Embodying the Artificial

Diego Marin-Bucio (PhD, University of Oslo) is a performing artist and dance researcher whose work bridges choreography, technology, and philosophy. Shortlisted for the One Dance UK Awards 22’, he has been Visiting Scholar at the Leverhulme Centre for the Future of Intelligence, University of Cambridge, UK, and Institut del Teatre de Barcelona, Spain.

• PrefaceIntroduction Chapter 1: Technology and Dance Creation1.1 A First Encounter with AI1.2 Intermedial-Dance1.3 High-Tech Puppetry1.4 Computer-Assisted Dance: A Review of its History1.5 Human-AI Dance: Evolution and Interactivity1.6 Machinic Movement Matrix1.6.1 Categories of Human-machine dance1.6.2 Limitations and potential adaptation Chapter 2: Dance Creativity: Human vs AI2.1 Creativity and Human Dance: Implications for Artificial Intelligence2.1.1 Construction of the kinesthetic experience in dance2.2 Artificial Choreography and Contingency in Virtual Space2.3 Consciousness, intention and attention in the creation of dance Chapter 3: Glytch and human decoding of dance3.1 The emergence of dance phenomena3.2 Subjectivity and sense in dance3.3 AI dance3.3.1 Approaches to AI dance creation and performance3.3.2 Ritual, aura and the experience of a dancing AI3.3.3 From Perception to Participation: Non-Human Danceability3.4 The kinesthetic experience: The virtual and the real Chapter 4: Design and observation of AI dance4.1 Field research I: RITMO Centre (University of Oslo)4.2 Theoretical approach and research methods4.2.1 State of the art4.2.2 Data collected4.2.3 Arrival in the laboratory4.3 Dance as a source of technological development Chapter 5: Embodying the artificial5.1 Embodied technology: towards an extended creativity5.2 Learning from the artificial5.3 Sonification of dance: An experience of technological embodiment5.4 Enhacement of the sensory and expressive body5.5 Transhumanist communication: Agency, consciousness and negotiation Chapter 6: (Co) Creation of Dance with AI6.1 The AI dancer6.1.1 Contemporary approaches to the AI dancer6.1.2 The AI dancer as creative agent and collaborator6.2 Field Research II: Embodying AI workshop (University of the Arts London)6.2.1 Human-AI creative collaboration experiment6.3 Creative sensory ecosystem of dance: A human perspective6.3.1 Ontological considerations for human-AI dance co-creation6.3.2 Interactive flow in human-AI dance co-creation Chapter 7: Posthuman dance: Dancing bodies of flesh, light and steel7.1 Field research III: Leverhulme Centre for the Future of Intelligence (University of Cambridge)7.1.1 Designing an AI dancer7.1.2 Getting to know the AI dancer: Collaboration, interactivity and control in human-AI kinesthetic creativity7.1.3 Hybrid dance: A creation of human and artificial intelligence7.2 Expansion of the kinesic signifier in the new humanities7.2.1 Bodies of light: The virtual self through the object7.2.2 Bodies of steel: Choreorobotics7.2.3 Bodies of flesh: Technoculture in the human creation of movement Chapter 8: Ethics, AI and dance8.1 Fieldwork IV: Human-AI Dance in Public Performance8.2 Limitations and Ethics on staging a digital AI dancer8.3 The kinetic identity EpilogueReferencesAnnexes