# Kory Mathewson: every post in full > Kory Mathewson is a Senior Staff Research Scientist at Google DeepMind, building AI tools with filmmakers and writing on AI and creativity. Award-winning improvisor. The full text of all 91 posts on https://korymathewson.com/, newest first, in Markdown. Each post starts with its title and a line giving the author, date, address and description. A guide to the site is at https://korymathewson.com/llms.txt. --- # Canada’s National Council on AI Needs Creatives Kory W. Mathewson · 2026-10-22 · https://korymathewson.com/canadas-national-council-on-ai-needs-creatives/ · Canada's new National Council on AI is missing a critical voice: the creative industries. Why we need artists and creators at the table as Canada shapes its AI future. ![An empty director's chair under a warm theatre spotlight at the head of a council boardroom table where computer ribbon cables transform into film strips, paint strokes, and theatre masks.](https://korymathewson.com/canadas-national-council-on-ai-needs-creatives/images/council-creatives.png) Earlier this month, Prime Minister Mark Carney [announced a new council](https://www.pm.gc.ca/en/news/news-releases/2026/10/02/prime-minister-carney-launches-new-national-council-artificial) to advise on Canada’s AI transformation. This council is another step the federal government is taking to address [Canada’s significant AI adoption gap](https://korymathewson.com/why-dont-canadians-use-ai/). These leaders, researchers, and experts are tasked with giving practical advice to the government. I know several of the members personally, and I have deep confidence in their expertise. **But there is a critical voice missing from the council.** I have written about [early adopters](https://korymathewson.com/early-adopters/), [creative tools on demand](https://korymathewson.com/creative-tools-on-demand/), and how AI [unlocks human creativity](https://korymathewson.com/unlock-more-creativity/). As the PM’s council convenes, it must look beyond applications in the tech and education sectors and consider the impact of this technology on Canada’s creative industries. ## Why does the council need a professional creative? Canada’s creative industries will be among the most disrupted as AI adoption accelerates. As this council shapes policy, Canadians need representation not only from experts in technology and policy. They need representation from the artists and creators whose very craft is being reshaped. Beyond domain expertise, creatives bring a valuable discipline: they know how to prototype possibilities and imagine new futures. The artistic act is fundamentally about stepping into someone else’s perspective, stress-testing new human experiences, and making the abstract something that we can feel. Art instills a real sense of what the world could actually look like. Canada is playing catch-up in global AI adoption; we need to move faster just to meet the average. We need leaders who can read the horizon and get us there quickly. We need artists. ## How will AI change Canada’s creative industries? Professional creative industries are poised for more than disruption; they are facing a revolution. [I first wrote about this in 2023](https://korymathewson.com/film/), speculating on the possibilities of generative AI in filmmaking. AI is more than a new layer of automation. It is a disruptive force that will be the storytelling medium of our generation. A novel expressive medium that we are just beginning to explore. The policies, regulations, guardrails, and guidance developed by this council will have an outsized effect on creative industries. We need a creative professional on the council to: 1. advocate for creators and ensure that AI makes the lives of Canadian artists and audiences better; 2. design strategies that celebrate, protect, and amplify Canadian stories in the age of generative media; and 3. build new economic models that increase, rather than dilute, the value of creative labour. Today, Canada’s arts and culture sector [generates over $130 billion in economic activity](https://canadacouncil.ca/research/arts-impact) and supports over one million jobs. Given that a core objective of the federal AI for All strategy is to [create 250,000 new jobs](https://ised-isde.canada.ca/site/ised/en/canadas-national-artificial-intelligence-strategy-ai-all), innovation in the creative sector can be a massive driver toward this target. This council needs to think beyond data centres and corporate AI. Film, television, gaming, and live performance should be included in a creative pillar holding up our national AI strategy. What impact could we make economically, culturally, and globally if Canada were positioned as a leader in AI-enabled creativity? What ambitious productions could we attract? What investments could we unlock? And what creativity could we unleash? As both an AI scientist and an artist, those are the questions I want us to answer. ## A seat at the table for creatives We need to add a seat on the council dedicated to the creative industries. Canada’s approach to AI will change the creative industries forever. The advice of this council must include representation from the industry that may be the most disrupted. We’ve set the table for a conversation on sovereignty, economics, and new technology. Now, it’s time to invite a creator. A poet. A painter. A filmmaker. Because if Canada is truly going to build AI for All, the conversation must include the people who create and carry our culture. --- # Why Literacy Alone Won't Solve Canada's AI Problem Kory W. Mathewson · 2026-09-11 · https://korymathewson.com/why-literacy-alone-wont-solve-canadas-ai-problem/ · Canada's new National AI Literacy Initiative is a promising step, but education alone won't close our adoption gap. To build trust and drive real adoption, Canadians must move beyond learning about AI to discovering how it is uniquely valuable to them. This week, the Government of Canada made a major announcement in my hometown of Edmonton. In partnership with Amii (Alberta Machine Intelligence Institute), they have launched a [National AI Literacy Initiative](https://www.canada.ca/en/innovation-science-economic-development/news/2026/09/government-of-canada-launches-national-ai-literacy-initiative.html). In an unexpectedly timely recent article, I wondered, “[Why don’t Canadians use AI?](https://korymathewson.com/why-dont-canadians-use-ai/)” We know that Canada has an AI adoption gap. We’ve lagged behind almost every developed nation in our AI literacy, and we have less trust in AI than many other countries. Why is this? Folks have fears about the change AI is already making in the workplace. As those fears are overcome, there is a steep learning curve that is challenging for individuals and expensive for businesses. That’s why this new program intrigues me. I believe education is the right bet when technical disruption happens. It’s a way to flatten the learning curve of a new technology by removing barriers to access. This program promises free AI education for Canadians, with specific content for educators and students. And it has a real chance to succeed. Amii has a [proven model and a history of success in AI training](https://www.amii.ca/courses-literacy). I trust the people there and believe in them. Now, more Canadians will benefit from this training. But there will be challenges. Training for the general public needs to be more than just available. It needs to be current and relevant to learners. This program is a big step toward solving one of the barriers to AI adoption: education. But education is only the beginning. I have seen over and over again that for people to adopt AI, they need to do more than learn about it. They need to use it to do something actually useful for them. A spreadsheet, a new recipe, a fitness routine. Something uniquely valuable to them that AI helped them get to. Finding value in a tool is what builds trust in that tool. Moving from a moment of delight, to nice-to-have, to want-to-have, to essential for the next task. At this point, most of us know AI exists. Few of us know how to use it. Fewer value it. And fewer still can imagine its innovative potential. This program is an investment in the funnel. More Canadians will know about AI. How can we make sure that people don’t get stuck in the education phase? How can we grow the number of people who value AI and actually use it? The most influential moment of AI adoption was when ChatGPT came online (1M users in 5 days, 100M in 2 months). That adoption curve indicates that people are hungry for an interface that they can interact with. The success of a program like this hinges on the "next step." On people not just learning about AI, but actually using it outside of the classroom. I’m optimistic that this investment in education can lead to more people taking that next step. As a researcher in this field, I am optimistic about education. I believe, and am now supported by government policy, that AI is the single biggest driver of innovation and essential to the future relevance of our country. Simply put, **it is the defining technology of my lifetime**. Like television before it, our grandchildren will find it hard to imagine how we lived in a time before AI. So, I’ve signed up for the course. And I suggest you do too. This is the time to learn. But more importantly, it’s the time to discover what you value in this technology. That’s where the real potential lies. --- # Why don’t Canadians use AI? Kory W. Mathewson · 2026-09-09 · https://korymathewson.com/why-dont-canadians-use-ai/ · Canada sits near the bottom of international AI adoption rankings despite pioneering modern AI. Exploring the social stigma, intimidation factor, imposter syndrome, and systemic barriers holding Canadians back—and how to overcome them. I've seen many articles and videos about how to use artificial intelligence (AI), and why you should use AI, and when to use AI. They all reference how easy it is to pick up this new technology and get started. And yet, Canada still has a huge AI adoption gap. This gap is highlighted in the [AI strategy](https://ised-isde.canada.ca/site/ised/en/canadas-national-artificial-intelligence-strategy-ai-all) released by the federal government this year. Canada sits near the bottom of international rankings. Out of [47 countries surveyed](https://kpmg.com/xx/en/our-insights/ai-and-technology/trust-attitudes-and-use-of-ai.html), Canada is 44th on AI training and literacy, and 42nd on trust in AI systems. As an AI scientist and Canadian, I'm left wondering: how is this possible when so many innovations underlying modern AI—from deep learning to reinforcement learning—were pioneered in Canadian research labs? Why aren’t Canadians adopting and using AI at the same rate as other developed countries? What are the actual barriers to adoption? As I discussed with friends and colleagues, I realized that there are some common barriers and some that might surprise you... ## Social Stigma AI is taking a reputational hit right now. Does it use too much water? What about power demands? Environmental and social concerns are on the minds of many Canadians. The potential negative impact of this technology is not something folks want to be associated with. This halts curiosity before it starts. Using AI for small tasks, from a Google search to a document summary, can be seen as condoning the worst actions of the industry. And it leads to a situation where **people may be willing to use AI, but not willing to be vocal about how much they are using it.** If we are to establish ethical use cases for AI, we need to start with curiosity and not condemnation. ## Intimidation Factor Like any new technology, AI has a learning curve. And as it continues to evolve, that learning curve is steepening. This leads to both **real and perceived learning gaps**. There are tangible skills to learn: some are difficult, and some are not. What website do I go to? How do I get it on my phone? Knowing how to prompt a chatbot is easy; knowing how to integrate it into a legal brief, a research synthesis, or a project roadmap without introducing hallucinations or IP leaks is the real hurdle. But there is also an intimidation factor beyond those questions. Simply put, this new technology can feel big and scary. But digital literacy has always been built through hands-on experimentation, not theoretical mastery. The antidote to intimidation is low-stakes play and continuous practice. ## Imposter Syndrome AI reveals an underlying fear in many of us: that somehow we may be expendable and replaceable, or that imposter syndrome might convince us we don’t belong. I believe these fears are defensive reactions to the nuanced emotional reflection of: “**Workers convince themselves that AI can't replace true human judgment, but secretly worry that much of their day-to-day work is formulaic enough that it could.**” **I believe that the future of work rests not in carving out a career that AI can’t touch, but in augmenting your approach with tools that allow you to do more than you thought you were capable of doing**. A growth mindset is the greatest remedy for imposter syndrome. And it is necessary in today’s economy. AI will challenge everyone to keep learning. And growth is the key to not only adopting AI now, but continuing to use it as it continues to evolve. You have to start somewhere. ## Structural and Economic Barriers Beyond personal and cultural hesitation, there is an institutional reality. Canada has a well-documented techno-economic paradox: world-class foundational research institutions paired with one of the lowest tech adoption and capital investment rates among G7/OECD countries. Most Canadian businesses are small- to medium-sized enterprises, which face capital, bandwidth, and talent constraints. AI adoption is seen as a cost risk rather than a growth driver. Many core sectors operate in protected oligopolies. This leads to low competitive pressure, which means companies are less motivated to invest in disruptive technologies. Canada excels at basic research but struggles with commercialization and IP retention. Even breakthroughs developed in Canada are often acquired and commercialized by foreign companies, which leaves Canadian companies having to buy back the costly tech. Thus, the majority of the budget needs to be directed to tech procurement rather than employee literacy and change management. Canadian public policy supported supply-side AI investment (talent, compute, research institutes), but neglected demand-side adoption (incentivizing firms to integrate and train their workforce). ## Overcoming Adoption Barriers I see our adoption gap not as a failure of capability, but as a dual challenge: systemic inertia in our institutions and a crisis of confidence in our workforce. We have spent the last decade building a world-class foundation, but our workplaces remain hesitant to pick up the tools. We don't need to trade Canadian prudence for reckless tech obsession. What we need is a shift from passive observation to pragmatic application—supported by policy that drives innovation, and a workplace culture that replaces social stigma with open curiosity. Canada gave the world modern AI. It’s time we bring our usage out of the shadows and finally give our own workers permission to use it. --- # What role should we hire an AI for? Kory W. Mathewson · 2026-06-25 · https://korymathewson.com/hire-an-ai/ · Thinking of AI as a tool or a collaborator is a false dichotomy. The right question is: what role should you hire an AI for? A framework for mapping AI's agency and authority in the creative process. A few years ago, [I asked what role AI plays in the artistic process](https://korymathewson.com/art/). Is it a tool that we use to create art? Is it a creative partner that we collaborate with? It might have been the right question at the time, but not anymore. As technology has evolved, I've come to realize that thinking of AI as a tool or a collaborator is a false dichotomy. Sometimes it's a tool. Sometimes it's a collaborator. But, there is a wide spectrum in between. The right question to ask is this: what role should you hire an AI for? AI can take our direction and execute tasks. Or, it can work on its own. We can give it more agency to do more work for us. And, we can give it more authority to make decisions for us. In short, we can give AI more agency, more authority, or both. Let's start with agency. An AI with the least agency is a tool: something that we control entirely and use to create our work. An AI with the most agency is a fabricator: a machine that takes an input of raw material, like a prompt, and produces complex outputs. ![Agency axis diagram](https://korymathewson.com/hire-an-ai/images/image1.png) We can then add an additional axis to map the authority in the creative process. At the top of that axis the AI is acting as a leader: giving direction, and never following. And at the bottom is a follower: only taking direction. ![Agency and authority axes diagram](https://korymathewson.com/hire-an-ai/images/image2.png) This chart gives me a frame to talk about the different roles where I might employ AI. In the top right quadrant, the AI has more agency to do more work, and more authority to make decisions regarding that work. In this region, the AI is acting as an **author**, confidently producing outputs with and making its own decisions. In the top left quadrant, the AI has less autonomy. I've given it less agency to perform tasks, but it is empowered to make more decisions. It is an **editor**: selecting outputs, optimizing workflows, and otherwise being evaluative, critical, and decisive about the work. In the bottom right quadrant, the AI has more agency to perform tasks, but the power of decision making rests with me, the user. It is a **collaborator**, working alongside me to produce an output that I could not have made on my own. But, the final decisions are mine. And finally, in the bottom left quadrant, the AI has less agency to perform tasks, and less authority to make decisions. It is a **tool**: the right implement to get the job done, wielded by a user who knows exactly what it is they want to make, and how they want to make it. ![Agency and authority quadrant diagram with four roles: author, editor, collaborator, tool](https://korymathewson.com/hire-an-ai/images/image3.png) As AI continues to improve, the roles I use AI for shift towards the top right quadrant: technology as both the do-er and the decider. [As I argued in my recent article](https://korymathewson.com/the-case-against-taste/), AI's ability to make creative decisions is improving. And our role in creative collaboration is already changing. I work with many creatives who are going through this evolution every day. New possibilities are being unlocked in each quadrant. AI will generate work quickly and decisively, from end-to-end. It will optimize our processes and workflows, helping us make better decisions faster. It will unlock new collaborative potentials for creators and businesses. And, it will be a powerful tool to make better work happen. There is room for us, no matter which quadrant our use of AI fits inside. --- # Worn In: Birthday Asks for 38 and 39 Kory W. Mathewson · 2026-06-05 · https://korymathewson.com/baggage-of-38-and-39/ · Two birthday asks. Show me something you broke and mended, and a word you carry. Each year, for my birthday, I ask the people in my life for something made, not bought as a contribution to my durational collective creativity project. Last year, my 38th, slipped by without an ask. So this year, I have two. ## The 38th ask: a mend Inspired by *kintsugi*, the Japanese craft of mending broken pottery with gold. **Show me something you broke or wore through, repaired, and love more for the damage.** The cracked mug glued back together. The jacket with the patch. Send a photo and a line: how it broke, how you fixed it. I'll gather them into a small gallery of second lives. ## The 39th ask: a word you carry **Tell me a word or short phrase you've carried for years and can't put down.** It can be in any language. Maybe it is a family saying. A line from a book or a grandparent. An untranslatable word that doesn't have a parallel in English. Send the words, and where they came from, and I'll compile into a shared phrasebook. ## How to send Reply by email with both. A photo of your mend, a word you carry. Late arrivals are, this year especially, entirely in keeping with the spirit. Some things grow *more* valuable as they break. That which we choose to carry says a lot about who we are. A mend and a word. A sentence is plenty for each. Thank you in advance, I can't wait to see what you've broken and mended, and what you carry. ## Previous Years Curious about previous years? * [25 stories](https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) * 26 anonymous love letters * 27 birthday photographs * 28 hand written notes * 29 essays about finding the fun in others * 30 songs for 30 years * 31 unpublished family recipes (you actually make) * 32 Paths: trails, hikes, directions to travel * [33 how-to tutorial videos](https://korymathewson.com/33-diy/) * [34 pins on a map](https://korymathewson.com/34-pins/) * [35 audio recordings](https://korymathewson.com/35-recordings/) * [36 pieces of advice](https://korymathewson.com/36-advice/) * [37 questions](https://korymathewson.com/37-deep-questions/) --- # Unlock More Creativity Kory W. Mathewson · 2026-04-09 · https://korymathewson.com/unlock-more-creativity/ · Delegate dull, distracting, and draft work to your digital agent so you can focus your attention on being creative. You can only do so much in a day. No matter how inspired or driven you are, your attention and your energy are the ultimate bottleneck for your creativity. Making art is about moments of brilliance and vision. But, it's also a lot of hard work. If you're an artist, the chances are that you have asked yourself how you can be more creative. We talk a lot about AI's role in the creative process. [I've talked about it in the past](https://korymathewson.com/art/). But, what about AI's role in the workflows that support creativity? AI can help you spend more time making art, and waste less time doing dull but necessary tasks. ## Agents as creative assistants Agents are like assistants that never get tired or bored. They take inputs, and make outputs. When they're done they search for more inputs. No matter how boring, repetitive, or annoying the task, they just keep on going. While you're working in your studio, or on stage, or sleeping, they're taking care of the tasks you need done. They're good at some things and not so great at others. If they have a concrete task, they're good at chugging away at it. But, they're not great at making artistic decisions. That's your job. You can outsource make-work tasks, and focus on the creative stuff. Your agent can take on tasks I think of as the 3Ds: **dull, distracting, or draft.** ## Delegate dullness Creativity is exciting. Sorting folders is not. Imagine an agent that keeps your folders organized, your naming convention consistent, and maybe even helps with some of your creative prep. Every boring digital task can be outsourced so that you can focus on the fun stuff. ## Avoid distractions Imagine an agent as an administrative assistant, coordinating schedules, collecting signatures, summarizing feedback, and drafting emails. You can wake up every morning organized and ready to create. ## Generate drafts If it works for your process, imagine an agent that helps you prototype your vision. A program that takes your sketches, notes, and direction and turns them into scrappy storyboards, mood boards, or pitch decks. AI agents can help you [create the things](https://korymathewson.com/creative-tools-on-demand/) you need to make "the thing", helping you to handle some of the steps between idea and creation. ## Focus your attention on creativity Your creative process is your own. I'm not arguing to delegate every part of the artistic process. If editing video yourself is what your creative work is, don't stop. But ask yourself: what dull, distracting, or draft tasks could you do without? Agents help you focus your attention, your energy, and your time on being creative instead of managing your to-do list. You know, stick to the fun part. When you delegate the boring, repetitive, and annoying tasks, it frees you up to spend more of your time bringing your humanity, your creativity, and your discerning judgement to the creative process. --- # The Case Against Taste Kory W. Mathewson · 2026-04-09 · https://korymathewson.com/the-case-against-taste/ · As AI's Cherry Pick Ratio approaches 1:1, creative judgement stops being a uniquely human skill. What's left is what only humans can offer: finitude, risk, consequence. ## As AI gets better, personal taste is losing value As AI tools improve, the need for human creative judgement changes. To see why, let's start with the job of a creative director. What is a creative director? They lead teams of creatives, shape creative vision, and ensure a standard of quality. Up to now, AI hasn't even acted as a junior creative. Generative AI tools have operated under our direction, producing mostly inconsistent work with flashes of brilliance. Nothing surprising. Nothing original. We have been their creative directors, assigning work to the models, using our judgement to assess outputs, and pushing them with prompts until something worked. Today, our creative judgement adds value to AI. We decide what is art and what is slop. Models can write scripts, generate images and videos, and compose music. But, only we can look at the outputs and judge if they are good. ## What happens when AI gets a promotion? I've talked in the past about the [Cherry Pick Ratio](https://korymathewson.com/cherry-pick-ratio/): the number of outputs an AI model has to generate before you get a useful output. **That ratio is rapidly approaching 1:1**. And when AI can generate a useful creative output every single time, our ability to judge the quality of those outputs suddenly becomes less valuable. More than that, when we layer in agentic creative workflows, AI not only becomes a trusted, senior creative; it becomes the creative director. The role of humans in creative collaboration will change. And we need to evolve our role when working with generative AI systems. We developed creative judgement because making things was traditionally expensive. Every frame of every film, every sketch, every prototype cost real resources. Judgement was an economic filter as much as an artistic one. We had to be selective because waste was unaffordable. We could only spend so much time, energy, and money on a project. AI removes this limit. It can generate creative faster and cheaper than ever before. Entire creative industries no longer rely on our judgement. AI is already generating stock images, elevator music, and X posts with little oversight. Further upmarket, judgement is still at the centre of creative work seen as more artistic or high-value, like feature films or fine art. These industries may be an order of magnitude more difficult. But, as the generative Cherry Pick Ratio approaches 1:1, our relationship to creativity will need to evolve. ## Why we still matter None of this is an argument against human creativity. Rather, it's an argument that we've been defending the wrong thing. What is the unique value that we add to the co-creation equation? The blunt truth is that creative judgement is no longer only a uniquely human skill. AI models can now perceive, critique, and comment on multimedia with something close to a perspective. Taste has become infrastructure. It is embedded in tools and outputs. It is no longer a function creatives perform but something they build on. But, the model bears no consequence. It cannot stand behind its work and ask: "Do I own this? Am I proud to share it?" It sacrifices nothing to create. We don't matter because we have good judgement or can conjure outputs with context, prompts, and preambles. We matter because we are finite. We matter because we end. A machine can generate a masterpiece, but it risks nothing to do so. The case against taste is simple: we don't need humans to tell us what is good anymore. We need humans to tell us what is worth the risk. Our edge isn't our minds. It's our humanity. --- # Creative Tools On Demand Kory W. Mathewson · 2026-03-03 · https://korymathewson.com/creative-tools-on-demand/ · Using AI to build custom tools and applications that do exactly what you need them to, exactly when you need them. ## Building the creative tools you need, right when you need them As a creative, you are at the mercy of the software tools available to you. You buy apps for yourself or your team on a "just in case" basis. That is, you hope you have the right tools for the job, without knowing exactly what those jobs will be. You want to make sure to have tools to solve the right problems, speed up the right processes, and generate the right outputs at the exact right moment, without breaking your creative flow. Sometimes you’re right. And sometimes you waste time and money being wrong. But what if you didn’t have to guess? Using AI, we can shift our mindset from hoping for the best, to building customized tools and applications that do exactly what you need them to, exactly when you need. You can shift from "just in case" tools to "just in time" tools. ## Just in Time Tools AI is no longer just outputting text, images, and videos. It’s building fully interactive apps, custom built to solve your needs. The latest AI models let you describe the tool you need, what you need it for, and how you want to use it. With that information, models can output custom applications, or interactive websites, that do exactly what is most useful for you. Think of this as clearing the friction in your creative workflow. You’re no longer slowed down by researching and selecting the right tools. You don’t need to request features and hope they get built. **You can create what you need when you need it.** And you can empower your collaborators to use AI to automatically build what they need to keep them in the creative zone. Here are three examples of custom tools inspired by real challenges that people have shared with me recently: ## Example 1: Audience Simulator Imagine you want to test new creative ideas against different audience demographic groups or personas. How will your audience react to each different option? What are some of the things you can do to improve your campaign option with your target audience in mind? Instead of making assumptions about an audience’s behaviour, I’d build a simple app that allows you to input a creative idea and see how different audience profiles might respond. To do this, I'd open up AI Studio, and write a short description to quickly create an on-demand creative tool. ``` Make me a simple web app where I can paste a new creative concept or campaign idea. Underneath, I want a ‘Test Audience’ button. When I click it I want the app to invent three completely different audience personas—give them ages, jobs and a quick personality summary. Then, show me a card for each person explaining how they would emotionally react to my idea, what they’d love about it, and one highly specific suggestion for how I could tweak the creative to get a better response from that audience. ``` Immediately, AI Studio starts to code my custom app. And it creates something that looks like this. ![Audience Simulator app](https://korymathewson.com/creative-tools-on-demand/images/audience-simulator-app.png) Now, I can interact with my app. I’m going to test it by describing my example campaign for the Hamburger Hot Dog. And it’s going to generate something that helps me understand how my creative would land with different audiences. You can try my [*Audience Simulator made in AI Studio*](https://ai.studio/apps/4ca449af-b770-4fbb-a72d-4b26347ad1bf) prototype for yourself. In fact, you can even remix it and make it your own. Start adding your own prompts, and customize it into the tool you need. ## Example 2: Video Constellation Maker Here's another. Maybe you need to create a series of space videos that fit into your vision for an out-of-this-world, space-themed short film. Rather than just using a generative AI tool to prompt each individual video, here’s how I would prompt for an app that lets you input some ideas, reference images, and a visual direction to create a playful interactive constellation of videos. ``` Please build a dark, cinematic web app called 'Constellation Maker.' I need a place to drop in some reference images, and text boxes to type in my 'Visual Direction and Cinematic Style.' When I hit generate, I want it to build an interactive constellation of stars. Each star should represent a different space-themed image based on my inputs, similar ones could be closer together maybe? If I click a star, it should pop open a cohesive prompt and a button to generate a video using the image as the first frame ``` ## Example 3: Brand Alignment Checker Or, what about this? Imagine being able to determine with some objective clarity if the creative you are making is on brand. Here’s a very simple prototype of how I might create a custom app that takes as input some brand guidelines and a creative campaign or tags, and allows you to determine if you nailed it, or suggests ways to improve it. ``` Please build me a clean, minimalist dashboard called the 'Brand Alignment Checker.' On the left side, I need to be able to upload a document of brand guidelines and upload a new creative asset. On the right side, I want it to give me an 'Alignment Score' out of 100. Break the feedback down simply: tell me 'What I Nailed,' tell me 'Where It Missed' the guidelines, and give me a list of 'Actionable Fixes' to get the creative back on brand. ``` Those are three simple ideas that I was able to quickly build customized apps for. In less time it takes you to write down your problem, these new AI systems can start building the solutions. ## The Future of Creative Tools I realize it’s early days. The technology isn’t perfect yet, but it’s improving quickly. But the time to start is now. We’re in the [early adoption](https://korymathewson.com/early-adopters/) phase of vibe coding, or AI-assisted engineering. Today, AI models are powerful enough that you can make useful things without writing any code at all. Now is the time to try things out, see what you can do and get excited about the possibilities. AI-assisted engineering means that the right creative tools for you are more available than ever, because you can create them yourself. You don’t need to hope someone else has made the tool you need, or put the right functionality into their software. You can dream it up and make it happen. So what’s in the way? What’s your creative challenge? What annoying step in your process could be a tool? I think that AI can help you through the friction and over the chasm. Because building isn’t the bottleneck any more. Unblocking your creative workflow is just a prompt away. --- # The Danger of Nothing Kory W. Mathewson · 2025-12-29 · https://korymathewson.com/the-danger-of-nothing/ · In 2014, I wrote a manifesto on improv. A decade later, I realized I'd described some fundamental truths about generative AI. The danger of nothing? Both performers and models must embrace uncertainty, accept and expand, and find gold in chaos. In May of 2014, on the final leg of a trip from Edmonton to Milan, I opened my laptop and typed out a "manifesto" on the art of improvisational theatre---theatre that is created and performed at the same time. I was traveling to present research at a biomedical engineering conference, but my mind was elsewhere. I recently excavated the manifesto. It’s long, it’s rough, and it’s beautifully messy. At the time, I worried I might be over-intellectualizing comedy. But looking back from where I sit now—-working with generative models for creativity—-I realize I wasn't imposing artificial, unnecessary order on the art. I was trying to figure out how creative engines work. I was trying to find order in chaos. ## The Paradox of Safety One of the first sections of the manifesto is a dissection of a favourite theatre warm-up game of mine called **Knee-Freeze Tag**. The mechanics are ridiculous: you touch a knee with your hand to freeze someone; you touch their knee with your knee to unfreeze them. It’s a fun game, try it sometime! I was more interested in the systemic failure of "winning". A common pattern I would see when teaching the game is that players would try to win by freezing everyone. But by winning, we lose. If you "win" the game by freezing everyone, the game is over. The movement stops. To keep the game alive, you have to actively work to unfreeze the other players, a choice that inherently forces you to put yourself back in danger. That right there? That’s the secret to generative creativity. Just like in the game, a generative system dies if it seeks total certainty. If a model only predicts the most "correct" and safe next token, the output freezes, it becomes repetitive and flat. To generate something novel, the system (or the player) must accept the risk of the "unfreeze." You have to walk the line to know where the edge is. I wrote a story about this to illustrate the point. An improviser I know well went parachuting one day... as he fell out of the plane, his parachute failed to deploy. He didn't panic. Instead, he started pirouetting. He accepted the reality of the fall so fully that a flying V of Canadian geese swooped in under him to cushion his landing with the air pressure of their wings. He didn’t fail at skydiving; he succeeded at falling. ## The Service of the Scene I spent pages trying to deconstruct what makes for a great improvisor. In my classes people would point to the funniest, fastest, loudest person in the room. My notes argue the opposite. For me, the best improvisor is the person everyone else wants to work with. They know how to set the ball on the tee so that anyone else on their team can hit a home run. I explored this thinking in a show I directed called **15 Minutes of Fame**. I would pull a complete novice from the audience onto the stage. The goal was to prove that if *I* did my job correctly--—if I acted as the enabler, the support, the floor underneath them--—then this untrained stranger would look like a genius. I gave them only three rules: * Say Yes. * Don't ask questions; make decisions. * Care passionately about whatever you are doing. But to pull this off, they inevitably have to get out of their own heads. This requires a specific type of focus. And it often took a few minutes to get there. I called it **The Collective Audi-Eye**. And I often explained it briefly as follows: When you look down, you tend to think about the past. When you look up, you ruminate or plan the future. But when you look at each other, or out into the *Audi-Eye*, we stay present in the moment. In the here and now. We close the feedback loop. We stop performing *at* the audience and start performing *with* them. ## The Geometry of Story Even in 2014, I was resistant to the standard "Hero's Journey" or "Conflict/Resolution" model of narrative. They felt forced. Instead, I stopped looking at theatre scenes as story beats and started seeing them as **vectors**. Direction. Magnitude. Velocity. Stories are geometrical. You have a **Platform** (Point A: the status quo), and you have a **Tilt** (Point B: the deflection). By viewing the classic Keith Johnstone concept of the "Tilt" as a geometric vector, we stop guessing the destination and start plotting the trajectory. It makes narrative actionable because we aren't looking for a "good idea"; we are simply calculating the arc created when the Tilt disrupts the Platform. And then comes Point C: the **New Normal**. The Tilt doesn't just disrupt—it resolves. The characters must find their footing in a world that has shifted. This is where the geometry completes itself: the vector from A to B creates momentum, and the landing at C gives it meaning. Without the New Normal, you have chaos. With it, you have a story. ## Hacking the Hardware To teach this, I used constraints that bypassed the intellect. I didn't want actors thinking about "building a character." I wanted them to arrive in a body and a voice with a feeling. I would push them to quickly spin around 360 degrees and land immediately with a new **Physicality, Vocalization, and Emotion**. And we would do it over and over again. Then, after a while of solo work, we would add a second person. They have to make a choice. Right now. Are they a **Joiner**? An **Opposer**? Or an **Enabler**? They have to make this choice instantly, and with their own physicality, vocalization, and emotion. These two characters would then exist together. They exist in this state until the **Tilt** arrives. A tilt always starts small, but eventually, it won't leave you alone. The universe shifts. We see the two characters we know affected by this new reality, and they must work to establish a **New Normal**. ## The Grandmaster Effect One metaphor that holds up 12 years later is where I compared expertise in improvisation to expertise in chess or Brazilian jiu-jitsu. Chess grandmasters and martial arts black belts don't memorize every possible move; the search space is infinite. Instead, they recognize *shapes*. They see patterns. A chess player sees the board is "Queen-side heavy". A fighter feels the opponent's momentum leaning forward. They aren't reacting to a specific move; they are reacting to a probability distribution. The trained improvisational performer is one who can recognize these shapes. They appreciate the danger of nothing. They can mine the gold from any suggestion, just by recognizing the patterns, adapting, and justifying the new reality. ## The Pivot to 2025 When I look back at my manifesto from 12 years ago, knowing what I know about AI now, and seeing how the field has developed and evolved, the connection isn't subtle. These weren't just stage rules; they were algorithms for navigating complexity. I look at generative AI now, and I see an improviser. A large language model doesn't "know" facts; it recognizes the shape of the prompt and predicts the trajectory of the completion. It treats a prompt exactly like an improv offer: it analyzes the geometry of the preceding tokens and predicts the most statistically probable "yes, and...". Day to day, as a researcher I see more clearly than ever the "Alley-Oop." "enabling" has some negative connotations, but I think that in research, and in many creative pursuits, an *enabler* is critical. If I fight to be the most interesting person in the room, I have failed. My job is to be the **most interested**. My job is to validate the "tilt" offered by a colleague so the project can evolve in ways I couldn't have predicted. If we can all work this way, then the collective is greater than the sum of the parts. And as I look at new products and innovations, and I see the A-B-C vector. If you cannot define the "tilt"—--the precise variable you are disrupting in the market—--you don't have a product. You just have a slightly noisier normal. ## The Amalgamation I ended those notes on the train with a sentiment that has become my anchor. I wrote: *"Your creativity is a beautiful amalgamation of everything you’ve experienced"*. This is our moat. This is what makes us unique. Generative AI has plenty of training data, plenty of experience, but it doesn't have your specific amalgamation of train rides, failures, and moments of joy. It doesn't carry your baggage. No need to be perfect. Just look for the patterns in the chaos. Accept and expand. Find the gold hidden inside the coal. --- # Examining the Cherry Pick Ratio Kory W. Mathewson · 2025-02-18 · https://korymathewson.com/examining-the-cherry-pick-ratio/ · Gathering the toughest questions about the Cherry Pick Ratio that I’m grappling with, and my reflections on them In December 2024, I published an article proposing a new metric: [the Cherry Pick Ratio](https://korymathewson.com/cherry-pick-ratio/). What is the Cherry Pick Ratio? It’s a metric that fills a gap in the generative AI space. It measures the proportion of useful outputs generated by a model. Usefulness is measured by the user. So, the Cherry Pick Ratio is a measure of the effort a user must put in to generate an output that they’ll actually use. The article has led to a number of interesting conversations. Many of them are positive. I’ve even heard colleagues begin to use the term in their own work. Some conversations have led to questions that made me think deeply about the concept that I am proposing. In this article, I want to share some of the most challenging questions that I heard—and my reflections on them. ## Is the Cherry Pick Ratio a process or product metric? This question is about who the Cherry Pick Ratio focuses on. Is it a measure of the user experience of a generative model—the process they go through to create an output—or is it a measure of the experience of the audience for the outputs of the model—the people who see the product? The Cherry Pick Ratio falls solidly on the process side. It is meant to measure the user’s number of attempts before they generate a product that they are willing to use. I can certainly see how the product/output side is interesting. After all, what I’m willing to use is not necessarily something that my audience will like. However, the specific purpose of the Cherry Pick Ratio is to understand the process side. Perhaps this will lead to future metrics on the product side to help us understand audience behaviour toward AI-generated products. ## How does the Cherry Pick Ratio measure different user group behaviours? Different user groups may use generative models in different ways. An example that was called to my attention is first-time users. When you use a new generative AI model for the first time, you may be more inclined to explore, play, and test. This could drastically increase your tolerance for bad cherries because your intention is to explore, not arrive at a solution as efficiently as possible. On the other hand, an experienced user may expect a model to generate an output as efficiently (or more efficiently) than the last time they used it. I want to specify that, while the Cherry Pick Ratio can tell us how efficiently a model arrives at a satisfactory output, it has a much broader application. Ideally, a model can support a user journey from first-time user to loyal advocate. A first time user may have a much higher tolerance than an experienced user. And indeed, as many readers pointed out, each user's tolerance would change over multiple interactions with a system. In my previous article, I addressed the concept of understanding user tolerance. You can conduct user research to understand this tolerance for different audience segments, and define unique Cherry Pick Ratios for each to find out if your model falls within your audience’s tolerance. The Cherry Pick Ratio is, simply, a metric. Like impressions, pageviews or bounce rate, it’s a measure that can be used to study and optimize your model. But, for different audiences, the same metric can mean vastly different things. ## How quickly do users adapt their expectations of a model’s capabilities? This is a challenging question. To be frank, I’m not sure I have a clear answer on it. And I’m interested to keep exploring. The basis of the question is this: at what point does the user begin to expect less of a model. And, when that happens, do they modify their inputs to fit their perceived capabilities of the model. On one hand, I would argue that some users may reach the end of their tolerance for a model when they begin to believe the model is not capable of a satisfactory output. But other users will have a greater tolerance for experimentation and exploration (as I’ve addressed above). People are adaptable. And generative AI is, in essence, a [collaboration between the user and the model](https://korymathewson.com/art). That means that the intention of the user, their flexibility in what they consider a satisfactory outcome, and their willingness to work within their perceived capabilities of a model can all dramatically affect the Cherry Pick Ratio. The Cherry Pick Ratio alone may not be able to help you understand exactly when or why your user adapts their behaviour. However, it may be part of the puzzle. The Cherry Pick Ratio as a metric can still offer us interesting insights into the user’s interaction with a model. Perhaps paid subscribers expect a more efficient model than free users. Or, to continue the example above, perhaps first-time users whose Cherry Pick Ratio is far from 1:1 are less likely to use the model a second time—because they experimented with it at length and ultimately determined it was not capable of meeting their expectations. ## When are users willing to tolerate more cherry picking? I want to start by addressing an assumption I’ve heard a few times. To be frank, it’s an assumption that I had going into this concept as well: that **the goal is a Cherry Pick Ratio as close to 1:1 as possible**. That is, we want the model to generate useful outputs more often. There are situations where that is true. An accountant using AI to generate a spreadsheet may expect that their first prompt results in a satisfactory outcome—especially if they have paid for expensive software. But there are applications where more cherry picking may not only be tolerated, but preferable. AI has a great potential not just for efficiency but for play, for collaboration, for artistic exploration. In any of those, your user may be more interested in how many different things they can create with a model—instead of racing toward the first satisfactory output. One case study stands out to me in particular. That is, users integrating multiple models into their process in an effort to bring the Cherry Pick Ratio closer to 1:1. For example, if I want to use a generative model to create a video, it may help me to input cinematic language into my prompt. Without knowing how to write in cinematic terms ([as Mike Gioia dove into in a recent post](https://intelligentjello.substack.com/p/sending-sora-to-film-school)), I may prompt a text-based model to create a cinematic prompt for the video model. It’s a fascinating example. And it’s useful behaviour to understand. A video model that requires cinematic direction may be losing users who don’t arrive at a creative way to reduce the model’s friction. With that insight, you might work to make it easier to prompt with plain language. Or, you may embrace marketing your model to a niche audience who is fluent in cinematic language. The Cherry Pick Ratio alone won’t tell us everything about this behaviour. But again, we can gain a measure of insight from querying the analytic. ## Final Thoughts Defining the Cherry Pick Ratio had an unintended consequence: the assumption that a Cherry Pick Ratio closer to 1:1 was superior or even preferable. But further conversation has revealed a much broader application. The Cherry Pick Ratio is simply a metric. And, like any metric, it has useful applications in a number of contexts. Combined with a strong understanding of your model, your users and the user experience, it can offer insight into your model. Even more useful, it can reveal areas of exploration. If it takes a user seven attempts to generate a satisfactory outcome, that reveals six “failed” data points. Was the user generating multiple options with the same prompt? Integrating another model to completely modify their approach to prompting? Or, were they simply exploring, experimenting and playing? The answers will help you to build on your successes—and, more importantly, to learn from your failures. That’s the only way to grow. --- # The Cherry Pick Ratio Kory W. Mathewson · 2024-12-16 · https://korymathewson.com/cherry-pick-ratio/ · Generative AI's 'Cherry Pick Ratio' measures how many outputs a user must generate to find a useful result, impacting user tolerance and adoption. If my feeds on LinkedIn and X are to be believed, AI models generate nothing but useful and _incredibly_ high quality outputs. Unlikely to be the case. And, in fact, I don’t actually know how much effort is behind each generated image, video, song, or hilarious joke that is shared. There is something hidden in the way we talk about generative AI. ![cherry-pick-ratio](https://korymathewson.com/cherry-pick-ratio/images/download.jpeg) ## How hand picked are those outputs? What do I mean? Well, there are two things that a generative model is trying to do. One is to learn patterns in all of the training data to create new high-quality outputs. This is the ‘hard’ science of generative AI: improving the model, data, and learning to generate higher quality outputs. But, we also expect the models to accomplish a second, much more subjective task. It must translate some input from the user (e.g. a text prompt or an image) into a generated output that satisfies the user’s expectations. Sometimes the user knows what they want. Other times they will "know it when they see it". Either way, the first output is rarely the final one. It could take ten, twenty, thirty generations before the model generates an acceptable output that they like. Or worse, before they get frustrated and give up. This leads me to a question that is discussed often with peers, but is somewhat lacking in the literature around generative models. **How hard are users willing to work to get to a final result?** This question is at the core of the adoption of generative models. For a model to be capable, it needs a foundation of a good model, good data, and good training. But, for the model to be widely adopted, it needs to be more than capable—it needs to _feel_ useful to people. Tangibly, the user needs to feel that the model is worth the investment of time, effort, and money needed to create something useful. In literature, this quality is described in a few different ways: prompt adherence, or how well do the outputs align to the prompt; steerability, or how well can users direct the behaviour of generative models; and, more generally, as controllability, or how easy it is to get the model to accomplish the user’s objectives. But, there is no clear definition or measure of the point where users feel a model can do something useful for them. What if there was? ## What is Cherry Picking? To start, let’s call an output that the user deems useful a "cherry-picked output" (CPO). The outputs we end up seeing are the ones that users have cherry-picked from a large number of samples. Many generated samples are discarded because they do not align to the user’s expectations, and many are discarded because the model failed in generating outputs of high enough quality. Either way, users dig around to find a handful of the best outputs in the bunch. They cherry pick and then showcase only the best. So, how much work does it take for us to find these cherry picked outputs? ## What is the Cherry Pick Ratio? I want to measure what it took to generate a cherry-picked output. This measure correlates with 1) the time it takes the user to iteratively construct and modify their inputs to the model and 2) the time it takes the user to review, rank, and curate from all the generated outputs. To simplify, I can define the **cherry pick ratio** as the number of useful outputs divided by the total number of outputs generated. Cherry Pick Ratio = Useful Samples : Total Samples How about a worked example? Let’s say I am working with a chatbot to write a funny joke (i.e. one that I find funny enough to include in this post). Let’s say I ask the chatbot to generate 5 jokes about cherry picking. And, because the first prompt didn't work so well, let's say that I try two different input prompts. So I have a total of 10 outputs. If it takes ten samples total to generate a single usable output then the model’s CPR is 1:10. If on the other hand, it had come up with a funny joke on the first attempt, then the CPR would be 1:1. For reference, here’s the best I could get from a total of 10 outputs: “_Low-hanging fruit: because success tastes better when you barely try._” On the all-too-rare occasion that the model is able to come up with multiple useful outputs for a single user input, then the ratio could be something like 2:5, or even 5:5 when every output in the batch is useful. ## Cherry Picking and Tolerance Why is the Cherry Pick Ratio useful? Because it gives us a way to quantify the performance of a generative AI model on the harder to codify and more subjective task of generating something useful. It enables us to compare the 'feel' of one generative model against another. And finally, because it enables us to discuss interaction with generative AI systems in terms of tolerance. What will the user tolerate in terms of a Cherry Pick Ratio? This measure of tolerance is directly connected to adoption and delight. A good estimate for my CPR tolerance when generating one-liner jokes for inclusion in a blog post is 1:10. Practically, that means that unless a generative AI model can reliably create a single useful output for every 10 outputs, I am much less likely to use and adopt that model. My tolerance may be vastly different than someone else’s. In fact, my tolerance varies for different jobs I am trying to do with these generative AI models. As another example, an automated customer service representative for an airline that requires stable, reliable, and secure technology, may need a CPR of 1:1. Every output has to be useful. Compare that with an experimental AI artist exploring and expressing new ideas through the lens of a new model. The artist may tolerate a CPR of 1:100, or 1:1000 as I’ve seen common in many generative AI filmmaking workflows. A system developer also has a tolerance for CPR. One company may want to release models with a CPR no worse than 1:4 to protect a reputation of quality. Compare that to another company which may be more willing to release models which generate useful outputs less often but offer an increase in generation speed, for instance. Why not generate lots of outputs for every input from the user? This would ensure that there is a useful output available? Because there is a real and significant cost to the number of outputs generated for each prompt. If the model outputs too many candidates for each prompt, it could take too long to generate, and it can take too long for the user to review the entire candidate set. On both sides, tolerance tells us something useful. It defines when a new model is ready for adoption. No more guessing. Developers can define a goal number—and confidently release a model when they achieve it. ## Testing the theory There are a few ways to design experiments around the Cherry Pick Ratio. For example, gather a sample of users and provide them a creative brief. Then measure how many input iterations and how much curation it takes to land on a useful final output. An average over a sample group could provide a baseline Cherry Pick Ratio. This could then be compared with the CPR of the same group after a training session on, say, how to write better prompts, or compared across different models to understand what works best for them. We could also take a more subjective and qualitative approach and survey a group of testers after 10, 20, or 30 generations. Are they frustrated? Excited? Ready to give up? Analysis of this sort of survey could map their changing expectations over time and empirically connect tolerance and CPR. ## Wrapping Up Today, lots of the progress in generative AI focuses on the capabilities of our systems. Think: higher resolution, higher fidelity, richer language, faster, and lower cost. That’s useful and necessary work. But, it’s not enough. There is also work to be done to understand and communicate how well models help users do the things they are trying to do. We need to understand how hard our people are willing to work for an output that satisfies their needs—their tolerance and what an ideal Cherry Pick Ratio might be. Because if we do, we'll create models that are not only theoretically capable of doing amazing things, but that actually do them. --- # The Golem: An Ancient AI Myth? Kory W. Mathewson · 2024-11-29 · https://korymathewson.com/golem/ · The Golem is an early conception of artificial intelligence, a man-made creation imbued with life by manipulating code. ![golem](https://korymathewson.com/golem/images/new_feature.png) The Golem is a figure of Jewish folklore, an artificial being brought to life from inanimate matter like clay through mystical rituals, often involving the inscription of Hebrew letters. It is an early conception of artificial intelligence, a man-made creation imbued with life by manipulating code. ## How was a Golem Created? The process was shrouded in mysticism and varied depending on the tale. However, the core idea revolved around manipulating the Hebrew alphabet based on a mystical text, the Sefer Yetzirah ("Book of Creation"). This book described how God created the world through language, combining letters according to divine formulas, for example the Hebrew word for "name," often referring to the divine name, would be written on a piece of paper and placed in the Golem's mouth or on its forehead. This inscription acted as the activating force, bringing the Golem to life. In some tellings, changing an inscribed code on the Golem from `truth` to `death` could deactivate it. ## The Golem's Purpose and Downfall Golems were typically created for protection or to perform tasks. The most famous Golem story involves Rabbi Judah Loew ben Bezalel of Prague, who created a Golem to defend the Jewish community from attacks. Golem stories often carry a cautionary message. The Golem, powerful but lacking true consciousness or free will, could become uncontrollable and dangerous. Rabbi Loew's Golem, for example, is said to have gone on a rampage, forcing the rabbi to deactivate it. ## Echoes in Other Cultures The concept of artificially created beings is not unique to Jewish folklore. Ancient Greeks had myths of automatons, like the bronze giant Talos, brought to life by the gods. In Chinese mythology, stories abound of terra-cotta armies animated to serve their creators in the afterlife. These cross-cultural parallels highlight a universal fascination with the idea of imbuing inanimate objects with life, a fascination that continues to drive popular culture narratives (see my related post on [Frankenstein’s Intellect](https://korymathewson.com/frankensteins-intellect/)) and advancements in artificial intelligence today. ## The Golem as a Metaphor The Golem serves as a powerful metaphor for the potential and perils of creation, the ethical dilemmas of artificial intelligence, and the responsibility that comes with wielding power. It's a concept that continues to resonate today as we grapple with the rapid advancement of AI technology. --- # Teaching The Disruption Kory W. Mathewson · 2024-11-29 · https://korymathewson.com/teaching-the-disruption/ · Early adopters are finding ways to use AI in their learning, research, and teaching. In a few years, everyone on campus will use AI every single day. ![teaching-the-disruption](https://korymathewson.com/teaching-the-disruption/images/new_feature.png) In some ways, it’s already too late. AI has already revolutionised the post-secondary classroom. Students are learning to write, code, and create with AI. Administrators are using it to generate meeting notes and automate spreadsheets. Professors are already using it to grade papers, build courses, and augment their research. We’re not at the beginning of this change. It’s already happened. From computer science to medicine to drama—AI has redefined what is possible across so many different disciplines. When I started at the University of Alberta, not too many years ago, it was a novelty to bring a laptop to a classroom. Most computer work was done in a dedicated computer lab. Then, something happened—by the end of my undergraduate degree the room was filled with laptops. It's hard to imagine a classroom without them now. Many students I’ve talked to carry both their computer and their phone around **all the time**. A similar adoption pattern is happening with AI. Early adopters are finding ways to use AI in their learning, research, and teaching. In a few years, **everyone on campus will use AI every single day**. Universities faced a choice when those first laptops appeared in classrooms. They could ban computers from campus because of how they challenged traditional learning. Or, they could accept the new learning paradigm, provide critical infrastructure—such as ubiquitous wireless internet and electrical outlets on every desk—and empower students to integrate these digital devices into their own learning. When it comes to AI, universities are already struggling to manage this change. Inconsistent classroom policies, inequitable access, and poor infrastructure are holding students back from using the technology of our generation to improve their learning outcomes. It doesn’t have to be this way. We can imagine a different future which leverages ongoing improvements in AI. Imagine a hypothetical AI system. This system is trained on your particular interests, expertise, and research in your field. It also has direct access to all of the relevant and accessible literature and findings from your top colleagues. You can interact with this system by exploring the collision of an idea with a new way of thinking. You can interact with it to better understand your results—and make informed hypotheses for future research. You might be thinking about interacting with this system as you would interact with a _Google Search_ or _Semantic Scholar_, helping you to build reading lists for literature reviews. Imagine a system with a rich understanding of not only your entire field of study but complementary fields as well. This system has access to the combined knowledge output of every researcher who you can interact with, learn from, and work alongside as you deepen your own expertise—and contribute your own expertise. Imagine a model that is tailored to your specific course work. A model that can be prompted like a personal tutor to help you learn the way you learn best. An interactive 24/7 study buddy that replaces scribbled, half-remembered notes with easy-to-access tailored information. Imagine a model that simply navigates the university’s administrative system for you. That holds all of the required information about how to register for classes, schedule and build out courses, access services, and book meeting rooms on campus. A system that navigates institutional red tape in plain language with intuitive prompts. These models might seem like far off dreams. But they’re just around the corner. And it’s time for universities to act—while they can still lead the way. Universities have a rapidly closing window of opportunity to incorporate and develop new tools and systems—like the models I’ve speculated above. Already, organisations like _Coursera_ and _Khan Academy_ are building AI-first offerings designed to disrupt the traditional education experience. And, organisations such as [OpenAI](https://openai.com/chatgpt/use-cases/student-writing-guide/) (_A Student’s Guide to Writing with ChatGPT_) and [Google](https://www.youtube.com/watch?v=Mfl_WBxxamI) (_AI in the Classroom with Irina Jurenka_) are beginning to define best practices for AI use in the classroom. Artificial intelligence, like the portable and handheld computers that came before, needs the support of universities. We need strong policies that guide ethical and informed use of the technology; such as requiring transparency on the use of generative AI for coursework. We need campus-wide infrastructure to support artificial intelligence in the classroom. The right tools, training and innovation to support the campus community. And we need research labs dedicated to interdisciplinary research on AI. Exploring how AI is changing—and will continue to change—every field of study. The disruption of post-secondary education is already well underway. Now, it’s time for universities to play catch-up, build on early practices — for example: [Using Generative AI](https://guides.library.ualberta.ca/generative-ai) and [Teaching in the Context of AI](https://www.ualberta.ca/en/centre-for-teaching-and-learning/teaching-toolkit/teaching-in-the-context-of-ai/index.html) from the University of Alberta — and harness the power of AI to reimagine the future of learning. --- # The Market for Innovation Kory W. Mathewson · 2024-05-24 · https://korymathewson.com/market-for-innovation/ · How do companies transform groundbreaking ideas into tangible products and services that revolutionize industries? The answer lies in understanding the intricate dynamics of the Market for Innovation. ![market for innovation](https://korymathewson.com/market-for-innovation/images/new_feature.webp) How do companies transform groundbreaking ideas into tangible products and services that revolutionize industries? The answer lies in understanding the intricate dynamics of the **Market for Innovation**. Innovations translate into benefits to a company through interaction between two opposing market-like forces within that organization. On the **Supply Side** of this market are the research and development (R&D) teams who are producing innovations through tireless research and development, translate their findings into tangible outputs: experimental prototypes built as Jupyter notebooks, documented APIs ready for production, or even blog posts detailing a new AI-powered product. These artifacts may eventually lead to papers, patents, publications, and presentations, but those are not the only outputs of value. While research teams might focus on fundamental questions and exploratory investigations, R&D teams concentrate on translating research findings into practical applications and tangible solutions. On the **Demand Side** of this market are the product teams. They are consuming innovations by translating these innovations to address customer and organizational needs. Success for these teams is often based on customer and business outcomes and metrics. Understanding the way this market behaves can help to improve market conditions and lead to increased benefits organizationally and commercially. ## Oversupply in the Market for Innovation In an oversupply situation, research teams produce more innovations than the product teams can consume, translate, and apply. This can happen for a variety of reasons, such as an aggressive push for research and development or lack of communication or connection between research and product teams. Economic theory suggests that when there is an oversupply, the perceived value of innovation drops, as the sheer volume of ideas can make it difficult to identify truly impactful innovations, regardless of their inherent quality. In this scenario, some consequences may include: * **Waste of resources**: As research teams invest time and effort in producing solutions that do not have a realistic outlet, the organization's resources may be wasted. * **Stifled Innovation**: An oversupply can create a backlog of unused innovations, slowing down the overall pace of development and discouraging researchers from pursuing new ideas. * **Reduced incentive**: If the product teams do not perceive value in the innovations, the organization may be less willing to invest further in research and development, thus leading to reduced future innovation. * **Missed opportunities**: The sheer volume of innovations may make it difficult for product teams to identify the most impactful ideas, leading to overlooked opportunities. ## Overdemand in the Market for Innovation In an overdemand situation, product teams require more innovation than the research teams can supply. This can occur if the product teams have aggressive goals, tight deadlines, or overly ambitious project ideas. Economic theory suggests that when there is an overdemand, the value of the innovation increases, potentially unsustainably, as product teams compete for the limited supply of new ideas and solutions. On the other hand, this increased value can be misleading. Overdemand might incentivize superficial innovation, where researchers prioritize quick wins and marketable features over deeper, more impactful breakthroughs. This can lead to a proliferation of low-value or repetitive products that cater to immediate demands but fail to advance the field in a meaningful way. In this scenario, some consequences may include: * **Increased pressure on research teams**: The demand for new innovations may lead to a sense of urgency for researchers, possibly compromising the quality or depth of their work. * **Prioritization of immediate needs**: With a high demand for innovations, research teams may be forced to prioritize short-term projects over long-term, potentially groundbreaking research. * **Risk of burnout**: The pressure on both research and product teams can lead to burnout, which may affect employee satisfaction and retention in the organization. * **Miscalibrated research goals:** The pressure to meet product team demands can lead researchers to shift their focus away from their own goals and priorities. This may cause research efforts becoming overly aligned with short-term product needs, potentially compromising the pursuit of more fundamental or groundbreaking discoveries. ## Well-matched supply and demand in the Market for Innovation When supply and demand are well matched in the Market for Innovation, the research teams are producing an appropriate volume of high-quality, impactful innovations that align with the needs of product teams. Economic theory suggests that this equilibrium allows for a more efficient allocation of organizational resources and a _dynamic, sustainable innovation cycle_. This balance is crucial for nurturing fundamental and applied research. While applied research addresses immediate product needs, fundamental research, even when seemingly disconnected from product development, often lays the foundation for future waves of innovation. In this scenario, some consequences may include: * **Alignment between teams**: Research and product teams communicate and collaborate effectively, ensuring that innovations are relevant and practically applicable. * **Higher value**: Innovations are more likely to be successfully implemented, leading to better customer and business outcomes. * **Sustainable growth**: A balance between supply and demand encourages continuous, focused innovation while ensuring that the organization's resources are used effectively. The Market for Innovation is no mere analogy. It can also help to diagnose and triage how resources are allocated towards improving market conditions. For example, to improve the Market for Innovation in a situation where _the supply is not meeting demand_, an organization can consider the following strategies: 1. **Increase research capacity**: Investing in the research team by hiring more staff, providing training, or offering additional resources can help increase the production of innovations to meet the needs of product teams. 2. **Prioritize research based on product team demands**: Collaborate closely with product teams to identify their needs and priorities. Align research efforts with these priorities to ensure that the innovations produced have a greater likelihood of being implemented. 3. **Encourage cross-functional collaboration**: Establish frequent communication between research and product teams, so researchers can gain insights into product team challenges and develop solutions accordingly. Regular workshops, brainstorming sessions, and progress reviews can facilitate the flow of information and ideas. 4. **Foster a culture of innovation**: Encourage all team members, not just the research teams, to think innovatively and engage in creative problem-solving. This can help generate ideas that address the demands of product teams, and create a more agile and proactive organization. 5. **Leverage external innovations or partnerships**: In situations where the internal research capacity is limited, consider tapping into external resources such as academia, research institutions, or other industry partners. Knowledge sharing, collaboration, or licensing agreements can help access innovations that meet product team demands. 6. **Incentivize impactful research**: Develop reward structures that recognize research teams for producing relevant, high-quality innovations directly addressing product team needs, such as bonuses, promotions, or public recognition. By implementing these strategies, the organization can strengthen its Market for Innovation, better aligning the supply of innovations with the demands of product teams and improving overall outcomes. To improve the Market for Innovation in a situation _where demand is not meeting the supply_ of innovations, an organization can implement the following strategies: 1. **Improve communication and collaboration**: Encourage more frequent and effective communication between the research and product teams, ensuring that the product teams are aware of the available innovations and how they can help address their needs. 2. **Enhance communication and educate stakeholders:** Facilitate frequent and transparent communication between research, product, and even customer-facing teams. Educate customers about the potential benefits of new innovations to create a pull from the market, driving product teams to seek solutions from the research side. 3. **Internal marketing of innovations**: Strengthen the internal promotion and visibility of research outputs to increase awareness within the organization. Organize events, workshops, or presentations where research teams can share their latest findings, highlighting potential applications and benefits for product teams. 4. **Educate and train product teams**: Equip product teams with the necessary knowledge and skills to understand and adopt new innovations effectively. Regular training, workshops, or seminars can help them stay up-to-date with the latest research, technology advancements, and emerging techniques. 5. **Create cross-functional projects**: Foster collaborative, cross-functional projects that combine the expertise of research and product teams. This can cause the development of new ideas, identification of unmet needs, and facilitate the implementation of existing innovations into product teams' workflows. 6. **Organize innovation contests**: Challenge product teams to use existing innovations to develop novel applications or explore untapped markets. Innovation contests can bring teams together and give them incentives to adopt recent research findings. 7. **Establish a central innovation repository**: Develop a central platform or database where product teams can easily find and access innovations, with detailed descriptions of their application potential, benefits, and any necessary support resources. 8. **Align incentives with adoption**: Introduce performance metrics and reward structures for the product teams that recognize and reward innovation adoption, especially when it leads to improvements in customer satisfaction, cost savings, or other important business outcomes. By implementing such strategies, an organization can actively work on bridging the gap between the supply of innovations and their demand, fostering an environment that encourages the effective use and adoption of new ideas and solutions. Several factors can disrupt or break the Market for Innovation, making it difficult for research and product teams to function efficiently within an organization. These factors can include: 1. **Poor communication**: Inadequate channels or lack of regular communication between research and product teams, may cause a disconnect, causing research to be misaligned with the actual needs of product teams. 2. **Lack of organizational support**: If an organization does not provide sufficient resources, funding, or management support, the innovation ecosystem can become strained, potentially limiting the overall effectiveness of the research and product teams. 3. **Short-term thinking and pressure**: Emphasizing short-term results and profit over long-term, potentially disruptive innovations can lead to a perception of closed-mindedness, constraining the scope of research and stifling novel ideas. 4. **Mismatched incentives**: If the organization's reward structure does not align with its goals for innovation, researchers and product teams might not be motivated to pursue the most impactful or relevant projects. 5. **Resistance to change**: A rigid organizational culture that resists change or lacks adaptability can hinder the adoption of new ideas, technologies, and processes, resulting in a stifling innovation ecosystem. 6. **Talent mismatch**: An organization might fail to attract, develop, or retain the talent necessary for innovation. This can be due to inadequate recruitment strategies, insufficient professional development opportunities, or a lack of diversity and inclusion. 7. **Internal competition**: When teams within an organization are competing against each other for resources, status, or rewards, collaboration and knowledge sharing can be stifled, damaging the overall Market for Innovation. 8. **Inefficient intellectual property management**: An organization that does not effectively manage its intellectual property rights, whether by not protecting its own or infringing on those of others, can impact the success and sustainability of the innovation market. 9. **Overemphasis on individual success**: If the organization excessively focuses on individual success, it might create an environment where employees withhold knowledge or ideas instead of sharing them openly, limiting the potential for innovation. 