Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI
A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours
‘Mere Mortals’ Launches a Bold New Era at SF Ballet
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Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>[aside postID='arts_13928457']Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>[aside postID='arts_13952796']The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>[aside postID='mindshift_63390']Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The ELVIS Acts prohibits the use of AI to mimic an artist's voice without permission.","status":"publish","parent":0,"modified":1711141939,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":564},"headData":{"title":"Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI | KQED","description":"The ELVIS Acts prohibits the use of AI to mimic an artist's voice without permission.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tennessee Becomes the First State to Protect Musicians and Other Artists Against AI","datePublished":"2024-03-22T21:12:19.000Z","dateModified":"2024-03-22T21:12:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Mark Humphrey","nprByline":"Rebecca Rosman","nprImageAgency":"AP","nprStoryId":"1240114159","nprApiLink":"http://api.npr.org/query?id=1240114159&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/22/1240114159/tennessee-protect-musicians-artists-ai?ft=nprml&f=1240114159","nprRetrievedStory":"1","nprPubDate":"Fri, 22 Mar 2024 05:50:00 -0400","nprStoryDate":"Fri, 22 Mar 2024 05:50:17 -0400","nprLastModifiedDate":"Fri, 22 Mar 2024 05:50:17 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954637/tennessee-becomes-the-first-state-to-protect-musicians-and-other-artists-against-ai","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.\u003c/p>\n\u003cp>“Tennessee is the music capital of the world, & we’re leading the nation with historic protections for Tennessee artists & songwriters against emerging AI technology,” Gov. Bill Lee \u003ca href=\"https://www.facebook.com/GovBillLee/posts/pfbid028sw61e5jvPuXr92Gm8khqz325gmrUQxYk8Kkdp5pJMjYuaSW6CvEQZVXwkcmL65zl\">announced on social media\u003c/a>.\u003c/p>\n\u003cp>The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state’s old right of publicity law. While the old law protected an artist’s name, photograph or likeness, the new legislation includes AI-specific protections. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928457","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Once the law takes effect on July 1, people will be prohibited from using AI to mimic an artist’s voice without permission.\u003c/p>\n\u003cp>Lee signed the bill inside Robert’s Western World, the famed Nashville honky tonk, where he was gathered with country music superstars Chris Janson and Luke Bryan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What an amazing precedent for Tennessee to get in front of this,” Bryan told the crowd. \u003c/p>\n\u003cp>“To know that our state protects us and what we’re about and what we worked so hard for is just a testament to how great this state is.”\u003c/p>\n\u003cp>Tennessee has long been known as a musical powerhouse state, from country to blues music. The state has been a launching pad for the careers of some of the country’s biggest superstars, including Elvis Presley, Dolly Parton, BB King, and Taylor Swift. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The state’s music industry supports more than 61,000 jobs and hosts more than 4,500 music venues, according to the governor’s office. \u003c/p>\n\u003cp>“From Beale Street to Broadway, to Bristol and beyond, Tennessee is known for our rich artistic heritage that tells the story of our great state,” said Lee in a press release \u003ca href=\"https://www.tn.gov/governor/news/2024/1/10/tennessee-first-in-the-nation-to-address-ai-impact-on-music-industry.html\">about\u003c/a> the bill when it was introduced in January. \u003c/p>\n\u003cp>“As the technology landscape evolves with artificial intelligence, I thank the General Assembly for its partnership in creating legal protection for our best-in-class artists and songwriters.” \u003c/p>\n\u003cp>Lawmakers have been struggling to keep up with the rapid acceleration of AI technology, as it continues to impact multiple industries. In the music industry, songwriters, singers, and producers have expressed concerns about the current lack of protections over things like copyrights and intellectual property.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"mindshift_63390","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Last year, music fans responded with \u003ca href=\"https://www.npr.org/2023/04/21/1171032649/ai-music-heart-on-my-sleeve-drake-the-weeknd\">disbelief\u003c/a> after an anonymous TikTok user used AI to simulate the voices of artists Drake and The Weeknd to create the viral song “Heart on My Sleeve.” The artists’ label owner Universal Music Group invoked copyright violation to get the song removed from platforms including TikTok, Spotify and YouTube. \u003c/p>\n\u003cp>While largely viewed as a threat, producers have also been using the technology to make some impressive breakthroughs. