With high anxiety over the impact of technology on the arts and culture, the Corridor Fellowship at the Lincoln Center for Performing Arts focuses on new opportunities and welcomes interdisciplinary artists to explore how emerging technologies can transform live performances and performing arts.
Today, the renowned New York Performing Arts Center is presenting its second class of Corider Fellows. This is a group of six artists, ranging from virtual reality to artificial intelligence to immersive 4DSound systems.
“I love that they are truly thoughtful people who are not only thinking about (the work) themselves, but also thinking about how they fit into a larger conversation in art and technology,” said Lincoln Center’s Vice President of Programming Jodhanary.
Lee added that she is an “eternal optimist” about how technology can benefit the arts. When asked about the broader concerns around AI, she countered her excitement for artists who could use AI as “another tool in the toolkit, such as a mixer for sound or a paintbrush for paint.” She also suggested that for some artists, “technology is catching up to their vision, while their vision is catching up to this technology.”
To explain some of this possibility, Lee pointed to the recent Lincoln Center Arts and Technology Committee, Nona Hendrix’s Dream Machine. By using a combination of AI, VR and augmented reality to soak visitors, especially BIPOC visitors in an Afrofuturist environment, Leigh said Dream Machine is showing how to “enable people who don’t see themselves in technology, especially black and brown people, especially black and brown women.”
“I think the more people who participate in the conversation, the more likely it will be a good conversation,” she added.
New Collider Fellows selected through a nomination-based process will continue to explore their possibilities. For the next nine months, studio space will be provided at Lincoln Center and Onassis ONX, providing financial scholarships and support from Lincoln Center staff.
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Collider Fellowship added that Reigh is part of a broader umbrella of programs that seek to support artists in a “non-transactional” way.
In particular, the fellowship does not require participating artists to complete the final project or committee. Lee said the first class of Corider Fellows included one artist who completed “five or six prototypes” during the program, but he wanted another artist to “recover this time, read a lot of books, do lots of research, slow down.”
According to Lee, many of the projects that emerged from that first class are “still germinated” and could potentially appear in the Lincoln Center itself. And while Lee described herself as “doubling the position-based experience,” she specifically described as having VR, AR, and augmented reality, she suggested that Corridor Fellows could help rethink the way the Lincoln Center can reach audiences around the world.
“I don’t think we’re going to close the door to anything right now,” she said.
Here are six new Corider Fellows and a brief description of their work.
Cinthia Chen, an interdisciplinary artist and engineer, is co-director of Memory, Hybrid Identity, Spiritual Futurism Sam Rolfs, Virtual Performance, Artist and Co-Director, Virtual Performance Studio Team Rolf, whose work includes designs like motion capture performance, fashion, fashion design, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine, pine. James Allister was the first US-based artist to work on a 4D sound system, creating an immersive, sensation-based experience exploring Stephanie Dinkins with her diasporic timeline and black interior. It explores how transformations and structures and technology shape and embody the narrative to work across films, performances, and game engines.
