from reflections from Choreographic investigations:
-Continue to focus on the ethical implications for born digital hybrid choreographed worlds.
- Develop a framework to ensure that you can anticipate some of the limitations, barriers and an empowering framework with plenty of choice about how people engage.
- University is a safe space to test my investigations before I engage with the wider public. Co- creation does require some creative practitioner led foresight and guidance to shape the design and map potential journeys within a project.
- Choreographed worlds require time, attention to detail and a manifesto. I will create a manifesto as I carry my work forwards.
- I MUST reference the source of every term I sue when I speak and give credit to contributors.
- Many forms of digital software to play with, and now much more equipped to develop digital literacy in others through my practice.
How the creative enquiry has informed how I might move forwards with my work
Reflections
For a while people in the creative industries have referred to me as a creative digital expert and facilitator working within digital education and creative media, including audio visual work. I have always struggled to identify and embrace the term digital expert due to imposter syndrome and the diverse nature of a rapidly evolving field. I am more interested in how digital could enable us to reimagine cultural place making experiences, and how digital processes could amplify an idea. My creative enquiry is driven by my invested interest in children and young people’s rights and freedoms in an online world.
Focus and modes of attention have been a point of interest for me. I find that in a digitally dense world, I can become distracted, focussed on the curious nature of technologies, and have a desire to remain embodied, with an intention to remain as human as possible as the world becomes as technically advanced.
I spend time mindfully moving and in stillness, to clear space and allow new questions to ponder on, physicality to flow, to feel boundless and free. I have made claims that we are all born artists and creatives. The human mind has the capacity to imagine. I’m starting to believe the capacity for personal creativity,
As we begin to differentiate different modes of intelligence, and engage in analytical thinking and future predictions. I find I am entertaining future thinking thoughts. This can cultivate feelings of worry and anxiety.
I found in a previous process of Neverland and Alexa Take Me Back To Reality, to safeguard myself in the creative process, I needed time to enter states of rest and digest, to enable the parasympathetic nervous system and to regulate my nervous system and access the present moment.
Creating utopian and dystopian stories that imagine alternative tomorrows can be really rich processes that inspire audiences to think and reflect, contemplate their own relationships with digital technologies, social media and artificial intelligence.
Yoga and somatic dance improvisation is becoming increasingly valued by myself as a means to connect with my personal sense of self, to unplug from the digital world I am engaging with in my day to day life.
In the digital context of the choreographic investigations, I can be easily distracted, pulled in to digital play, and neglect the physicality of the process. Paradoxically digital play is a physical and mindful act. I didn’t always find time to dance with the technologies in my labs and moving forwards this is something I want to be able to set up a framework to ensure that I move with all content produced and see if this helps to nurture my imagination from an embodied place and allow for abstract responses.
I do believe that time to play with all of the digital technologies to understand it’s function and possibilities is a process that I had to go through.
Questions emerging:
How do we manipulate existing media through Isadora technology?
How does playing with digital tools, software, and reading about digital processes and research methodologies expand my creative world view. In this module I have engaged in blue sky thinking and through play with low-tech and mobile friendly software and dreamed up hi-tech digital interventions; with suggestions of how to create future digital iterations of hybrid digital world building.
I have found each exploration with AI software to inspire my personal creativity. Content produced, has stimulated my imagination of thought. I have engaged with different modes of convergent and divergent thinking. Through playing with the software, new ideas and approaches have emerged.
Producing movement informed content in image form seems to be of interest, however sometimes images produced do not align with my personal expectations. Through letting go of expectations, I have become much more open to the unpredictable and uncontrollable outcomes.
Some content took the form of cartoons and I would like to explore the potential for animation.
Avoiding life like requests as the human form doesn’t seem as advanced as pattern informed art work.
Producing world building informed text has inspired thoughts to produce a world building mood board using Pinterest.
Digital Storytelling
Digital Storytelling uses multimedia tools to bring narratives to life. My work uncovers multiple layers when it comes to relating to performer, technology and narrative.
I have started to explore how ‘The Secret Garden’ narrative might be augmented within the digital world context.