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was AI tools that made it possible for The Beatles to release what they’ve referred to as their \u003ca href=\"https://www.npr.org/2023/11/07/1197955845/all-songs-considered-draft-11-07-2023\">final\u003c/a> song, “Now and Then,” which was published in November 2023. The artist Grimes has also \u003ca href=\"https://www.npr.org/2023/04/24/1171738670/grimes-ai-songs-voice\">encouraged\u003c/a> the use of AI in song making, going as far to encourage creators to use AI-generated versions of her voice to make new music, offering to split 50% royalties on any successful hits. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tennessee+becomes+the+first+state+to+protect+musicians+and+other+artists+against+AI&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954637/tennessee-becomes-the-first-state-to-protect-musicians-and-other-artists-against-ai","authors":["byline_arts_13954637"],"categories":["arts_1","arts_74","arts_69","arts_70"],"tags":["arts_21891","arts_22039","arts_7534"],"featImg":"arts_13954638","label":"arts"},"arts_13952796":{"type":"posts","id":"arts_13952796","meta":{"index":"posts_1591205157","site":"arts","id":"13952796","score":null,"sort":[1709147035000]},"guestAuthors":[],"slug":"nimsins-vinay-ai-album-documentary-sensory-overload","title":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours","publishDate":1709147035,"format":"standard","headTitle":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/3DBv2ZxbOjU?feature=shared\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” [aside postid='forum_2010101893314']\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Nimsins and Vinay Pai generated beats using text prompts. They still feel conflicted about it.","status":"publish","parent":0,"modified":1709241164,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1884},"headData":{"title":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours | KQED","description":"Nimsins and Vinay Pai generated beats using text prompts. They still feel conflicted about it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Bay Area Rapper and Software Engineer Made an AI Album in 24 Hours","datePublished":"2024-02-28T19:03:55.000Z","dateModified":"2024-02-29T21:12:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952796/nimsins-vinay-ai-album-documentary-sensory-overload","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Stop me if you’ve heard this one before: an East Oakland rapper and Berkeley software engineer fly to New York City to record an album at a DIY studio using beta open-sourced AI technology, then return to the Bay Area to finish it. Oh, and they do it all on a whim, within a total of 24 hours.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the universe (or metaverse?) we live in today — in which community and creativity are inescapably intertwined with technologies we don’t completely understand, but are learning to maneuver in fast-moving, self-directed ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a reality that \u003ca href=\"https://www.instagram.com/nimsins/?hl=en\">Nimsins\u003c/a> and \u003ca href=\"https://www.instagram.com/vinay___/?hl=en\">Vinay Pai\u003c/a> (the rapper and software engineer, respectively) hoped to leverage as friends and artists in their latest collaboration, \u003c/span>\u003ca href=\"https://open.spotify.com/album/7C8vShKWOIcbNXhqMHI7wa\">\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Using a test version of Meta’s\u003c/span>\u003ca href=\"https://musicgen.com/\">\u003cspan style=\"font-weight: 400\"> MusicGen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (which allows users to generate music from text prompts) and Hugging Face (an open source website where emerging AI research is shared for public use), the creative duo came together for what they’re claiming is the first album to use the latest generative music production technology.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3DBv2ZxbOjU'\n title='//www.youtube.com/embed/3DBv2ZxbOjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of my coworkers used to work on\u003c/span>\u003ca href=\"https://ai.meta.com/research/\">\u003cspan style=\"font-weight: 400\"> Fundamental AI Research [FAIR]\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Meta. He worked on deep system stuff, not audio. He told me about [MusicGen] existing [before it went fully public],” says Pai, a UC Berkeley computer science graduate who came up with the idea and reached out to Nimsins, with whom he had previously worked on an album. (Pai also produces music under his first name, Vinay.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complete project includes the album, an AI-generated music video and a \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lowvJWnXbe4\">\u003cspan style=\"font-weight: 400\">two-part (human-made) documentary\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">about the process. The goal wasn’t necessarily to make the best rap record of all time. It was more about experimenting with new advancements in AI that, at the time the project was recorded last summer, had just leaked to the public on research back channels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The eight-track, 15-minute effort may indicate a growing trend among Bay Area musicians and adjacent hobbyists, who will likely rely more heavily on AI-augmented tools to make art. And it certainly raises questions that the artists themselves are still attempting to answer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So you might be wondering: Is the album any good? And what is lost when human artists yield such a substantial part of their creativity to machine-learning algorithms?