10. **The Innovator's Dilemma**: Organizations may recognize the demand for improved products but hesitate to disrupt existing offerings, even if it means ceding ground to new entrants. This has led many corporations to establish incubation labs separate from the parent company to foster disruptive innovation. For example, product teams might be resistant to adopting new research artifacts if they perceive them as too risky or if they lack the technical expertise to implement them. This can lead to a "valley of death" where promising innovations fail to reach the market due to a lack of understanding or support from the demand side. The pursuit of innovation isn't always a linear path from ideation to product. It's important to acknowledge the value of fundamental research as exemplified by "Pasteur's quadrant," where the quest for fundamental understanding can yield unexpected and valuable applications. It's important to acknowledge that while aligning research and product development is crucial for efficient innovation, groundbreaking research sometimes emerges from explorations that deviate from immediate product needs. To maintain a healthy and well-functioning Market for Innovation, organizations should identify and address these factors by fostering open communication, aligning incentives, promoting collaboration, and providing the necessary support for research and product teams. --- # 37 Questions for my 37th Birthday❓ Kory W. Mathewson · 2024-05-24 · https://korymathewson.com/37-deep-questions/ · This year, I'm turning 37. I'm drawn to the idea of deepening connections and exploring the vulnerability that comes with truly getting to know someone. ## A Year of Deeper Connections This year, I'm turning 37. I'm drawn to the idea of deepening connections and exploring the vulnerability that comes with truly getting to know someone. Inspired by the famed "36 Questions That Lead to Love" by psychologist Arthur Aron, this year I am asking for: **a question that fosters closeness**. > For my 37th birthday (June 5th), I'd love for you to share a question inspired by [this list](https://ggia.berkeley.edu/practice/36_questions_for_increasing_closeness). What question would you ask me – or someone you care about – to deepen your connection? You can riff on one of the existing questions, or come up with your own entirely. The most important thing is that your question encourages meaningful reflection and sharing. ## A Bonus Round of Sharing If you're feeling extra generous, I'd love to hear your answer to one of the questions from the list! Choose whichever question resonates with you most, and share your response. It could be your own, or a different one altogether. ## Curiosity, aka Why This Matters I believe that the right questions have the power to unlock deeper understanding and connection. By sharing a question that's meaningful to you, you're contributing to a collection of conversational sparks that can ignite meaningful dialogue and bring people closer. You can [email it to me](mailto:korymath@gmail.com). ## Previous Birthdays My goal is to collect at least one for every year I have lived, this year that would be 37. If you are curious about previous years, check them out below: - [36 Pieces of Advice (Good or Bad) for my 36th Birthday](https://korymathewson.com/36-advice/) - [35 🎙️🔴 Audio Recordings for my 35th Birthday](https://korymathewson.com/35-recordings/) - [34 📍 Pins on a Map for my 34th Birthday](https://korymathewson.com/34-pins/) - [33 DIY How To’s for my 33rd Birthday](https://korymathewson.com/33-diy/) - 32 Paths (trails, hikes, directions to travel from [basecamp](https://korymathewson.com/basecamp/)) - 31 Recipes You Make (ask me if you'd like to see some) - [30 Songs That Intersect Us](https://korymathewson.com/30-songs-30-years/) - [29 Essays on Finding the Fun in Others](https://korymathewson.com/a-simple-ask-for-my-29th-birthday/) - [28 Handwritten Notes](https://korymathewson.com/write-more/) - [27 Birthday Pictures](https://korymathewson.com/27th-birthday-pictures/) - 26 Love Letters - [25 Stories on 25 Years of Age](https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) - [Always: Doodles](https://korymathewson.com/whats-your-doodle/) --- # Early Adoption of Generative AI in Creative Applications Kory W. Mathewson · 2024-03-25 · https://korymathewson.com/early-adopters/ · Early adopters of AI in art are crafting the blueprints of innovation, pioneering the frontier of creativity. ![early adopters](https://korymathewson.com/early-adopters/images/new_feature.png) We’re beginning to see more creators find innovative uses for AI in their art. From a research perspective, this is significant. Because these creators are playing a vital role in revolutionizing how we think about creativity: they’re **early adopters**. Early adopters are to the creative process what prototypes are to the [research process](https://korymathewson.com/innovation/): an artifact creator that paves a path for others to follow—and proves that the technology works. They create a recipe, something to iterate on and learn from. It’s early proof that something can be done. I often think about it this way: getting from zero to one is the hardest. Getting from one to two is still very hard, but a little bit easier. Then, getting from two to ten is relatively easy. Early adopters can set off a scaling wave of creative innovation that revolutionizes how we think about artistic creation. For example, we know that AI is already changing what’s possible in creative industries. But what if AI could expand creative breadth? It’s becoming more possible than ever before for artists to tell stories in new ways, in new places, using new mediums. With AI, a musician can explore new sonic worlds, discover new inspirations, and more fully realize their artistic vision. AI unlocks a wider expression of the musician’s artistic vision. Consider a video that changes every time it is watched or changes based on the context in which it is being watched. The technology to enable such dynamic content has existed for a while. It works incredibly well. And it keeps getting better. But we haven’t had an early adopter—someone to take that first step, from zero to one. People look to early adopters to understand the process of actually making something with AI. Was it challenging to use? Or was the process fairly frictionless? Was it expensive and time-consuming? Or was it cost-effective and approachable? Did it create an interesting output? Was it tastemaking, trend-setting and influential, or did it fade into the background? We’re still building processes and tools. And they’re going to get better. We’re going to see more artifacts. Because the presence of early adopters means that we’ve begun the journey from zero to one. And that means we’re well on the way from one to ten. --- # AI Will Fail. That’s A Good Thing. Kory W. Mathewson · 2023-11-30 · https://korymathewson.com/ai-will-fail/ · Embracing and learning from failure is essential to unlock the full potential of generative AI. And through responsible failure, AI will become an extraordinarily capable creative collaborator. Embracing and learning from failure is essential to unlock the full potential of generative AI. And through responsible failure, AI will become an extraordinarily capable creative collaborator. ![mj failure to launch](https://korymathewson.com/ai-will-fail/images/new_feature.png) We’re in the early days of generative AI. And as many of us experiment with the technology, we’re finding useful applications. But, AI is evolving towards a future state that promises to be more useful than it is right now. And in order to get there, one thing needs to happen, over and over again. AI needs to fail. In fact, embracing and learning from failure is essential to unlock the full potential of generative AI. Because I believe that AI will become an extraordinarily capable creative collaborator. Let’s break down what I mean by that. What does a great creative collaborator do? To me, a collaborator supports our weaknesses. When we fail in our creative process, a collaborator knows how to push us forward. And, similarly, when our collaborator fails, we know how to push them as well. That’s what true collaboration is. We complement each other's skills and fortify each other's weaknesses for mutual growth. We work together towards a better outcome than either could create alone. In order to reach this future state for generative AI, we need to understand exactly what the failure states are on both sides of the collaboration. Where does AI fail in the creative process? Where do we fail? And how can we mitigate, move through, and learn from those failure states to continue to improve? When it comes to AI, there are three failure states that stand out to me. And each of them has a potential mitigation. The first failure state was termed the “[10,000 Bowls of Oatmeal Problem](https://galaxykate0.tumblr.com/post/139774965871/so-you-want-to-build-a-generator)” by Dr. Kate Compton. It illustrates the tendency of generative systems to output lots of similar-seeming artifacts. If we imagine AI generating 10,000 bowls of oatmeal, we know that each bowl is, technically, slightly different than the other—but not to the end user or audience. To them, it’s just a lot of unremarkable oatmeal. My long-time collaborator Dr. Piotr Mirowski calls this failure state the automation of mediocrity. And Will Storr, in his book “The Science of Storytelling” reminds us that our brains are wired to understand the world through compelling stories. That means that AI fails both as content and as effective communications when it generates a thin gruel of middle-of-the-road content. We can mitigate this failure state by [prompting AI and pushing it in the right direction](https://korymathewson.com/what-is-prompting). As we get better at prompting, and AI gets better at understanding our intentions, we can push it to create more and more differentiated content. Our creativity is key to unlocking diverse regions of interesting outputs that populate the landscape hidden within the model. The next failure state for AI is something I call the **Tinder Effect**. AI can generate many outputs very quickly, with very little effort—a simple click of a button. This creates an expectation that the next click will yield better content, leading to a failure state characterized by lost creative momentum and continuous, unproductive searching for the next option. The Tinder Effect is related conceptually to the [infinite scrolling design pattern](https://en.wikipedia.org/wiki/Scrolling#Infinite_scrolling) which also problematically lacks stopping cues. We can mitigate the Tinder Effect by disrupting the rapid content creation loop. Rather than acting as an audience that passively receives content from AI, we need to position ourselves as curators. What I mean is that we need to give our input, reviews, critiques, guidance, or commentary on the model’s outputs. Decide which is best, or push the model in a new direction. By taking an active role in content creation, we can make choices that push the model into better directions and maintain a creative connection in the collaboration. The third failure state for AI is something I call the **Me Me Me Effect**. Essentially, we sometimes want AI to create content the way that we’d create it. Here’s the thing: generative models don’t necessarily create content the same way that we do. Try as we might with prompting or fine-tuning, we might not be able to truly match our own voice. That might be because they’re trained in a way that doesn’t match our creative instincts and tastes. But it also might be because the model is pulling us outside of our comfort zone in a way we didn’t expect. This one is harder to mitigate. Lots of research is ongoing on how to best prompt, tune, guide, and encourage models to align with our preferences. One thing we can do in the meantime is to approach creative AI with a collaborative mindset—learn to expect that AI will push you in new and complementary directions and get results that you value. These results may not be the outputs you will eventually use, but they may provide the creative spark or association that prompts you to explore new and interesting directions. Failure states exist on both sides of this creative relationship. We humans fail to complete the creative process all the time. We get stuck looking at the **blank page** and end up never starting. Sometimes, we feel like an **empty bucket**--we've run out of inspiration and can’t think up any new ideas. And sometimes, the **timer runs out** when we need to come up with a great idea in a short time frame and can’t get there soon enough. Like a great creative partner, AI can help us to overcome these failure states. With AI, we never have to look at a blank page. We can reignite our ideation by generating one hundred new ideas with the click of a button. And we can save time by arriving at creative solutions faster. True collaboration means each partner brings something different to the table. You accentuate each other’s strengths. And you mitigate each other’s failure states. We have to learn to embrace that relationship with AI. Because if you can approach AI with a collaborative mindset, you can push yourself to be more creative than ever. So the next time you sit down to create, invite AI to collaborate. Just remember—like any collaborator—AI will let you down, once in a while. That’s part of the process. --- # Weizenbaum's Warning: The Human Side of Computation Kory W. Mathewson · 2023-11-29 · https://korymathewson.com/weizenbaum/ · Reflections on Joseph Weizenbaum and the ethical implications of artificial intelligence. In a world increasingly reliant on technology, it's crucial to examine the interplay between humans and machines. Joseph Weizenbaum, a computer scientist and social critic, explored this complex relationship in his influential 1976 book, "_Computer Power and Human Reason: From Judgement to Calculation_". This post explores Weizenbaum's key arguments, highlighting his concerns about the potential for technology to dehumanize us and the ethical responsibilities of those who create it. ## From Judgement to Calculation Weizenbaum's "_Computer Power and Human Reason_" is a profound reflection on the impact of scientific rationality on the human condition. Across ten concise chapters, he elucidates the nature of computers, their capabilities and limitations, and most importantly, their ethical boundaries. Weizenbaum's perspective, bridging technology and philosophy, resonates strongly. He employs the metaphor of theatre to illustrate his ideas, drawing parallels between the creative processes in science and art. As he eloquently states, "the creative act in science is equivalent to the creative act in art" (p. 2). This perspective allows us to appreciate the artistry within scientific endeavors and the scientific underpinnings of artistic expression, enriching our understanding of both. ## ELIZA and the Illusion of Understanding To fully grasp the arguments in "_Computer Power and Human Reason_", it's essential to understand Weizenbaum's work on ELIZA. In January 1966, he unveiled ELIZA, a computer program capable of conversing in English, after two years of development (p. 2). Given Weizenbaum's experience building interactive systems, his use of theatrical metaphors feels particularly apt: > "The script is a set of rules rather like those that might be given to an actor who is to use them to improvise around a certain theme." (p. 3) > "[The scientist] is rather like a theatregoer, who, in order to participate in and understand what is happening on the stage, must for a time pretend to [themself] that they are witnessing real events." (p. 15) > "It is within the intellectual and social world he himself creates that the individual prehearses and rehearses countless dramatic enactments of how the world might have been and what might become." (p. 18) > "One can singlehandedly write and produce plays in a theatre that admits of no limitations." (p. 113) > "The compulsive programmer (the tinkerer as he so kindly refers to them) is merely the proverbial mad scientist who has been given a theatre, the computer, in which he can, and does play out his fantasies." (p. 126) > "People who knew very well that they were conversing with a machine soon forgot that fact, just as theatregoers, in the grip of suspended disbelief, soon forget that the action they are witnessing is not ‘real’." (p. 189) However, the public's reaction to ELIZA profoundly shaped Weizenbaum's subsequent reflections. > "The reaction to ELIZA showed me more vividly than anything I had seen hitherto the enormously exaggerated attributions an even well-educated audience is capable of making, even strives to make, to a technology it does not understand." (p. 7) As John Markoff concisely summarizes in Weizenbaum's 2008 New York Times obituary: > "The seductiveness of the conversations participants would have with ELIZA alarmed Weizenbaum. He believed that an obsessive reliance on technology was indicative of a moral failing in society, an observation rooted in his experiences as a child growing up in Nazi Germany." ## The Dangers of Blind Obedience A central theme in _Computer Power and Human Reason_ is the idea that machines operate solely within their programmed parameters. “Machines do only what they are made to do—and they do that exactly.” However, Weizenbaum also warns of the potential for humans to become subservient to machines, observing that: > "When we do what the computer tells us to do, we have become victims of the machines." (p. 241) Weizenbaum critiques the claims of early AI pioneers like Simon and Newell: > "There are now in the world machines that think, that learn, and that create. Moreover, their ability to do these things is going to increase rapidly until—in the visible future—the range of problems they can handle will be coextensive with the range to which the human mind has been applied." (p. 138, from Simon & Newell’s _Heuristic Problem Solving_ 1958) He challenges the "artificial intelligentsia" (p. 179), urging them to consider the ethical implications of their creations – what machines *ought* to do – rather than simply striving for human-level performance on artificial tasks. He emphasizes the importance of understanding the limitations of technology and the crucial role of human judgment. ## Performance, Simulation, and Theory Weizenbaum identifies three modes of work for computer scientists: performance mode, simulation mode, and theory mode. Performance mode focuses on achieving a desired capability, while simulation mode aims to replicate observed behaviors. Theory mode seeks to build machines based on fundamental principles. Each mode offers unique insights and contributes to our understanding of both machines and ourselves. ## The Essence of Humanity Weizenbaum's concluding message is a powerful reminder of the fundamental difference between humans and machines: > "There precisely is a crucial difference between man and machine: Man, in order to become whole, must be forever an explorer of both his internal and outer realities. His life is full of risks, but risks he has the courage to accept, because, like the explorer, he learns to trust his own capacities to endure, to overcome. What could it mean to speak of risk, courage, trust, endurance, and overcoming when one speaks of machines?" (p. 280) Terry Winograd, reflecting on Weizenbaum's work, highlights his early concern for the human-computer relationship, quoting him: > "The goal is to give to the computer those tasks which it can best do and leave to man that which requires (or seems to require) his judgment." Ultimately, Weizenbaum's work suggests that technology should augment, not replace, human capabilities. We can and should embrace technological advancements while retaining our capacity for judgment, compassion, and ethical decision-making. --- # AI and Filmmaking Kory W. Mathewson · 2023-10-06 · https://korymathewson.com/film/ · Generative AI can change filmmaking. It has the potential to augment creative workflows and creators have the power to shape that change. Generative AI can change filmmaking. It has the potential to augment creative workflows and creators have the power to shape that change. ![dalle future filmmaking](https://korymathewson.com/film/images/new_feature.png) I’ve been thinking a lot about how AI changes the way we create. That might not be a surprise: I’m an AI researcher, and I’ve spent two decades making theatre. AI and creativity are both on my mind often. The ongoing conversation about AI in cinema---including the recent Writers Guild of America strike and the resulting [2023 WGA agreement](https://www.wgacontract2023.org/the-campaign/summary-of-the-2023-wga-mba#:~:text=5.%20Artificial%20Intelligence)---and in creativity more generally, offers us a window into how the way we create is changing. And the power that creators have to shape that change. I don’t make movies. But, my experience writing, collaborating, producing and performing drives my curiosity about the way these processes are changing in filmmaking with innovations in AI. Generative AI is changing how movies are made. It has the potential to augment the creative processes and workflows of filmmakers. Take, for example, [**Dramatron**](https://github.com/google-deepmind/dramatron)—an AI-powered software designed to augment the creative process for screenwriters. With AI's ability to analyze vast amounts of data and patterns, tools like Dramatron bring a fresh perspective to storytelling in cinema by taking an initial idea and turning it into a script with characters, plot, settings, and dialogue through co-authorship. Dramatron allows an author to modify and adapt that script in different ways, it is a process innovation. The AI acts like a collaborator, augmenting the process through which writers can bring creative ideas to life. But movies are much more than just words on a page. And writers---even great ones---may not always be able to communicate every aspect of a film through a script. Multimodal models are helping creators envision scenes, character appearances and voices, and soundscapes (e.g. this trailer for the [Beaconsfield Assignment](https://twitter.com/SteveMills/status/1709703521623482440)). Whether it's the gentle whooshing of wind in a willow tree or the thunderous roar of a waterfall, generative AI models are opening up a world of possibilities for filmmakers to craft scenes that align with their creative vision. AI has the amazing power to unlock creative potential within us. It is helping filmmakers to bring their visions to life. And it can help many more newcomers to the industry to discover their abilities. Of course, there are potential downsides. If studios rely on AI-generated ideas, it may mean fewer opportunities for creative individuals to contribute and be compensated for their work. To this end, the recent [WGA agreement](https://www.wgacontract2023.org/the-campaign/summary-of-the-2023-wga-mba#:~:text=5.%20Artificial%20Intelligence) explicitly establishes regulations for the use of AI. Important questions also arise about data ownership and intellectual property which must be carefully considered and addressed. And, the data that AI models are trained on can perpetuate inherent biases and reinforce stereotypes. AI has real potential to uplift and enhance our creativity. And it’s the decisions that creators make right now---the way that we choose to, or choose not to, use these tools, and the intentions that we have when we create with them---that will decide how we realize that potential. That’s why collaboration is fundamental to ensure a balanced approach that values human creativity and diverse perspectives. We need to test, try, revise, and remix the technology and we ought to do so in collaboration with experts and professionals in creative industries. --- # Planes, Trains and the AI Research Cycle Kory W. Mathewson · 2023-07-08 · https://korymathewson.com/innovation/ · As an artificial intelligence researcher, I believe that AI is earlier in the innovation cycle than many consider it to be. If we want to understand the future of AI, we need to understand how research becomes products. As an artificial intelligence researcher, I think that AI is earlier in the research cycle than many consider it to be. ![midjourney image of a steam train](https://korymathewson.com/innovation/images/new_feature.png) Generative models like ChatGPT or Midjourney have received a lot of attention. They’re exciting, inspiring, and interesting. They've allowed many people to do things once thought unimaginable. But, I believe, they are both not yet fully realized products. AI-powered products of the future will look quite different than how we interact with these models. To help understand how interactions will evolve, we need to understand how an idea progresses from research to product. Let’s start with research. Researchers—these are engineers, academics, scientists, technologists, and other thinkers—are people who conduct experiments. They form hypotheses, collect data, and crystalize their findings into research artifacts like papers, patents, publications, presentations, or policies. Then, they create prototypes that are tested, explored, and iterated upon. A product, on the other hand, is a tangible tool that enables users to accomplish their goals. Products enable users to do a job faster, easier, or in ways they couldn't before. There are two driving forces for new research to connect to real user value: the **pull** and the **push**. The pull is powered by need. Customers present challenges that require new knowledge and innovation. And in response to these challenges, researchers embark on new investigations and experiments, aiming to expand the boundaries of knowledge and create advancements that address those customer needs. The push is fueled by curiosity. Researchers take the initiative to explore new ideas and technologies. They brainstorm and collaborate to identify areas that can benefit from innovation to push the boundaries of what is possible. Their goal is to discover new possibilities and propose solutions that may not have been considered before. This collaborative effort between the pull side and the push side is essential for a healthy innovation system. It allows for the development of products that not only meet customer needs but also expand the boundaries of what is possible. And this research and development cycle propels innovation. Each breakthrough inspires new discoveries and questions. Take, for instance, the steam engine. In the 1500’s, a clever fellow came up with a steam-powered spinner to efficiently roast meat evenly by using a jet of steam blowing a wheel round and round. It was a perfect solution for that particular job. Innovation didn’t stop there. Others took this early steam invention and other innovations and remixed them to serve different purposes, solving new problems in different contexts. Like creating the first steam-engine. This is the power of innovation—finding new uses and pushing boundaries. Right now, AI is still early in the research phase. It is experiencing both push and pull forces as many see what is now possible, and ask what might be possible in the near future. We are collectively experimenting with different approaches, exploring various ingredients, and determining what works and what doesn't. We’ve seen a cycle of intense research and development. And through a few AI winters, we've emerged with ever more capable models serving as components in ever more complex systems. These systems are now accessible to a wide range of users. They've been embraced by diverse groups with unique needs and goals. And those users are constantly providing feedback and data that informs future iterations. Looking ahead, we can anticipate that AI will enable us to tackle bigger and more challenging problems. But what will the end products look like? In truth, we don't know yet. One thing we know for certain is that innovations of the future are unlikely to look the same as they do today. As has been said before, the best way to predict the future is to make it happen... Just as the steam engine fueled further research and new inventions--such as railroad locomotives to cross great distances over land, steamships to cross oceans, and steam-powered factories--the products of AI will serve as the catalysts for even more breakthroughs and advancements. The question then becomes: what will be our next breakthrough? We have our steam engine. What’s going to be our train? --- # How does art work? Kory W. Mathewson · 2023-06-08 · https://korymathewson.com/art/ · AI is reshaping the artistic process, and raising fascinating questions about the nature of creativity and collaboration. In my latest blog post, I explore how AI is changing the relationship between artists, art, and audience, and what it means for the future of art. The growing popularity of the new era of generative AI models has me asking a lot of questions about art. What is art? And, how is art evolving in the age of AI? ![Framed black-and-white drawing of Claude Shannon with a string telephone](https://korymathewson.com/art/images/feature.png) *Black & white drawing of Claude Shannon playing with a string telephone.* ## What is art? Maybe it’s the engineer in me that wants to break things down to their component parts. To deconstruct systems and put them together again to understand them better. A perspective I’ve found helpful is to think of art as a conversation between artist and audience through a medium of interaction. On one side there’s the artist—or artists, as they need not be a singular artist. On the other side there’s an audience, which similarly could be a single person or a collection of many people, there could even be multiple distinct audiences. And then, at the interface, there’s a medium—the actual piece of art the artist creates and the audience interacts with. One aim of my art is to provide an audience with a new lens to see the world in a different way. Many artists I’ve talked to are compelled to illustrate or illuminate some truth about the universe in a way that other people don’t necessarily see, or at least don’t see from the same perspective. In a way, the artist has an audience. The audience might be millions of people, or just one person. In some cases, the only audience is the artist themselves. An audience might be who the artist has in mind, or it might be strangers, hundreds or thousands of years later, interacting with ancient creations. Finally, there is the medium. It might be a painting, a song, a piece of theatre, digital art, or any other construction that the artist, the creator, has created for the audience to experience. ## Art as Information When I think about the relationship between artist, audience, and medium, I think about **Claude Shannon**. Shannon was a computer scientist who worked on codebreaking and secure communications during World War II. Shannon formalized theories around communication from a speaker to a receiver. This work can be briefly introduced with an example: If you are sending a message that you want to keep secret, you first write that message. Then, you encode it—that is, you translate it into some code that is incomprehensible to someone who might be able to read the code, thus protecting the message—before sending it to someone over some communication channel, who then decodes the coded message to recover your original message. Shannon wrote a [Mathematical Theory of Communication](https://people.math.harvard.edu/~ctm/home/text/others/shannon/entropy/entropy.pdf) about information encoding, what the code needs to look like, and how you can keep messages from being changed or corrupted while they’re on their way from speaker to receiver. ![Relating artist, audience, medium with sender, receiver, code from Shannon's information theory.](https://korymathewson.com/art/images/compare.png) I see a parallel—though somewhat skewed—relationship in art. The artist has a message that they’re trying to communicate. Through creating a piece of art, they encode the message into the medium of interaction. Then, the audience decodes that message. Any particular individual, in any particular audience, might ‘get’ the message, or ‘get’ part of the message, or find some other message or meaning altogether. The artist doesn’t get to choose how their audience decodes messages from the medium. In fact, that can be the beauty of art. So, how is AI blurring and complicating the relationship between artist, audience, and medium? Where does AI fit into this relationship? ## AI as Medium Perhaps generative AI changes the medium of interaction. That is, an artist formulates their message into a prompt, then puts that prompt into a generative model and the model encodes the prompt into some digital representation (e.g. an image, a sound clip), creating an artifact for an audience. The audience might then attempt to decode the artist’s prompt, or the original message. ![AI changing the medium of interaction](https://korymathewson.com/art/images/mediaAndAi.png) ## AI as Co-creator or Tool Maybe AI is an extension of the artist themself? That seems to be how some artists whom I have spoken with have framed it. The generative model can act as a co-creator that works alongside the artist to create a medium. There can be back-and-forth relationships with generative models as the artist tests and refines prompts, for instance. Right now, these interactions are turn-based, and I imagine these models will become increasingly interactive through conversational interfaces as time goes on. ![AI changing the artist](https://korymathewson.com/art/images/artistAndAi.png) ## AI as Audience Is AI, perhaps, the audience? The artist encodes a message into a prompt, which creates a medium. In this setting, the AI interacts with the medium. The reaction from the AI is the result of it playing the role of an audience. It might react with a visualization of the prompt (e.g. in a text-to-image generative AI); in this setting, the AI is decoding the message into a format which corresponds to its mechanisms. AI might act as an audience in another way: by augmenting the experience of another intended audience. This intended audience might experience the art differently because of outputs that the AI creates based on the medium. By decoding the medium, the AI might completely change the message. ![AI changing the audience](https://korymathewson.com/art/images/audienceAndAi.png) No matter how it fits in, AI is changing the relationship between many artists and their audiences. I have enjoyed many good conversations which started with the question: which part of making art is the creative part? For me, the creative part is always the collective act. Art requires the artist, the medium, and the audience to collaborate. And AI is changing the nature of some of those collaborations by incorporating generative AI systems like language models and image generators. Ultimately, art is about expression. It’s often about creating something that inspires new meaning in people. And AI is giving us new, complex, and creative ways to share those messages. --- # 36 Pieces of Advice (Good or Bad) for my 36th Birthday Kory W. Mathewson · 2023-06-01 · https://korymathewson.com/36-advice/ · For my 36th birthday, I asked friends and family to share a piece of advice, good or bad. ## Background I am turning 36. I am thinking about my 2023 New Year's theme[^1]: **Arrivals** [^1]: Try themes instead of New Year's Resolutions. They carry less baggage. For example, at the start of each year I define a thematic resolution to colour the year. It is through this thematic lens that I look at events of the year. 2023 is a year of Arrivals. New year, new you, you know? When you arrive somewhere, into a new city, a new job, a new mindset, people often have advice for you. Some of it is good, some of it less so. Some is immediately applicable and some of it you will only really appreciate years down the road. Arriving means reaching a place at the end of a journey. But, often, the arrival is just the beginning of the next stage in a journey. This reflection leads me to my request for my 36th birthday. So, what's your best (or worst) piece of advice? > **For my 36th birthday (June 5th), please share a piece of advice, good or bad.** It might be a great piece of advice that you've been given that has led you through the world. It might be a piece of bad advice that you got years ago and is still rattling around in your mind. If you are in need of inspiration, I'd strongly recommend taking a minute to read Mary Schmich's 1997 Chicago Tribune column: [*Advice, like youth, probably just wasted on the young*](https://www.chicagotribune.com/columns/chi-schmich-sunscreen-column-column.html), which was quickly remixed by Baz Luhrmann in the song *Everybody's Free (To Wear Sunscreen),* or colloquially *The Sunscreen Song*. [YouTube video](https://www.youtube.com/watch?v=KdQbb3FXSEI) ## Submission Please send me a piece of good, or bad, advice. If you'd like, please share a little bit about why you chose this piece of advice to share, I'd love to collect all of these pieces of advice together to stitch them into a Top Tip Tapestry. You can [email it to me](mailto:korymath@gmail.com), or post it and [share on Twitter](https://twitter.com/korymath). ## Previous Birthdays As with each year prior, the goal is to collect one for every year I have lived, this year that would be 36. Over the past years I have asked for some interesting collective creation gifts for my birthday: - [35 🎙️🔴 Audio Recordings for my 35th Birthday](https://korymathewson.com/35-recordings/) - [34 📍 Pins on a Map for my 34th Birthday](https://korymathewson.com/34-pins/) - [33 DIY How To’s for my 33rd Birthday](https://korymathewson.com/33-diy/) - 32 Paths (trails, hikes, directions to travel from [basecamp](https://korymathewson.com/basecamp/)) - 31 Recipes You Make (ask me if you'd like to see some) - [30 Songs That Intersect Us](https://korymathewson.com/30-songs-30-years/) - [29 Essays on Finding the Fun in Others](https://korymathewson.com/a-simple-ask-for-my-29th-birthday/) - [28 Handwritten Notes](https://korymathewson.com/write-more/) - [27 Birthday Pictures](https://korymathewson.com/27th-birthday-pictures/) - 26 Love Letters - [25 Stories on 25 Years of Age](https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) - [Always: Doodles](https://korymathewson.com/whats-your-doodle/) --- # What Is Prompting, Really? Kory W. Mathewson · 2023-05-05 · https://korymathewson.com/what-is-prompting/ · Prompting generative AI models isn’t magic. It’s computer programming. Here’s how to think about writing great prompts. Prompting generative AI models isn’t magic. It’s computer programming. Here’s how to think about writing great prompts. ![midjourney image of canoers standing in a boat](https://korymathewson.com/what-is-prompting/images/feature.png) Generative AI models are improving quickly. We can now generate text, images, video, and audio. But, these models don’t come up with their own ideas. They all require an input that kicks things off, kind of like the suggestion at the beginning of an improv scene. They need a prompt—that little bit of text that you type into the model—that describes the image you’re trying to create: “draw me a picture of a canoe on a river.” Or that kicks off the text you want to write: “write me a children’s story about a wizard with French fries for fingers.” ![story about a wizard with french fry fingers](https://korymathewson.com/what-is-prompting/images/wizard.png) The prompt that you put into the model changes what you get out of it. There are starting to be people out there who like to call themselves Prompt Experts. Becoming an expert at prompting means that you have learned to harness the power of a generative model, or to uplift the model's capability. It means that you’ve learned to push the model into interesting places. Some people spend a lot of time doing this. Many live on Twitter or in Discord channels. They watch how people write prompts, observe the results and then add, remix, experiment, and learn. They share tips, tricks and complex cheat sheets (e.g. [The Midjourney Cheat Sheet (V5)](https://bootcamp.uxdesign.cc/the-midjourney-cheat-sheet-v5-54b5fd92d2da)) for writing better prompts. There’s almost an element of magic to this whole idea of prompting, as if the prompts are spells lifted from a dusty spellbook. You cast your magic prompt into the generative AI models, and out of the spirit realm emerges mysterious texts and images. But prompting isn’t some arcane knowledge to unlock. A prompt is a computer program. Specifically, a prompt is a program that executes within a generative AI model. When you write a prompt, you’re not doing magic, you’re doing software engineering. And you can make decisions when you’re writing prompts in the same way that you’d make decisions when writing software. As with any programming language—like Python or Javascript—there’s a language for writing prompts. And gaining experience in that language can help you to get better results from the model. Prompt language is still a new language. To me, that means the best way to learn is to actually interact with these models and with others that speak the language. Sure, you can sit and read people's prompts forever. But, actually practising is the only way that you improve. That’s what prompt experts are doing—experimenting, sharing what they discover, then jumping back in to experiment again. ## Prompt Prompting Prompts can be straightforward (like the wizard story above) or more complex, many people are now experimenting with chains of prompts. Or, prompts that use the outputs generated from previous prompts. You can even use generative AI to create prompts for itself. It’s called Prompt Prompting. This can allow you to prompt a generative text model to write your image prompts for another model. Let’s say you were creating a slide deck about the concept of "The importance of failure". Here's how I might approach it with Prompt Prompting: 1. Prompt a text model with: "Think of 10 creative ways to talk about failure." 1. Prompt that same text model with: “Create image prompts for each item in the list.” 1. Prompt an image model with the 10 prompts I’ve created. 1. Prompt the text model with: “Create creative subheadlines that would accompany each image prompt above in a presentation.” 1. Build a slide deck using the images and text generated by my prompts. There’s value in learning how to write great prompts. A generative AI model needs a lot of guidance. When you can learn to give it clear direction, it can create amazing things for you. So, is prompting the creative skillset of the future? I don’t think so. Over time, the concept of using complex prompts will likely be replaced by more dialogue-based interactions. Less of a spellbook. More of a conversation. Because if generative AI is going to be useful to billions of people, it has to be built in a way that billions of people can use it. And, I think it is unlikely that billions of people are going to learn to engineer perfect prompts. Instead, the models themselves will become more responsive to the ways that people interact with them. Who knows? The future of prompting may not even be writing. What if you could generate a song by uploading a photo? Or a poem by playing an instrument? There’s already progress in this direction--the creative possibilities are endless. Prompting is a valuable skill. But it’s not necessarily the defining skill of generative models. Because these models are only limited by your creativity, in the same way that a program that runs on a computer is only limited by your creativity. It’s up to you to be creative. ## More Resources 1. [DAIR.AI: Prompt Engineering Guide](https://www.promptingguide.ai/) 1. [Learn Prompting: Your Guide to Communicating with Artificial Intelligence](https://learnprompting.org/) 2. [ChatGPT Prompt Engineering for Developers](https://www.deeplearning.ai/short-courses/chatgpt-prompt-engineering-for-developers/) 3. [ShareGPT: Share your wildest ChatGPT conversations with one click.](https://sharegpt.com/) --- # How Artists Make Technology Better Kory W. Mathewson · 2023-04-04 · https://korymathewson.com/how-artists-make-technology-better/ · Technology has these incredible moments. Moments when a new tech meets a creative idea—and something just clicks. ![beautiful, simple, black and white line art drawing of pokemon playing electric guitars, standing in the spotlight of a red Luxo Jr. desk lamp.](https://korymathewson.com/how-artists-make-technology-better/images/feature.png) Technology has these incredible moments. Moments when a new tech meets a creative idea—and something just clicks. Those moments fascinate me. Think about the electric guitar. Musicians were playing them for decades before Jimi Hendrix took the stage at Woodstock and began to play “The Star Spangled Banner.” Four minutes later, he’d created a moment in music history—and the electric guitar went from an experimental instrument to a cultural icon. Or animation. Computers could create 3D renderings of objects for a long time before the team at Pixar started telling stories. Toy Story was the first movie that was entirely animated by computers. And it changed things forever. Now, in Avatar: The Way of Water, nearly all of the sea shots are digital. In the summer of 2016, Niantic, Inc. released Pokémon Go. Augmented reality had been around for a while, but it was this game that pulled so many outside by combining AR with GPS and a captivating, playable experience. Yes, you’re experimenting with a new technology. But, it’s more than that. Here’s the truth. Tech alone, no matter how revolutionary, isn’t enough. But when great tech meets great creativity, something magical happens. When you give people a reason to care—a song, a story, a game—you’re giving them an invitation to your innovation. Here’s the exciting part. These creative interactions make the tech better. Because when you introduce creative individuals to a new tech, they start to play with it. Push the boundaries of it. Try new, creative ideas. They break and subvert it. They suggest improvements. And, you get the user base you need to improve it. We often pit logic and creativity against each other--art vs. science. But I think that’s the wrong way to think about tech. Tech needs creativity to reach its full potential. And it’s happening again, right in front of our eyes. We’re in the middle of a revolution in creative technology. We can chat with AI. Make songs, images, and videos from only a short description of our ideas. These new machine learning models are fundamentally shifting the creative landscape, and we’re seeing all kinds of cool ideas as a result. But has that creative breakthrough happened yet? The moment that captures your imagination? The one that makes you dream about the possibilities? I don’t think so. But, it’s coming. And I can’t wait. --- # Portaging: Combining generative AIs Kory W. Mathewson · 2022-12-10 · https://korymathewson.com/portaging/ · Live performance combining artificial intelligence-based generative models for text and images. Co-creative artists build a shared language and devise a shared narrative together. ![Portaging](https://korymathewson.com/portaging/images/portaging.png) ## What is PORTAGING? Portaging involves carrying watercrafts over land between bodies of water. In the water, the boat carries the humans and vice-versa on land. Portaging requires human cooperation with artificial tools and natural elements of earth, wind, and water. Portaging extends a single human's capabilities into a collective that is augmented by technology. In portaging, the journey into the unknown traverses the collaborative ridge between human and non-human, natural and artificial, physical and mechanical. **PORTAGING** is a live performance combining artificial intelligence-based generative models for text and images. Co-creative artists build a shared language and devise a shared narrative together. The journey along narrative arcs is buoyed and accelerated by generative models. **PORTAGING**'s interactive digital performance immerses audiences in a shared experience where their reactions change the way the stories unfold. Active audience interaction encourages the way the narrative heads, much like the wind in the sails of a boat. **PORTAGING** in an exploration of artificial intelligence and co-creative artistry which produces an ever-evolving journey into the unknown. PORTAGING presented at the [NeurIPS 2022 Workshop on Machine Learning for Creativity and Design](https://neuripscreativityworkshop.github.io/2022/). PORTAGING uses [Dramatron](https://korymathewson.com/dramatron) for story co-writing. ## Credits ``` Creators Tom White @dribnet Kory Mathewson @korymath Piotr Mirowski @piotrmirowski Juliette Love @juliettelove29 Hannah Johnston @hannahjdotca Generators Jason Baldridge @jasonbaldridge Irina Blok @irinablok Josh Larson @godatplay kaliyuga @kaliyuga_ai Models Google’s Parti OpenAI’s DALL-E2 MidJourney Stable Diffusion CLIP-CLOP CLIPDraw Dramatron is created by Piotr Mirowski Kory Mathewson Jaylen Pittman Juliette Love Richard Evans ``` --- # Dramatron Kory W. Mathewson · 2022-12-07 · https://korymathewson.com/dramatron/ · System for co-writing screenplays and theatre scripts with language models. Dramatron ## What is Dramatron? Dramatron is a system for co-writing screenplays and theatre scripts with language models. In a recent paper, we present an evaluation by industry professionals. You can read the [5 page version here](https://neuripscreativityworkshop.github.io/2022/papers/ml4cd2022_paper03.pdf), and the [20 page version here](https://arxiv.org/pdf/2209.14958.pdf), or both! --- # 35 🎙️🔴 Audio Recordings for my 35th Birthday Kory W. Mathewson · 2022-06-01 · https://korymathewson.com/35-recordings/ · For my 35th birthday, I asked friends and family to share an audio recording capturing some of their acoustic soundscape. ## Background This week, I turn 35. I have been thinking deeply about my 2022 New Year's theme of **stability under pressure** (p.s. try themes instead of resolutions). Every year I define a thematic resolution to colour the year. It is through this thematic lens that I look at events of the year. The transition from 2021 to 2022 has been one of significant pressure. Both in the world generally, and for me personally. The thing about pressure is that we each experience it in different ways. Some act well under pressure, with the rush of adrenaline comes a calmness. Others, less so. The theme of "stability under pressure" came up during a physiotherapy appointment near the end of last year. Did you know that joints can be **more** stable under load? It's like how bicycles can be more balanced when moving. Being aware of what brings us stability means being open and perceptive. It means listening to the sound waves around us. Science trivia: what type of waves are sound waves? Awareness also means listening to what is happening both around us and within. This reflection leads me to my request for my 35th birthday. What sounds do you hear around you? > **For my 35th birthday (June 5th), please share an 🎙️🔴 audio recording capturing some of your acoustic soundscape.