Imagining if AI was to develop beyond our current understanding? What would this world look like? How might we use our green spaces/ gardens to disconnect to the digital world and nurture our human qualities.
Making a piece of work, feels like a slow layered process, and decisions are made the more I play, explore and test small prototypes. In this module, I have discovered that ‘AI will be the powerful ruler within the world of the Secret Garden.’
I keep being pulled back to the tensions that exist between physical and digital technology environments, and children and young people’s rights and freedoms.
This is a process that can begin conversations and inspire future world building contexts using Jerry Jenkin’s framework. I could do a world building workshop session lab, moving forwards.
I am extremely interested in how digital can extend an experience. I am curious if I can use and manipulate digital exports of existing media produced through my creative practice to curate a digitally informed dance experience/ installation.
Digital should never be used for the sake of using it, (i.e gimmick) it’s important it always serves a purpose to make the narrative stronger as opposed to being purely aesthetic.
Projections on to different surfaces during the installation period plus the live show could
be really effective ways of creating atmosphere and showcasing crowd sourced, AI produced, and my own digitally produced content.
World building approaches in this module have allowed for considerations of set, props and costume. I have worked with a welder to design a bespoke scaffolding frame to suspend fabrics and my own body for projection.
Suggested projection surfaces:
Directly on to the dancers
Translucent materials (hung on or stretched across clothes rails)
White umbrellas
Anything white
Text is a starting place however I feel that I would implement my own writing skills to develop the text to align more clearly with the unfolding vision for the work. Further considerations of how to use ai produced text within the performance world.
Future recommendation for using text as audio:
Using things like Google Translate to type text into will enable the text to be spoken by a
computerised voice and in a different language if that’s desired.
Future recommendations to continue to focus on the issues around GDPR and the parameters in which I can work, and how it could present challenges around how audiences and participants engage with the work. I can book a session with the Digital Culture Network specialists to explore this further.
The use of digital will be a USP of the show and I know that dance and ai is an underserved area at present. However Wayne McGregor and Dr Merrit Moore have pioneered ai and dance work.
For a while people in the creative industries have referred to me as a creative digital expert and facilitator working within digital education and creative media, including audio visual work. I have always struggled to identify and embrace the term digital expert due to imposter syndrome and the diverse nature of a rapidly evolving field. I am more interested in how digital could enable us to reimagine cultural place making experiences, and how digital processes could amplify an idea. My creative enquiry is driven by my invested interest in children and young people’s rights and freedoms in an online world.
Focus and modes of attention have been a point of interest for me. I find that in a digitally dense world, I can become distracted, focussed on the curious nature of technologies, and have a desire to remain embodied, with an intention to remain as human as possible as the world becomes as technically advanced.
I spend time mindfully moving and in stillness, to clear space and allow new questions to ponder on, physicality to flow, to feel boundless and free. I have made claims that we are all born artists and creatives. The human mind has the capacity to imagine. I’m starting to believe the capacity for personal creativity,
As we begin to differentiate different modes of intelligence, and engage in analytical thinking and future predictions. I find I am entertaining future thinking thoughts. This can cultivate feelings of worry and anxiety.
I found in a previous process of Neverland and Alexa Take Me Back To Reality, to safeguard myself in the creative process, I needed time to enter states of rest and digest, to enable the parasympathetic nervous system and to regulate my nervous system and access the present moment.
Creating utopian and dystopian stories that imagine alternative tomorrows can be really rich processes that inspire audiences to think and reflect, contemplate their own relationships with digital technologies, social media and artificial intelligence.
Yoga and somatic dance improvisation is becoming increasingly valued by myself as a means to connect with my personal sense of self, to unplug from the digital world I am engaging with in my day to day life.
In the digital context of the choreographic investigations, I can be easily distracted, pulled in to digital play, and neglect the physicality of the process. Paradoxically digital play is a physical and mindful act. I didn’t always find time to dance with the technologies in my labs and moving forwards this is something I want to be able to set up a framework to ensure that I move with all content produced and see if this helps to nurture my imagination from an embodied place and allow for abstract responses.