\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3917933877/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bridging tech and hip-hop in the shadows of Silicon Valley\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pai isn’t your ordinary software engineer. While studying at Cal in the mid-2010s, he began making hip-hop instrumentals in his spare moments, and met producer \u003c/span>\u003ca href=\"https://www.instagram.com/versaam__/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was a student athlete on campus at the time. Versâam recognized Pai’s talents and enlisted him as an intern at\u003c/span>\u003ca href=\"https://www.complex.com/pop-culture/a/eric-arnold/rap-atlas-oakland\">\u003cspan style=\"font-weight: 400\"> Emeryville’s famed The Grill Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, where Bay Area rappers like SOB x RBE, Zaytoven, Richie Rich and so many others — including Nimsins — regularly appeared. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After two years at The Grill, Pai ascended in the local music industry, and went on to produce commercials for major companies like Coca-Cola to air during the 2021 FIFA World Cup. However, he often felt underpaid and undervalued for his work. Once the pandemic forced the studio where he worked to temporarily close, Pai pivoted to his background in engineering, opting for a career that could afford him to continue making music on the side. The right opportunity came for him at that moment: AI development.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m not going to sit here and negotiate with [music executives] about pennies when someone can give me life-changing money to work on AI,” Pai says. “That was a year before the big AI boom. I was really fortunate to be put in that position.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“AI is hitting a critical mass,” he continues. “The conversation I’m having with artists is about that. I feel lucky to be a bridge, being in the belly of the beast as far as knowing the technology. Let’s figure out a way [as artists] to use it and take advantage and elevate ourselves.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-800x500.jpg\" alt=\"Nimsins (with daughter) meets Steph Curry at Concordia Park in East Oakland after the Warriors star helped unveil a new basketball court at the park.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/StephCurry.Concordia-768x480.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins (and his daughter) with Steph Curry at a community event in 2019. \u003ccite>(@nimfromthaeast/Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the other hand, Nimsins — who is\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910282/nimsins-raps-about-east-oakland-with-love\"> \u003cspan style=\"font-weight: 400\">a father and mentor to younger artists in East Oakland\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and is currently studying anthropology and Spanish at San José State University — isn’t embedded in tech. Listening to his discography, you get the sense he’s more interested in philosophy and breaking bread with his people than in profit gains and building an NFT portfolio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Nimsins, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">SENSORY OVERLOAD\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> stemmed from his relationship with Pai — who Nimsins praises for simultaneously juggling his roles as a sound engineer, talent manager and vocalist on the album — and his own belief in experimenting with the unknown. After all, isn’t that what artists do — regardless of their technological era?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recorded some good parts on the album, but there’s some duds, too,” Nimsins admits. “We would sit there for hella long trying to find the right beat, finding the right prompt [to type into MusicGen]. There’s a point in the documentary when you can see how everyone’s spirit changes when we find a good beat. The spirit of collaboration hit the room in a different way.”\u003c/span>\u003c/p>\n\u003cp>And yet, music is also ultimately about the final output, and not just the process.\u003c/p>\n\u003cp>In the documentary’s first part, filmed in New York City, Pai riffs off the cuff: “The reason I play music is because it brings me joy to be in the wave. When you’re in the pocket playing [instruments] with other people, when you’re in sync with them, like when you’re freestyling or you’re in a cypher, when you’re in a band and everybody’s locked in, that’s the joy of music. At the end of the day though, the money doesn’t come from joy. The money comes from the product.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101893314","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pai’s outlook on the subject maintains a genuine \u003cem>h\u003c/em>\u003cem>ow can we learn to use this before it uses us?\u003c/em> tone throughout. But, of course, it may not be so simple in an industry where the “product” is also becoming devalued. Access to recording equipment has exploded, effectively decentralizing the music industry with an influx of content to stream on corporate platforms that, as Pai acknowledged, pay literal pennies.\u003c/p>\n\u003cp>To his credit, Pai seems to understand the layered, tangled mess of it all, and isn’t operating with AI blinders on, either.\u003c/p>\n\u003cp>“If you want to do what music is meant to do, which is uplift the spirit, to uplift the soul, to bring communities and people together, you have to keep those traditions alive somehow,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13953130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg\" alt=\"Two artists look at a computer together. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload3-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nimsins and Vinay Pai (left to right) work in a studio in New York. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not completely automated… yet\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Japanese jazz.” “Black church music.” “Early 2000s Missy Elliott.” “Experimental psychedelic reggae.” “Nigerian drill.” “’90s DMX type upbeat beat.” “Lo-fi hip-hop with futuristic soul sample.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are all phrases that a room full of creatives churned out together while using MusicGen. The documentary reveals a loose yet meticulous process of back-and-forth deliberation between the engineering producer (Pai), the MC (Nimsins) and a variety of guest artists (friends, rappers, photographers, videographers) who rotate within the 24-hour window to add their two cents, lay down a verse, then dip.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The differences between any beat the skeleton crew approved or canned could be as nearly imperceptible as typing “drill beat with Japanese jazz sample” instead of “drill beat with experimental flute sample” into the text box. Using screenshare recordings, the documentary captures the hivemind brainstorm as each word is collectively supplied, spraying AI-generated noise in random directions before calibrating the aim with each pull of the new-phrase trigger. It’s an admittedly mesmerizing experience to witness, and one which subtly highlights a different kind of creative problem solving that goes into making an AI-assisted soundtrack.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one point, the camera turns to Pai, who is asked about his thoughts on this emerging tech. His response is sobering, transparent and laden with complex truths: “It’s gonna make it a lot easier to express your ideas. People who don’t have the training, background or experience can get their ideas out way faster. So it’s going to empower a lot of people. But it’s definitely going to change the business.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If AI can make [an instrumental] in five seconds, way faster than me… it’s gonna fuck up the producer game for sure,” he adds. “But as artists you gotta adapt and find a way to create new forms of art.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nimsims doesn’t shy away from the contradictory elements that underpin the duo’s forward-thinking, if not opportunistic, AI-rap dabbling, either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg\" alt=\"A rapper in the booth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/sensoryoverload2-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Gandhi records his feature on Nimsins’ ‘SENSORY OVERLOAD’ album. \u003ccite>(Rudrani Ghosh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wouldn’t do it again myself,” says Nimsins. “I know hella dope producers. I like being hands on. It only worked because Vinay is someone I trust and enjoy. But I like to make my own beats, looking for samples, all that. It was something to do in the moment, like a challenge, something we should learn more about.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On the opening track, “ALGORITHMS,” Nimsins spits with his usual word-bending subversion: “Face to the screen and screen to the face / …An algorithm with no rhythm to name / Had ideas, they beginning to fade / Was unique, now wе one and the same / With nobody to blamе, an entity without a thing we can name.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project involves nine credited musical artists — among them are Indian American rappers and Puerto Rican lyricists, who references are as varied as Islamic teachings and a full verse in Spanish. Considering it was written and recorded using pirate studios on both coasts of the country, all in 24 hours, the album low-key slaps and shows no discernable signs of automated production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Call it new school, but you can’t knock the cyber hustle. Maybe the Too $horts and E-40s of tomorrow will just have to be out-the-high-tech-trunk with their digitized game in ways previous generations didn’t have to be. Maybe AI developers will supplant record labels.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maybe we’ll have to embrace what the future holds for tech-savvy artists, and what tech-savvy artists hold for the future.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘SENSORY OVERLOAD’ is available on Bandcamp. All proceeds from the album go to \u003c/span>\u003c/i>\u003ca href=\"https://brl-inc.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">Beats Rhymes and Life\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, an Oakland-based non-profit for hip-hop education.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952796/nimsins-vinay-ai-album-documentary-sensory-overload","authors":["11748"],"categories":["arts_1","arts_2303","arts_835","arts_69"],"tags":["arts_21891","arts_8505","arts_10342","arts_10278","arts_1935"],"featImg":"arts_13953126","label":"arts"},"arts_13950883":{"type":"posts","id":"arts_13950883","meta":{"index":"posts_1591205157","site":"arts","id":"13950883","score":null,"sort":[1706137113000]},"guestAuthors":[],"slug":"mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","title":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet","publishDate":1706137113,"format":"standard","headTitle":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When San Francisco Ballet’s new Artistic Director Tamara Rojo first approached Aszure Barton about revisiting the myths of Prometheus and Pandora, the choreographer wasn’t exactly sold.\u003c/p>\n\u003cp>“I had to really sit with the idea for a while, because I did not like how Pandora had been represented in the past,” Barton remembers.\u003c/p>\n\u003cp>Then she listened to \u003ca href=\"https://www.bbc.co.uk/programmes/m000w9tj\">a podcast from Natalie Haynes\u003c/a>, in which the writer, classicist and comedian uncovers a story corrupted by “shaky translations and biased etymologies.” As her view shifted, Barton got excited to work with composer Sam Shepherd (Floating Points) on Rojo’s first commission as the artistic director of San Francisco Ballet.\u003c/p>\n\u003cp>The resulting production, \u003ci>\u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Mere Mortals\u003c/a>\u003c/i>, is a bold departure — stylistically, musically and visually — from the era of previous artistic director Helgi Tómasson, who occupied the role for 37 years. SF Ballet’s first full-length commission from a female choreographer, it makes its world premiere on Jan. 26, with Shepherd performing live on the Buchla (a synthesizer created in the Bay Area in 1963) alongside the San Francisco Ballet Orchestra. \u003c/p>\n\u003cfigure id=\"attachment_13950919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg\" alt=\"Two men lean over synthesizer with many colored cables\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13950919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepherd collaborating with San Francisco Ballet Orchestra. \u003ccite>(© Paige Green Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Shepherd who brought the Greek myth to the table. “I was looking for a story,” he says, specifically a narrative structure that could support an hour’s worth of music. This one has plenty of arcs for sonic exploration: After Prometheus defied the gods and brought fire to man, they created Pandora, the first human woman, in retaliation. Sent to disrupt the world of men, she brought with her a jar — a gift from Zeus — that he warned her never to open. Curiosity won out, and she (or possibly Epithemeus, Prometheus’ brother) opened the jar, releasing evil into the world. All that remained trapped inside was hope, which Shepherd highlights in his composition as “a bit of birdsong” in the form of a violin solo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora, Haynes argues in her podcast, is neither good nor bad, but an agent of change, a morally neutral harbinger of new, complex ways of living. For Rojo, the myth tells a powerful story about the danger and allure of new technologies, and is especially important to revisit in a region actively advancing AI — and grappling with its implications. \u003c/p>\n\u003cp>“I felt that the moral questions that humanity goes through every time there is a technological leap are the same, whether that is the stealing of the fire, the opening of the box, the biting of the apple, the nuclear bomb,” she says. “Inevitably humanity moves forward without the answers, and then has to live with the consequences.”\u003c/p>\n\u003cfigure id=\"attachment_13950922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg\" alt=\"Person in yellow shirt and person in black hoodie stand over synthesizer covered in many colored cables\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13950922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Sam Shepherd and choreographer Aszure Barton during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite addressing a very non-human subject, \u003ci>Mere Mortals\u003c/i> is the product of some very in-person collaboration. It’s the first piece to come out of the new \u003ca href=\"https://www.sfballet.org/discover/artist-development/creation-house/\">Creation House\u003c/a> initiative, which brought Barton, Shepherd, costume designer Michelle Jank, production designers Hamill Industries and the dancers together for an artistic residency.