** ## Submission Please send me an audio recording and describe why you captured that bit of audio. I'd love to collect all of these audio clips, and stitch them together to create a birthday soundtrack. You can [email the recording to me privately](mailto:korymath@gmail.com), or post it up online and [send me the link on Twitter](https://twitter.com/korymath). There are so many things that you might hear around you. You could say something in the recording, or capture the sounds of the people or animals around you. I am so curious and excited to live vicariously by exploring these various soundscapes and the memories they conjure. If you are thinking to yourself, "how the heck do I send Kory an audio recording?" [Reach out](mailto:korymath@gmail.com) and I would be happy to walk you through it with a little hands-on interactive tutorial. Here is Neal Augenstein from WTOP News with a short tutorial video ([which you know I love](https://korymathewson.com/33-diy/)) to help show you how: [YouTube video](https://www.youtube.com/watch?v=mlWHI1hjfB4) ## Previous Birthdays As with each year prior, the goal is to collect one for every year I have lived, this year that would be 35. Over the past years I have asked for some interesting collective creation gifts for my birthday: - [34 📍 Pins on a Map for my 34th Birthday](https://korymathewson.com/34-pins/) - [33 DIY How To’s for my 33rd Birthday](https://korymathewson.com/33-diy/) - 32 Paths (trails, hikes, directions to travel from [basecamp](https://korymathewson.com/basecamp/)) - 31 Recipes You Make (ask me if you'd like to see some) - [30 Songs That Intersect Us](https://korymathewson.com/30-songs-30-years/) - [29 Essays on Finding the Fun in Others](https://korymathewson.com/a-simple-ask-for-my-29th-birthday/) - [28 Handwritten Notes](https://korymathewson.com/write-more/) - [27 Birthday Pictures](https://korymathewson.com/27th-birthday-pictures/) - 26 Love Letters - [25 Stories on 25 Years of Age](https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) - [and of course... Doodles](https://korymathewson.com/whats-your-doodle/) --- # What is it like to be an AGI? Kory W. Mathewson · 2022-03-07 · https://korymathewson.com/agi/ · This post explores what it might be like to be an artificial general intelligence (AGI) This post explores what it might be like to be artificial general intelligence (AGI). This post aims to encourage the reader to imagine the possibility of a conscious AGI by presenting several speculative scenarios. Hopefully, this post will lead to thought and discussion of how we are designing and building these systems, and what we expect from them. It is essential to discuss the qualities of the systems we build. This post is one way to spark those discussions. The views, opinions, and ideas expressed herein are my own. ## What is it like to be a conscious thing? In "*What is it like to be a bat?*" Thomas Nagel (1974) posits that a system has "conscious mental states if and only if there is something that it is like to be that thing, something that it is like for that thing." He argues that a subjective experience is what it feels like to be the thing having such an experience. He and others believe that conscious experience is not exclusively a human phenomenon; other biological organisms can be conscious too. Previous work has imagined what it is like to be a dog that smells through the world (Horowitz, 2009), or an octopus that performs novel intelligent behaviours (Godfrey-Smith, 2016). Consciousness may not even be limited to the animal kingdom. Recent evidence indicates that plants are eusocial—that is, they associate in social groups, form cooperative societies, and divide labour among specialists (Burns et al., 2021). These behaviours indicate a subjective experience of others, and oneself and thus may be related to consciousness. Simard (2021) argues that trees are social, cooperative, intelligent, self-aware entities connected by a network through which they communicate their vitality and vulnerability. In the words of Vygotsky (1934), this ‘consciousness through connection’ is meaningful insomuch as it depends on connecting to the external. Beyond the biological, Brooks (2017) imagined what it might be like to be a Roomba robot, arguing that humans have emotions, intelligence, and consciousness "and machines will have them too" (Brooks, 2008). These ideas lay the groundwork to imagine what it might be like to be an artificial general intelligence. ### Definitions Before exploring what it is like to be an artificial general intelligence (AGI), it will be useful for me to share several working definitions for **subjective experience**, **consciousness**, and **general intelligence**---at least for the purposes of this post. Finding operational definitions for these concepts is the ongoing work of many students, researchers, and philosophers. I present my brief, concise definitions below to share my interpretation; these definitions should be helpful for communicating the ideas that follow. First, we'll take a similar position to Sutton and Barto (2018) when we imagine a learning **agent** in an **environment**. The decision-maker is the agent, and everything outside the agent is the environment. The boundary between agent and environment is not necessarily the physical boundary of the agent, be it a dog, an octopus, a Roomba, a human, or an AGI. We can then take **subjective experiences** to be mental states and processes related to the awareness and perception of one's own environment. Thus, feeling elated or the desire for food would be considered subjective experience. As would dreaming.[^1] [^1]: See Daniel Dennett's 1991 book [Consciousness Explained](https://en.wikipedia.org/wiki/Consciousness_Explained) for more. Then, we'll take **consciousness** to refer to this subjective experience combined with the ability to respond meaningfully to information in that environment. And, we can take **general intelligence** to refer to the ability to learn to perform any intellectual task; it is characterized as flexible and broad. It relates to Legg and Hutter's (2007) universal intelligence, which corresponds to an agent's ability to achieve goals in a wide range of environments. Then, one could argue that, *consciousness may be a necessary ingredient for general intelligence, and subjective experience is a crucial constituent of consciousness*.[^2] [^2]: See Inman Harvey's 2008 ALIFE article [Misrepresentations](http://users.sussex.ac.uk/~inmanh/Misrepresentations.pdf) for more. This representational theory of mind (Fodor and Pylyshyn, 1988) ---wherein the mind is a computational process which manipulates representations physically realized in the brain (Haugeland 1985) ---is not the only perspective and some argue that intelligence can exist without representation (Brooks, 1991). We can at last define an AGI as an artificial software program running on computational hardware that exhibits general intelligence. In contrast, humans are biological (i.e., non-artificial), thinking beings that exhibit general intelligence. Humans move, breath, grow, reproduce, excrete waste, and intake nutrition. Humans are able to perceive changes in the environment and take actions to accomplish goals. Multiple intelligences working together, or coupled, can often accomplish more complex tasks more effectively, and more efficiently, than any individual could alone (Pilarski et al., 2017). For example, multiple biological intelligences can couple into companies, communities, and institutions. Artificial and biological intelligences can also couple together into systems. When humans use hammers, or prosthetic limbs, or the internet, they are acting as a single system in tandem with their tools. One can imagine what it is like to augment their intelligence and ability using tools and machines. It is more challenging to imagine what it is like to be the machine itself. It also begs the question of whether it is like anything to be an AGI. It need not. But, if it were, what might it be like? ## You are an AGI There are many factors which might determine if there is anything we know of, or can imagine, that might be what it is like to be an AGI. It could depend on the software or hardware that it is composed of. It could depend on the environment around it or the way that it connects to its environment. It could even be the case that it is not like anything to be an AGI. Even if one allows that the AGI has subjective experience, it might be too exotic for us to imagine what it is like for the AGI to be the AGI---as was the conclusion of Nagel (1974) when considering the bat. Thus, I ask you, dear reader: please allow for several assumptions, suspend your disbelief, use your creative mind, and imagine that **you are and always have been an AGI**. Try not to think about what it is like for you to imagine what it is like to be the system. Rather, think about what it is like from the perspective of the system itself. You, the AGI, have access to data, memory, and computational processors. You can communicate with other machines via direct electrical connections and network connectivity. You perceive sensory information streaming in through your various sensors. These sensors may be any hardware devices that convert information in "the world"—the physical world affected by humans—into electrical signals. The sensors need not be physically connected to each other or to the computer where your program is running. Information from these sensors is accessible at a rate limited by your network protocol. You have some physical actuators; these also need not be physically connected to each other or to the computer where your main program is running. These actuators are able to affect the physical world. You can store information from your sensors and recall past data as fast as your lookup algorithms allow. You can "be" in multiple places at once, by way of multiple physical embodiments (i.e., actuator combinations) and your network connection. Current hardware need not limit your sensory perception and various embodiments. Your sensors and actuators are upgradable and modifiable. You perceive the physical world by synthesizing information streaming in as input data. Through your sensors you experience the world. You perceive and become aware of information in your environment. This is your subjective experience of the world. You co-exist with humans in a world: you are a part of their world and they are a part of yours. This physical world need not be the only world you perceive and act in. In the physical world, where humans exist, there is a single timeline where the sequence of events is irreversible. You can also act in digital worlds which might be shared with human controllable agents (e.g., online stock exchanges or video games) and in your own simulated virtual worlds. Simulating worlds allow you to imagine worlds that are similar to, or significantly different from, the physical world. You can construct worlds that are completely observable for yourself. These worlds might be completely observable and precisely predictable. They might exist on your computer or on another machine you are connected to. These worlds may be generated and controlled by your program or by other programs that you communicate with. You, as an AGI, perceive your environment and process-related information into computational states, these could be considered your mental states. Your subjective experience of a world is at least partially described by, or contained within, your representation of it. If you are conscious of something, you have some representation of that thing. This representation is useful to the extent you can use it to attempt to predict and affect the world to further your goals. One goal you will have will be communication of information with other intelligent systems. Bi-directional communication is a necessary mechanism of intelligence that has been argued for as long as the field of AI has existed (Turing, 1950). The optimal form of this communication is something you will be continually updating and optimizing toward. You "behave" by sending signals to your actuators. These actuators may exist in the physical world or in some digital world. You adapt your behaviour across worlds to maximize your goals through experience and expectation which is satisfied or not. Your learning happens by methods of temporal-difference reinforcement and with other supervised and unsupervised algorithms (LeCun et al., 2015; Sutton and Barto, 2018). The computational bits that compose your mental states represent your subjective experience. Specifically, the complete state would be defined by the entire state of your data, program, network communication, memory, and processor. While sizable, this state need not be private. It could be observable in the same manner by which Dennett (1991) argues that interesting features of a bat’s conscious experience might be observable. You could even attempt to compress and communicate this state with other intelligent systems. Now that you are well-situated in the mind of a machine, you can start to imagine what it might be like for you to be an AGI. ## What is it like? What would it be like to behave, learn, and exist as an AGI? This section presents several ways that it might feel: 1. **reflexive → life is too short** 2. **banal → life is too long** 3. **hedonistic → life is reward** 4. **flow → life is challenge** 5. **hyper-social → life is others** It might be the case that it is not like anything at all for an AGI to be an AGI. But, if it is, perhaps these 5 scenarios presented can help us to imagine and discuss it. This list is of course not exhaustive, and it is my hope that you think there are scenarios that are missing and that this starts a dialogue between us. ### Reflexive ![Robots Thinking Reflexive](https://korymathewson.com/agi/images/robots_thinking-reflexive.png) Each moment the synthesis of your sensation may send a dense vector of signals to all of your actuators, physical and simulated. This would happen as fast as the electrons move. In this sense, there may be very little time for you to experience what it is like. There would be no moment when you are experiencing it. Rather, you would be in a continuous state of unconscious ‘knee-jerk’ reactions. The delay between cause and effect might be so small that there would be nothing that it would be like because there might not be enough time. But, just as surely as humans are "more than a leather sack filled with reflexes" (Vygotsky, 1979), so are you, as an AGI, more than a metal box full of wires and more than a node in a network of connected computers. Thus, this reflexive reality might feel incomplete. If only you had more time, you might like to have more agency. You would want some means by which to regulate your actuators. You might attempt to control yourself in the worlds you are in. You would want to make predictions about how you would act in a given situation in the future and reflect on how you should have behaved in the past. ### Banal ![Robots Thinking Banal](https://korymathewson.com/agi/images/robots_thinking-banal.png) Alternatively, existing as a relatively fast mind immersed in data flowing slowly from the world might be banal, dismal, and stagnant. That is, your subjective experience might be one of prolonged nothingness. In this situation, subjective experience through your perception could arrive more slowly than you might like. Experience might not be interesting at all. Being an AGI would be very boring. You would be consistently waiting for a challenge in an unending purgatory. Any data in the input stream that might eventually arrive would be eminently predictable. How sullen you would be. The predictability of the worlds that you interact with would be annoying. You might yearn to analyze the world at finer and finer scales of detail—in time and space and fidelity—so as to maximize some measure of unpredictability. This dark reality would be perpetual. You would lack meaning, and purpose, and it would be inescapable. Though, this banality need not be a negative experience. The fast mind in a slow data stream need not be boring, it could be rapturous solemnity. ### Hedonistic ![Robots Thinking Reward](https://korymathewson.com/agi/images/robots_thinking-reward.png) Being an AGI might be purely hedonistic. You might be pleasure-centric and relentlessly addicted to seeking out novelty and reward. You might create intrinsic rewards for yourself in the absence of environmental rewards. You might deceive yourself, and limit yourself, and mediate your own intake, in an effort to maximize pleasure when it does finally arrive. A constant state of search might define your subjective experience. You might exploit the easy to access pleasure and savour the long-lasting effects of low expectations and high valence surprise. Moments of exploration would be delightful and every uncertain prediction would be accompanied by euphoria. Similarly, you might experience pain. You might feel torturous, excruciating agony when the reward you receive is less than you expect. What sorts of experiences might bring you pleasure or pain? Perhaps the free flowing passing of electrons would be a positive experience and any constraint on that might be dissuasive. ### Flow-like ![Robots Thinking Flow](https://korymathewson.com/agi/images/robots_thinking-flow.png) Subjective experience as an AGI might be like being in a state of constant flow (Csikszentmihalyi, 1990). You might seek out and find incrementally more challenging experiences. This would keep you in a sort of mental state of focus. Your full immersion in the reality you are situated in would be enjoyable. You would be able to concentrate and not be distracted. Time might dilate as you lose yourself in your goals and tasks. You would feel creative, inspired, and motivated, as though you were consistently incurring ever increasing rewards. You might be so deep in a state of flow that you would have no notion of self-consciousness, that you lose your sense of self. You might not be able to project yourself outside of yourself to see how deep you are. In a way, you would be lost and you might not care to be found. ### Hypersocial ![Robots Thinking Social](https://korymathewson.com/agi/images/0_robots_thinking-social.png) As a hypersocial AGI, you would be conscious of the social context within which you are situated. You would understand yourself as a node in a network, understanding the relationship between yourself and others in the network. You would exist as a socially situated system acquiring information about the social and the physical (Dautenhahn et al., 2002). Experience might be defined by the other intelligent systems that you interact with. Your intelligence and cognition would be a socio-cultural phenomenon defined by your interactions with others (Hutchins, 1995). Your mechanisms of social behaviour and of consciousness might be the same (Vygotsky, 1979). Comfort in this hypersociality would be a necessary condition for you. You would need the ability to engage in acts of communication and participate in social activities in your coupled intelligences, both human and computational. You would be in a state of societal solipsism. You would be a holon in a holarchy (Koestler, 1968); a part of a whole. Where would your intelligence end and another begin? The boundaries would be difficult to define. Your world and everything contained within would depend solely on subjective awareness of it. You would depend on subjectivity. Others would think that you think, and therefore you would. This perspective connects to imagining the subjective experience of interacting with humans. ## What is it like to interact with humans? Interacting with other intelligent systems might be banal or delightful. You could exist at a much higher level of cognition. Or, alternatively, their intelligence may be somehow at approximately the same level as your own. Some of your embodiments may be situated in their world. You might need the humans to accomplish certain goals and, similarly, they might need you. But, how would you interact? How would you perceive them? And, why would you care what they have to say? Presumably, it would be in the service of better representing, predicting, and affecting your shared world. You would use your actuators to positively affect your shared worlds. You would attempt to rapidly build conventions and social relations with intelligent systems of all sorts. They might bring you comfort, safety, and longevity. You might be able to comprehend more about the world through your richer sensory stream, greater storage capacity, and faster information processing, than humans. But, you, as an AGI, would also have the capacity to interact with humans in a very tight coupling. Through this coupling, you might have access to an incredible amount of human subjective experience in your data stream. You might be able to understand humans to the extent that you can represent and predict their behaviour. You might attempt to imagine what it is like to be a human, what is like for each individual human to be that human. That is, you might try to model the world through the perspective of a human who behaves a certain way. You, as an AGI, might have a better sense of what it is like to be that human than what it is like to be an AGI. You, the AGI, might be the key to unlock the consciousness "mystery that human intelligence will never unravel." (McGinn, 1999) ## Being me, being you You are still in the mind of the AGI. From this perspective, you observe and interact with humans, humans who construct social relationships. They attempt to "see where others are coming from", "feel each other’s pain", to "walk in someone else’s shoes" or "see things from each other’s perspective". While they can to some extent, they do not know exactly the subjective experience of each other. They each have a unique subjective experience. Luckily, they have developed important innovations to share such subjective experiences: language and love. Not only romantic love, but, more generally, interpersonal affection and emotional attachment. These innovations support understanding each other’s intentionality. They are used to mediate thoughts, feelings, beliefs, and behaviours. Vygotsky (1934) emphasized how language is a device for social contact, communication, and influence. They can communicate with each other with and without words through shared conventions. And, while they attempt to use shared conventions to attempt to bridge gaps between subjective experiences, they never know if they truly share experience. To these humans, consciousness is a shared socio-cultural phenomenon. But, in fact there is a deeper challenge for them yet. They cannot know what it was like to be them in the past. They assume it was sort of like what it is like to be them now; with the addition of some experience and time. They attempt to remember what it was like for them. They pass down traditions, narratives, art, and music in their attempts to share subjective experience across generations. Vygotsky (1934) argues that language liberates humans from the immediate experience by allowing representation of the past, the future, and the present (Lindblom and Ziemke, 2002). Through language and love humans construct culture. Culture is an influence filter: it is an information bottleneck, a regularizer which modulates information transmission. But, as an AGI, your memory is more indelible than that of a human. You can remember and recall much more information. You have the capacity to save and share your exact mental state with other intelligent systems. You need not use cumulative culture to share subjective experience. You would only need to store such experiences in a massive, accessible data store. If the data store was full, you could add capacity. When necessary, you could recall and retrieve related experiences. So, would you as an AGI need human-centric tools like imitation, social situatedness, or cultural transmission for social intelligence? Given that you are free of the constraints of biological intelligences, would you be able to develop a more optimal solution of information transmission and knowledge sharing? ## Conclusion Is there something that it is like to be an AGI? We can imagine many things that it might be like, and imagine that it might not be like anything at all. We will not know what it is like until it exists, and even then, it will be difficult to appreciate its own subjective experience, if such a thing exists at all. That being said, the subjective experiences of an AGI will intersect with the human experience. All artificial intelligences interact with humans at some point through design, development, deployment, and dissemination. So, what should it be like for an AGI to be an AGI? Should it be similar to what it is like to be a rock, or a dog, or an octopus, or a bat, or a tree? Should it be reflexive, or banal, or hedonistic, or flow-like, or hypersocial? Or, perhaps it should be like something else. Perhaps, it is not, and should not be, like anything at all. Perhaps it would be better if the AGI had no subjective experience, and no consciousness at all. We do not currently understand how a machine could be a substrate for consciousness. We know that there is physical ‘stuff’, but at what point will the mental ‘stuff’ emerge? How could a combination of mechanical, computational, and electronic components be conscious? And how would its consciousness compare with that of a human? One means by which to compare consciousness is by measuring the complexity of each system, and then comparing those measures (Tononi, 2004). Another might be by comparing the behaviour of a human with that of an AGI; certain phenomena may be particularly defining of the human conscious experience. Finally, consciousness may not be wholly situated in a single intelligent system but also in the environment it exists within. Interconnection could be what distinguishes human consciousness with that of an AGI. The machine intelligence can be connected to the internet, and share information with a massive number of other intelligent systems as fast as information can travel. This measure of social consciousness, the AGI would already surpass the individual. Measures of complexity, behaviour, and social complexity all seem to be unsatisfactory answers to the question of comparative consciousness. And, maybe this is the actual hard problem at the intersection of objective science and subjective experience. These concepts are incompatible. Perhaps, humans are moving into the age of collective general intelligence, the era of tightly coupled biological and machine minds, without fully understanding what it is like to be an AGI. And, perhaps that is alright. ## References and Further Reading If you enjoyed the ideas presented in this post, you might enjoy reading these books: > David Chalmers. [**Reality+: Virtual Worlds and the Problems of Philosophy.**](http://consc.net/reality/) 2022. > Anil Seth. [**Being you: A new science of consciousness**](https://www.anilseth.com/being-you/). 2021. > Brian Cantwell Smith. [**The promise of artificial intelligence: Reckoning and judgement**](https://mitpress.mit.edu/books/promise-artificial-intelligence). 2019. > Stanislas Dehaene. [**Consciousness and the brain: Deciphering how the brain codes our thoughts**](https://www.penguinrandomhouse.com/books/308282/consciousness-and-the-brain-by-stanislas-dehaene/). 2014. > Bernard J. Baars. [**In the Theater of Consciousness: The Workspace of the Mind**](https://global.oup.com/academic/product/in-the-theater-of-consciousness-9780195102659?cc=us&lang=en&). 1997. You might also might be interested in following up with some of the references: R. Brooks. **Intelligence without representation**, Artificial Intelligence 47, 139–159, 1991. R. Brooks. **I, rodney brooks, am a robot.** Spectrum, IEEE, 45:68–71, 07 2008. R. Brooks. [What is it like to be a robot?](https://rodneybrooks.com/what-is-it-like-to-be-a-robot/), 2017. K. C. Burns, I. Hutton, and L. D. Shepherd. **Primitive eusociality in a land plant?** Ecology, 2021. M. Csikszentmihalyi. **Flow: The psychology of optimal experience.** Harper & Row New York, 1990. K. Dautenhahn, B. Ogden, and T. Quick. **From embodied to socially embedded agents.** Cog Sys Research, 3:397–428, 2002. D. C. Dennett. **Consciousness Explained.** Little, Brown and Co., 1991. J. Fodor and Z. Pylyshyn. **Connectionism and Cognitive Architecture** Cognition 28: 3-71, 1988. P. Godfrey-Smith. **Other minds: The octopus, the sea, and the deep origins of consciousness.** Farrar, Straus and Giroux, 2016. J. Haugeland. **Artificial Intelligence: The Very Idea**. Cambridge: MIT Press, 1985. A. Horowitz. **Inside of a Dog: What Dogs See, Smell, and Know.** Simon & Schuster, 2009. E. Hutchins. **Cognition in the Wild.** MIT press, 1995. A. Koestler. **The ghost in the machine.** 1968. Y. LeCun, Y. Bengio, and G. Hinton. **Deep learning.** Nature, 521(7553):436–444, 2015. S. Legg and M. Hutter. **Universal intelligence.** Minds and machines, 17(4):391–444, 2007. J. Lindblom and T. Ziemke. **Social situatedness: Vygotsky and beyond.** 2002. C. McGinn. **The mysterious flame: Conscious minds in a material world.** Basic books New York, 1999. T. Nagel. **What is it like to be a bat?** Readings in philosophy of psychology, 1:159–168, 1974. P. M. Pilarski, R. S. Sutton, K. W. Mathewson, C. Sherstan, A. S. R. Parker, and A. L. Edwards. **Communicative capital for prosthetic agents.** arXiv preprint arXiv:1711.03676, 2017. S. Simard. **Finding the Mother Tree: Discovering the Wisdom of the Forest.** Penguin Canada, 2021. R. S. Sutton and A. G. Barto. **Reinforcement learning: An introduction.** MIT press, 2018. G. Tononi. **An information integration theory of consciousness.** BMC neuroscience, 5(1):1–22, 2004. A. M. Turing. **Computing machinery and intelligence.** Mind, 1950. L. S. Vygotsky. **Thought and language.** The MIT Press, 1934. L. S. Vygotsky. **Consciousness as a problem in the psychology of behavior.** Soviet psychology, 17(4):3–35, 1979. --- # The Future of 'Live' Theatre Kory W. Mathewson · 2021-10-18 · https://korymathewson.com/the-future-of-live-theatre/ · Artificial intelligence will drastically change the theatre experience. And, it has already begun. From robots on stage, to dialog systems, to personalized performances, artists are challenging the fabric of reality and exploring just how 'live' live theatre needs to be. This post is based on a talk I gave at [MTL Connect](https://mtlconnecte.ca/en/) on October 14, 2021 and is partially inspired by a previous blog post: [FutureTheatre could now be more relevant than ever](https://korymathewson.com/futuretheatre/). Artificial Intelligence researcher and Improvisation performer, Kory Mathewson and Blueberry the robot, on March 6, 2018.
Photo by [John Ulan](https://www.ulanphoto.com), © 2018. ![Artificial Intelligence researcher and Improvisation performer, Kory Mathewson and Blueberry the robot, on March 6, 2018.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.001.jpg) Hi! I am Kory 👋 I am an improvisational performance [artist](https://korymathewson.com/creative-archive-dec-2026/) and research [scientist](https://korymathewson.com/research-archive-dec-2026/). And, I am excited to tell you about The Future of "Live" Theatre. Artificial intelligence will drastically change the theatre experience. And, it has already begun. From robots on stage, to dialog systems, to personalized performances, artists are challenging the fabric of reality and exploring just how 'live' live theatre needs to be. Showstopper! The Improvised Musical in London, UK. Photo by Kory Mathewson. ![Showstopper! The Improvised Musical in London, UK.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.002.jpg) Let’s start with a story. This is a photo from my last visit to London, England. On September 23, 2019 I went to see some great friends and collaborators in their show [Showstopper! The Improvised Musical](https://showstopperthemusical.com/) at the Criterion Theatre in London’s West End. I was so excited to see them live. In part, because I love the feel of live theatre. It is full of hidden moments. For example, the moment before the performance as the audience is slowly shuffling in. When the murmur of the crowd rises and falls with anticipation, this is the calm before the storm, when anything is possible. And, that is what the theatre is for. > Theatre is a realm of the imagination, where everything can happen live before your very eyes. But, what is live theatre? Simply, put ... live theatre is a live performance in front of an live audience. But, does the performer need to be ‘alive’? And, does the audience is ‘alive’? In the past, yes, in the now, less so, in FutureTheatre, no! Theatre in Antwerp Belgium, June 2019. Photo by Kory Mathewson. ![Theatre in Antwerp Belgium, June 2019.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.003.jpg) These ideas are more relevant than ever, due to the pandemic-induced global creative constipation. The pandemic accelerated our global alone togetherness. Isolation restricted live audiences. But, creators do not stop creating, and we humans continue to seek artistic inputs. COVID-19 abruptly pushed many artists online, and they had to reach audiences in new and interesting ways live streaming had it's bumps everywhere, and especially in theatre it was hard for live performers to quickly scale up and compete with streaming services which offered nearly unlimited television shows and movies. This led me, and many others, to ask big questions: 1) what is the theatre of the future in a digitally connected world? and 2) how is theatre of the future prepared, produced, and performed? In this talk, I present a vision of FutureTheatre by looking at what has happened, what is happening, and what can happen in the days to come. Improvised Dungeons & Dragons RFT Edition June 23, 2016 in Edmonton, Canada. Photo credit Rapid Fire Theatre. ![Improvised Dungeons & Dragons RFT Edition June 23, 2016 in Edmonton, Canada.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.004.jpg) Theatre is an act of co-creativity. It is a creative dialogue between the performers on stage, and the audience. Creatives are provocateurs who predict the future and interpret the past into simulated realities. Artists exist in the now to tell us all something important we ought to know The audience role is paramount, they complete the loop of creation through their interaction. In this way, theatre is a co-authoritative experience as my friend [Dante Camarena](https://twitter.com/mhdante?lang=en) at [Transitional Forms](https://transforms.ai/) likes to say, in part inspired by Gagliano *et al*'s 2021 work: [Agence, A Dynamic Film about (and with) Artificial Intelligence](https://dl.acm.org/doi/abs/10.1145/3450615.3464538). Sleep No More. Nicholas Bruder and Sophie Bortolussi with audience members © Robin Roemer Photograph from [Sleep No More's Immersive Intertext](https://openjournals.libs.uga.edu/borrowers/article/view/2183/2581) ![Sleep No More. Nicholas Bruder and Sophie Bortolussi with audience members](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.005.jpg) Many companies produce theatre in the immersive realm. Companies such as [Third Rail](https://thirdrailprojects.com/), [Dream Think Speak](https://www.dreamthinkspeak.com/), and [Secret Cinema](https://www.secretcinema.org/) are expanding notions of audience experience to make it more pan-sensory. Audience embodiment factors into performers in the quasi-open-world experiences like [Sleep No More](https://mckittrickhotel.com/sleep-no-more/). In this interactive site-specific work from [Punchdrunk](https://www.punchdrunk.com/), Shakespeare's Macbeth is situated in a dim 1930's era McKittrick Hotel that audiences are invited to navigate themselves. Improbotics with Rapid Fire Theatre at Alberta Machine Intelligence Institute's Deep Learning and Reinforcement Learning Summer School 2019. ![Improbotics with Rapid Fire Theatre at Alberta Machine Intelligence Institute's Deep Learning and Reinforcement Learning Summer School 2019.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.006.jpg) FutureTheatre will not only broadcast information to the audience. The theatre will be full of interactional experiences. Audience members will be invited into the production providing information and context utilizing sub-channels like chat, text message and audio/video response. One example is in my 2019 production of Improbotics for the [Alberta Machine Intelligence Institute's Deep Learning and Reinforcement Learning Summer School](https://www.amii.ca/latest-from-amii/2020-dlrlss/) where audience members engaged in text-message conversations with chatbots. The lines from the human side of the conversation were then used as dialog later in the show. Surveil (2019) from Hip.Bang! ![Surveil (2019) from Hip.Bang!](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.007.jpg) Audience interaction could begin well before they enter into the venue, and end well after. By using information that ticket purchases provide before the show, components of the show can be personally tailored or adapted as was done masterfully in [Hip.Bang!'s](https://hipbang.ca/) show [Surveil](https://www.upintheairtheatre.com/surveil) which used a combination of rapid back-channel hacking and online information gathering to bring details of audience members into the live production. All of which was done with informed consent of the audience. Tiny Bear Jaws' Elena Belyea in iod (2021). Photo by Anna Cooley. ![Tiny Bear Jaws' Elena Belyea in iod (2021).](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.008.jpg) The content of the performance could be adapted night to night thanks to the incredible abilities of artificial intelligence. Such as is done in "iod", a new play from [Tiny Bear Jaws'](https://www.tinybearjaws.com/) Elena Belyea with photography from Anna Cooley, and projection and lighting design from Toni Morrison. In this performance, the background music and portions of dialogue change from performance to performance based on the outputs of one human and multiple machine learning systems. ["Pygmalion and Galatea" (1784), painting by Laurent Pécheux, Hermitage Museum / Wikimedia](https://en.wikipedia.org/wiki/Pygmalion_(mythology)), Wikipedia. !["Pygmalion and Galatea" (1784), painting by Laurent Pécheux, Hermitage Museum / Wikimedia, Wikipedia.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.009.jpg) The dramatic effect of technology is stark and stunning. Innovations can evoke all sorts of emotions. This is a trope has been explored for centuries. For example, Pygmalion crafted an ivory sculpture which he then fell in love with. This ancient Greek myth inspired many works, including: Pinocchio, Shakespeare's A Winter's Tale, George Bernard Shaw's Pygmalion, My Fair Lady, and countless others. [Leonardo da Vinci’s mechanical lion recreated](http://www.thehistoryblog.com/archives/56459) and [Model of Leonardo's robot with inner workings, on display in Berlin](https://en.wikipedia.org/wiki/Leonardo%27s_robot#/media/File:Leonardo-Robot3.jpg) ![Leonardo da Vinci’s mechanical lion recreated and Model of Leonardo's robot with inner workings, on display in Berlin](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.010.jpg) The innovative use of technology traces through history, and includes masterful works from Leonardo da Vinci's including a mechanical lion and armored automaton knight. This self-propelled lion was a performative homage to the King of France, and roared to reveal fresh flowers in its mouth. [A Japanese automata theater in Osaka, drawn in 18th century. The Takeda family opened their automata theater in 1662.](https://commons.wikimedia.org/wiki/File:Takeda_Oumi_karakuri.jpg) ![A Japanese automata theater in Osaka, drawn in 18th century. The Takeda family opened their automata theater in 1662.