Lincoln Center Collider Fellows & Tech in the Performing Arts

Lincoln Center's Collider Fellowship: Embracing Technology in the Performing Arts

Amidst current concerns regarding technology’s influence on arts and culture, Lincoln Center for the Performing Arts’ Collider Fellowship is actively identifying new possibilities. The program welcomes artists from diverse disciplines to investigate how innovative technologies can reshape live performance and the broader performing arts landscape.

Announcing the Second Class of Collider Fellows

The renowned New York performing arts center has recently announced its second cohort of Collider Fellows. This group comprises six artists whose work spans virtual reality, artificial intelligence, and the immersive 4DSound System.

Jordana Leigh, Lincoln Center’s vice president of programming, emphasized the thoughtful approach of the selected artists. She stated they are not only focused on the artistic work itself, but also on its place within the larger dialogue surrounding arts and technology.

An Optimistic Outlook on Technology and Art

Leigh expressed her enduring optimism regarding the potential benefits of technology for the arts. Addressing widespread anxieties about AI, she highlighted the excitement surrounding artists utilizing AI as “an additional instrument in their creative process,” comparable to a sound mixer or paintbrush.

Furthermore, she suggested that, for certain artists, “technological advancements are finally aligning with their artistic vision, rather than the other way around.”

Dream Machine: A Showcase of Potential

To exemplify this potential, Leigh referenced a recent Lincoln Center commission, Dream Machine by Nona Hendryx. This project leverages AI, VR, and augmented reality to create immersive experiences, particularly for BIPOC audiences, within Afrofuturist settings.

Leigh explained that Dream Machine demonstrates art’s capacity to help “individuals who have historically been underrepresented in technology begin to envision themselves within it—specifically Black and Brown individuals, and especially Black and Brown women.”

“The inclusion of more voices in this conversation increases the likelihood of a productive and meaningful exchange,” she added.

Fellowship Support and Structure

The new Collider Fellows were chosen through a nomination process. Over the next nine months, they will receive studio space at Lincoln Center and Onassis ONX, a financial stipend, and ongoing support from Lincoln Center personnel.

Leigh clarified that the Collider Fellowship is part of a wider initiative by the performing arts center to support artists in ways that are “not tied to specific deliverables.”

Flexibility and Exploration

The fellowship does not mandate that participating artists produce a final project or commission. Leigh noted that the inaugural class of Fellows included one artist who developed “multiple prototypes,” while another chose to “dedicate this time to reflection, extensive reading, and research—a deliberate slowing down.”

She affirmed that both approaches are “entirely valid uses of the fellowship.”

Future Possibilities and Global Reach

According to Leigh, many of the projects initiated during the first fellowship cycle are “still evolving,” with some potentially being presented at Lincoln Center. While she emphasized a focus on “location-based experiences,” particularly those utilizing VR, AR, and extended reality, she also suggested the Fellows could contribute to reimagining how Lincoln Center connects with audiences worldwide.

“We are keeping all options open at this time,” she stated.

Meet the New Collider Fellows

Here are the six new Collider Fellows, along with brief descriptions of their work:

• Cinthia Chen, a multidisciplinary artist and technologist who integrates performance, installation, and projection design to investigate themes of memory, hybrid identities, and spiritual futurism.
• Sam Rolfes, a virtual performer, artist, and co-director of Team Rolfes, specializing in motion-capture performances, fashion and print design, and music visuals for prominent artists like Lady Gaga and Metallica.
• James Allister Sprang, a pioneer in U.S.-based 4D sound system applications, crafting immersive, sensory experiences that explore diasporic narratives and the Black psyche.
• Stephanie Dinkins, a transdisciplinary artist and educator concentrating on emerging technologies, race, and future histories, recently recognized by Time Magazine as one of the 100 Most Influential people in AI.
• Kevin Peter He, whose work draws from cinema, dance, and urban transformation, utilizing film, performance, and game engines to examine the impact of structures and technologies on narrative and embodiment.
• Dr. Rashaad Newsome, a Whitney Biennial participant whose art combines collage, performance, AI, and robotics to explore Black and queer cultural expression.