\u003c/p>\n\u003cp>For Shepherd, some of the most exciting moments in his year-long process of composing have come in these final days before opening night. “I made some changes this morning,” he says, noting that’s only possible because of the crew’s technical skill, which has allowed so many moving parts to come together into a cohesive whole. \u003c/p>\n\u003cp>There are even elements of choreography to his orchestral arrangement. At certain points during the performance, musicians leave the pit to record in a sealed, separate room, which Shepherd then siphons through his Buchla synthesizer. “It’s quite complicated,” he says. “People are moving around all over the place!”\u003c/p>\n\u003cp>It’s aspects like this that signal just how much of a departure \u003ci>Mere Mortals\u003c/i> is from the status quo. There is risk involved, certainly, but “the bravery of our artists, I think, is unmatched anywhere else,” Rojo says. “I want them to collaborate with the very best, so that bravery is rewarded.”\u003c/p>\n\u003cfigure id=\"attachment_13950926\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg\" alt=\"A pair of dancers lit by purple and pink light\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13950926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Rose Hummel and Cavan Conley during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its \u003ca href=\"https://www.sfballet.org/discover/backstage/a-brief-qa-on-ai-and-mere-mortals/\">promotional materials\u003c/a>, SF Ballet is very clear about how AI was used in the making of \u003ci>Mere Mortals\u003c/i>. It did not, for instance, contribute to any of the choreography, music composition or dramaturgy of the piece. It will appear, however, in some of the on-stage visuals created by Hamill Industries, and in the \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">telltale many-fingered images\u003c/a> advertising the production. \u003c/p>\n\u003cp>In this way, SF Ballet hopes to show how AI can be used, ethically, as an artistic tool. “We have tried to lead by example in how you can engage living artists that are wanting and willing to work with this new tool, and are properly rewarded and properly paid,” Rojo says. \u003c/p>\n\u003cp>“We’re not here to lecture anybody,” she adds. “We just hope to inspire people to look at this new technology with the understanding of what’s at stake, but with the excitement of the possibilities that it can bring too — just like fire.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Mere Mortals’ runs Jan. 26–Feb. 1 at the War Memorial Opera House. On Jan. 31, Natalie Haynes will be present for a pre-performance talk and book signing. \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Tamara Rojo’s first season as artistic director opens by revisiting the myth of Pandora in an age of AI.","status":"publish","parent":0,"modified":1706638007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":937},"headData":{"title":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet | KQED","description":"Tamara Rojo’s first season as artistic director opens by revisiting the myth of Pandora in an age of AI.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Mere Mortals’ Launches a Bold New Era at SF Ballet","datePublished":"2024-01-24T22:58:33.000Z","dateModified":"2024-01-30T18:06:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco Ballet’s new Artistic Director Tamara Rojo first approached Aszure Barton about revisiting the myths of Prometheus and Pandora, the choreographer wasn’t exactly sold.\u003c/p>\n\u003cp>“I had to really sit with the idea for a while, because I did not like how Pandora had been represented in the past,” Barton remembers.\u003c/p>\n\u003cp>Then she listened to \u003ca href=\"https://www.bbc.co.uk/programmes/m000w9tj\">a podcast from Natalie Haynes\u003c/a>, in which the writer, classicist and comedian uncovers a story corrupted by “shaky translations and biased etymologies.” As her view shifted, Barton got excited to work with composer Sam Shepherd (Floating Points) on Rojo’s first commission as the artistic director of San Francisco Ballet.\u003c/p>\n\u003cp>The resulting production, \u003ci>\u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Mere Mortals\u003c/a>\u003c/i>, is a bold departure — stylistically, musically and visually — from the era of previous artistic director Helgi Tómasson, who occupied the role for 37 years. SF Ballet’s first full-length commission from a female choreographer, it makes its world premiere on Jan. 26, with Shepherd performing live on the Buchla (a synthesizer created in the Bay Area in 1963) alongside the San Francisco Ballet Orchestra. \u003c/p>\n\u003cfigure id=\"attachment_13950919\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg\" alt=\"Two men lean over synthesizer with many colored cables\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13950919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/FloatingPoints_SFBallet_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sam Shepherd collaborating with San Francisco Ballet Orchestra. \u003ccite>(© Paige Green Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was Shepherd who brought the Greek myth to the table. “I was looking for a story,” he says, specifically a narrative structure that could support an hour’s worth of music. This one has plenty of arcs for sonic exploration: After Prometheus defied the gods and brought fire to man, they created Pandora, the first human woman, in retaliation. Sent to disrupt the world of men, she brought with her a jar — a gift