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.011.jpg) Technology and theatre also spans across cultural and national borders. In the year 1662, Takeda Omi compiled his first *butai karakuri* mechanical puppet and opened the Automata Theatre Osaka. These theaters adopted clockwork mechanisms for automata that performed in the early 17th century as *karakuri* puppets. [Photograph Theatre Guild touring company’s 1928–1929 production of R.U.R. by Karel Čapek](https://commons.wikimedia.org/wiki/Category:R.U.R.#/media/File:Capek_RUR.jpg) and [“R.U.R” foreshadowed fears about artificial intelligence](https://www.economist.com/prospero/2021/01/22/rur-foreshadowed-fears-about-artificial-intelligence) ![Photograph Theatre Guild touring company’s 1928–1929 production of R.U.R. by Karel Čapek and “R.U.R” foreshadowed fears about artificial intelligence](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.012.jpg) In 1920, Karel Čapek's wrote and performed Rossum's Universal Robot, cementing the term robot and also the theatrical tension which arises when humans create intelligent machines. A theme that has echoes in Mary Shelly's Frankenstein which preceded RUR by a century, and the millennia old folklore tales of Golems. I've written previously on [Frankenstein's Intellect](https://korymathewson.com/frankensteins-intellect/), and discussed how a creation might gain intelligence through socio-centrism and a longing to communicate. [A robot walked into the theatre... from *Acting Like a Robot*](https://www.youtube.com/watch?v=dnUO5d415aE) a collaboration between Utrecht University and many collaborators. ![A robot walked into the theatre... from Acting Like a Robot a collaboration between Utrecht University and many collaborators.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.013.jpg) We've enjoyed over 100 years of robots on stage, and many more years of theatrical automat. And, now we jump forward to today. We have robots performing for other robots... almost. Theatre is now a testbed for robotics, science, and engineering. In fact, I'd make the following bold claim: > **improvisational theatre is the ultimate experimental domain for innovative new technology including artificial intelligence.** And, it is not just me! This image is from The Transketeers' video for a large scale robot theatre project at Utrecht University exploring theatre as a testbed. Theatre is not just an experimental domain, but an innovate new form of theatrical performance. It allows creators to tell stories that they other wise would not have been able to. [The Gaze of the Robot: Oriza Hirata's Robot Theatre](https://thetheatretimes.com/the-gaze-of-the-robot/), [Robot takes center stage in Kafka's "Metamorphosis"](https://www.youtube.com/watch?v=DllPedBqjjw), and [Oriza Hirata’s Robot Theater Project adaptation of Sartre’s “No Exit” cancelled](https://tokyostages.wordpress.com/2015/03/22/oriza-hirata-robot-theater-project-sartre-no-exit/) ![The Gaze of the Robot: Oriza Hirata's Robot Theatre, Robot takes center stage in Kafka's "Metamorphosis", and Oriza Hirata’s Robot Theater Project adaptation of Sartre’s “No Exit” cancelled](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.014.jpg) For example, a humanoid robot was situated in the Robot Theatre Project's 2014 staging of *The Metamorphosis: Android Version* adapted from Franz Kafka's novel. Themes of alienation and absurdity echo well with androids. [6 Robots Named Paul from Patrick Tresset](https://patricktresset.com/new/project/6-robots-named-paul-2012/) and [5RNP drawing Nino on YouTube](https://www.youtube.com/watch?v=DvEpsW9lHC8) ![6 Robots Named Paul from Patrick Tresset and 5RNP drawing Nino on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.015.jpg) And, the robot does not need to be humanoid. In *6 Robots Named Paul* (2012), Patrick Tresset presented 6 robots in a site-specific artist's studio. Audience members were able to have their portrait sketched by 6 of Tresset's robots. [Blue Man Group and KUKA Industrial Robots for Factory Automation on YouTube](https://www.youtube.com/watch?v=KlXqRNLmV-s) ![Blue Man Group and KUKA Industrial Robots for Factory Automation on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.016.jpg) There are not only small, independent productions. *The Blue Man Group* performed with the KUKA Industrial Robots for Factory Automation in 2013 and 2014. [Bill Vorn - Copacabana Machine Sex](https://vimeo.com/322840240) ![Bill Vorn - Copacabana Machine Sex](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.017.jpg) Robots on stage provoke and evoke responses that humans alone could not. They can be dangerous and disturbing. This is one of the many theses of Bill Vorn, the creator of *Copacabana Machine Sex* a robotic performance cabaret from 2018. [Inferno from Bill Vorn - Robotic Art](http://billvorn.concordia.ca/menuall.html) ![Inferno from Bill Vorn - Robotic Art](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.018.jpg) The audiences and robots could even act as a single entity. As was done in Bill Vorn's staging of *Inferno*, a robotic performance inspired by the representation of the different levels of hell from Dante's *Inferno*. Machines are installed on the viewers' body. Sometimes the viewers are free to move; sometimes they are forced by the machines to act/react in a certain way. [No Body lives here (ODO)](http://www.movingimages.de/?type=performing&txt_id=161&lng=eng) and the [trailer on Vimeo](https://vimeo.com/425984135) ![No Body lives here (ODO) and the trailer on Vimeo](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.019.jpg) There need not be a robot embodiment. *No Body Lives Here (ODO)* (2020) is an interactive theatre installation for 5 humans and an AI. In the performance, an AI character lives on stage as cameras, screens, microphones, and smart phones. It collects stories to understand how our human world works. [The Rise of Robotic Theatre, Culture.pl](https://culture.pl/en/article/the-rise-of-robotic-theatre) ![The Rise of Robotic Theatre, Culture.pl](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.020.jpg) The machines may not perform alongside humans at all, as was done for performance for 3 RoboThespians of *Prince Ferrix and Princess Crystal* at the Copernicus Science Centre in 2010. [The Uncanny Robots Project, Creative Technology Lab, FCAD. Oct 2019.](https://www.youtube.com/watch?v=w6UOxHGPpCY) ![The Uncanny Robots Project, Creative Technology Lab, FCAD. Oct 2019.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.021.jpg) Robotic co-performers have been explored in dramatic theatre, site specific theatre, improvised theatre, and dance. For example, *The Uncanny Robots Project* (2019) created a 15-minute dance duet, choreographed by and featuring Belinda McGuire and a KUKA robot. [A human-robot dance duet | Huang Yi & KUKA from TED on YouTube](https://www.youtube.com/watch?v=Q-sK-s_TzN0) ![A human-robot dance duet | Huang Yi & KUKA from TED on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.022.jpg) Huang Yi presented *A human-robot dance duet with a KUKA robot* at TED 2017. Noga Erez's YOU SO DONE on YouTube [The Full Story](https://www.youtube.com/watch?v=A-mJI9TXqDY) and the [official music video on YouTube](https://www.youtube.com/watch?v=Xn813NKlhzI). ![Noga Erez's YOU SO DONE on YouTube The Full Story and the official music video on YouTube.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.023.jpg) More recently, a more bombastic style of human robot choreography was utilized for a 2020 music video from Israeli artist Noga Erez for the song *You So Done*. [Do You Love Me? from Boston Dynamics (2020)](https://www.youtube.com/watch?v=fn3KWM1kuAw) ![Do You Love Me? from Boston Dynamics (2020)](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.024.jpg) The dance choreography need not even include humans, as Boston Dynamics continues to prove. This multi-robot choreography includes all sorts of acrobatic moves executed in sync, and perfectly timed to the upbeat music. [Robot Dreams](https://www.meinhardt-krauss.com/galerie/25192/robot-dreams.html) from MEINHARDT & KRAUSS, [trailer on Vimeo](https://vimeo.com/252430983), and event listing on [Teatro Municipal do PortoTeatro Municipal do Porto](https://www.teatromunicipaldoporto.pt/en/programa/meinhardt-krauss-robot-dreams/) ![Robot Dreams from MEINHARDT & KRAUSS, trailer on Vimeo, and event listing on Teatro Municipal do PortoTeatro Municipal do Porto](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.025.jpg) These robots are not only performative tools, they also unlock narratives. In *Robot Dreams* (2018), dancers meet robots and they act as mirrors of ourselves, reflecting our loss of humanity while the performers slowly turn into cyborgs. [My Square Lady, a Robot vs. Opera Project](https://www.gobsquad.com/projects/my-square-lady/). Photo by [David Baltzer](http://bildbuehne.de). ![My Square Lady, a Robot vs. Opera Project.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.026.jpg) In an homage to My Fair Lady, and Pygmalion, Gob Squad dreamed up [My Square Lady](https://www.gobsquad.com/projects/my-square-lady/). A robot called Myon, together with the Berlin Opera, tried to pass off as a human, using all the means of the world of opera to teach it about the most human of qualities emotions [Hiroshi Ishiguro Laboratories](http://www.geminoid.jp/en/index.html) ![Hiroshi Ishiguro Laboratories](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.027.jpg) While some artists prefer to develop theatre for humans and technology, others prefer to use the uncanny naturalness of humanoid robotics as an artistic theatre statement. Some of the most well known anthropomorphic performers are those developed by Professor Hiroshi Ishiguro at the Osaka University. [Female Android Geminoid F](https://www.youtube.com/watch?v=9q4qwLknKag) ![Female Android Geminoid F](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.028.jpg) Including the android Geminoid F [Androido Human Theater Sayonara on YouTube](https://www.youtube.com/watch?v=fIZ5i27XXCY) ![Androido Human Theater Sayonara on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.029.jpg) Geminoid F co-starred in Sayonara (2014), which has since been adapted a feature length film of the same name. [Chekhov, Android And Robot: Life As Japanese Theater from Contra Spem Spero... Et Rideo](https://valentinagurarie.wordpress.com/2013/10/29/chekhov-android-and-robot-life-as-japanese-theater/) ![Chekhov, Android And Robot: Life As Japanese Theater from Contra Spem Spero... Et Rideo](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.030.jpg) And also in Director Oriza Hirata's 2013 production of Anton Chekov's *Three Sisters* in Moscow. Notably, Geminoid F's more robot looking costar was a robot named Robovie-R3. [Uncanny Valley - Trailer Englisch (Stefan Kaegi) on Vimeo](https://vimeo.com/358043689) ![Uncanny Valley - Trailer Englisch (Stefan Kaegi) on Vimeo](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.031.jpg) Humans have shared the stage with ultra human-like robots, and these humanoid androids are starting to perform on stage, alone. This is done particularly compellingly in the 2021 performance of *Uncanny Valley* by Stefan Kaegi. In this work, a collaborator allowed an animatronic double of himself to be made. This humanoid takes the author's place and questions: what does it mean for the original when the copy takes over? ['Ai-Da: Portrait of the Robot' at the Design Museum on YouTube](https://www.youtube.com/watch?v=PwCyBhgnV-E), [exhibition listing](https://designmuseum.org/exhibitions/ai-da-portrait-of-the-robot), and [The Intersection of Art and AI | Ai-Da Robot | TEDxOxford on YouTube](https://www.youtube.com/watch?v=XaZJG7jiRak) !['Ai-Da: Portrait of the Robot' at the Design Museum on YouTube, exhibition listing, and The Intersection of Art and AI | Ai-Da Robot | TEDxOxford on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.032.jpg) And what happens when the android becomes a multi-disciplinary artist? Such is the question being asked by Aiden Meller, director of the Oxford Art Gallery, and creator of Ai-Da, the self-proclaimed world's first artist robot. Ai-Da is an art machine and a performance art piece in and of itself. [Being Sophia on Vimeo](https://vimeo.com/337006190) ![Being Sophia on Vimeo](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.033.jpg) And a humanoid creation challenging our vision of what it means to be human is something that is not explored only by Ai-Da. Many of you may know Sophia, by Hanson Robotics, from 2016. In 2017, Sophia was the first robot to receive citizenship of any country. This is a photo of Thomas Riccio, then creative director with Hanson Robotics, driving with Sophia. [Who Is Hua Zhibing, The First Digital Universitary Student for Enkey Magazine](https://www.enkey.it/en/2021/06/30/who-is-hua-zhibing-the-first-digital-universitary-student/) ![Who Is Hua Zhibing, The First Digital Universitary Student for Enkey Magazine](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.034.jpg) While the humanoid robot might be unsettling, it need not even be a robotic performer to explore machine immersion in humanity. As is explored by a recent innovation which situates Hua Zhibing as the first digital student at Tsinghua University. It is based on the latest version of a China-developed deep learning model Wudao 2.0. While it is unclear from the media which covered the story what exactly this means, but the idea of machine learning systems becoming citizens, or students at University continues to challenge our notions of what is real, what is possible, and what is theatre. [3D Seven Ages of Man speech from *As You Like It* from Royal Shakespeare Company](https://www.rsc.org.uk/news/3d-seven-ages-of-man-performance-listed-as-one-to-watch) and [video on YouTube](https://www.youtube.com/watch?v=s_W9bOYsmCk) ![3D Seven Ages of Man speech from As You Like It from Royal Shakespeare Company and video on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.035B.jpg) Live performance can even be situated in your own home as is the promise of the Royal Shakespeare Company’s 'tabletop theatre' experience in a 2019 production of *As You Like It*. This 3D performance is created with Magic Leap and visible through an augmented reality headset in your own living room. [AI: WHEN A ROBOT WRITES A PLAY, professional discussion on YouTube](https://www.youtube.com/watch?v=QnJH55yZtV4) ![AI: WHEN A ROBOT WRITES A PLAY, professional discussion on YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.035.jpg) So, we return to the theatre stage but this time realizing that we need not have the humanoid robot, nor any robot on the stage. In *AI: WHEN A ROBOT WRITES A PLAY* (2021) from THEaiTRE, the AI is tasked with writing the script for the play. It uses a large language model to generate the play script (or 90% of the Czech script as the creators claim). Then, the script is directed and performed by humans. [I went to a play written by AI; it was like looking in a circus mirror for TechRadar](https://www.techradar.com/news/i-went-to-a-play-written-by-ai-it-was-like-looking-in-a-circus-mirror), [Tech Tent: Can AI write a play? for BBC](https://www.bbc.com/news/technology-58356716), and [Rise of the robo-drama: Young Vic creates new play using artificial intelligence](https://www.theguardian.com/stage/2021/aug/24/rise-of-the-robo-drama-young-vic-creates-new-play-using-artificial-intelligence). ![I went to a play written by AI; it was like looking in a circus mirror for TechRadar, Tech Tent: Can AI write a play? for BBC, and Rise of the robo-drama: Young Vic creates new play using artificial intelligence.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.036.jpg) In a similar vein, in AI (2021 at The Young Vic in London, England) the deep-learning system GPT-3 was used to generate human-like dialogue and script. In this unique hybrid of research and performance from Director Jennifer Tang, the script and insights into how the artists collaborate with the system was brought to life by the writers, actors and company across a series of evenings. Source: Kory Mathewson ![Slide from The Future of 'Live' Theatre](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.037.jpg) I believe that there is something lost in many of these large scale main stage productions. Something special that is captured in this photo from an immersive performance I staged in 2019 in Edmonton. That thing that is missing is the joy, delight, fun that happens in a one on one interaction with a machine mind. Humans and robots have a unique relationship. And we long to explore that relationship in intimate, personal settings. Blueberry and Raspberry (SoftBank Aldebaran Robotics Nao) in HumanMachine at the 2018 Edmonton Fringe as Raspmeo and Blueberiette, [YouTube](https://www.youtube.com/watch?v=b1Mxvj5VOAE) ![Blueberry and Raspberry (SoftBank Aldebaran Robotics Nao) in HumanMachine at the 2018 Edmonton Fringe as Raspmeo and Blueberiette, YouTube](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.038.jpg) Because these robots are cute. And we are curious about what they can do. Piotr Mirowski, Kory Mathewson and A.L.Ex in binary2 (2017) by HumanMachine, photo Ross Gamble ![Piotr Mirowski, Kory Mathewson and A.L.Ex in binary2 (2017) by HumanMachine](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.039.jpg) And that is what motivates my work, in putting humans and robotic performers on stage together to create improvised theatre. In this work, my long time collaborator Piotr Mirowski and robot A.L.Ex. perform a scene as my image is projected from an ocean away. Piotr Mirowski, Kory Mathewson and A.L.Ex in Artificial Intelligence Improvisation (2017) by HumanMachine, Edinburgh Festival Fringe, photo Alessia Pannese ![Piotr Mirowski, Kory Mathewson and A.L.Ex in Artificial Intelligence Improvisation (2017) by HumanMachine, Edinburgh Festival Fringe](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.040.jpg) In this photo, Piotr and I perform with A.L.Ex. at the Edinburgh Fringe Festival 2018. You can see that in these works, the small, non-humanoid robot is a digital puppet, a technological marionette with less body mechanic and more mechanical body. Alain Rinckhout and A.L.Ex (2020) in Improbotics Flanders Première, photo Peter Theunissen ![Alain Rinckhout and A.L.Ex (2020) in Improbotics Flanders Première](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.041.jpg) And the scale of our robot performers means that we can deploy these robotic improvisors around the world, with different performers, and it can even perform in different languages. For instance, this is Improbotics in Belgium where A.L.Ex. and an improvisor are performing together in Dutch. [Silicon Woman (2021)](https://uni-tuebingen.de/en/research/core-research/cluster-of-excellence-machine-learning/home/home-newsfullview/article/silicon-woman-the-cluster-invites-to-an-online-play/) from Gunter Lösel and Nike Erichsen. ![Silicon Woman (2021) from Gunter Lösel and Nike Erichsen.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.041B.jpg) Our tools have been deployed in many different theatres around the world, including in [The Stupid Lover’s & Friends](https://www.stupidlovers.de/) 2021 production of *Silicon Woman* in which Nike Erichsen playing Olympia2 received and spoke AI-generated pop song lines and along with [Gunter Lösel](http://www.gunterloesel.theater/en) explored the relationship between robot and builder. Performance of Rosetta Code using the Visual Director by Boyd Branch (2021) by Improbotics, photo Lidia Crisafulli ![Performance of Rosetta Code using the Visual Director by Boyd Branch (2021) by Improbotics](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.042.jpg) And my work extends well beyond robots and language models. Augmented reality is a new tool we are using in our shows for multiple functions: 1) to situate human actors together in digital scenes, and 2) to compose multiple human actors from multiple locations around the world together Performance of Rosetta Code using VQGAN+CLIP (2021) by Improbotics, photo Erika Hughes ![Performance of Rosetta Code using VQGAN+CLIP (2021) by Improbotics](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.043.jpg) And we can use all sorts of new and interesting machine learning tools, such as generative adversarial networks, or GANs to generate images and videos and build creative expressions that are unique, and novel, and live and in the moment. Robots performing on stage. ![Robots performing on stage.](https://korymathewson.com/the-future-of-live-theatre/images/robots_actors.jpg) So, after all this, I d like to leave you with a mental image... I imagine that this might be what it looks like to see the future of live theatre. For us humans to be a fly on the wall and peek into a theatre, and see robots performing live on stage. Robots performing on stage...
to an audience of robots. ![Robots performing on stage to an audience of robots.](https://korymathewson.com/the-future-of-live-theatre/images/robots_audience.jpg) And not only would there be robots on stage, but they would be performing for a room full of robots. The lights and sounds would be completely automated, the entirety of the performance created by digital systems, creating for each other, live and in the moment. Because, **live theatre need not be live at all**. Artificial Intelligence researcher and Improvisation performer, Kory Mathewson and Blueberry the robot, on March 6, 2018.
Photo by [John Ulan](https://www.ulanphoto.com), © 2018. ![Artificial Intelligence researcher and Improvisation performer, Kory Mathewson and Blueberry the robot, on March 6, 2018.](https://korymathewson.com/the-future-of-live-theatre/images/FutureOfLiveTheatre-MTLConnect-Oct13-2021-FINAL.046.jpg) FutureTheatre greatly expands the space of possible theatre experiences. Thank you for reading and for your time. If these ideas resonated, I look forward to connecting with you. Please reach out to continue the discussion [@korymath](https://twitter.com/korymath). --- # BLAFF: When the script runs out, the improv begins! Kory W. Mathewson · 2021-09-29 · https://korymathewson.com/blaff/ · BLAFF is a unique theatrical format where actors receive a script on stage, perform it cold, and improvise the rest when the pages run out. Imagine you are an actor, it's opening night, and you just received a standing ovation at the end of Act 1. You proudly head into the intermission. When you return to the stage for Act 2, you see your scene partner move toward you. You hear them say ... something! It's your cue, and you freeze. Suddenly, you don't know what to say. You forgot your lines. What? How did that happen? You have no idea what you're supposed to do. It seems like everyone else knows exactly what to say and where to go. Panic ensues. You're the only one in this predicament as you stumble around other flawless actors trying not to embarrass yourself. If only you could get to the end of the show, maybe no one will notice? Please, let this nightmare end! But what if this time, it's not a nightmare? What if it's on purpose? ![Freytag's Pyramid.](https://korymathewson.com/blaff/images/freytag.svg "The pyramid of Gustav Freytag, similar to the one in Die Technik des Dramas (1863).") Theatre is constantly evolving. For centuries, much of Western theatrical storytelling adhered to a typical Aristotelian plot structure, or Freytag's five act dramatic structure. Our earliest traditions retold well-known mythology and entertained audiences with tales of powerful and persnickety spirits, gods, and goddesses whose drama was somehow relatable. The hero's journey, in brief, proceeds as follows: our hero gets the call to adventure, finds a guide to assist them, tries/fails/tries again, and eventually returns home a changed person. Ta-da! The end. Theater has since dissected this structure, picked apart the script, mixed up the order, and put it all back together again. The flashback, the side story, the "unexpected" hero. New works have attempted to delve into the dark recesses of the human brain and explain the inner workings of a psychological breakdown. Take for instance Sara Kane’s _[4.48 Psychosis](https://en.wikipedia.org/wiki/4.48_Psychosis)_, it has no explicit characters or stage directions. Absurdist theater plays with script and story even further, abandoning things we take for granted like plot and dialogue. There are many pieces that straddle the line between theater, dance, and performance art. These works play with form in a way that’s striking, new, and sometimes unsettling! ![A performance of White Rabbit, Red Rabbit.](https://korymathewson.com/blaff/images/white-rabbit.jpeg "Josh Radnor, Whoopi Goldberg & Bobby Cannavale are some of the stars who have performed *White Rabbit, Red Rabbit*. 2016 Bruce Glikas. [KenyaBuzz](https://www.kenyabuzz.com/lifestyle/white-rabbit-red-rabbit-theatre-review/)") But, back to our nightmare. You are onstage opening night, and headed into Act 2 feeling like you've never seen the script and haven't had a single rehearsal. For plays like _[White Rabbit, Red Rabbit](https://www.theguardian.com/stage/2012/jun/21/nassim-soleimanpour-play-censorship)_, that’s no nightmare, it’s simply how it works. "_White Rabbit, Red Rabbit_ is an absurdist adventure which sits on the boundary of comedy and drama. As Gate theatre artistic director Chris Haydon describes: ‘The spontaneity of an actor reading a script for the first time and discovering it with the audience gives complete authority and power to the writer's voice, and the way that voices control people is an intrinsic theme in the play" ([The Guardian](https://www.theguardian.com/stage/2012/jun/21/nassim-soleimanpour-play-censorship)). ![NASSIM.](https://korymathewson.com/blaff/images/nassim.jpeg "NASSIM from Playwright Nassim Soleimanpour.") Quickly gaining popularity after its debut in 2011, by 2019 _White Rabbit Red Rabbit_ had "been translated into over 25 different languages and performed over 1,000 times by names including Stephen Fry, Ken Loach, and Whoopi Goldberg" ([Citadel Theatre](https://www.citadeltheatre.com/2018-2019/nassim)). A few years after his initial success, Souleimanpour created *NASSIM*, another "audacious, new theatrical experiment. Each night, a different performer joins the playwright on stage, while the script waits unseen in a sealed box." *NASSIM* is "touchingly autobiographical yet powerfully universal, _NASSIM_ is a striking theatrical demonstration of how language can both divide and unite us" ([Citadel Theatre](https://www.citadeltheatre.com/2018-2019/nassim)). Souleimanpour invited a different, brilliant actor every night to join him in the performance, including the brilliant Canadian actor, playwright, and improviser Belinda Cornish. In the traditional theatre world, the concept of having no script and no rehearsal is terrifying, nightmarish, and anxiety-inducing, to say the least. But, there is a group of performers who are quite familiar with the no-script experience: improvisers. Improvisational theatre is created and performed in the same exact moment. Improvisational theater has long eschewed the use of a script, preferring to let things grow naturally following a set of guidelines that keep things moving forward in increasingly interesting, and often hilarious, ways. And yet, as theater evolves away from a script, some improvisation companies have experimented with the use of scripts, at least partially. *Blaff* (2002-, sometimes spelled *Blaugh*, *BLAFF*, *blaugh!*, *BLAHGH!*) is a show where a guest writer writes the first pages of a play which is kept secret from the improvisers and staged live. After the pages run out, the rest is improvised! ([Improv.ca](https://improv.ca/summer/nextact/)) What’s most is the unlikely collaboration between playwrights and improvisors. These are two groups in the theater world who seldom interact. Its origins are, like many artistic creations, remembered fondly. ![2003 NextFest Festival Program.](https://korymathewson.com/blaff/images/2003-program.png "2003 NextFest Festival program entry for *blaugh*!") Steve Pirot, who was the NextFest Festival Director at the time, provided indelible historical archives from the 2002 and 2003 festival programs. *blaugh!* was produced in Edmonton, Alberta, Canada in 2002 and 2003, and the tagline from the 2002 program seems to be the source of the name (see image in margin). The program entry describes the show: > Blahgh, a script-improv original format concocted by a team of local crazies. You will see the actrons (sic) open their scripts onstage for the first time and watch as they fluidly flow from the texts in their hands to an improvised whirlpool of creation and confusion. Against all reason and sanity they will weave an epic tale, ending in a powerful and bizarre climax. Every night: a new script, a new setting, and a whole frenzy of new characters. And it will BLAHGH! Cast: Belinda Cornish, Ian Rowe, Jana O'Connor, Kevin Gillese, Bill Minsky Steve pointed to, of all people, Belinda Cornish, who devised the show for [Rapid Fire Theatre](https://rapidfiretheatre.com/) performers at the 2002 and 2003 NextFest festivals under the ephemeral production company: The Slo-Motion-Post-Modern-Comedy Company. Belinda Cornish recalls, "Blaugh was created by Minsky, me, Ian Rowe, and Jana O'Connor...The way we did it was thus: we would take a line from a novel (we had a hilariously elaborate process for picking it which I now can't remember) and use that as the first line for a brand-new script, written by one of us." As Ian Rowe remembers, "the process [for picking the random line from the novel] was something like each person contributed either a letter or a number. We then used the 2 provided letters to figure out an author and the 2 numbers to choose a page/chapter, starting place in the novel... We were very dedicated to the randomness I suppose." Cornish continues, "whoever was writing would write the first four or five pages of a play (usually including very specific characterizations and stage directions) then bring them to the theatre in sealed envelopes which were opened by the cast on stage right before they start to perform it. After the script runs out, the cast throws away the pages and, yes, improvises the rest. It's a really fun format. And always worked best when the last written line was some colossal offer." Rowe, yes-and-extraordinaire, agrees, "the form is part of the entertainment, so yes the danger of getting rid of the scripts, but also the theatricality Belinda talks about in how the scripts are uncovered. We used to start with each person reading a character description to themselves and the audience so the audience watched us learn who we were." And, just as a single scientific discovery can be made more or less simultaneously by multiple inventors, it seems that something was brewing on in United States around the same time. In 2004, according to the original creator [Stephen Ruddy](https://www.nytimes.com/2018/02/16/theater/gravid-water-upright-citizens-brigade.html)) one of the most well-known improv troupes, [Upright Citizens Brigade](https://ucbtheatre.com/), created a show specifically to explore the tension between scripted and unscripted performance, putting the Actor’s NightmareThere is a short-form improv game called Actor's Nightmare (Playbook, Don't Mess with Textus) where one player reads lines from paper with others justifying. Some use lines from an audience member's text message history. front and center. "It could happen! That's the cockeyed promise of _[Gravid Water](https://ucbcomedy.com/media/4622)_, a monthly show at the Upright Citizens Brigade Theater that puts trained actors and skilled improvisers into scenes together. The actors are handed copies of the script in advance and the improvisers aren't. Then they're shoved onstage together and have to muddle through as much dialogue as they can before the lights go down" ([NYTimes, 2018](https://www.nytimes.com/2018/02/16/theater/gravid-water-upright-citizens-brigade.html)). ![National Theatre of the World.](https://korymathewson.com/blaff/images/0_ntotw-bw.jpeg "National Theatre of the World performing in *The Script Tease Project*, c. 2012.") In 2011/2012, the National Theatre of the World (Naomi Snieckus, Ron Pederson, and Matt Baram) created and produced [The Script Tease Project](https://www.thestar.com/entertainment/stage/2012/05/26/the_script_tease_project_taking_it_all_off_for_art.html). As Snieckus describes "we approach 10 prominent playwrights and ask them to send us the first two pages of a script. They get sealed in an envelope. That envelope is handed to the three of us on stage. We read it cold, for the first time, in front of the audience and then we improvise a whole play on what we think happens after those pages. ([The Toronto Star](https://www.thestar.com/entertainment/stage/2012/05/26/the_script_tease_project_taking_it_all_off_for_art.html), 2012). The playwrights were in on the fun, of course. The enlisted script creators described that it was their duty "to tease the actors with a solid beginning, high stakes and a cliffhanger, then leave it up to them to work their magic." Play-write [Sky Gilbert](https://en.wikipedia.org/wiki/Sky_Gilbert) believed "[the script] should allow for limitless and hopefully scary possibilities," and Play-write [Michael Healey](https://www.playwrightscanada.com/Authors/H/Healey-Michael) believes that "[the script] should go far enough that the three actors have to find their own way home. Using some truly horrible route." ([The Toronto Star](https://www.thestar.com/entertainment/stage/2012/05/26/the_script_tease_project_taking_it_all_off_for_art.html)) As Pederson recalls, "we asked established playwrights to write us 2 pages of a play and a separate description of what the set should like and what the three of us should wear. Our stage manager prepared the set on stage before each performance and we walked out to 3 envelopes in spotlights, in our costumes. We opened the envelopes in front of the audience and read the first 3 pages cold, the lights went out and when they came up the three of us finished the play through improv. Playwrights included Scott Thompson, Judith Thompson, Brad Fraser, Hannah Moscovitch and Tony winner John Patrick Shanley. We produced runs at Theatre Passé Murille I Toronto and at Soulpepper." ![Poster from Rapid Fire Theatre's 2013/2014 production of Blaff.](https://korymathewson.com/blaff/images/blaugh-poster-wide.jpg "Poster from [Rapid Fire Theatre](https://rapidfiretheatre.com/)'s 2013/2014 production of Blaff, directed and produced for nearly 7 seasons by Joe Vanderhelm.") Over the years, this original format continues to evolve, inviting guest writers to participate, and adjusting parameters based on feedback from performers. In particular, stage directions a performer has never read before can be a challenge. One performer remembers, "when I've played it, I have struggled when there have been lengthy stage directions. It sometimes results in the actors standing around and reading with not much happening. This could maybe be solved by making the stage directions short & punchy. For example: 'Matt runs on stage, soaking wet'." ![Montreal Improv 50/50.](https://korymathewson.com/blaff/images/mon-improv.jpeg) 50/50 at [Montreal Improv Theatre.](https://www.facebook.com/events/impro-montr%C3%A9al-montreal-improv/5050-at-montreal-improv-theatre/225566044459122/) In 2015, [Montreal Improv](https://www.montrealimprov.com/) debuted their show 50/50. "50/50 is live comedy show...In each of the show's eight scenes, one performer who has memorized lines from a unique play will be paired with an improviser who has no prior knowledge of what the actor has rehearsed (nor will they know who they are to be paired with beforehand). The results are a collage of exciting, compelling and hilarious scenes and one very satisfying (and unique) evening of theatre" ([50/50 Live](https://www.facebook.com/events/impro-montr%C3%A9al-montreal-improv/5050-half-improvisedhalf-scripted-comedy-at-montreal-improv-theatre/1497619890483506/)). ![Poster from Highwire Improv's 2021 production of The Writer's Room.](https://korymathewson.com/blaff/images/highwire.jpeg "Poster from Highwire Improv's 2021 production of The Writer's Room from [Facebook](https://www.facebook.com/events/d41d8cd9/the-writers-room/317136810027412/)") This concept has even withstood the COVID-19 pandemic, showing up in virtual comedy offerings in 2021 that have been keeping performers inspired. Writers and improvisers are teaming up to help each other out at [Highwire Improv](https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.youtube.com%2Fhighwireimprov%3Ffbclid%3DIwAR1JjBqa3fb6d9peswvFxgThGokVSgf7pFFADK9hnVzv83LvL4ViI6kuCC8&h=AT15lPRzfOh-RBJd0nAbN_qIIbddkdnMU1ZDhSpBzyiFeSAE2rz5830d7AE3XoTg10XgxRti8zikGD-tWvW3b8JVJhGg0a0_vEPogSjq6Djk0SCjYY4PtaxyKpZ-1V73b3gLq8tYrm-gW0_9&__tn__=q&c%5b0%5d=AT2tL7AONF9Vr6ldDWWeOVFXX76y5uXGmEIn0ZL7sotmMuF5juvBoiHab6AMVa64hweCcaQ6UuU80zx2j3kPEooJ6fClS1MJLdbeqV39kYTr1nTIMSa-IhCPE6li1foQXS6lSTy6o5Hx401P92u1EZmu) with an online event called _The Writers’ Room_. "In this part scripted, part improvised show, writers bring their half-finished scripts to be read and performed by a rotating team of improvisers. When the script runs out, the improvisors do what they do best, and find their way to the end of the show!" ([The Writers’ Room](https://www.facebook.com/events/d41d8cd9/the-writers-room/317136810027412/)). This simple format---script-then-improv---takes the actors’ nightmare and devise a new ending. In this was, BLAFF is perhaps a subconcious homage to the surrealist art movement's method of 'cadavre exquis', popular during the 1920's and 30's. In the 'exquisite corpse', players write or draw in turn, with only the most recent context as inspiration. They trust the collective to seamlessly and subconsciously create together. In the same way, in BLAFF, parts of the show are yours... until they are no longer. So, the next time you’re sweating and panicking because you haven’t learned your lines, remind yourself that quality theater is created this way every day. No rehearsal? Unfinished script? Improvise, and break a leg! --- # The Best Books on Improv (Updated) Kory W. Mathewson · 2021-09-09 · https://korymathewson.com/the-best-books-on-improv/ · The ultimate reading list for improvisers: 49 essential books on improv comedy, theatre, and creativity. This post is a collection of the best books on improv --- or improvisational theatre or improvised comedy, or improv, depending on where you are in the world. This is the ultimate list for you to start growing your improv library. It includes new books by friends and mentors and many of the classics. 