Dancing with AI: Adventures and Misadventures
(Alan Jones)
This poster presents some of the surprising advantages that the controversial field of Artificial Intelligence offers to researchers in early dance, particularly to those who specialize in transitional periods or obscure repertory that left behind limited iconography. However, every new door that AI opens is liable to lead to technical roadblocks and deceptive pathways, even potentially dangerous trains of thought. These shortcomings are represented as well.
Alan Jones, Paris, France
Paris-based researcher and choreographer Alan Jones has given papers and classes at Burg Rothenfels on a number of occasions. Having performed Baroque dance widely in North America and Europe from the 1980s into the early 2000s, he now gives priority to choreographies of the late 18th and early 19th centuries, principally those of the United States. A frequent collaborator with the New York Baroque Dance Company (Catherine Turocy, director), he recently realized a suite of American dances for the company, including the Congo Minuet; this project was conducted in collaboration with Julia Bengtsson, and with support from the Centre National de la Danse. In addition to papers at Burg Rothenfels, he has presented at conferences hosted by the City University of New York, the court theater of Český Krumlov, and the Centre de Musique Baroque de Versailles, among others. He is presently laying the groundwork for a website chronicling all the dancers, ballet masters, and dancing masters active in the early United States, along with the repertory they created. Contact:
