Is Auto-Tune Coming To Dance?

by:

Joe Patti

I recently saw this story about Adobe creating a new product using AI to smooth out dance movement in videos.

I can definitely see the value in something like this in the Covid era. If you have ever tried to synch up videos of people singing the same song in different rooms recorded on devices of varying quality, you know what a challenge that can be. There can be a similar benefit for dance groups that have their members recording videos in disparate locations.

But the same technology can be used to make people look like better dancers than they actually are. The Adobe researcher in the video accompany the article, I assume he is Jimei Yang, says he started working on the AI because his daughter felt his dancing wasn’t up to the standard of the guy in another video she was watching. So there is no pretense about the technology being helpful in stitching videos together or being used to analyze your movements so you can improve your skill as a dancer. It is all about making you look like a better dancer than you are.

If you do any reading about the controversies over using auto-tune to make people sound pitch perfect, you’ll find that some feel tools like these diminish the value of hard work to cultivate your skill. Others will say that it provides new options for creativity that didn’t exist before. Then there are others that won’t say anything because they depend on sounding pitch perfect for their livelihood.

One thing that will likely keep tools like the one Adobe is developing from being used as widely as auto tune as a substitute for skill is live performance. When someone is presenting a live concert, it is easy enough to lip synch to a recorded track or have vocals processed before being transmitted without being detected. Short of implants that allow an AI to control your movement, it is tough to enhance dance skills beyond your actual ability during a live performance.

One Creativity To Guide Them All!

by:

Joe Patti

H/t Artsjournal.com which linked to an article on recent study which found artistic creativity and scientific creativity emerge from a similar source. (my emphasis)

“The big change for education systems would be moving away from a rather fragmented and haphazard approach to teaching creativity, to a much more holistic and integrated approach,” Prof Cropley says.

[…]

“Until this research, we didn’t know whether creativity in STEM was the same as creativity in anything, or if there was something unique about creativity in STEM. If creativity was different in STEM – that is, it involved special attitudes or abilities – then we’d need to teach STEM students differently to develop their creativity.

“As it turns out, creativity is general in nature – it is essentially a multi-faceted competency that involves similar attitudes, disposition, skills and knowledge, all transferrable from one situation to another.

“So, whether you’re in art, maths or engineering, you’ll share an openness to new ideas, divergent thinking, and a sense of flexibility.

Reading the text of the study, the researchers note that there is more exploration necessary in this area. For one thing, the study didn’t look at the role of age and gender in creativity. They also encourage deeper exploration of micro-domains of different fields:

Future studies therefore should investigate more explicitly possible differences between domains and micro-domains driven by specific environmental or contextual factors unique to those areas of activity. In simple terms, do engineers, for example, learn to think like engineers, in contrast to scientists or mathematicians? Does this then influence how these domains see creativity in products?

The last paragraph of the study summarizes the holistic and integrated approach the education system should employ as well as providing a little insight into how different fields value creativity:

People who are open, flexible and adept at thinking divergently are best placed to be creative, and education systems at all levels should foster those qualities. Conversely, while all areas of endeavor recognize creativity in outcomes (products) as inseparable from originality and relevance/effectiveness, there are discipline specific differences in exactly how these qualities are valued. It is no surprise that engineers have a more functional (see Cropley & Cropley, 2005) view of product creativity – valuing effectiveness and feasibility in particular – whereas artists place greater emphasis on originality. Creativity in people is broadly domain general, but creativity in products is shaped by the needs, standards and cultures of the disciplines that produce those creative outcomes.

We Are Gonna Need A Slower Elevator

by:

Joe Patti

There has been an ongoing conversation among the arts community that there needs to be less effort invested in selling people on an arts experience and more listening to people to find out what they are looking for.

Seth Godin made a post earlier this month that encompassed that when he suggested substituting the elevator pitch with the elevator question.

The alternative is the elevator question, not the elevator pitch. To begin a conversation–not about you, but about the person you’re hoping to connect with. If you know who they are and what they want, it’s a lot more likely you can figure out if they’re a good fit for who you are and what you want. And you can take the opportunity to help them find what they need, especially if it’s not from you.

[…]

Instead of looking at everyone as someone who could fund you or buy from you or hire you, it might help to imagine that almost no one can do those things, but there are plenty of people you might be able to help in some other way, even if it’s only to respect them enough to not make a pitch.

The truth is, unless you are in the presence of a very narrow demographic, chances are that few people you meet can fund or buy from you. Since we know that the narrow demographic most inclined to buy from us is not sufficient to support our work long term, you do need to talk to a lot of people whose general inclination toward the arts and your organization is less known. Therefore the elevator question is going to be better alternative.

Of course, the elevator part is a misnomer for this concept because there is likely no way the conversation will effectively be completed on an elevator trip between floors. It may be months or years.

Just because you aren’t practicing to deliver a frantically paced pitch between floors doesn’t mean you should neglect to provide a focused introduction of yourself and the work you and your organization does. There is so much more you can talk about if you aren’t trying to milk a sale out of precious seconds, but people will appreciate an organized, interesting self-introduction as much as they appreciate not feeling hustled to buy into something.

For Whom Are People Creating Art?

by:

Joe Patti

In September, the National Endowment for the Arts released the results of an Arts Participation survey, Why We Engage: Attending, Creating and Performing Art.

Much of the information about why people attend was very similar to other recent survey results I have written about in the last 3-6 months. To be honest, given that all the data was collected pre-Covid and so much of that may no longer be valid in the future, I didn’t want to devote a lot of time reviewing that information.

What caught my eye were some findings about how people view their own creative expression.

Like this bit about the intended audience for created art and how it was shared. I was surprised so few performing artists share their work on the internet compared to other artists.

Between 35 and 40 percent of art creators and performers said their art was intended only for personal consumption. (The percentage was highest for creative writers at nearly 40 percent.) Greater variance was observed among those who reported their intended audience as only people they personally knew: 52 percent of art creators identified this audience type, with only 32 percent of creative writers doing so. The highest percentage of respondents creating or performing for the general public were creative writers (29 percent), followed by arts performers (18 percent), and visual art creators (13 percent).

Nearly half of those who personally created art used the internet to share their work. In contrast, about 41 percent of those who engaged in creative writing used the internet to share their writing, and fewer than 14 percent of those who personally performed art shared their work in this manner.

The findings on price and income are interesting and complex. Income quartile was not predictive of whether people would say price factored in their decision to attend an event. In other words, income level didn’t necessarily align with whether they said price was a factor. However, of those identifying low cost as a motivation, it was almost the only reason they attended.

The percentage of each income group reporting that low cost motivated their attendance ranged from 30 to 39 percent, with those in the lowest-income quartile citing it the most often as a factor, and those in highest-income quartile citing it the least often. However, unlike in 2012, income quartile was not a significant predictor of whether an individual would identify low cost as a reason for attendance. Of those who identified low cost as a reason for attendance, between 68 and 71 percent of each income quartile group indicated the factor as the most important or only reason for their attendance.

Socialization was a big factor in generational terms. The younger the generation, the more frequently the respondent would say not having someone to accompany them was a barrier to participation. While Covid may change a lot about people’s willingness to venture out for in-person experiences, I suspect this is one finding of the survey that will hold true for those that are willing to attend in-person in the future.