from Zeus — that he warned her never to open. Curiosity won out, and she (or possibly Epithemeus, Prometheus’ brother) opened the jar, releasing evil into the world. All that remained trapped inside was hope, which Shepherd highlights in his composition as “a bit of birdsong” in the form of a violin solo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora, Haynes argues in her podcast, is neither good nor bad, but an agent of change, a morally neutral harbinger of new, complex ways of living. For Rojo, the myth tells a powerful story about the danger and allure of new technologies, and is especially important to revisit in a region actively advancing AI — and grappling with its implications. \u003c/p>\n\u003cp>“I felt that the moral questions that humanity goes through every time there is a technological leap are the same, whether that is the stealing of the fire, the opening of the box, the biting of the apple, the nuclear bomb,” she says. “Inevitably humanity moves forward without the answers, and then has to live with the consequences.”\u003c/p>\n\u003cfigure id=\"attachment_13950922\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg\" alt=\"Person in yellow shirt and person in black hoodie stand over synthesizer covered in many colored cables\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13950922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/BartonShepherd_SFBallet_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Sam Shepherd and choreographer Aszure Barton during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite addressing a very non-human subject, \u003ci>Mere Mortals\u003c/i> is the product of some very in-person collaboration. It’s the first piece to come out of the new \u003ca href=\"https://www.sfballet.org/discover/artist-development/creation-house/\">Creation House\u003c/a> initiative, which brought Barton, Shepherd, costume designer Michelle Jank, production designers Hamill Industries and the dancers together for an artistic residency.\u003c/p>\n\u003cp>For Shepherd, some of the most exciting moments in his year-long process of composing have come in these final days before opening night. “I made some changes this morning,” he says, noting that’s only possible because of the crew’s technical skill, which has allowed so many moving parts to come together into a cohesive whole. \u003c/p>\n\u003cp>There are even elements of choreography to his orchestral arrangement. At certain points during the performance, musicians leave the pit to record in a sealed, separate room, which Shepherd then siphons through his Buchla synthesizer. “It’s quite complicated,” he says. “People are moving around all over the place!”\u003c/p>\n\u003cp>It’s aspects like this that signal just how much of a departure \u003ci>Mere Mortals\u003c/i> is from the status quo. There is risk involved, certainly, but “the bravery of our artists, I think, is unmatched anywhere else,” Rojo says. “I want them to collaborate with the very best, so that bravery is rewarded.”\u003c/p>\n\u003cfigure id=\"attachment_13950926\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg\" alt=\"A pair of dancers lit by purple and pink light\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13950926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/MMO2023BTS_GB_4G5A5101-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Rose Hummel and Cavan Conley during the ‘Mere Mortals’ artistic team residency. \u003ccite>(© Grady Brannan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its \u003ca href=\"https://www.sfballet.org/discover/backstage/a-brief-qa-on-ai-and-mere-mortals/\">promotional materials\u003c/a>, SF Ballet is very clear about how AI was used in the making of \u003ci>Mere Mortals\u003c/i>. It did not, for instance, contribute to any of the choreography, music composition or dramaturgy of the piece. It will appear, however, in some of the on-stage visuals created by Hamill Industries, and in the \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">telltale many-fingered images\u003c/a> advertising the production. \u003c/p>\n\u003cp>In this way, SF Ballet hopes to show how AI can be used, ethically, as an artistic tool. “We have tried to lead by example in how you can engage living artists that are wanting and willing to work with this new tool, and are properly rewarded and properly paid,” Rojo says. \u003c/p>\n\u003cp>“We’re not here to lecture anybody,” she adds. “We just hope to inspire people to look at this new technology with the understanding of what’s at stake, but with the excitement of the possibilities that it can bring too — just like fire.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>San Francisco Ballet’s ‘Mere Mortals’ runs Jan. 26–Feb. 1 at the War Memorial Opera House. On Jan. 31, Natalie Haynes will be present for a pre-performance talk and book signing. \u003ca href=\"https://www.sfballet.org/productions/mere-mortals/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950883/mere-mortals-sf-ballet-tamara-rojo-floating-points-aszure-barton","authors":["61"],"programs":["arts_140"],"categories":["arts_1","arts_966"],"tags":["arts_21891","arts_10342","arts_10278","arts_21890","arts_585"],"featImg":"arts_13950920","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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