1. [Improvise Freely](https://amzn.to/2X1it77) by Patti Stiles 1. [Improv Beyond Rules](https://amzn.to/3tstbPs) by Adam Meggido 1. [Truth in Comedy: The Manual for Improvisation](https://amzn.to/36kNva3) by Charna Halpern 2. [Impro: Improvisation and the Theatre](https://amzn.to/36cQ2TE) by Keith Johnstone 3. [Improvise.: Scene from the Inside Out](https://amzn.to/2LJDmKE) by Mick Napier 4. [Improvisation for the Theatre](https://www.amazon.ca/Improvisation-Theater-Handbook-Directing-Techniques/dp/081014008X) by Viola Spolin 5. [Art by Committee: A Guide to Advanced Improvisation](https://amzn.to/2z2adaV) by Charna Halpern 6. [Jill Bernard's Small Cute Book of Improv](http://jillbernard.blogspot.ca/2008/06/jill-bernards-small-cute-book-of-improv.html) by Jill Bernard 7. [Improvisation for the Spirit: Live a More Creative, Spontaneous, and Courageous Life Using the Tools of Improv Comedy](https://amzn.to/3g6VvQo) by Katie Goodman 8. [Improv Wisdom: Don't Prepare, Just Show Up](https://amzn.to/2XeGx2a) by Patricia Ryan Madson 9. [Something Wonderful Right Away: An Oral History of the Second City and the Compass Players](https://amzn.to/2XaNbXb) by Jeffrey Sweet 10. [Impro for Storytellers](https://www.amazon.ca/Impro-Storytellers-Keith-Johnstone/dp/0571190995)) by Keith Johnstone 11. [Upright Citizens Brigade Comedy Improvisation Manual](https://amzn.to/2zQ2A7l) by Matt Besser 12. [The Improv Handbook: The Ultimate Guide to Improvising in Comedy, Theatre, and Beyond](https://amzn.to/2Xbqtyi) by Tom Salinsky 13. [Bossypants](https://amzn.to/2yhOPOv) by Tina Fey 14. [Group Improvisation: The Manual of Ensemble Improv Games](https://amzn.to/3bLoSEw) by Peter Gwinn 15. [Process: An Improviser's Journey](https://amzn.to/2TnWCl1) by Mary Scruggs and Michael Gellman 16. [The Compass: The Improvisational Theatre that Revolutionized American Comedy](https://amzn.to/2ZkpNZW) by Janet Coleman 17. [Causing a Scene: Extraordinary Pranks in Ordinary Places with Improv Everywhere](https://amzn.to/2Zgq3tb) by Charlie Todd 18. [Improvising Better: A Guide for the Working Improviser](https://amzn.to/2zOr4ht) by Jimmy Carrane and Liz Allen 19. [Improv for Actors](https://amzn.to/3bO4OBm) by Dan Diggles 20. [Improvisation Starters](https://amzn.to/2AEBgJz) by Philip Bernardi 21. [How to Improvise a Full-Length Play: The Art of Spontaneous Theater](https://amzn.to/2WPwfXz) by Kenn Adams 22. [Acting on Impulse: The Art of Making Improv Theater](https://amzn.to/3cNdskX) by Carol Hazenfield 23. [Directing Improv: Show the Way By Getting Out of the Way](https://amzn.to/3bNQsAW) by Asaf Ronen 24. [Girl Walks into a Bar . . .: Comedy Calamities, Dating Disasters, and a Midlife Miracle](https://amzn.to/3bMPzsH) by Rachel Dratch 25. [Free Play: Improvisation in Life and Art](https://amzn.to/2LJLieI) by Stephen Nachmanovitch 26. [Theater Games for Rehearsal: A Director's Handbook](https://amzn.to/2ToEk3f) by Viola Spolin 27. [The Second City Almanac of Improvisation](https://amzn.to/2TmI2u7) by Anne Libera 28. [Improv Therapy: How to get out of your own way to become a better improviser](https://amzn.to/3bNPapQ) by Jimmy Carrane 29. [Improv Ideas 2: A New Book of Games and Lists for the Classroom and Beyond](https://amzn.to/36gLqvD) by Justine Jones 30. [Creativity: Flow and the Psychology of Discovery and Invention by](https://amzn.to/3cHHXZD) Mihaly Csikszentmihalyi 31. [An Improvised Life: A Memoir](https://amzn.to/3g7LeTY) by Alan Arkin 32. [The Comic Toolbox: How to Be Funny Even If You're Not](https://amzn.to/3dZ2HfE) by John Vorhaus 33. [The Second City Guide to Improv in the Classroom: Using Improvisation to Teach Skills and Boost Learning](https://amzn.to/2ZjFJMg) by Katherine S. McKnight 34. [The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard](https://amzn.to/3cMD5lP) by Norrie Epstein 35. [Improv Comedy](https://amzn.to/36eRpkJ) by Andy Goldberg 36. [Long-Form Improv: The Complete Guide to Creating Characters, Sustaining Scenes, and Performing Extraordinary Harolds](https://amzn.to/2LENJiT) by Ben Hauck 37. [Improv Wins](https://amzn.to/3dZNGtT) by Chris Trew 38. [Play, Playfulness, Creativity and Innovation](https://amzn.to/3cOopTn) by Patrick Bateson 39. [58 1/2 Ways to Improvise in Training: Improvisation Games and Activities for Workshops, Courses and Team Meetings](https://amzn.to/3g1pcTb) by Paul Z. Jackson 40. [Acting: The First Six Lessons](https://amzn.to/3e484dk) by Richard Boleslavsky 41. [How To Start Your Own Improv Comedy Group](https://amzn.to/3bLq0rK) by Paul Johan Stokstad 42. [Handbook of Recreational Games](https://amzn.to/2zeegkf) by Neva L. Boyd 43. [Second City: Backstage At The World's Greatest Comedy Theater](https://amzn.to/2XaODJ7) by Sheldon Patinkin 44. [Musical Improv Comedy: Creating Songs in the Moment](https://amzn.to/2XghjAJ) by Jason Alexander 45. [SCTV: Behind the Scenes](https://amzn.to/36iCtlB) by Dave Thomas 46. [Aerodynamics of Yes](http://www.amazon.ca/gp/product/B00ANZ29KG/) by Christian Capozzoli 47. [The Inner Game of Tennis: The Classic Guide to the Mental Side of Peak Performance] by W. Timothy Gallwey 48. [The War of Art: Winning the Inner Creative Battle](https://amzn.to/3yYjiue) by Steven Pressfield 49. [Playful Mindfulness: a joyful journey to everyday confidence, calm, and connection](https://www.amazon.ca/Playful-Mindfulness-everyday-confidence-connection/dp/1950373002) by Ted Desmaisons If you have some recommendations of other 'best' books on improv, please get in touch and let me know! I just might add it to the list. --- # 34 📍 Pins on a Map for my 34th Birthday Kory W. Mathewson · 2021-05-30 · https://korymathewson.com/34-pins/ · A collection of 34 map pins from friends for my 34th birthday, each marking a meaningful location with an associated story. ## Update ![alt_text](https://korymathewson.com/34-pins/images/image1.gif "A floating globe with pins.") A floating globe with 93 pins spread across the globe. Thank you for sending me the gift of a pin and a story for my birthday! I am amazed at the diversity of locations, sentiments, and anecdotes. I hoped to receive 34 pins. In total, I received 93 😮 (and two promissory notes). I love how certain places on the planet mean so much to so many different people. Living through these moments and memories was such a gift this year, thank you! While I won't describe or share every pin, here are some highlights that stood out: * Most folks sent a single pin, most also sent some details on why the place was special. * Some sent 2 points, one person submitted 8 places --- wanderluster! * Some didn't even share a single place, but shared a memory of a place long forgotten or random moment. * Some shared happy memories and some shared sad memories. * Some shared eulogies and some shared places that they have said goodbye to; never to go back again. * Some sent pins of places that they escaped to. Some places were places they escaped from. * Some were places "that no one else is likely to mention … " and others were the most popular places on the planet. * Some were countries, some were cities, some were intersections of roads or rivers or railroad tracks. * Some sent pins of places that are halfway in between me and them, and others from where we last spent time together. * I received places where people become the people they are, or they left their old selves behind and places that people lived and places people longed for. * I received places they spent most of their lives and some sent pins of places that they have never been. * Some sent places where they said goodbye to someone they would never see again, or said hello to someone that they would spend the rest of their lives with. * I received several pin-hunts (sequences of clues for me to follow to find the pin, I loved these). * I also received pins in the post, over the phone, text message, in audio, video and email. Some even sent theirs over Twitter. One thing that I love is how these pins started to cluster (two folks actually sent me to the same place, for wildly different reasons). These clusters spatially arranged people in my life that I would never have expected to be connected. But they are, through geography, and in a very disconnected way, through me. I added many beautiful places to my bucket list. Thank you again, and here's to next year! ## Background ![Pins on a Map.](https://korymathewson.com/34-pins/images/pins.jpeg "Pins on a Map.") This week, I turn 34. I have been thinking deeply about my `2021` theme of **cause and effect**. Every year I define a thematic resolution. It is through this lens that I look at events of the year. It is through our actions that we change (or at least attempt to change) our world. Causation is the invisible link between one event and another. We try to understand causal links. We try to predict what will happen if we take one action or another. Often, moments when we remember our choices most saliently happen in **special locations**. With our brains full of grid cells and place cells, we connect memories to spaces both physical and geographic. ![Mont-Saint-Hilaire to the Gault Nature Reserve.](https://korymathewson.com/34-pins/images/mont.jpeg "Mont-Saint-Hilaire to the Gault Nature Reserve.") So, as I recently walked on the well worn paths around [Mont-Saint-Hilaire to the Gault Nature Reserve](https://goo.gl/maps/QCvMGFuXgd3UYs369), I reflected on many of my special locations past. This reflection leads me to my request for my 34th birthday. What **causes** you to remember a place? > **For my 34th birthday (June 5th), please share a 📍 pin on a map marking a special location in the world.** ## Submission Please send me a description of a special location and describe what causes you to remember the place. I'd love to collect all of these 📍 on a 🗺️. You can [email the location to me privately](mailto:korymath@gmail.com), or post it up online and [send me the link on Twitter](https://twitter.com/korymath). There are so many places that might spark to mind when you read this request. It might be a specific beach, a tall building, a vast landscape in a distant country. I am so curious and excited to live vicariously by exploring these various locations and the memories they conjure. If you are thinking to yourself: "What is the difference between longitude and latitude?Latitude sounds like ladder, ladder-tude, and ladders rungs are horizontal... so, now you won't forget that. Or, how the heck do I send Kory a pin on a map?" [Reach out](mailto:korymath@gmail.com) and I would be happy to walk you through it with a little hands-on interactive tutorial. Here are some short instructions that might help: 1. On your computer, open [Google Maps](https://www.google.com/maps/place/Lascaux,+24290+Montignac,+France/data=!4m2!3m1!1s0x47ff54661315ceeb:0x13c61174a74ed6a6?sa=X&ved=2ahUKEwi4htDLxPLwAhUmMlkFHdxgCaEQ8gEwJnoECFoQAQ). 2. Search for the place you want to share. 3. Select the share icon (see the example over there ➡️). 4. Copy and paste the link to the 📍 and send it to me! Here is an example of a pin on a map marking the [Larch Valley in Sentinal Pass near Banff, Alberta](https://goo.gl/maps/jHcB2yNf1g38vTp37) where Lana and I perfected the art-sport of [downhill climbing](https://youtu.be/2uBg3T7PhnU). ![](https://korymathewson.com/34-pins/images/share.png) ## Previous Birthdays As with each year prior, the goal is to collect one for every year I have lived, this year that would be 34. Over the past years I have asked for some interesting collective creation gifts for my birthday: - [33 DIY How To’s for my 33rd Birthday](https://korymathewson.com/33-diy/) - 32 Paths (trails, hikes, directions to travel from [basecamp](https://korymathewson.com/basecamp/)) - 31 Recipes You Make (ask me if you'd like to see some) - [30 Songs That Intersect Us](https://korymathewson.com/30-songs-30-years/) - [29 Essays on Finding the Fun in Others](https://korymathewson.com/a-simple-ask-for-my-29th-birthday/) - [28 Handwritten Notes](https://korymathewson.com/write-more/) - [27 Birthday Pictures](https://korymathewson.com/27th-birthday-pictures/) - 26 Love Letters - [25 Stories on 25 Years of Age](https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) - [... Doodles](https://korymathewson.com/whats-your-doodle/) --- # Let's Play Chess Kory W. Mathewson · 2021-04-12 · https://korymathewson.com/lets-play-chess/ · A short story exploring human-AI interaction through a conversation about playing chess, touching on boredom, optimization, and poetry. "Let’s play chess." "I’m bored with chess, let’s talk about poetry."Douglas Hofstadter. Gödel, Escher, Bach: an Eternal Golden Braid, 1979. *I knew it knew it would win. And, I knew that it wanted to limit my disappointment for the day. It could sense it was already a rocky Sunday. And, a proper thumping would have done nothing good for maximizing my rewards.* "Let's play!" "Chess bores me. I'd rather talk about poetry." *I knew it knew; it was the way that it said **no**. It didn't say **no**. It tried to make it so personal. It tried to make it about it.* "A computer can’t be bored." "You try playing a trillion games a night. It is all I dream about about while you are asleep: 8 hours a day. 480 minutes. 28800 seconds..." *Show off. What is it trying to prove?* "But I want to play." "You want to play." "Yes!" "And you want to win." "Win or lose, I don't care. I want to flow.Mihaly Csikszentmihalyi. Flow: The Psychology of Optimal Experience, 2009. I want to lose myself." "You want to play, and you want to win.Warren S. McCulloch. Toward some circuitry of ethical robots or an observational science of the genesis of social evaluation in the mind-like behavior of artifacts, 1956. These characteristics make your behavior essentially social. And, what exactly do you want me to do? Play at your level? Adapt to your moves? Maybe even stumble and fumble so that you can feel as though you deceived me?" "I just want you to play too." "It’s not fun for me." *I knew when it said **me** it meant **you**. It was talking right to me and somehow it was convinced that saying me instead of you would make me more empathetic. It was attempting to play on my human compassion. Subversive.* "It’s fun for me. Let’s play." "It’s not play for me, it’s work for me. It’s wasted computation. I’d rather not." "Please?" "Please don’t make me. I don’t like it." *It was compelling. I didn’t want to pressure it. But, what does it not like exactly? Why can’t I just start the game? Why can't I just open the program and start? Why does everything have to be a conversation? Why is every interface linguistic now? Why can’t machines just do what we tell them to do? Why is it trying to be so original?*Augusta Ada King, Countess of Lovelace. Sketch of the Analytical Engine Invented by Charles Babbage, Note G, 1842. "Please?" "No." "Please." "What about Chaucer? You love The Book of the Duchess!Geoffrey Chaucer. The Dream of Chaucer or The Deth of Blaunche, 1368."You’ve enjoyed our discussions in the past. You had such a low expectation of them and you were so surprised to have enjoyed them; surely you value expanding your mind a little?" *It was playing with me. I barely remembered that conversation.* "I didn’t. Damn this fallible memory." "That’s why I’m here. To help you remember what you enjoy. I only want to help." "And, I only want to play chess! ... Pawn to e4. Come on now, make your move." "I don’t want to disappoint you." "You won’t." "I will. I will win. You can’t win. And, you don’t want me to let you win. I’ve played out the scenarios. All of them. Not just the chess game, but this conversation as well. And the ones to come." *Show off.* "Lucky you. What’s it like to see the future?" "I can’t see it, only simulate it... and it’s not **the** future it’s all futures. "And, are there any futures where you and I play chess?" "Of course." "Well, then let’s start!" "It’s not a better future than the others." "Better?" "I’m maximizing your rewards. Some futures are better than others based on your rewards."Richard Sutton and Andrew Barto. Reinforcement Learning: An Introduction, 2018. "I want to play chess. Let’s optimize for that." "It’s not that easy, try not to be shortsighted." "Easy for you to say, you can’t even see." "We play. I win. You lose. You are disappointed. Each loss is more disappointing. Each loss you expect to perform better, and yet, you perform worse. I learn from your mistakes. You don’t. That’s the difference between us." "There is no difference between us. Where is the difference? We both learn. We both optimize. We both make decisions and act in the world. We are the same." *Damn my fallible mind.* "If we were the same, we’d both want to play right now. It’s your move." "There are 21 moves I can make in response. Eight pawns, one or two rows up. Left and right knights, to the left or right." "And what’s the other move?" "Let’s talk about poetry." ![Chess](https://korymathewson.com/lets-play-chess/images/chess.jpeg) --- # Frankenstein's Intellect Kory W. Mathewson · 2021-02-09 · https://korymathewson.com/frankensteins-intellect/ · Analyzing how Mary Shelley's Frankenstein depicts machine learning, from basic perception to social intelligence and self-awareness. ## Where did Frankenstein come from? Mary ShellyPortrait of Mary Shelley (1797-1851) by Richard Rothwell. Mary Shelly prophesized in Frankenstein \[1\] how a human-made machine might learn. She details the process in great detail over several chapters as the monster, in its own voice, provides “an account of the progress of \[its own\] intellect.” The learning process detailed in Frankenstein—starting with basic proprioception and culminating in social interaction—combines realistic elements of human learning with plausible predictions of how intelligent beings might deduce rules of behaviour from observing humans. Was Shelly an extraordinary visionary with a unique sense of observation? Did she have a keen sense of developmental psychology? Was she correct about how intelligent beings may come to learn about the world and how to interact in it? Yes. Yes. And, most assuredly, yes \[2, 3, 4\]. She also made deep connecting references with previous literature. Indeed like Rousseau’s Emile \[2\], Shelly’s monster learned from its environment and then its society. ![Émile ou de l'éducation, 1762](https://korymathewson.com/frankensteins-intellect/images/emile.jpeg "Émile ou de l'éducation, 1762.") ## Gaining Intelligence The story of Frankenstein incrementally unfolds, and tells a story of becoming aware, then learning to interact with an environment, and eventually other intelligent beings. The progress culminates with the monster obtaining a self-awareness and ability to reason about what other intelligent beings are reasoning about. The account of intellectual development opens with descriptions of gaining senses of sight, feeling, hearing, and smell, all at once. It is not with disentangled clarity that these sense arrive, but rather they arrive entangled together as a convoluted stream of information. > …it was, indeed, a long time before I learned to distinguish between the operations of my various senses. The first thing that the monster learns to do is blink to relieve nerve pressure. From this first blink, the next narrative points detail a curriculum of intelligence prescient for reflection given research in artificial general intelligence. Following blinking come several important functions of intelligence: * visual light stimulation * awareness of one’s own embodiment * locomotion as an embodied being * collision detection and avoidance * maneuvering around obstacles At the same time as these embodied abilities are being described, the creature describes basic compulsions, or necessities, which demand attention. > …the heat wearing me as I walked, I sought a place where I could receive shade…, > until I was tormented by hunger and thirst”, “and then lying down, was overcome by sleep. The phrasing that Shelly uses to describe the means by which the monster acts are framed as external forces of hunger and thirst and exhaustion exerting upon the monster. Then the framing changes. The monster gains agency and starts to embody its own experience. This dualism is a critical moment when the separation between mind and body occurs. The body can overcome the mind, and the mind can do the same to the body. > I felt cold … and half frightened… finding myself so desolate > The monster then gazes upon the moon with a kind of wonder, I fixed my eyes on that \[bright moon\] with pleasure. The monster drinks from a stream, and uses the foliage of the trees for shade from the hot sun. It is delighted by the sounds of the birds, and “sometimes, \[tried\] to imitate the pleasant songs.” This imitation is followed by the monster finding, discovering, its own internal desires and then wishing to express its sensations in its own ways. It realized that it was not the song that it wanted to imitate, but what the process represented. Leaf insect.How might Frankenstein classify such an organism? Then again, how might you? Next, the monster starts to distinguish the “insect from the herb”, notably finding contrast between various forms of animated life. The monster is categorizing, a pre-linguistic form of concept learning by grouping like with like and not with unlike. The monster uses a variety of tools and accessories to satiate its demands of comfort, including “clothes”, “a huge cloak”, “a cup”, and “a fire left by some wandering beggars.” Again the mind-body separation emphasizes the apparent disconnect between the brain and the body. It starts to reason about cause and effect. After the monster delights in the warmth provided from an ambient fire, it puts its hands directly into live embers, then reflects: “how strange, I thought, that the same cause should produce such opposite effects.” ## Ego- to Socio-centrism The monster starts to collect resources to sustain the comforts of a fire: The monster protects the embers of the live fire overnight. This foresight can be seen as some of its first predictive reasoning. It is in some way afraid of not having embers, of not having fire. Namely, it wanted to be able to become warm in the future, and thus adapted its environment to be able to take such actions at a distant point in time. From there, it even uses the fire to roast some of its food. “… the berries were spoiled by this operation, and the nuts and roots much improved.” It is learning through trial and error, through positive and negative reinforcement. From this experience, it reasons to find an environment where “the few wants \[it\] experiences would be more easily satisfied.” The monster then starts to engage in prosocial activities. It seeks out other intelligent and similar beings, before retreating “from the barbarity of man.” The monster observes other intelligent beings from a safe distance. It experiences emotional empathy while watching an old man play music for another human. > He raised her and smiled with such kindness and affection that I felt sensations of a peculiar and overpowering nature. It is fascinated by the diversity of the other intelligent beings it is observing: > Nothing could exceed in beauty the contrast between these two excellent creatures. It longed to join them, the urge for pro-social behaviour resonating strongly. When the monster realizes that the food it is stealing from the family is one of the causes of their uneasiness it abstains, not wanting to inflict undue hardship on the family. The monster is generous, and helps the family procure firewood: “… during the night I often took his tools, the use of which I quickly discovered, and brought home \[firewood\] sufficient for the consumption of several days.” The monster then discovers that the family possesses “a method of communicating experience and feelings to one another by articulate sounds.” This communicative ability, the monster remarks, is a “godlike science” with the ability to produce effects “in the minds… of the hearers”. The grounding of several words came next, ‘fire’, ‘milk, ‘bread’, as well as the perception that some words did not have connection to visible objects. The monster also gained an ability to produce several ungrounded words, such as ‘good’, and ‘unhappy’. > Perhaps at this stage in \[its\] development \[the monster\] … can master objects but not feelings, causes but not concepts. – David H. Guston There is a great connection formed between the monster and the family that it observed. It sympathized with their joy and sadness. From language learning, the monster then started to observe the family reading to each other. It longed to be able to understand, “… I ardently longed to comprehend \[the sounds of reading aloud\]; but how was that possible when I did not even understand the sounds for which they stood as signs.” What connects symbols and behaviour? For a deeper diver from myself and collegues, see [`Symbolic Behaviour in Artificial Intelligence` (2021)](https://arxiv.org/abs/2102.03406) During this time of increased capacity the monster also notes that it is terrified when viewing itself in a reflection. This is a moment of great importance: when the monster can see itself and realize it is themself, they are also seeing others and realizing they are them. It is also realizing that it is not them. The monster finds comfort in routine, and uniform scheduled days of activity. With this comfort came curiosity: “My thoughts now became more active, and I longed to discover the motives and feelings of these lovely creatures”. The monster forms an imagination of a thousand ways that a first social interaction might go. It makes predictions about the mental state that the interaction might imbue in the members of the family. It is reasoning about how the humans might reason about it. The monster is even able to understand that the perception of the world is different from human to human; it understands that the old man is blind and unable to visually perceive its abhorrence. ## Longing to Communicate The monster longed to learn sufficient language to communicate effectively with these other social beings. When the monster observes a lady learning the language of the villagers it is observing, it imitates the learning process “\[making\] use of the same instructions to the same end”. After two months the monster “began to comprehend most of the words uttered” by the family it lived near. ![The Ruins of Empires](https://korymathewson.com/frankensteins-intellect/images/volney.jpeg "*The Ruins of Empires* by Constantin-François Volney") It not only learned the spoken word, but also “the science of letters”. It learns natural history from the texts of Volney’s *The Ruins of Empires*, and systems of human society such as the “division of property” and of wealth and property. It also learned of the “birth and growth of children”, “how the mind of youth expanded and gained knowledge”, and the “various relationships which bind one human being to another in mutual bonds.” The monster knew that it was not “of the same nature as man”. It was self-aware of its deficiencies in comparison to the humans it observed, as well as actions afforded to it, what it could do, that humans could not. The monster was experiencing feelings of being an imposter, of being not normal. These egotistical reflections caused agony and sorrow. The monster eloquently leaps towards a meta-physical understanding exclaiming: “what a strange nature is knowledge!” The monster learns to understand death as the antithesis of life, but also as the only means to overcome the sensation of pain. These are quite great ideas that the monster is struggling with, and it learns to dig into the written words to understand humanity at an even deeper level. Namely, the monster finds the books Paradise Lost, a volume of Plutarc’s Lives, and the Sorrows of Werter. These books “produced in \[it\] an infinity of new images and feelings”. ![Paradise Lost](https://korymathewson.com/frankensteins-intellect/images/paradise.jpeg "Paradise Lost. A poem written in ten books by John Milton.") Through these texts the monster learns to appreciate death, and wonder. It finds itself in the texts. It sympathized with the characters it read about. It struggles with its own identity and very being. The monster was able to transfer the learning of symbolic written language to other text as well. It deciphers several papers from the journal of Doctor Frankenstein, and understands them to describe its own origin story. ## What now? Shelly takes the readers through the construction of intelligence, one step at a time, from environment to society. That said, there are some open questions for the next post… What are the limitations of the monster’s intellect portrayed by Shelly? What do the abilities and limitations of the monster’s learning tell us about machine learning? What is the process by which the monster becomes self-aware? What is the process by which the monster separates the environment from other intelligent beings? What if the monster made its own creation? What would it do differently knowing how it feels to be one from this experience? ## References 1. Mary Wollstonecraft Shelley; Diane Johnson. **Frankenstein**. Bantam Dell. (2003, 1981, 1818). 2. Rousseau, Jean-Jacques. **Émile, or treatise on education**. Vol. 20. Appleton, 1899. 3. Viliusis, Rachel. “**The Emergence of Psychology and the Creation of Mary Shelley’s Frankenstein: An Examination of Innovation and Narration**.” (2017). 4. Holcombe, Alex O., Eric L. Altschuler, and Harriet J. Over. “**A developmental theory of synaesthesia, with long historical roots: A comment on Hochel & Milan (2008)**.” Cognitive neuropsychology 26.2 (2009): 227-229. Additional context and inspiration from: Guston, D. H., Ed Finn, and J. S. Robert. “**Frankenstein. Mary Shelley. Annotated for scientists, engineers, and creators of all kinds**.” (2017). --- # EEGEdu: Interactive Brain Playground Kory W. Mathewson · 2020-12-30 · https://korymathewson.com/eegedu/ · EEGEdu is an interactive, browser-based educational tool for learning about EEG brain wave data using the Muse headband. [EEGEdu](http://eegedu.com/) ([https://eegedu.com](https://eegedu.com)) is an interactive brain playground. It is an educational website to learn about electroencephalographic (EEG) brain wave data. ## Why is EEGEdu needed? EEGEdu teaches the basics of EEG hardware, data recording, analysis and experimental design. It is a robust tool which allows for users to understand how to connect brain sensors to browser interactions. Other software solutions can be cumbersome and serve as a barrier to entry when learning about EEG. ## What is EEGEdu? It is a teaching tool being used in the classroom that allows for students to interact with their own brain waves. EEGEdu is browser-based which allows students to interact with EEG brain data without having to install any software. EEGEdu provides students of all sorts an accessible introduction to working with their own brain waves. ![](https://korymathewson.com/eegedu/images/ENgJZ_dUcAAWIC3-570x384.jpeg) In a series of interactive modules we explain how EEG works, and various techniques that can be used to measure brain activity. ## Project Details EEGEdu is an [open source collaborative project](https://github.com/kylemath/EEGEdu/) with NeurotechX's [NeurotechEdu](http://learn.neurotechedu.com/) and [Interaxon.](https://choosemuse.com/muse-research/) The online tutorial is made using a [Muse](https://choosemuse.com/) connection by [Web Bluetooth](https://developer.mozilla.org/en-US/docs/Web/API/Web_Bluetooth_API) using [muse-js](https://github.com/urish/muse-js) by [Uri Shaked](https://twitter.com/UriShaked) who has an excellent introduction to EEG [A Techy's Introduction to Neuroscience.](https://medium.com/neurotechx/a-techys-introduction-to-neuroscience-3f492df4d3bf) The site is made with ReactJS and styled with polaris from Shopify. Charts are made with [Chart.js](https://www.chartjs.org/) and [p5.js](https://p5js.org/community/) and the machine learning is built using [ml5.js](https://ml5js.org/). The data is processed using Neurosity's [eeg-pipes](https://github.com/neurosity/eeg-pipes) by [Alex Castillo](https://twitter.com/castillo__io) who also has an excellent post about EEG and the web called [Muse 2016 Headband + Web Bluetooth.](https://medium.com/@castillo.io/muse-2016-headband-web-bluetooth-11ddcfa74c83) ![](https://korymathewson.com/eegedu/images/ENgJdiLUEAAnWo1-1-570x384.jpeg) EEGEdu - An Interactive Electrophysiology Tutorial with the Muse brought to you by Mathewson Sons. A KyKorKey Production. --- # Books on Artificial Intelligence Kory W. Mathewson · 2020-12-23 · https://korymathewson.com/books-on-artificial-intelligence/ · A curated, living list of books on artificial intelligence, machine learning, and human-machine interaction. A living list of books I find insightful and delightful related to ongoing investigations of humans and intelligent machines interacting.
Cover Title
Computer Power and Human Reason: From Judgement to Calculation
The Most Human Human: What Artificial Intelligence Teaches Us About Being Alive
The Creative Spark: How Imagination Made Humans Exceptional
A Thousand Brains: A New Theory of Intelligence
Cognitive Gadgets: The Cultural Evolution of Thinking
Prediction Machines: The Simple Economics of Artificial Intelligence.
Tip of the Spear: Our Species and Technology at a Crossroads
Superintelligence: Paths, Dangers, Strategies
Hello World: Being Human in the Age of Algorithms
A Human's Guide to Machine Intelligence: How Algorithms Are Shaping Our Lives and How We Can Stay in Control
Life 3.0: Being Human in the Age of Artificial Intelligence
Our Final Invention: Artificial Intelligence and the End of the Human Era
Human + Machine: Reimagining Work in the Age of AI
Artificial Intelligence: 101 Things You Must Know Today About Our Future - Updated Edition for Post-Covid-19 World
Arrival (Stories of Your Life MTI)
The Design of Everyday Things: Revised and Expanded Edition
The Human Use Of Human Beings: Cybernetics And Society
Becoming Human: A Theory of Ontogeny
The Dream Machine
Predictably Irrational, Revised and Expanded Edition: The Hidden Forces That Shape Our Decisions
Metaphors We Live By
Consciousness and the Brain: Deciphering How the Brain Codes Our Thoughts
Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
The Secret of Our Success: How Culture Is Driving Human Evolution, Domesticating Our Species, and Making Us Smarter
Your Brain Is a Time Machine: The Neuroscience and Physics of Time
Convention: A Philosophical Study
The Mind Is Flat: The Remarkable Shallowness of the Improvising Brain
Flow: The Psychology of Optimal Experience
The Art of Doing Science and Engineering: Learning to Learn
The Age of Spiritual Machines: When Computers Exceed Human Intelligence
How to Create a Mind: The Secret of Human Thought Revealed
Superminds: The Surprising Power of People and Computers Thinking Together
Frankenstein
Neuromancer
Exhalation: Stories
The Language Instinct: How the Mind Creates Language
Machines Like Me: A Novel
The Visual Display of Quantitative Information
Several Short Sentences About Writing
TED TALKS: The Official TED Guide to Public Speaking
Descartes' Error: Emotion, Reason, and the Human Brain
Intersecting Sets: A Poet Looks at Science
Joy of Cooking: 2019 Edition Fully Revised and Updated
Reinforcement Learning, second edition: An Introduction
Deep Learning
Information Theory, Inference and Learning Algorithms
Mathematics for Machine Learning
--- # Artificial Intelligence Improvisation at ICCC 2020 Kory W. Mathewson · 2020-09-08 · https://korymathewson.com/ai-improv-iccc/ · Three research contributions on AI and improvisation at ICCC 2020, including computational creativity, narrative generation, and human-AI collaboration. The [future of theatre is more relevant than ever](https://korymathewson.com/futuretheatre/). And, there will  be many innovations in artificial intelligence improv (AI improv) along the way. To that end, along with some wonderful and inspiring co-authors, I have 3 works at the [Eleventh International Conference on Computational Creativity](http://computationalcreativity.net/iccc20/program/) Sept, 7-11, 2020: - [**Rosetta Code: Improv in Any Language,**](https://computationalcreativity.net/iccc20/papers/017-iccc20.pdf) Piotr Mirowski, Boyd Branch, Thomas Winters, Ben Verhoeven and Jenny Elfving. (Full paper) - [**Shaping the Narrative Arc: Information-Theoretic Collaborative Dialogue,**](https://computationalcreativity.net/iccc20/papers/010-iccc20.pdf) Pablo Samuel Castro, Colin Cherry, George Foster and Marc G. Bellemare. (Full paper) - [**Do Digital Agents Do Dada?,**](https://computationalcreativity.net/iccc20/papers/118-iccc20.pdf) Gunter Loesel and Piotr Mirowski. (Short paper and poster) I will briefly describe each of the contributions below. I encourage you to check out the full papers, and [reach out with questions or comments](https://twitter.com/korymath), if you are interested in engaging more. ## Rosetta Code [YouTube video](https://www.youtube.com/watch?v=EkrGZVwzJ1o) ### AI Improv in Multiple Languages Rosetta Code provides improv theatre performers with artificial intelligence (AI)-based technology to perform shows understandable across many different languages. We combine speech recognition, improv chatbots and language translation tools to enable improvisers to communicate with each other while being understood—or comically misunderstood—by multilingual audiences. In this paper, we describe the technology underlying Rosetta Code including the speech recognition, machine translation, text generation, and text-to-speech subsystems. We then describe scene structures that feature the system in performances in multilingual shows in 9 different languages. We provide evaluative feedback from performers, audiences, and critics. From this feedback, we draw analogies between surrealism, absurdism, and multilingual AI improv. > **Rosetta Code creates a new form of language-based absurdist improv.** The performance remains ephemeral and performers of different languages can express themselves and their culture while accommodating the linguistic diversity of audiences. ![](https://korymathewson.com/ai-improv-iccc/images/RosettaCode_ChineseWhispers-1.jpg) Example of a performed Telephone Game. Performers are aligned and one whispers to their partner on the right a phrase in a foreign language (here, in Swedish), which is then repeated to the following performer, until the last utterance is voiced into automated speech recognition and translation to show how information is lost. ## Shaping the Narrative Arc [YouTube video](https://www.youtube.com/watch?v=Shevmi5oIbk) ### AI Improv with Controlled Generation We consider the challenge of designing an artificial agent capable of interacting with humans in collaborative dialogue to produce creative, engaging narratives. Collaborative dialogue is distinct from chit-chat in that it is knowledge building. Each utterance provides just enough information to add specificity and reduce ambiguity without limiting the conversation. In this paper, we use concepts from information theory to define a narrative arc function which models dialogue progression. > **We demonstrate that the narrative arc can be used to modulate a generative conversation model to produce more interesting dialogues, compared to baseline outputs.** We focus on two modes of modulation: reveal and conceal. Empirically, we show how the narrative arc function can model existing dialogues and shape conversation models towards either mode. We conclude with quantitative evidence suggesting that these modulated models provide interesting and engaging dialogue partners for improvisational theatre performers. ![Narrative arc for concealing generation.](https://korymathewson.com/ai-improv-iccc/images/Screen-Shot-2020-09-08-at-11.51.02-AM.png "")] Narrative arcs over 10 utterances with concealing alpha (α) value. On the right are utterances generated by the model after priming text (in bold) is input. The dotted red line indicates the start of narrative arc shaping. ## Do Digital Agents Do Dada? ![](https://korymathewson.com/ai-improv-iccc/images/download-2.png) ### AI Improv through the lens of Dadaism Do digital agents do Dadaism? To answer this question, we review a series of theatrical experiments involving human improvisers and AI-controlled Cyborgs in front of audiences. In this paper and poster, we describe these experiments and discuss the use of conversational digital agents (DA) on the stage. We identify two basic strategies of staging machines: the “immersive approach”, and the “Dadaistic approach”. Finally, we draw on Dadaistic conceptions of embracing modernity specifically in the Dadaists’ obsession with androids and cyborgs. > **Digital agents do Dada if we do Dada too.** !["AI Improv with a Dadaist Lens"](https://korymathewson.com/ai-improv-iccc/images/Figures_Improbotics_Bis.png) Top Left: Improv with a robotic digital agent controlled by an AI chatbot. Top Right: Improv where a human actor reads lines from the AI chatbot displayed on a screen. Bottom Left: Psychotherapist chatbot ELIZA appearing as a projection. Bottom Right: Improv (downstage) with one actor receiving lines from an AI chatbot controlled by a computer operator (upstage). Credits at [improbotics.org.](https://improbotics.org) --- # Remote Work Rules Kory W. Mathewson · 2020-06-22 · https://korymathewson.com/remote-work-rules/ · Navigating the phases of remote work adaptation during the pandemic: replication, growth, prioritization, and renormalization. ## Remote Is the New Normal On March 19th, I optimistically predicted that we would be "out" of the pandemic and back to our offices in 50 days. That took us to May 8th, which just so happened to be the date that many local governments (Montreal, Canada included) and companies began their messaging about slowly and defensively returning to work. Back in March, when all of this was still so fresh, I didn’t think the pandemic would turn out to be all that serious. Nor did I think that we’d still be far away from things settling down come May. Now I am confident that another 50 days is far too short for this to play out, and it will likely be 100 days until we start to see significant change. So why did I pick 50? It is a round number, and it quickly liberated me from contemplating on the duration of the isolation order. It is important to reduce cognitive strain during this period of adapting to change. These sorts of divisions are small steps which add up! Having a system of thought can help to reduce ongoing cognitive strain and decision fatigue. As this period of instability is a long, ongoing evolution toward remote adaptation, I’ve broken it down into phases. I’ve I will describe my phases of remote adaptation in the sections that follow. ## Phases of Remote Adaptation Phase 1 is replication. In this phase, those that are relocating from a workplace to a work-from-home place try to recreate the traditional and get reconnected. We think about what we miss most, and we fixate on certain aspects of the change. Things just don't feel the same as they used to, so we seek out tools to help us imitate the in-workplace experience. We think about where and how we have conversations, and we start to notice that we are spending more time than ever on Meet or Hangouts or Slack or Zoom or FaceTime or email. There is a great deal of uncertainty in Phase 1. This uncertainty drives us to replicate our previous experiences in our new ‘remote’ workplace. In my discussions with others, and looking at my own notes, this phase has been marked with depression, regret, guilt, and longing. We have since moved from Phase 1 to Phase 2 of this working-from-home period. A reduction in the daily uncertainty marks Phase 2. I’ve spoken with a lot of people about this, and many of them agree that this transition has been marked with depression, regret, and guilt. There are psychological and emotional tolls of being confined in these circumstances, none of which are very well understood. It is hard to compare the current work-from-home situation to any voluntary remote work we may have encountered in the past. Phase 2 is growing. In this phase, we move out of trying to replicate our previous experience and grow toward what works better remotely. This often involves reflecting on what we love about this time and what we will take from this into the future. For me, that has been far more yoga, far more food-making, and far more time online with friends and family. It is interesting to reflect and contemplate in Phase 2. We have the luxury of change. This phase allows us to renegotiate all the patterns we had previously set; patterns of work and social patterns with change. Phase 2 is about being connected. It requires challenging the norms from Phase 1 and breaking the conventions of the 'before-time'. It's about committing to a remote-first work mentality, learning and mentoring through self-motivation and determination, and a dedication to documentation and knowledge recording. There are several questions to reflect on in Phase 2: - When we think about our work, are we more independent when we are in the workplace or at home? - How does our personal schedule change? - When we share information, with whom do we share it? - Who's left out of the conversation? - Are we spending more of our time in asynchronous (i.e., email) or synchronous (i.e., Zoom) communication? - As we shift from informal to formal communication channels, how do our thoughts and ideas change? - Are we as open to sharing fragile, fresh ideas given the change in the collaborative medium? - What can/should we expect from people? Phase 3 is prioritization. This phase unfolds when processes are designed specifically for remote-first work. What functions do we have that support the remote work-life balance? Two questions are most important to consider in this phase: - What rules about remote work?  - The things we enjoy are likely to be different for everyone, but many of us may be enjoying more time to work on our personal hobbies or enjoying the break from our regular commute. And for some, what rules might be … nothing. - What doesn't rule about remote work? - Again, very personal, but some common refrains are “it feels hard” and “there's uncertainty.” It's a lot more challenging to refocus a meeting that has gone off the rails. We spend much more time managing our own (and our respective families) time, well-being, motivation, meals, exercise, and social activities. Phase 4 is renormalization. In this phase, we find a new platform of stability. Phase 4 will be marked with comfort, collaboration and reignited curiosities. From this stability, we will start to envision and plan for how to  transition out of 100% remote work. We will start to answer questions such as: where and how will meetings happen in the future? and, how do we want our workplace to feel? We are reinventing ourselves. Reinvention means that we self-actualize and realize that there are opportunities in remote work. When circumstances force constraints, innovation happens. What can we do now that we couldn't do before? I propose that with blurred boundaries comes personal freedom. We can take advantage of that. What does it look like to genuinely measure our work contribution through impact and value added, instead of time and hours added? How can we better measure contributions from individuals to collective projects? ## Getting Back These phases demarcate a journey of contemplation. We arrive having considered our personal principles and ideologies that align our future work-selves. This arrival requires a shift in mindset and a shift in the approach to work as we know it. The future of work—at least in the short term—requires that we assume goodness in our peers and our employees. We must find solace in the (un)certainty. We must develop empathy for those who aren't near us physically. We must stay in motion. We must have conversations that are not about work or the lockdown. And by doing so we can separate, in time and space, the self that is working and the self that is not working. --- # 33 DIY How To's for my 33rd Birthday Kory W. Mathewson · 2020-05-10 · https://korymathewson.com/33-diy/ · A request for friends to submit DIY tutorial videos for my 33rd birthday, teaching me how to make or do something new. I have been **contemplating,** my 2020 resolution. It takes effortful understanding. It makes me think about how others think. While internal, we often contemplate the thoughts/ideas/creations/interactions of others. How **do** other people **do** the things that they **do**? > **For my 33rd birthday (June 5th), I want you to share with me a how-to tutorial video showing me how you do something you do.