I do believe that time to play with all of the digital technologies to understand it’s function and possibilities is a process that I had to go through.
Questions emerging:
How do we manipulate existing media through Isadora technology?
How does playing with digital tools, software, and reading about digital processes and research methodologies expand my creative world view. In this module I have engaged in blue sky thinking and through play with low-tech and mobile friendly software and dreamed up hi-tech digital interventions; with suggestions of how to create future digital iterations of hybrid digital world building.
I have found each exploration with AI software to inspire my personal creativity. Content produced, has stimulated my imagination of thought. I have engaged with different modes of convergent and divergent thinking. Through playing with the software, new ideas and approaches have emerged.
Producing movement informed content in image form seems to be of interest, however sometimes images produced do not align with my personal expectations. Through letting go of expectations, I have become much more open to the unpredictable and uncontrollable outcomes.
Some content took the form of cartoons and I would like to explore the potential for animation.
Avoiding life like requests as the human form doesn’t seem as advanced as pattern informed art work.
Producing world building informed text has inspired thoughts to produce a world building mood board using Pinterest.
Digital Storytelling
Digital Storytelling uses multimedia tools to bring narratives to life. My work uncovers multiple layers when it comes to relating to performer, technology and narrative.
I have started to explore how ‘The Secret Garden’ narrative might be augmented within the digital world context.
Imagining if AI was to develop beyond our current understanding? What would this world look like? How might we use our green spaces/ gardens to disconnect to the digital world and nurture our human qualities.
Making a piece of work, feels like a slow layered process, and decisions are made the more I play, explore and test small prototypes. In this module, I have discovered that ‘AI will be the powerful ruler within the world of the Secret Garden.’
I keep being pulled back to the tensions that exist between physical and digital technology environments, and children and young people’s rights and freedoms.
This is a process that can begin conversations and inspire future world building contexts using Jerry Jenkin’s framework. I could do a world building workshop session lab, moving forwards.
I am extremely interested in how digital can extend an experience. I am curious if I can use and manipulate digital exports of existing media produced through my creative practice to curate a digitally informed dance experience/ installation.
Digital should never be used for the sake of using it, (i.e gimmick) it’s important it always serves a purpose to make the narrative stronger as opposed to being purely aesthetic.
Projections on to different surfaces during the installation period plus the live show could
be really effective ways of creating atmosphere and showcasing crowd sourced, AI produced, and my own digitally produced content.
World building approaches in this module have allowed for considerations of set, props and costume. I have worked with a welder to design a bespoke scaffolding frame to suspend fabrics and my own body for projection.
Suggested projection surfaces:
Directly on to the dancers
Translucent materials (hung on or stretched across clothes rails)
White umbrellas
Anything white
Text is a starting place however I feel that I would implement my own writing skills to develop the text to align more clearly with the unfolding vision for the work. Further considerations of how to use ai produced text within the performance world.
Future recommendation for using text as audio:
Using things like Google Translate to type text into will enable the text to be spoken by a
computerised voice and in a different language if that’s desired.
Future recommendations to continue to focus on the issues around GDPR and the parameters in which I can work, and how it could present challenges around how audiences and participants engage with the work. I can book a session with the Digital Culture Network specialists to explore this further.
The use of digital will be a USP of the show and I know that dance and ai is an underserved area at present. However Wayne McGregor and Dr Merrit Moore have pioneered ai and dance work.
Key findings from reflections:
Tensions between Machine vs Human
There are limitations- language composition
Text informed images- text produced in AI Images don't always make sense.
Gaps in research: Do we have an AI format that replicates human movement and Dance?
Diverse perspectives diversify prompts for AI systems
Digital literacy limitations
Empowering people to choose whether they engage with AI tools or not.
Children and Young People need positive digital creative experiences in their early life and opportunities to enable young people to engage in to thinking and embodiment processes that develop critical thinking skills.
AI apps do support creative idea development and formation. For example 'Pattern Recognition- a project with, by and for children and young people, collaboratively exploring the synergy between AI, Knitting and Text.
