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Dance-making is an emergent phenomenon that draws from and, in turn, teaches us about our own bodies, cultures, artistic lineages, relationships, physics, and more. By designing and training custom AI models from scratch on my own movement data, I have tried to make the story I tell myself about the way I move a bit richer. Abstracting my body into a many-body system with unknown dynamics, I invite these models to present an external, disembodied narrative of my movements. The models can be configured to generate movements that look like my own under a variety of constraints and to reveal the latent dynamics present within my own body as well as between multiple dancers. In this talk, I will describe how incorporating AI into my choreographic practice has changed the way I think about my art-making, and I will share some perspectives on the future of creativity in the age of AI.

Das Symposium beleuchtet die Frage der künstlerischen Autorschaft aus vier unterschiedlichen Perspektiven: der Musik, der Literatur (Text), der Bildenden Kunst und aus medienrechtlicher Sicht. In kurzen Impulsvorträgen werden die spezifischen Perspektiven der jeweiligen Disziplinen in Bezug auf den Einsatz von KI in kreativen Prozessen vorgestellt und wie dadurch der Begriff der Autorschaft und seine ästhetischen und rechtlichen Kategorien herausgefordert und neu verhandelt werden. Im Anschluss daran folgt eine moderierte Podiumsdiskussion, in der die verschiedenen Expert*innen gemeinsam ihre Erkenntnisse und Fragen zu den Auswirkungen auf künstlerische Produktion und Autorschaft erörtern.

AI music is cool, but isn’t this a bad idea?A lecture showcasing Swansonic’s world leading music AI programs, as well as the potential artistic implications, the challenges in developing cutting edge artistic AI systems and the ENORMOUS ethical implications in doing so.

Will it Blend? The future of creative collaboration between humans and AI. Numerous studies have come to the conclusion that AI is in no way inferior to humans when it comes to creativity. Unfortunately, these studies rarely define what they mean by creativity. Boris Eldagsen shows the complexity of creative collaboration between humans and AI - and the impact this will have on the role of artists and their education. He presents theories of creativity that help us to better understand and make sense of the collaboration between humans and AI - and explains what AI artists have in common with bartenders.

Whether hype or not, artificial intelligence is here to stay. We are at a time when the course is being set for the future social use of AI. Generative AI in particular, which produces texts, images or videos, is now an integral part of art and culture and offers a wide range of possible applications in creative processes - from inspiration and artistic expression to new ways of working more inclusively.

Johannes Giani explores how artists can use AI as a creative tool to support various aspects of music-making and related processes. He will provide an overview of the relationship between AI and music, highlighting current trends and innovations. Drawing from his work at Cyanite and his experience co-founding aptone, an AI-based sample management platform, Johannes will share practical insights into the integration of AI in the creative workflow.

Michael Brandt discusses: What could my future job in music and/or theater look like and how can I proactively help shape it? How can I design my job in such a way that everyone involved gets a positive result? And how can artificial intelligence be put to good use?