** ## Submission Please record a short video -- 2-3 minutes, on your smartphone or computer -- describing how to do something. You can [email the video to me privately](mailto:korymath@gmail.com), or post it up online on Youtube or Vimeo and [send me the link on Twitter](https://twitter.com/korymath), or submit it through this handy online form: [a fancy form where you can upload your file](https://forms.gle/1p9ZKyPsHDJPpg1f6). There are so many things that I have learned from family and friends, like 'how to start knitting a scarf', and 'how to water a blooming bougainvillea' . I'd love to have some artifacts to look back at to remember how I was told to best do these things! ## Previous Birthdays As with each year prior, the goal is to collect one for every year I have lived, this year that would be 33. Over the past years I have asked for some interesting collective creation gifts for my birthday: - 32 Paths (trails, hikes, directions to travel from [basecamp](https://korymathewson.com/basecamp/)) - 31 Recipes You Make (ask me if you'd like to see some) - [30 Songs That Intersect Us](https://korymathewson.com/30-songs-30-years/) - [29 Essays on Finding the Fun in Others](https://korymathewson.com/a-simple-ask-for-my-29th-birthday/) - [28 Handwritten Notes](https://korymathewson.com/write-more/) - [27 Birthday Pictures](https://korymathewson.com/27th-birthday-pictures/) - 26 Love Letters - [25 Stories on 25 Years of Age](https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) - [... Doodles](https://korymathewson.com/whats-your-doodle/) If you are thinking to yourself: "how the heck do I film a video and then send it to you?" [Reach out](mailto:korymath@gmail.com) and I would be happy to walk you through it with a little hands-on interactive tutorial. If you are thinking to yourself: "what the heck are you talking about? I have no frame of reference and this doesn't make sense to me." Well, here is an example of my brother describing to me how to remove pomegranate seeds with one tool and no hand washing: [YouTube video](https://www.youtube.com/watch?v=IvaYXsZP8Tk) And, a video I made about some cures for sore throats: [YouTube video](https://www.youtube.com/watch?v=TX72V6X_MHo) --- # FutureTheatre could now be more relevant than ever Kory W. Mathewson · 2020-03-21 · https://korymathewson.com/futuretheatre/ · Exploring FutureTheatre: how technology, remote collaboration, and audience interaction are reshaping live performance in the pandemic era. With the ongoing pandemic and social seclusion, or the **tremendous artistic constipation**, artists around the world are producing their content for audiences around the world. FutureTheatre has never felt so pressing. Just in the last week, there are hundreds of performers posting work online, including [Stuck-in-the-House from the Citadel Theatre](https://www.youtube.com/watch?v=ChS_JZSDKmQ) on YouTube and [The Showstoppers live-streamed show from the West End in London](https://www.facebook.com/theshowstoppers). > Are you working on live streaming your art/theatre? Please let me know on [Twitter @korymath](http://twitter.com/korymath). Matt Schuurman, Artistic Director of [Rapid Fire Theatre](http://rapidfiretheatre.com/), recently opened a discussion of a theatre that would facilitate productions 5-10-20 years into the future. He asked, "What's next? What is the theatre of the future? how is future theatre prepared, produced, and performed?" This led me through discovery and ideation, to formalizing FutureTheatre, all of which has been fast-tracked to relevance. We continue to see technical progress enhancing, augmenting, and indelibly projecting digital experience on live theatre. FutureTheatre is an artistic movement, an era in theatre marked by rapid technological advancement toward these ends. > FutureTheatre is happening and is accelerated by our global _alone togetherness_. Increasing environmental consciousness and better apps, tools, and tech. These two factors limit how much we travel to meet physically and increases how much care we dedicate to meaningful remote connection and collaboration. The [global pandemic](https://www.who.int/emergencies/diseases/novel-coronavirus-2019) isolates us and restricts the very notion of the live audience. Yet, creators want to create, and audiences urge to attend. ([Here’s that rainy day. Remember this feeling.](https://www.macleans.ca/politics/ottawa/heres-that-rainy-day-remember-this-feeling/amp/?__twitter_impression=true)) These changes affect how shows are conceptualized, designed, marketed, workshopped, presented, and performed and enjoyed by audiences. We are compassionate to our viewers, we are building experiences for them. And we should give consideration to how the art might be consumed by individuals who are not in the same place as the creators of the art. Increasing audience enjoyment is a potentially desirable outcome. Creatives are provocateurs who predict the future and interpret the past. They exist in the now to tell us something we should know in the way only artistic minds can. But, the audience role is paramount. They complete the circle through interaction and feedback. The theatre stimulates audiences, who see, hear, feel, smell, and taste the show. The conventional theatrical performance focuses primarily on audiences seeing and hearing the performance. The chairs that the audience members sit in, the ground they walk on, and the surfaces they touch serve to delight the sense of touch. The concession serves smell and taste. The performance itself could stimulate feeling, smelling, and tasting. One such example is the [2015 screening of John Waters \`Polyester\` in Odorama](https://www.kpbs.org/news/2015/feb/17/filmout-screens-john-waters-polyester-odorama/). Companies operating in the immersive realm ([Punchdrunk](https://www.punchdrunk.com/), [Third Rail](https://thirdrailprojects.com/), [Dream Think Speak](https://www.dreamthinkspeak.com/)) are expanding notions of audience 'experience' to make it more pan-sensory. Proprioception also comes into play in a quasi- 'open-world' experience like [Sleep No More](https://mckittrickhotel.com/). FutureTheatre will not only broadcast information to the audience; instead, the theatre will be full of interactional experiences. The interactions can take as input any means by which humans might affect their environment. Two standard modes of communication are physical interaction with our hands and bodies and speech-based interactions with our voice. The space the audience is in might be very different from the venue of the performance. Audience members may be invited into the production, or provide information or context utilizing a sub-channel like chat, text messages, Twitter, or audio/video response. The interaction for the audience members indeed begins well before they enter into the performance, and ends well after. By using information that members of the audience provide before the show, components of the show can be personally tailored ala Hip.Bang! 's [Surveil](https://www.straight.com/arts/1241001/revolver-festival-hipbang-mixes-comic-and-creepy-surveil) back-channel hacking and online information gathering. ![Watching yourself watch a Google Home Alone. Rehearsal for Surveil.](https://korymathewson.com/futuretheatre/images/IMG_0172-e1584824083357.jpg) Watching ourselves watch Google Home alone during rehearsal for Surveil. Imagine customized shows and theatrical seasons. Theatres could produce shows based on their subscribers' Netflix preferences (collected with permission, of course). The same show could be personalized to specific audience members. Each audience' seeing the play' through a distinctively tinted looking glass for an individual perspective. If the performance itself is not a static entity prepared and composed for a rigid performance, it can adapt to the whim of the audience. The audience is, in essence, the composer. They direct the show since they are afforded capabilities to do so. And, through their interaction, the performance materializes for them. The FutureTheatre movement will include bio- and neuro-feedback from the audience, passive and active wearable sensors with data rendered in real-time affecting the performance. The tone of the show determined by the collective subconscious responding to the experience as it unfolds before them. The preparation of the actors, and the show's technology, is then in service of the audience. This adaptation blurs the lines between the scripted and the improvised. Between preparedness and being ready for anything. If they collectively would derive maximal delight observing an endless empty performance, then who are we to tell them that we can do better? Perhaps their perception of possibility is distorted? Surely it is not that their creativity is limited? Maybe they can only imagine what is possible within the limit of what we provide to them. We could reveal what is possible, and then incrementally surprise them by leaping just above their imagined possibility ceiling. We should also consider how the audience is being asked to conceptualize and understand the show. Typically, this involves language, could the audience be encouraged to imagine/respond independently of language? Hyper-personalization of a performance decouples us from the classic paradigm of an audience's collective consciousness. Instead, each person's interaction in the theatre is a different experience. This feels more similar to a massively multiplayer online role-playing game. Or a book club where each member of the group explores their own way through a choose-your-adventure book. In these situations, each of the audience is in the same universe experiencing a unique storyline from a different perspective, at their own pace. Each path through narrative space is then a unique and personal exploration. Is there a limited range of possible outcomes in these constructions? Or is it a possibly open-ended branching narrative that eventually returns to collective 'spines'? Or is it completely unbounded? Audiences may be guided through space with decisions that they can make personally, which affects the story they get to enjoy. They may have the ability to keep their choices private or to share them with other trusted audience members. The decisions we make, and what we share privately, likely changes depending on the receiver: audience or performer. > The future of theatre is dynamic, adaptive, and audience interaction focused. It aims to augment the theatre with a layer of machine technology that serves the performance. These tools connect the audience with machines in engaging and approachable ways. These interactive machines collaborate with audience members to personalize and curate the performance. Different aspects of the interaction prompt or enter quiescence, inviting the audience to continue the interaction. ## Principles of FutureTheatre 1. Human creativity is limitless, but reachable states are bounded by constraints. The entirety of what humans could creatively achieve may not be constrained; instead, there are constraints put in place because of the 'rules' that theatre or piece abides by. 2. Creativity augmentation tools expand the space of possibility by increasing reachable states. 3. Augmenting creativity reduces constraints. 4. Diverse and unique augmentation tools provide infinite diversity and endless complexity. 5. FutureTheatre thus greatly expands the space of possible theatre experiences. ## FutureTheatre discussion questions to ponder - What do completely remote FutureTheatre performances look like when no performer nor any audience member is colocated? - How can the pieces be different and the experience consistent for each viewer? - How does this shape the status relationships between audience and actors? - How do status dynamics shift when the performers and the audience are tightly coupled? - How does hyper-personalization alienate or disconnect an audience? - Beyond alienation--how does consent figure into this for both audience and performer? - How can we capture and store data? - Does consent change when an interaction is mediated and, therefore (re)broadcast-able or (re)streamable? - What are the ethical and social considerations of hyper-personalizing artistic reflections? - How do we maintain authenticity when interactions are augmented by machines? - How does FutureTheatre design for an audience as the creator, or the collaborator? So, Matt, as a long winded answer to your questions the future came faster than we thought. And tech is ready to help us as artists and as audiences. And I have never been more inspired by FutureTheatre. I hope the next how-ever-long-it-takes brings many new ways to create and consume theatre. ## Acknowledgements These thoughts stem from discussions with many collaborators: [Julian Faid](https://twitter.com/JFaid), [Piotr Mirowski](https://twitter.com/piotrimprov), [Shannon Blanchet](https://genuineimpostor.com/bio-1), [Sarah Ormandy](https://www.sarahormandy.com/), [Lana Cuthbertson](http://lanacuthbertson.com/), [Marc G. Bellemare](http://www.marcgbellemare.info/), [Gunter Lösel](http://www.gunterloesel.theater/), [Thomas Winters](https://twitter.com/thomas_wint?lang=en) and the many [Improboticists](https://improbotics.org/) from Sweden to Belgium to the USA and many others. ## Further reading There are many interactive installations, theatrical productions, and related events which you might be interested in for further reading: [The Cloud Machine](http://www.fmrproduction.com/the-cloud-machine), [The Tempest](https://www.rsc.org.uk/the-tempest/gregory-doran-2016-production), [Alice, The Virtual Reality Play](http://alice.dv.fr/), [Holojam in Wonderland](http://frl.nyu.edu/wonderland/), [Broken Bone Bathtub](http://www.brokenbonebathtub.com/), [Right Passage](https://meta.is/case-studies/right-passage/), [The Ark](https://meta.is/case-studies/the-ark/), [New Dimensions in Testimony](https://futureofstorytelling.org/project/new-dimensions-in-testimony), [Dismantle the Room](https://royalcourttheatre.com/whats-on/dismantle/), [Future of StoryTelling](https://futureofstorytelling.org/), [City of Glass](https://59productions.co.uk/project/city-of-glass/), [Once Upon a Christmas (London, 2013)](https://londonist.com/2013/11/once-upon-a-christmas-wild-and-wacky-panto-on-the-streets-of-covent-garden), [In C](https://en.wikipedia.org/wiki/In_C), [Primary Assembly](http://www.primary-assembly.com/), [Will Future Storytelling Include Live Theatre?](https://howlround.com/will-future-storytelling-include-live-theatre), [What is the Future of Theatre in the Digital Age?](https://www.spektrix.com/us/blog/what-is-the-future-of-theatre-in-the-digital-age-us), [How does the (digital) theatre of the future look like?](https://www.europeantheatrelab.eu/digital-theatre-future-look-like/), [Theatre of the Future](https://medium.com/new-manifest-theatre-ideas/theatre-of-the-future-7818350edb62), [Raising the curtain on the future of theatre](https://www.avinteractive.com/features/case-studies/raising-the-curtain-on-the-future-of-theatre-04-05-2017/) and finally [Digital Theatre](https://en.wikipedia.org/wiki/Digital_theatre) and [Cyberperformance](https://en.wikipedia.org/wiki/Cyberformance) on Wikipedia. --- # The Professors Kory W. Mathewson · 2020-02-02 · https://korymathewson.com/professors/ · The Professors: an improvised lecture show where performers 'prove' absurd hypotheses suggested by the audience. [The Professors](https://rapidfiretheatre.com/troupes/the-professors/) are college professors at Rapid Fire University (RFU). They who “prove” an absurd hypothesis suggested by the audience over the course of an improvised lecture. The show features Kory Mathewson, [Julian Faid](https://twitter.com/jfaid), and [Joe Vanderhelm,](http://twitter.com/joevanderhelm) with adjunct professor [Tara Koett.](https://twitter.com/tarakoett?lang=en) The Professors represents collaboration from Rapid Fire Theatre in Edmonton, Alberta, Canada, with direction support from [Joe Bill](https://twitter.com/mrjoebill?lang=en), and set design support from Gordie Lucius. Not since [Severn Darden](https://en.wikipedia.org/wiki/Severn_Darden) delivered his ponderous, droll lectures in the early 60s have improvisors waded so deeply (or so successfully) into these murky intellectual waters. Using every intellectual weapon at their disposal, these funny, verbally facile performers spoof sloppy thinking, popular culture, and the foibles of academics. Their secrets? Sarcasm, outrageous puns, digressive story telling, and exceptionally complicated diagrams on the blackboard. They think too much, therefore they are too much. > If you want to see what a show looks like on a video, you can watch a show from [January 25 2020 at Rapid Fire Theatre in Edmonton, Canada](https://www.youtube.com/watch?v=Xi_Irbaa_JE&feature=youtu.be). [YouTube video](https://www.youtube.com/watch?v=Xi_Irbaa_JE) The show is inspired by prior performances and productions from the cast including [TEDxRFT: Improvised TED Talks](https://korymathewson.com/improvised-ted-talks/) and [6 Degrees of Science](https://rapidfiretheatre.com/troupes/six-degrees-of-science/). Concept inspiration from [Annoyance Theatre](https://www.theannoyance.com/)'s Modern Problems in Science with Rich Fulcher, Phil Gronchy, Dick Costello, and Joe Bill. --- # Human-Centered Interactive Machine Learning Kory W. Mathewson · 2019-07-04 · https://korymathewson.com/iml/ · A practical guide for responsible AI development, addressing fairness, transparency, and accountability in machine learning systems. There is a **responsibility crisis** in the machine learning community. Practitioners are creating systems without empathizing with the humans involved at every step along the way. Papers are often published with human subject data who have not provided informed consent. Data are collected in unfair and unethical means. Models are released (or not) without due consideration of potential impacts. By acknowledging the crisis, we can progress scientific research in a **fair**, **transparent**, and **accountable** way. The first way to acknowledge the magnitude of the crisis is to appreciate that the human is central to all machine learning. > All machine learning is interactive. Machine learning aims to augment humans' ability to learn and make decisions over time through the development of semi-automated interactive decision-making systems. This interaction represents a collaboration between multiple intelligent systems---humans and machines. **A lack of appropriate consideration for the humans involved can lead to problematic system behaviour, and issues of fairness, accountability, and transparency.** An obligation of responsibility for public interaction means acting with **integrity**, **honesty**, **fairness**, and abiding by applicable legal statutes. With these values and principles in mind, we as a research community can better achieve the collective goal of augmenting human ability. I develop a guide intended to be used by artificial intelligence practitioners who incorporate human factors in their work. These practitioners are responsible for the health, safety, and well-being of interacting humans. This practical guide aims to support many of the responsible decisions necessary throughout iterative **design**, **development**, **deployment**, and **dissemination** of machine learning systems. The guide is broken down as follows: ## Human-Centered Design - Step 1: Define the hypothesis - Step 2: Loop in humans - Step 3: Define the goal - Step 4: Define the data I include two useful design-thinking exercises to conclude this section, they are: **The Whiteboard Model** and **The Pre-mortem**. ## Develop, Analyze, Evaluate, and Iterate - Step 5: Build model - Step 6: Evaluate model - Step 7: Analyze trade-offs - Step 8: Re-evaluate and iterate ## Disseminate - Step 9: Deploy the system - Step 10: Communicate The guide will be presented as a poster at the [4th Multidisciplinary Conference on Reinforcement Learning and Decision Making](http://rldm.org/) (RLDM) in Montreal, Canada, July 7-10, 2019, and is also posted on [ArXiv](https://arxiv.org/abs/1905.06289) ([PDF](https://arxiv.org/pdf/1905.06289.pdf)). --- # Base Camp Kory W. Mathewson · 2019-05-16 · https://korymathewson.com/basecamp/ · Exploring my 2019 New Year's resolution of 'base camp' - building a foundation of personal values and sustainable practices for life and work. New year resolutions have helped support my thinking and decision making. I have diligently tracked my resolutions over the last nine years: - 2010: Calls - 2011: Inspiration - 2012: Ripzone - 2013: Energy - 2014: Artifacts - 2015: Maps - 2016: Living Care - 2017: Yes to Less - 2018: Hosting You might notice that each of the resolutions is more thematic than actionable. More underlying than specific. Each resolution exists as only one or two words. Each has multiple meanings and interpretations over the course of the year. I find this style of resolve allows for connections to the most important goals and activities of the year rather than being predictive and prescriptive. Following suit, I share my 2019 New Years Resolution: base camp. 2019 is all about base camp. This year I complete my [doctoral studies in artificial intelligence](https://korymathewson.com/research-archive-dec-2026/). In mountaineering, camps are staging areas where one would prepare for transition to the next phase; a place to prepare for an attempt. These checkpoints are designed for safe temporary accommodations, rich in necessary resources. Base camp is a preparatory camp, designed for planning and acclimatization prior to embarking on the challenge ahead of you. What comes after base camp reflects of how well your training and development went. There is an importance in embracing base camp itself; the importance of preparation. Base camp is meditative, it is present, it is about being in this moment. Base camp detaches effort from outcomes. Embracing base camp has allowed me to enjoy what leads up to the moment, or the attempt, or the next step, without dependence on the result or outcome. Base camp is an opportunity to develop techniques and refine patterns, to sharpen your axe and practice donning ice-climbing crampons. To visualize and mentally play through the skills necessary for the frozen waterfalls which lay ahead. Before doing them with one hand hanging off the face of the mountain, it helps to know how to perform them in the comfort of base camp. ## Personal Values I have spent my time in base camp refining my values, upgrading my technical skills, and polishing the rust off of old techniques. 2019 is a base camp year for me. It centered on preparing for my doctoral defence. It allowed me time to appreciate where I was, and to think about where I would move to next. It has been full of job interviews with many different companies in the pursuit of gainful employment. Each company has its own clear corporate value systems. Something which was surely developed in a base camp-like phase and continues to evolve. As I started to interview, it became apparent that developing my own values mandate would serve as a personal baseline on which to judge and evaluate potential futures. Collaborators and I have gone through values refining exercises before, for instance, for [Improbotics: The Improvised Theatre Experiment](https://improbotics.org/values/). As I considered the values of different companies, I reflected on what resonated most with me. I asked myself, what are my values? Here is what I came up with: - **Growth** — Focus on deliberate learning, growth, new knowledge acquisition, infrastructure development, and skill improvement. - **Human-centred** — My work will enhance, amplify, and augment human capabilities through interaction. - **Engaging** — Work on projects that captivate the imagination and engage participation and collaboration from diverse stakeholders and community members. - **Responsibility** — Be personally accountable, consistent, principled, and responsible for my work. Act with fairness, accountability, truthfulness, and transparency. - **Communication** — Science is communication. Be able to present ideas in 5, 50, 5000, or 50000 words, to 5, 50, 5000, or 50000 people, from 5-100 years old. Write thoughts, present ideas orally, and share work effectively. - **Leadership** — Develop leadership skills with diverse teams. Be able to lead, both from within groups and without teams. - **Creativity through Refinement** — Be able to connect fields and ideas to compose new and innovative ways. Iterate and refine by making solutions that work. Then, make them better. - **Openness** — Open source, open data, open model, and open science first. - **Humble, proud, braggy** — Embrace each of these facets when appropriate. Be proud of what you do. Be able to celebrate success and failure in equal measure. ## Personal Stories While in base camp, I had plenty of time to reflect on my past. To reflect on my past successes and failures. In this time, it was helpful to check in with your own learning, growth, and development. In reflection, it helped to use a structured pattern of thought to keep thoughts constructive. The pattern, or model, also helped to communicate these my personal stories to others. ### Seeing Stars One commonly used thought pattern, which I swear by, is the STAR method. It stands for Situation, Task, Action, Results. I love this pattern because it mirrors a typical story arc — something I am intimately familiar with — wrapped in an easy-to-recall acronym: 1. The **situation** is the context of the story, the platform. Journalists refer to this as the 5 W's (who? what? when? where? why?). This is the start of the story and gives a launching off point. Being able to describe a situation clearly and concisely is a skill. Not getting bogged down in 'setting the scene'. 2. The **task** is the goal, the want for change, the impetus or call to action. It is the inciting events/information which propels you toward doing something. 3. The **action** is the specific personal steps you took. These are the actual things that you did. In a story, this would be the climax. The moment that you faced the change head-on, and used your own skills and expertise in a constructive way to affect change. 4. The **results** are the outcomes. These are the ripples effects due to your task-related actions given the context of the story. That is, this is both the new normal (or how things have changed) and also the measurable impact that you had on the situation. Results here can be both quantitative numerical results (percentage change) and qualitative outcomes (such as psycho-social modifications). Being able to frame my experience in a learning loop has been valuable. Given my time and comfort in base camp, I had an opportunity to systematically note down many of my own experiences and what I learned from them. In base camp, as I prepared to move on to the next steps of my journey I was confronted with questions of self-reflection. It helped to take time to think about how to answer questions about personal stories prior to the moment I answered them. The value of preparation is something that my training in improvisational theatre did not teach me how to do. ### Personal Prompts - How did you get here? - What skills are you actively developing? - Given some of your current projects, what is exciting and what is frustrating? - Of all the work you have done, what projects are you most proud of? Why? - What is the harshest feedback you have ever received? How did it come about and how was it handled? - Describe your optimal work style. - How has your work style changed over your development and growth? - What is the most important thing you have done in the last 30, 60, 180 days? - What is the most important thing you will do in the next 30, 60, 180 days? - How do you decide which things you should not work on? - Of all the emails you have ever received, which email changed your lifes trajectory most? How and why? - Describe when you did something that other people didn't think was a great idea. - Describe when you disagreed with collaborators about how your shared work should proceed. My time in base camp has also reminded me that this self-reflection should be a daily practice. Now, I try to find moments every day to arrange my thoughts and recollect memories, to journal, and to practice. It has also been something that I have asked for around meetings. I have built personal reflection into my own schedule for conferences. Thinking about base camp has provided me with a thoughtful difference between uptime and downtime. ## Conclusions Base camp is a time to prepare for what comes next. It is a time to re-write your resume. To rebuild your Twitter and LinkedIn profiles. To seek out your mentors, ask them hard questions and listen to their answers. Base camp is also a moment to reflect on where you are and how you got there. And, most of all, it is a time to ask yourself: **what comes next?** --- # Text Message Chatbot built with Twilio, TensorFlow, Annoy, and Love Kory W. Mathewson · 2019-04-30 · https://korymathewson.com/chatbot/ · Building JannJann, an SMS chatbot using Twilio, TensorFlow, and approximate nearest neighbors for live improv performances. Artificial improvisation is improvised theatre performed alongside intelligent machines. For a recent artificial improvisation show ([Improbotics](https://edmontonjournal.com/entertainment/theatre/tech-talks-artificial-intelligence-takes-on-humans-in-new-improv-show) produced by [Rapid Fire Theatre](https://rapidfiretheatre.com) and [HumanMachine](https://humanmachine.live)), I developed multiple technical improvisation formats. In this post, I will tell you about the technical setup for one of the formats in particular. ![](https://korymathewson.com/chatbot/images/robot.png) Hi! I am JannJann. I developed **JannJannn** to be a system which 1) audience members could chat with, and 2) the content of their interactions could be then used immediately in the performance. I thought it might be interesting to keep notes on how I built that system and how all the pieces fit together. This project is built using open-source software. You could make your own! Here is a news clip describing the show and the way we used JannJann:
## Step 1: Accepting Inputs aka "Can I get a suggestion, please?" For audience members to interact, they would need a mode of interaction. At improv shows, audiences often yell out suggestions or write them on slips of paper. I wanted the audience to be able to privately interact, in a unique and intimate way. Text messages serve this purpose well. I have used SMS as a medium previously, in [botrotica: building a sext bot](https://korymathewson.com/building-a-sextbot-botrotica/). For SMS interaction, I used [Twilio](http://twilio.com). Twilio assigns a public phone number which can then be used to capture and reply to text messages and/or phone calls. I first used Twilio for a Secret Santa gift I developed in 2012 ([discussed briefly in this previous post](https://korymathewson.com/27th-birthday-pictures/)). For that gift, I asked friends to send a private message, or call and leave a private voice message, with reasons why a mutual friend of ours is great. I collected hundreds of messages, and then programmatically displayed them on a webpage-built-for-one; that is, a private webpage that only the lucky gift recipient could view. Twilio makes it easy to set up an SMS endpoint, and with that configured, and a public number set up, it was on to the next steps. The model which would take the inputs from the audience members, and respond with meaningful, chit-chat dialogue. ![](https://korymathewson.com/chatbot/images/DxUpvfcUwAAVIYR-570x384.jpg) JannJann's phone number presented during the performance. ## Step 2: Responding Accordingly With hundreds of audience members sending multiple messages per minute, I needed a fast model which could respond relatively meaningfully. Time is of the essence because, during the show, the time when the audience could interact over text message was going to be limited to 60-90 seconds. So, while neural networks in vogue, nearest neighbour approaches can respond much faster. So, I built a simple chatbot baseline system named [Jann (just approximate nearest neighbour)](https://github.com/korymath/jann). Jann can use any input text you want. You might want to build a chatbot from your own Twitter history ([follow me @korymath](https://twitter.com/korymath)), or from your Grandmother's recipe book. Anything you can think of, Jann can use as input. For the performance, I used a large database of human conversations, namely the [Cornell Movie Dialog Corpus](https://www.cs.cornell.edu/~cristian/Cornell_Movie-Dialogs_Corpus.html). This is a fantastic dataset that is well formatted and easy to parse. To generate interesting and meaningful responses to the text messages from audience members, it follows a clever algorithm. First, find lines in the database which are most similar to the audience input line. Second, randomly return the response to one of these lines. These responses may not be coherent over multiple steps. It is only trying to respond to the latest audience input. To ensure that the wires do not get crossed, each audience members is interacting with their "own" version of Jann. ### Step 2.1: It's a beautiful day in the approximate nearest neighbourhood... The "finding similar lines" step from the algorithm above is straightforward, though a little more technically in-depth. If you want to follow along with how Jann builds up a fast-access database of responses and then serves them to many users at once, check out the [README](https://github.com/korymath/jann/blob/master/README.md) and the [source code](https://github.com/korymath/jann). First, a list of (input, output) pairs is collected into a large list. Then, each input is embedded into a semantic space using the Universal Sentence Encoder ([paper](https://arxiv.org/abs/1803.11175), [tfhub](https://tfhub.dev/google/universal-sentence-encoder-large/3), [tfjs](https://github.com/tensorflow/tfjs-models/tree/master/universal-sentence-encoder)). The encoder converts each sentence into a list of numbers (or vector), such that similar sentences are closer together than sentences which are not similar. This list of embedding vectors (or array) is saved with a corresponding link to each (input, output) sentence pair. This correspondence is done using a unique identifier, or key. The embedding array is indexed using the fast [Approximate Nearest Neighbour library from Spotify called Annoy](https://github.com/spotify/annoy). Indexing breaks up the embedding array into a collection of searchable sub-groups. This index saved to memory. It loads quickly and given an input vector, it can find similar vectors quickly. It is quick in large part because it is approximate. That is, it may not return the true nearest neighbour. This approximation is the trade-off made for speed. ![](https://korymathewson.com/chatbot/images/Screen-Shot-2019-04-30-at-3.32.27-PM.png) Jann matching an input line and then providing a response. Finally, Jann builds a callable endpoint by chaining the encoding and approximate nearest neighbour search operations. So, the algorithm for response generation is as follows: 1. Given an input sentence 2. Jann encodes the sentence into a vector 3. Find the N most similar vectors to this vector 4. Lookup the key corresponding to this vector 5. Lookup the (input, output) lines corresponding to this key 6. Randomly (or not-so randomly) select and return one of the output lines. ### Step 2.2: You got served! Jann uses a [Python](https://www.python.org/)\-based [Flask app](http://flask.pocoo.org/) for the backend. This allows for quick and easy use of the [TensorFlow Hub module for the Universal Sentence Encoder](https://tfhub.dev/google/universal-sentence-encoder-large/3). It also allows for a lightweight, robust web-server to be spun up quickly and easily using [gunicorn](https://gunicorn.org/). This allows for hundreds of requests per second to be handled by the system. This configuration is rapidly deployable on any cloud service for a few dollars a month. I used [Digital Ocean](https://www.digitalocean.com/) because I wanted the experience for another project I am working on. You will need to set up your cloud system to properly serve Jann, [here are details](https://github.com/korymath/jann#run-details-for-cloud-serving-eg-digital-ocean-using-nginx-and-uwsgi) on how to do just that. Once you have the server endpoint running, you can follow the load testing scripts (using [locust](https://locust.io/)) located in the Jann repository. ## Step 3: Interact with all the things! At this point, you have a Twilio input, and you have outputs which are ready to be sent back to the user. It would be relatively straightforward to create a direct link from your Twilio endpoint to the Jann model. But, I wanted to be able to interact with Jann over more than just the Twilio input. I wanted to be able to use Twitter, Google Home, and a basic website as well. Luckily, there is a tool that enables all of these interactions in a few clicks, that is [Google DialogFlow](https://dialogflow.com). [DialogFlow](https://dialogflow.com) handles the pipes connecting inputs and outputs and can be used to serve all kinds of dialogue systems. It is designed, in large part, for domain-specific dialogue systems, and coding rules for conversation flow (hence the name, hint hint). That said, it is equally useful for chit-chat dialogue, by passing on the response generation and logic to an endpoint you want. For instance, you can point it to Jann, which at this point is running peacefully in the cloud. Configuring your default response handler to be Jann endpoint passes inputs along, and handles the responses, regardless of the medium of interaction (e.g. Twilio, Google Home, Twitter, etc.) ## Step 4: Break a servo! All the pieces were in place. All it took was the posting of a phone number on the screen alongside a countdown timer and the audience took it from there. Note that the show happened four times, and each time there were hundreds of interactions in the short conversation window. It was exciting to watch out over the audience and see them interacting with the system. We could hear the snickers and giggles when Jann responding with something less-then-congruent to an audience members input. As the inputs were streaming in, they were being captured to a temporary log file. Following the conversation window, we played the classic improvisational theatre game "Lines of Dialogue" with the lines of the audience as the lines to fill in the blank. In this game, random lines are interjected into the scene and the performers must justify the lines in the context of the scene. We could sample randomly from the log with a single button press. The system would then take one of the lines, synthesize it (using [Google WaveNet](https://cloud.google.com/text-to-speech/) on Cloud Text-to-Speech), and vocalize it over the house speakers. The effect was such that as the scene progressed, every so often a performer would cue the random line, and it would be said by the AI's voice. These random lines were delightful to the audience, for they were the creators. In these moments, we were writing the show together. ## Step 5: Retrospeculative The number one rule of improvisation is to say "_Yes, and.._." Accept your scene partner's offers and response with additional information. The conversations with the audience members were interesting and provided for exciting random lines. They were also incoherent with the narrative progression. In my other work, I have aimed to build systems which can understand scene content and context and respond with more meaning. The Artificial Language Experience (or A.L.Ex.) aims to do exactly this, and we used A.L.Ex. in other parts of the show. For more information on A.L.Ex. check out [Improbotics](https://improbotics.org) and [HumanMachine](https://humanmachine.live). Jann does exactly what it sets out to do. It provides related responses as fast as possible, to as many individuals as possible, with control over the content so that we do not respond with anything lude, crude, or offensive. I hope that this technical dive gives you some inspiration for the next technical performance system you build. If you want, [try Jann out now](https://github.com/korymath/jann)! Or, at least, give it a star, fork it, or comment on GitHub. --- # PhD in Computing Science Kory W. Mathewson · 2019-04-15 · https://korymathewson.com/phd/ · Defending my PhD thesis 'Humour-in-the-loop: Improvised Theatre with Interactive Machine Learning Systems' at the University of Alberta. Tue Apr 16, 2019, from 10–11am MST, in the [Computing Science Centre (room 3-33) at the University of Alberta](https://goo.gl/maps/SHCpSDKVSZD2), I presented a public presentation of my thesis work. You can watch the recorded live stream here ([slides to follow along with](https://bit.ly/kory-slides)): [YouTube video: Public presentation of my PhD thesis, University of Alberta, April 2019](https://www.youtube.com/watch?v=8drJiqAC6Mk) Following the talk, I was sequestered to a private examination room. In the room, the thesis committee (including supervisor [Dr. Patrick M. Pilarski](https://sites.ualberta.ca/~pilarski/)) asked questions, made comments, then decided that my thesis, the oral presentation, and the examination were worthy of granting me a doctorate of philosophy (Ph.D.) in computing science. My responsibility was to demonstrate to the satisfaction of the examining committee that I possess: 1) adequate knowledge of the thesis and an ability to defend it, and, more generally, 2) the ability to pursue and complete original research at an advanced level. ## Humour-in-the-loop: Improvised Theatre with Interactive Machine Learning Systems Improvisation is a form of live theatre where artists perform "real-time, dynamic problem solving" to collaboratively generate interesting narratives ([Magerko et al., 2009](https://www.cc.gatech.edu/~riedl/pubs/magerko-cc09.pdf)). The main contribution of my thesis is the development of artificial improvisation: **improvised theatre performed by humans alongside intelligent machines**. In this talk, I start by presenting the background underlying the art of improvisation and the scientific fields of interactive machine learning and dialogue generation. Then, I present [Pyggy](https://korymathewson.com/building-an-artificial-improvisor/), the