Lincoln center colleagues explore how technology can transform theatrical arts

At a time of great concern about the effect of technology on arts and culture, Lincoln Center for Dramatic Arts It focuses on new opportunities, welcoming multidisciplinary artists to explore how emerging technology can transform direct performance and theatrical arts.

Today, the famous New York Center for Performance Arts in the Class of Second College – a group of six artists working in areas of virtual reality to artificial intelligence to the overwhelming 4dsound system.

“I like all of the truly thoughtful people not only thinking about the (work) itself, but how it is compatible with a larger conversation in the arts and technology,” said the Vice President of Lincoln Center.

She added to me that she is “eternal optimistic” on how technology benefits from the arts. When asked about the broader concerns about artificial intelligence, it was reported to be enthusiastic for artists who can use artificial intelligence as another tool in their tool group, such as a blender for sound or a paint brush. “I also suggested that for some artists,” technology is attached to their vision, in exchange for seeing this technology. “

To clarify some of these capabilities, I referred to me to the Lincoln Committee for the recent Arts and Technology, Dream machine By Nuna Hendrix. By using a set of artificial intelligence, VR, and the augmented reality of dumping visitors, especially Bipoc visitors, in AFROFUTIRIST environments, Leigh said that Machine explains how art can help “people who do not see themselves in technology to start seeing themselves – especially black and brown people, especially black and brown women.”

“I think that the more people who are part of the conversation, the greater the chance to have a good conversation,” she added.

The new CEO colleagues, chosen through a filter -based operation, will continue to explore this capabilities. During the next nine months, they will be provided with a studio space at the Lincoln Center and Onassis onxAlong with a financial salary and support from the Lincoln Center employees.

Leger, the collision fellowship, added, is part of a wider umbrella of the programs that the theatrical arts center is searching for to support artists in “non -fire” ways.

It is worth noting that the fellowship does not require the participating artists to complete a project or final commission. She told me that the first degree of collision colleagues included an artist who completed “five or six preliminary models” during the program, while another wanted “to take this time to renew the youth of books, read many books, do tons of research, and slow down” – both the two rituals said “completely acceptable methods for this fellowship.”

According to Leigh, many of the projects that came out of that first degree “still germinate”, some of which can be displayed at the Lincoln Center itself. While she described her herself as “doubled on the experiences based on the site”, especially those that include VR and AR and the stretching reality, she also suggested that the injured colleagues can help the Lincoln Center rethink the ways they can reach the masses worldwide.

She said, “I don’t think we are closing the door for anything now.”

Below is the six -clas colleagues, with a brief description of their work:

• Cenatia ChenA multi -disciplinary artist and artistic and collects his work (in the image above) between performance, composition and projection design to explore memory and hybrid and future spiritual identities
• Sam RolfVirtual performance, artist and co -manager of the Rolfes Performance Studio team, whose work includes motion capture shows, fashion and printing design, and musical visuals of the hands Gaga, ARCA, metallica, and Netflix
• James Alesster SpanishThe first American -based artist works with the 4D sound system, and creates immersive sensory experiences that explore the schedules of the diaspora and the black interior
• Stephanie DenkinsAn artist and teacher through disciplines focusing on emerging techniques, race, and future history, which was recently called one of the 100 most 100 people in Time Magazine in artificial intelligence
• Kevin Peter HuWhich depends on his background in cinema, dance and urban transformation to work through film engines, performance and games, and explore how structures and techniques are narrative and embodiment.
• Dr. Rashad NewsAnd it is a two -year -old Whitney that combines his work between collage, performance, AI and robots to explore the black and strange cultural expression