Continue to investigate and understand children and young people's developmental needs.
Creative process has been very rich and creative not just generative. Further considerations should include the understanding of collaboration and definitions of creativity.
Continue to use your imagination to generate AI responses.
Continue to engage in conversations to explore what children need in AI Contexts and express this through my choreographic work and wider creative practice.
Process
How much meaning can we get from our 8 words produced in 8 word storytelling activity.
Objects Task
Den Building Task.
The World Building Activity.
Consider 'what makes us human?'
Describe a problem you have faced and overcome in your life?
Objects Task
Den Building Task.
The World Building Activity.
Consider 'what makes us human?'
Describe a problem you have faced and overcome in your life?
Co- design of experiential world building
EXAMPLES OF ISADORA PATCHES MADE FOR CHOREOGRAPHIC LABS
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Bibliography
Pinterest Link: Vision Board Pinterest pin.it/2Y4D7s1
Facebook Group to archive research and development ideas: www.facebook.com/groups/670037074130513/
Choreographic Investigations Bibliography
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Cosentino, G. (2021). Exploring multi-sensory interaction to enhance children’ learning experience. Interaction Design and Children. https://doi.org/10.1145/3459990.3463397
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Hourcade, J. P. (2008). Interaction design and children. Now Publishers.
Huang, S., Grady, P., & GPT-3. (2023, January 27). Generative AI: A creative New World. Sequoia Capital US/Europe. https://www.sequoiacap.com/article/generative-ai-a-creative-new-world/
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Alrutz, M. (2014). Digital storytelling, applied theatre, & youth: Performing possibility. Routledge.
Beiser, J. (2023) How can AI support human creativity? Here’s what a new study found. (2023, February 22). The European Sting - Critical News & Insights on European Politics, Economy, Foreign Affairs, Business & Technology - europeansting.com. https://europeansting.com/2023/02/22/how-can-ai-support-human-creativity-heres-what-a-new-study-found/
Blake, B. (2014). Theatre and the digital. Red Globe Press.
Breuleux, Y., De Coninck, B., & Therrien, S. (2019). The world building framework for immersive storytelling projects. SHS Web of Conferences, 64, 00003. https://doi.org/10.1051/shsconf/20196400003
Cali, C. (2017). Phenomenology of perception: Theories and experimental evidence. BRILL.
Chin-Purcell, L., & Chambers, A. (2021). Investigating accuracy disparities for gender classification using convolutional neural networks. 2021 IEEE International Symposium on Technology and Society (ISTAS). https://doi.org/10.1109/istas52410.2021.9629153
Chan, M. (2021, February 17). This AI reads children's emotions as they learn | CNN business. CNN. https://edition.cnn.com/2021/02/16/tech/emotion-recognition-ai-education-spc-intl-hnk/index.html
Cosentino, G. (2021). Exploring multi-sensory interaction to enhance children’ learning experience. Interaction Design and Children. https://doi.org/10.1145/3459990.3463397
Cragg, L. (2016). The development of stimulus and response interference control in midchildhood. Developmental Psychology, 52(2), 242-252. https://doi.org/10.1037/dev0000074
Crary, J. (2001). Suspensions of perception: Attention, spectacle, and modern culture. MIT Press.
Darda, K. M., & Cross, E. S. (2022). The computer, a choreographer? Aesthetic responses to computer-generated dance choreography. https://doi.org/10.21203/rs.3.rs-2038922/v1
Darda, K. M., & Cross, E. S. (2022). The computer, a choreographer? Aesthetic responses to computer-generated dance choreography. SSRN Electronic Journal. https://doi.org/10.2139/ssrn.4102632
Darda, K. M., & Cross, E. S. (2022). The computer, a choreographer? Aesthetic responses to computer-generated dance choreography. https://doi.org/10.21203/rs.3.rs-2038922/v1
Davis, S. (2018) Adverse childhood experiences and the changes to the human brain. (2018, November 19). CPTSD Foundation. https://cptsdfoundation.org/2018/11/19/adverse-childhood-experiences-and-the-changes-to-the-human-brain/
Delwiche, A. A., & Henderson, J. J. (2013). The participatory cultures handbook. Routledge.
Dignum, V, Penagos, M, Pigmans, K, and Vosloo, S. (2021)
Policy guidance on AI for children. (n.d.). UNICEF. https://www.unicef.org/globalinsight/reports/policy-guidance-ai-children
Dixon, S. (2015). Digital performance: A history of new media in theater, dance, performance art, and installation. MIT Press.
Floch, Y. (2021) European Dancehouse Network. https://www.ednetwork.eu/uploads/documents/63/EDN_Virtualized%20Dance%20Full%20Publication.pdf
Francisco Enrique Vicente Castro, Kayla DesPortes, William Payne, Yoav Bergner, and
Kathleen McDermott. (2022). AI Dance: Co-Designing Culturally Sustaining Curricular Resources for AI and Ethics Education Through Artistic Computing. In ICER'22. 26--27. https://doi.org/10.1145/3501709.3544275
Goodwin, R. (n.d.). Ross Goodwin. https://rossgoodwin.com
Grindheim, M., & Grindheim, L. T. (2021). Dancing as moments of belonging: A phenomenological study exploring dancing as a relevant activity for social and cultural sustainability in early childhood education. Sustainability, 13(14), 8080. https://doi.org/10.3390/su13148080
Grossman, G., & Edelman. (2020, November 23). This is how we’ll merge with AI. VentureBeat. https://venturebeat.com/ai/this-is-how-well-merge-with-ai/#:%7E:text=AI%2C%20for%20example%2C%20offers%20the,masterpiece%20ar
Hari, J. (2022). Stolen focus: Why you can't pay attention. Bloomsbury Publishing.
Haque, Usman. 2 0 0 4 b. “The Choreography of Sensations: Three Case Studies of Responsive Environment Interfaces.” Available at http://www.haque.co.uk.
Hourcade, J. P. (2008). Interaction design and children. Now Publishers.
Huang, S., Grady, P., & GPT-3. (2023, January 27). Generative AI: A creative New World. Sequoia Capital US/Europe. https://www.sequoiacap.com/article/generative-ai-a-creative-new-world/
Jenkins, H., Shresthova, S., Gamber-Thompson, L., Kligler-Vilenchik, N., & Zimmerman, A. (2018). By any media necessary: The new youth activism. NYU Press.
Kalliomeri, R., Mettinen, M., Ohlsson, A-M., Soini, S. And Tulensalo, H. (n.d.). Save the Children’s Resource Centrepage. https://resourcecentre.savethechildren.net/pdf/save_the_children_child-centered_design.pdf/
Kerrison, M. (2022). Immersive storytelling: For real and imagined worlds. Michael Wiese Productions.
Kershaw, B. (2009) ‘Practice as Research Through Performance’, in H. Smith and R. Dean (eds) Practice-Led Research, Research-Led Practice in the Creative Arts (Research Methods for the Arts and Humanities). Edinburgh University Press, pp. 63–75.
Klein, C. (2013) Maturation of the prefrontal cortex. (2013, March 5). Bridges2understanding. https://bridges2understanding.com/maturation-of-the-prefrontal-cortex/
Kolitz, D. (2018). Do kids feel stronger emotions than adults?. (2018, September 10).
Gizmodo. https://gizmodo.com/do-kids-feel-stronger-emotions-than-adults-1828933152
Lonergan, P. (2015). Theatre and social media. Bloomsbury Publishing.
Luis Morales-Navarro, Yasmin Kafai, Gayithri Jayathirtha, and Mia Shaw. 2021.
Investigating Creative and Critical Engagement with Computing in the Hour of Code (Practical Report). In WiPSCE’21
Mario klingemann. (2020). Onkaos. https://onkaos.com/mario-klingemann/
Mazzone, M., & Elgammal, A. (2019). Art, creativity, and the potential of artificial intelligence. Arts, 8(1), 26. https://doi.org/10.3390/arts8010026
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