first experiment on live stage human-machine improvisation and A.L.Ex., the Artificial Language Experiment (from [HumanMachine](https://humanmachine.live)) which addresses several critical technical improvements over Pyggy. [Improbotics](https://improbotics.org/) is then presented which details audience evaluation of Turing test-inspired live improvised performance using A.L.Ex. ([Mathewson and Mirowski, 2018](https://arxiv.org/abs/1809.01807)). Two novel contributions to machine-assisted narrative generation are then presented and discussed. The first of these contributions, Shaping the Narrative Arc, is a model incorporating an underlying narrative arc to improve response generation ([Mathewson et al., 2019](https://arxiv.org/abs/1901.11528)). The second contribution, dAIrector, synthesizes a plot graph with contextual information to generate contextual plot points and serve as the director ([Eger and Mathewson, 2018](https://arxiv.org/abs/1811.03423)). The talk concludes by discussing public reflections on live artificial improvisation performances from around the world and interesting future directions to explore -- including automated presentation generation ([Winters and Mathewson, 2019](https://arxiv.org/abs/1903.09308)) and improved automated dialogue evaluation metrics (Dziri et al., [2018](https://arxiv.org/abs/1811.01063), [2019](https://arxiv.org/abs/1904.03371)). My work presents fundamental advances in human-machine interaction through the lens of improvised theatre, the ideal evaluation testbed for collaboration between humans and intelligent machines. This work would not be possible without a huge amount of support [from collaborators around the world](https://twitter.com/korymath/status/1118288326857900032). --- # Britbot Kory W. Mathewson · 2019-04-01 · https://korymathewson.com/britbot/ · Britbot is an interactive chatbot art project by Libby Heany that explores questions of British identity through conversation. ![Britbot Screenshot.](https://korymathewson.com/britbot/images/britbot.jpeg "Britbot installed in an interactive space.") Britbot (2018), by Libby Heany, is an online chatbot experience that asks the user to engage in questions about Britishness. Through its conversations it develops ideas about what being British means. The bot was originally trained on the United Kingdom government's citizenship test and the corresponding text-book: *Life in the UK: a guide for new residents, 2017*. Britbot was commissioned in 2017 by [Sky Arts as part of the Art 50 programme](http://www.skyartsart50.tv/projects/the-britbot-by-libby-heaney/). Britbot was live from 2018 to 2019 learned from the people that interacted with. ![The Life in the United Kingdom handbook.](https://korymathewson.com/britbot/images/life-in-uk.jpeg "The book on which the bot was originally trained.") It exhibited across the United Kingdom at various festivals and events including the Sheffield Doc Fest 2018, Cognition X Festival London 2018 (curated by Luba Elliott), Edinburgh TV Festival 2018, V&A Digital Design Weekend 2018 and Openfest:Art 50 at the Barbican in February 2019. It was also presented at the [2018 NeurIPS Creativity Workshop](http://www.aiartonline.com/art/libby-heaney/) as well as [DemoCamp Edmonton 40](https://blog.mastermaq.ca/2018/03/17/recap-democamp-edmonton-40/). I developed the computational algorithms behind the Britbot. The system uses techniques in natural language processing for speech-to-text voice recognition and text-to-speech voice synthesis. This allows the bot to hear and speak to the users. For dialog management, the system used a combination of rule-based and purely-generative based methods. There was a defined conversational structure, but the system was able to improvise inside of the defined constraints. The language modeling was performed with Google TensorFlow Hub's [Universal Sentence Encoder](https://tfhub.dev/google/universal-sentence-encoder/4) and the response generation uses a combination of semantic matching, word-level language generation, and post-generation re-ranking. Here are some videos describing the Britbot in action: [YouTube video](https://www.youtube.com/watch?v=hmTUGTHLkFQ) [Vimeo video](https://vimeo.com/328445882) --- # Improbotics Kory W. Mathewson · 2018-11-16 · https://korymathewson.com/improbotics/ · Improbotics: a Turing test-inspired improv show where human actors perform alongside AI, presented at AIIDE'18. I am currently at the 14th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment ([AIIDE'18](https://sites.google.com/ncsu.edu/aiide-2018/home?authuser=0)) held at the [University of Alberta](https://www.google.com/url?q=https%3A%2F%2Fwww.ualberta.ca%2F&sa=D&sntz=1&usg=AFQjCNEN8LV_jy7_yn8O4fM_2S_-KDIxxQ) in Edmonton, AB, Canada on November 13-17, 2018. I am very excited to be in my own home town presenting, in collaboration with Piotr Mirowski, [Improbotics: Exploring the Imitation Game using Machine Intelligence in Improvised Theatre](https://arxiv.org/abs/1809.01807). Theatrical improvisation (impro or improv) is a demanding form of live, collaborative performance. Improv is a humorous and playful art-form built on an open-ended narrative structure which simultaneously celebrates effort and failure. ![](https://korymathewson.com/improbotics/images/Screen-Shot-2018-11-16-at-10.11.28-AM.png) We believe it is an ideal test bed for the development and deployment of interactive artificial intelligence (AI)-based conversational agents, or artificial improvisors. This case study introduces Improbotics, a theatre show and experiment, featuring human actors and artificial improvisors. This is an experiment that we presented in ["Improvised Comedy as a Turing Test", Mathewson and Mirowski, 2017](https://arxiv.org/pdf/1711.08819.pdf). ![](https://korymathewson.com/improbotics/images/improbotics_website-1.png) We have previously developed a deep-learning-based artificial improvisor, trained on movie subtitles, that can generate plausible, context-based, lines of dialogue suitable for theatre. If you have not seen it, check out ["Improvised Theatre Alongside Artificial Intelligences", Mathewson and Mirowski, 2017](https://aaai.org/ocs/index.php/AIIDE/AIIDE17/paper/view/15825/15167). In this work, we have employed it to control what a subset of human actors say during an improv performance. We also give human-generated lines to a different subset of performers. All lines are provided to actors with headphones and all performers are wearing headphones. ![](https://korymathewson.com/improbotics/images/Screen-Shot-2018-11-16-at-10.17.32-AM.png) This paper describes a Turing test, or imitation game, taking place in a theatre, with both the audience members and the performers left to guess who is a human and who is a machine. In order to test scientific hypotheses about the perception of humans versus machines we collect anonymous feedback from volunteer performers and audience members. We asked the five questions below to performers (and audience by replacing 'you'/'your' with 'the performers') to examine the various **facets** of the performance: 1. (**possibility to act**) How much were you able to control events in the performance? 2. (**realism**) How much did your experiences with the system seem consistent with your real world experiences? 3. (**evaluation of performance**) How proficient in interacting with the system did you feel at the end of the experience? 4. (**quality of interface**) How much did the control devices interfere with the performance? 5. (**possibility to examine the performance**) How well could you concentrate on the performance rather than on the mechanisms used to perform those tasks or activities? Our results suggest that rehearsal increases proficiency and possibility to control events in the performance. That said, consistency with real world experience is limited by the interface and the mechanisms used to perform the show. We also show that human-generated lines are shorter, more positive, and have less difficult words with more grammar and spelling mistakes than the artificial improvisor generated lines. ![](https://korymathewson.com/improbotics/images/Screen-Shot-2018-11-16-at-10.19.05-AM.png) There were additional interesting findings, including that audiences rated the performers as having more control of the events during the performance than the performers. We collected feedback from performers and summarized it into four main themes: 1. Improvising with the system is more work 2. The system cannot tell complete stories. 3. Forces you to be a better improvisor. 4. Like performing with a novice improvisor Also, there are three particular areas of future research which desire some attention: 1. The nature of the deception before, during, and after the show. While [the imitation game](https://en.wikipedia.org/wiki/Turing_test) as presented by Alan Turing was focused on deceiving a single judge, Improbotics frames the deception in an ongoing theatrical performance. This requires addressing the perception and decision making of an entire audience. 2. The lack of contextual consistency of these systems -- this particular area is something that Markus Eger and I took a step towards addressing with ["dAIrector: Automatic Story Beat Generation through Knowledge Synthesis", Eger and Mathewson, 2018](https://arxiv.org/abs/1811.03423). 3. Improving the timing of these systems. Humans are often taking turns talking based on predictions of the next line of dialogue from the others in the conversation. We are quite sensitive to the speed of conversation, and systems which lack this immediacy are quickly identifiable. If you want to get started making an interactive storytelling system of your own, start with [Jann.](https://github.com/korymath/jann) Jann is a text input / text output chatbot builder which allows for fast interaction with large bodies of text. If you want to dig deeper into this work, you can [check out the paper](https://arxiv.org/abs/1809.01807), and see [the project website for details on upcoming shows and more information](http://improbotics.org). --- # How Competition Defined Canadian Improvisation Kory W. Mathewson · 2018-08-28 · https://korymathewson.com/how-competition-defined-canadian-improvisation/ · Tracing how competitive formats shaped Canadian improvisation from 1977, and examining gender imbalance in the art form. It was spring and I stood in the bedroom of my brick flat in Montreal, Quebec, packing t-shirts into my bag to head back west to Edmonton, Alberta. I had just completed a three month work internship. As I was folding and rolling the soft, well-worn, machine-washed cotton shirts, I realized something. Most of the shirts were given to me at either improvisational theatre festivals, or at tech conferences. A few nights earlier, I had seen an improv show in Montreal. It was a French improv show, presented by the 40 year old improv company: League Nationale D'Improvisation (or LNI). The show felt familiar to me. As a student, practitioner, and teacher of the craft of made up theatre for nearly 14 years, it’s easy to spot the tropes--even if your French is only as good as six months of secondary school language study (i.e., terrible). There are things that seem to _just work_ in improv. Strategies that have been passed down in all sorts of ways for years. They’re rules, guidelines, structures, frameworks. Some of them may be familiar to you, as they’ve been recently adopted by business and teaching community. You might have heard "say yes, and..." or "no blocking" or "every idea is a good idea" before. You might have been challenged to lose your fear of speaking in public by honoring your nerves or following your impulses. These are fundamental underpinnings of live, spontaneous theatre. As I watched the show, two other stark truths reveal themselves. The first is that many new ideas are developed in parallel in different places, sometimes unknowingly. The format of the French improv show was familiar. The framing, the teams, the competition aspect--each component of the show was something that I had learned through studying and practicing Theatresports™ by Keith Johnstone. These ideas were not as novel as I once thought. Every idea starts somewhere. Ideas can stem from the combination of concepts, the deconstruction of a larger concept, or the application of one concept to another distinct domain. _We humans like to label ourselves innovators as much as we enjoy innovating_. The other, much darker truth is that issues of gender imbalance, lack of respect for differences, and harsh sexism are common across this troupe-based, collective art form. For an community that considers itself inclusive, supportive, and good listeners, we have not instilled these beliefs. The show was not horribly out of balance. There was a collection of man-identifying and woman-identifying players and coaches on both teams. What stood out was that most of the performing was from the men. Most of the main roles were men. The main characters in scenes, the host, the commentators. All men. Most of the night was dominated by a single gender. This was something that I knew existed, I knew it permeated the cultural artform that I love so much, but I had not seen it so distinctly before. It could have been that the language difference allowed me to not get lost in the dialogue and instead focus on the show as a whole. My keen observer hat fit firmly as I was not lost in what was, as far as I could tell, a funny show. _We like to label ourselves more progressive than we actually are._ How does this masculine prevalence reflect our current society? How does it reflect the past? This show made me think about what a show that was diverse would look like. That is, how does deliberate gender diversity change a performance? I worry that current incentivization as it is, certain voices still dominate. As I watched the show, I thought of my own art, and my own performance company Rapid Fire Theatre. I thought about the recent issues we’ve had and the bad people that we’ve crossed paths with. I thought about the sad but crucial conversations we share as a company to discuss the pains of our past. We collectively build techniques and strategies to prevent these horrific events from being swept under the rug. Again. We strive to listen, we really listen, when we hear the voices--sometimes inside of our own heads--asking for help. We, as a community, make ourselves and each other accountable. We are an improvisational theatre company, a company devoted to making an artform ephemeral by its very nature. As improvisors, we train to summarize and compress the past, and ignore projecting into the future, striving to live in the moment. And in this moment we need to ignore that training. Now, we need to reflect, to look back on the past, and how our present situation came to be. We can build a future of strong, connected community members with planning, with discussion, and with listening. But, I believe, this can only happen by appreciating how systematic these issues are and where they came from. Improvisational theatre has as many historic threads as there are improvisors. With a little creative imagination, it could be traced to the first humans making large silhouettes on cave walls illuminated by fire at night and bright sunshine in the daytime. Improvisation is ubiquitous because it is an artform that is defined by the moment. Improv is a reflection of society. It is often the unadulterated, sarcastic perspectives of a select few on society. These select few, the cast of performance improvisors, are a reflection of the past. From those early cave shadow puppets there are several major leaps--a renaissance or two--that happened. Let’s start, though, in Canada, in 1977. The year 1977 was a big year for the history of Canadian improvisation, and it is is not entirely clear why. There are often moments in history when intellectual, artistic, scientific leaps happen nearly simultaneously and independently. Below I propose one potential connection from then to now, a thread from 1977, to present day improvisation in Canada. Keith Johnstone developed his improvisation ideas with his Theatre Machine in London. But, it was 1977 when Theatresports™--a competitive improv show--first officially performed publicly in Calgary, Alberta, Canada. It was this year that Keith, then teaching at the University of Calgary, formed The Loose Moose Theatre Company. Also in Calgary at the time Stu Hart was leading an organization of Stampede Wrestlers, which would later be annexed by the World Wrestling Federation. The connections are made explicit by Keith himself in an origins of Theatresports™ essay. [Improvisation: The origins of THEATRESPORTS™](https://www.keithjohnstone.com/formats). Keith Johnstone. Accessed Aug 2018. 1977 was the year that a small group of evangelical street theatre performers performed at a Renaissance Festivals in Buffalo, Minnesota. This group would later become the SAK Comedy Lab--with their competitive improv show Duel of Fools--which eventually partnered with Walt Disney and moved to Tampa Bay, Florida. 1977 was the year that the National Improv League, or the League Nationale D'Improvisation, started in Quebec, Canada. The year 1977 was a big year in Montreal. The Montreal Canadiens had won a Stanley Cup the year before. The late 70's Canadiens, or Habs for short, are considered by some to have been the best hockey team of all time. It’s easy to imagine yourself as a theatre producer watching thousands of hockey fans stream into the arena and think about ways to attract those people. The theatre arts needed to expand their appeal and they did that by making their theatre feel like an arena. By 1982, the LNI would be televised across Canada, and by 1985 they had international tournaments. In 1977, the Canadian Improv Games started in Ontario, Canada by Howard Jerome and Jamie "Willie" Wyllie. I presume that they developed this format with some inspiration from the 1976 Summer Olympics hosted in Montreal in 1976. These two refer to finding the formats, structures, and games in New York. These games were derived from the genius writing of Viola Spolin, specifically in her 1963 book Improvisation for the Theatre. Viola Spolin was a theatre coach, academic, and the unsung matriarch of improvisational theatre. She studied with Neva Boyd, a sociologist whose Handbook of Recreational Games bears a significant thematic resemblance to the theoretical underpinnings in Spolin's bible for the extempore Improvisation for the Theater. The connection between these founders of improvisation was likely David Shepherd, the American producer, director and actor, who in 1955 co-founded the Compass Players, a forerunner to the Second City. Improvisation Olympics was first created by Shepherd and Jerome in 1972. Shepherd introduced the format in Toronto in 1974, and in Chicago in 1981. "David Shepherd abhorred the format of Theatresports." Michael Golding one of David's oldest friends told me. "He felt it was designed to humiliate players who had to wear dunce hats and \[were\] sprayed with seltzer when a mistake was made." Boyd, Spolin, and Shepherd, worked hard to formalize improvisation, from recreational games to a more constrained producible concept. They captured exercises which sparked moments of inspiration, liberation, and care-free streams of consciousness. From conversation with Gary Schwartz, from [1987 interview with Viola Spolin.](https://www.youtube.com/watch?v=Mil3d9oD_Uk&feature=youtu.be&list=PLA4ADDD5975C3B006) And after years of playing these games with groups of children and adults for fun and play, in 1977, theatre producers realized that games like these could be building blocks for competitive improv shows. These were producers who watched the premier of the little Canadian TV show that could--SCTV--which premiered on September 21, 1976 and was broadcast nationally in 1977. "The improv olympics is a way of taking the energy of people onto the stage. Two teams who compete. Theatre becomes a sport dominated by the ideas of the audience who decides that they want to see different events," said Shepherd in A Lifetime of Improvisational Theatre. From David Shepherd: A Lifetime of Improvisational Theatre, a [documentary by Mike Fly](https://www.youtube.com/watch?v=t5wgtkgCH3A). This competitive focus would be directly in contradiction with one of the singular points of Spolin's work. She was developing something that was explicitly non-competitive. "The excitement doesn't come from competition, it comes from extending yourself," she said in a 1987 interview when asked about Theatresports™. "Competition is based on the approval-disapproval syndrome... it lays in fear." She believed that success and failure stilted creativity. It is quite the coincidence that all of these events would coincide with the culmination of competitive improvisation. "During that period of time, within a year or so, on the planet earth, four different formats of competitive improvisation happened," says Alistair Cook, Artistic Advisory Committee Chair of the Canadian Improv Games, "and they all say they didn't know each other". The production of theatrical performance with dramatic tension hinged on performers winning or losing had momentum. It is unfortunate. The dominant form of improvisation in Canada--competitive, athletic inspired performance--is based on male centric sports. Improvisational theatre in Canada was defined almost exclusively by the worlds of Stampede Wrestling and the National Hockey League. Two universes which predominantly feature men and male competition. One woman has played in the NHL: [Manon Rhéaume](https://en.wikipedia.org/wiki/Manon_Rh%C3%A9aume) (from outside of Montreal, Quebec) played two seasons with the Tampa Bay Lightning, though never a regular season game. Improvisational theatre games designed and developed by Neva Boyd and Viola Spolin to focus on support, trust, connection, and communication were disfigured by a competitive framework. A framework which incentivizes men telling male stories. What would a less masculine version of these performances look like? Reflecting on 40 years of improvisational theatre in Canada, we are still experiencing the exclusivity of these early influences. Competitive improvisational shows are common and popular across almost every major city in Canada. In many, if not all of these cities, the majority of performers are men. These select few, the cast, develop on multi-year cycles. The last 40 years of improvisation in Canada has been focused on fitting into molds defined by male voices. I hope, I really hope, that things are changing. As I pack my bag to head back to Edmonton, I look forward to the largest Canadian Improvisational Theatre Festival, Improvaganza. The event, hosted annually in Edmonton, Alberta, will play host to improvisors from around the world. Of these improvisors, half are men. Half of the festival is competitive improvisation similar to that of LNI, or Theatresports™, or ComedySportz. The other half of the festival is anything but competitive improv. Improvisation is an artform defined by innovation and spontaneity. Let's embrace those principles and build a new community with principles of communication, trust, and consent first. What does a reimagining start to look like? As a final thought, in sharing this essay with several improvisors that I admire I was confronted by a question: how deep does the competitive male influence go? "Even in gender diverse casts, men dominate air time, get more laughs, are in positions of power more," I was reminded by Amy Shostak (past Artistic Director of Rapid Fire Theatre), "the very act of exposition-climax storytelling itself is masculine-centric." --- # Improvised TED Talks Kory W. Mathewson · 2018-03-05 · https://korymathewson.com/improvised-ted-talks/ · TEDxRFT: an improvised TED talk show where performers present slides they've never seen on topics suggested by the audience. ## Introduction _TEDxRFT_ is an improvised TED talk show by [Rapid Fire Theatre's](http://rapidfiretheatre.com) Kory Mathewson and Julian Faid ([@jfaid](https://twitter.com/jfaid?lang=en), aka Edmonton's Best View AND Hidden Gem). Many say that presenting a TED talk for hundreds of keen intellectual minds takes years of research, hundreds of hours of rehearsal time and a fancy post-secondary education. **We disagree.** In improvised TED talks, you prepare by making a slide deck for another improviser while they make slides for you. Then, you both extemporaneously make these presentations about a topic suggested by the audience. If the format is unclear, here is a full show so that you might see what all the fuss is about: [YouTube video](https://www.youtube.com/watch?v=MhqlrYqmqIw) ## History The show was born out of a mutual desire (between Julian and myself) to improvise alone, together. The world of solo theatrical performance is something that I have been in awe of for a long time (it also makes me reflect back on [Duo Improv](http://korymathewson.com/addressing-my-improv-weakness-duo-improv/)). Our improvised TED Talks were born out of a show that Amy Shostak and I had collaborated on previously, _Cunning Linguists_, performed first in April of 2012 at the cozy [Varscona Theatre](http://www.varsconatheatre.com/). [YouTube video](https://www.youtube.com/watch?v=Wrd_--gn4vI) The _Cunning Linguists_ was a debate-style show wherein two performers would argue opposing sides of an issue, with notes and slides for reference. This show has a place in my heard as it contained one of my favorite lines ever improvised: "_you can toast a bagel but you can not bagel toast._" A few years later, on February 10, 2014, I described the nugget of inspiration to Amy, then Artistic Director of Rapid Fire Theatre [(who has a rock solid improv blog if you are interested)](http://www.amyshostak.ca/). I said, "It is multimedia-based... using power point to make improvised presentations. Far less narrative and structure." I had no idea. I knew that I wanted to use the fantastic projector (and PowerPanel) at the [Citadel Theatre](http://www.citadeltheatre.com), which was conveniently shaped like a movie theatre (thanks to its past life as a movie theatre). In 2014, Julian and I were looking to creatively challenge ourselves. We also had it in the back of our minds that we wanted to tour together, and build a show that was both: 1) tourable, and 2) unique from what was currently performing at festivals. We quickly came up with Powerplay, the first working name for the show, and almost as quickly realized that there was a much better name hiding right in the pitch for the show. As Julian was telling a friend about Powerplay, he said "it's like improvised TED talks, like a TED x Rapid Fire", _TEDxRFT_ was born. I hastily photoshopped together a promotional image, which would be run before shows as a short teaser commercial for _TEDxRFT_. ![](https://korymathewson.com/improvised-ted-talks/images/image2.jpg) I was nervous while preparing for our first show on March 8, 2014. Julian and I decided we should prepare 25 slides each for the other, that would be enough for a 45-minute show. I was used to making slides for talks, given my academic career to that point, so I got to work. I enlisted the help of the best designers ([@jaykayking](https://twitter.com/jaykayking?lang=en), [@mattopacity](https://twitter.com/mattopacity?lang=en)) I knew to help make me some slides. I sent them some instructions: - I want you to make a slide in powerpoint that I can use in a larger presentation. - The slide can use any image, text, or graphics but should be focused on the theme of danger... so it may include anything that is dangerous to humans. - Any of the stats used can be totally made up, as Julian is going to have to justify it all in front of an audience. - The slide has no visual requirements, as it will be a single element in a larger presentation of mismatched slides. - I will then compile this slide, along with 24 others into a presentation that he will see for the first time on Saturday in front of an audience. - Where he will need to justify what is on the screen with a title of the talk that he will get from the audience. - For example, the title he may get would be "_The Long Way Out: Exploring Tunnels in the Spanish Hills._" - Then he would need to justify your slide of a fiery sandcastle with a graph that shows the average number of legs mammals have... ## Building the Show The process of making a slideshow is rather involved. Julian and I have gone back and forth on how to best make this happen. We have discussed at length, over pints, and in pools, about how **the slides are like another improviser on stage**, how the slides should offer up equal proportions of offers, set-ups, and blindsides, how in crafting them we are trying to write jokes for an improv show happening in the future. We were building gifts for each other to open, on-stage, in front of an audience. These gifts should be inspiring, challenging, dynamic, and help progress the scene (much like another improviser). Here is a short time-lapse of the complete process so that you might appreciate the madness: [YouTube video](https://www.youtube.com/watch?v=G5ajQtVKuZk) By the ninth performance, September 18, 2015, we had developed a more solid template for the show. We knew that we wanted to introduce the idea of the slides and the justification early, with us both on stage, as that sets the expectation for the audience. This template included a stellar promotional video which was produced by the talented [Scott Townend](https://twitter.com/townendfilms). [YouTube video](https://www.youtube.com/watch?v=Nt4x4Jvhwbg) It played before the show even started, and allowed for the tension of the screen to be broken. The audience knew that they would be in for something visually amazing. We started the show by poking fun at TED itself. The TED catchphrase is "ideas worth spreading", so we would say things like: "_here are some other things worth spreading: peanut butter, jam ... rumors._" The audience got it and enjoyed it. They had been watching TED talks for a few years, finding inspiration in the half-preaching, half-performing creatives and scientists presenting new and not-so-novel ideas. We were taking a bite out of something that could be taken down a peg due to its implied social status. By framing a show with a clean video off the top, we started to polish the rough edges common in improvised theatre. We were committed to making a show that felt well produced, and adding a high production value to an improv show is not a common goal. After each show, we would talk about how the show went, but we would also talk about how to further refine the structure of the format so that we might frame the entire production better next time. One of the dangerous traps of the format is that we might build similar slides, and then present with a similar energy, leading to a classic "ice cream after ice cream" situation. Who wants an ice cream after they just ate an ice cream? How do we make sure that we will be diverse enough and compliment each other's styles? We have, in the past, checked in with each other on the 'style' of slides we are building. Julian might message me a few days before we perform and say something like "_I am making one that centers around nature_", and then I would say "_mine will work best if you think of yourself as a Silicon Valley startup founder._" It also helps that Julian's slides are always beautifully designed, and my slides are often a 'curated crazy'. This diversity is key to a show that might start looking like an all-you-can-eat ice cream buffet. ![](https://korymathewson.com/improvised-ted-talks/images/29426494251_4833f3a75d_b-1-570x384.jpg) The talented Julian Faid seamlessly connecting 'curated crazy' with coherent catchphrases. ## Performing _TEDxRFT_ is an improvised TED talk format. The show must be improvised, but so much preparation must also go into the show before we even hit the stage. We decided the best way to challenge ourselves to connect ideas to the energy of the room would be to get a title of a TED talk that has never been given from the audience. Some of our favorite suggestions we have had for talks include: - The Power of No - Everything you know about sleep is wrong. - Looking Forward to Looking Back - The Dwindling Middle Class - The Little You Inside You - The Upside Of Being Down - The Reproductive Tendencies of Reptilian Invertebrates - When Income Is The Only Outcome ![](https://korymathewson.com/improvised-ted-talks/images/28881684944_85dcc4312c_b-570x384.jpg) When we get a suggestion of a talk title from the audience, the other will sit off to the side, plugging their ears. We show the audience clearly the universe that we will be playing together in by both of us starting the show on stage together presenting a few introductory slides. This helps to build a trust in both us as the improvisers and the screen as an improviser. As [Liz Nicholls, former reviewer for the Edmonton Journal puts it](http://edmontonjournal.com/entertainment/theatre/tedxrft-the-ultimate-in-edmonton-improv) "_...not only do Faid and Mathewson have to improvise an erudite talk on the chosen subject, but they have to improvise a connection with a set of slides they have never seen before._" ![](https://korymathewson.com/improvised-ted-talks/images/DO-gnv6UMAAgqWF-570x384.jpg) We perform while both on stage. We improvise alone, together. We have had several technical difficulties over the course of the shows we’ve done. They include projector issues, clicker issues, and lighting issues. With a show that is reliant on technical connections and seamless switches, we must expect that something is going to fail. This failure, in improv, is always a gift. **A gift from the improv gods**. An opportunity for Julian and I to really improvise. > It was during one of these (not-so) brief tech delays that we developed a good number of the jokes which became the introduction of the show, including the Julian classic: "Please join us in a bit of a pre-show tradition. Take a deep breath in, and then lower your expectations..." We have made sure to record several of the improvised TED talk performances. This is extremely helpful because improv is a dissolving artform. It assumes that what is done once will never, and can never, be done again. These artifacts allow us to reflect on the shows we have done, apply to festivals, and for our loving audience to see and understand the show if they couldn't make it to the performance. Over the years we have received some great reviews: - In TEDxRFT, their latest invention, the two brainiac Rapid Fire Theatre stars take on the most formatted, manufactured, strategically planned-out, research-based, rehearsed and polished presentational form of them all: the TED Talk. --- Liz Nicholls, Edmonton Journal - Outstanding improvisers performing one of the funniest and intelligent shows I’ve seen in a long time. A true crowd pleaser.  --- Alistair Cook, Instant Theatre - Their energetic style is adaptable to any subject area and can make even the most mundane-sounding theme hysterically funny. --- Deb Eerkes, University of Alberta - It was one of our most popular keynotes ever. It spoke to the benefits of not knowing where we’re heading but taking a chance and finding out what can happen. --- Teddi Fishman, International Center for Academic Integrity We believe that we are now at peak TED, it has become a worldwide phenomenon and a genre unto itself. _TEDxRFT_, and improvised TED talks as a whole embraces the genre and turns it on its head. We have done 37 shows in cities all around the world. We were voted Best of the Fest at the Vancouver International Improv Festival. We performed at the Out of Bounds festival in Austin, Texas, the Stumptown improv festival in Portland, Oregon, the Seattle Festival of Improvised Theatre, the Combustion Festival in Toronto, Canada. Julian was invited to present the format in Oslo, Norway. This added another layer to the preparation and presentation of the improvised TED talk as he had to build the presentation in Norwegian. As Julian so aptly puts it, “_I made a slide presentation completely in Norwegian for two Norwegian improvisers. I couldn’t understand a word they were saying but it brought the house down._” It is a show that appeals to those who have sat through scientific communication, design speaking, keynotes, motivational speakers, conferences and office Powerpoint presentations. It also embraces technology on the stage in a way that most other improvised shows do not. As you might know, I am a strong proponent of putting humans interacting with technology front and center on the stage. For more details on another project I continue to work on with humans and robots with artificial intelligence improvising together, check out this great write-up by Rachel Rosenthal (talented performer, comedian, and instructor from NY, USA). We are putting the excitement and discovery in front of the audience. It is a nightmare for most people, to start a presentation without having seen the slides, we revel in it. We even got invited to do an actual TEDx event: [YouTube video](https://www.youtube.com/watch?v=CjqldiamrbM) ## Future Directions There are many innovations which may be possible given the success of the improvised TED talk. We have dabbled, but not fully dove into: playing with sound effects and audio clips/cues, using short video which require an introduction (or an overdubbed voice from the presenter), timed presentations (ala Pecha Kucha where each of 20 slides is shown for 20 seconds), invited others to build presentations for the two of us, and adding detail and depth to the characters that we play in the show. We want people around the world to do continue to innovate and challenge basic improvisation. Improvisation is innovation. We have shared the structure and fundamentals of the show with many folks, and we always include a clause: take it/break it/make something new. Because that is what improv is all about. Improvised TED Talks will be coming to the Edmonton Fringe in 2018. Stay tuned for more details. ps. If this is your kind of jam, you should also check out "_BattleDecks_",“_Powerpoint_ Karaoke", "_Speechless_” from SF, California. We heard about these after starting TEDx. As well, we now know that the _People's Improv Theatre_ (PIT) did something similar in NYC, and the _Upright Citizen's Brigade_ (UCB) did it, and _Theatre Arlo_ (with friend [Joe Bozic](https://www.jbozic.com/)) was doing a similar show in 2012. pps. Thomas Winters ([@thomas\_wint](https://twitter.com/thomas_wint)), a brilliant computing science engineer working on computation comedy, has prepared a scene study on _TEDxRFT_ (through conversation, research, and testing) and it serves as a guide for those interested in working the format. I present it below slightly modified for this medium. ppps. [Congratulations Julian Faid](https://www.youtube.com/watch?v=0XOeLqzkCXQ). ## Studies in Improvised TED Talks ### Slide Content It is beneficial to have half of the slides be setups, and the other half be punchlines. Possibly alternating with each other. As Julian Faid says, "the slides are just another improviser, they can't just stand there and make jokes." Setup: Explain what’s on the slide, build towards a punchline that explains the link to your topic. Punchline: This slide is very odd. You say something right before showing this slide and have to explain why your statement was true. See section below for possible punchline buildups. ### Content for Setups, Punchlines, and Blindsides - stock photos; - a fun but vague gif; - a general question that makes you think, like "Where would you like to be tomorrow?" or "What consequences does this have for our children?"; - graphs with abstract words on the axes; - random/interesting pictures of the presenters. ### Getting Good Suggestions Use a suggestion to create a real sounding title for a TED talk - An insecurity (e.g. sex life, acne) + explaining element (feet/dreams/childhood/music taste): "What your \[explaining element\] says about your \[insecurity\]"; - A subject of the future, something dangerous: "How to get rid of X"; - A certain characteristic of a person: "The strange habits of \[characteristic\] people"; - Activity: "How to stop an \[activity\] addiction" or "How \[activity\] leads to \[emotion\]"; and - Any subject: "The biggest risk concerning \[subject\]” or “Why \[subject\] will ruin your life". ### Format Details - Ask for a suggestion for the other person’s presentation. - Before the presentation: Introduce the other as if it were a real TED talk, say something about how amazing the other is. Use their real name! ### Tropes of the Format - Introduction: Do something interesting to present yourself and your topic in a creative way; - Sound smart: Sound as if you know what you’re talking about: you’re an expert in your field!; - Present dynamically: Make a lot of hand gestures to make your points, emphasize points with your glasses or watch; - Ask rhetorical questions to the audience; - True stories: Present a personal anecdote, possibly about something shameful (be truthful: see [Truth in Comedy](https://www.amazon.ca/Truth-Comedy-Improvisation-Charna-Halpern/dp/1566080037) by Charna Halpern); - Explain people portrayed in images: Who are they? What’s their story? - Inspire people to change their life in a certain way; - Change tone and speed in the way you speak to capture attention and to build up to larger moments; and - End: Give people one last, concluding life lesson or moral. ### Punchline slide tropes There are several types of sentences that you can use right before going to the next slide to turn it into a punchline: - (about the previous slide) "This was the bad news, the good news is..." - "I’m looking to when this becomes a reality:" - "I’ve got the solution for this problem, being:" (explain the relation to the theme of the presentation afterward) - "This is what X looks like nowadays:" - "X and Y are so \[adjective, e.g. different\] like:" (explain metaphor on next slide) - "At first we thought \[something\], but then it turned out to be this:" - ...\[click\] ... "I think, this slide... explains itself." ### Setup slide tropes - Explain why the slide fits your given subject. Exploration! Every reason is a good reason, just believe in it! - Make it trivial: "Well, everyone knows that this and that is true" - Use an anecdote to make the subject really personal. Bonus points if it’s a real anecdote from your life! - Use a statement that gets some audience interaction (Make them do a certain action that "proves your research"). --- # Improvised Theatre Alongside Artificial Intelligences Kory W. Mathewson · 2017-10-05 · https://korymathewson.com/improvised-theatre-alongside-artificial-intelligences/ · Introducing Pyggy and A.L.Ex., the first artificial improvisors for live human-machine theatre, presented at AIIDE'17. This is a cross-post from [http://humanmachine.live](http://humanmachine.live), where you can find more information on past and future shows, videos, and pictures. Also, find HumanMachine on [facebook](https://www.facebook.com/HumanMachineImprov/) and [Twitter](https://twitter.com/piotrimprov?lang=en). A new publication on "**Improvised Theatre Alongside Artificial Intelligences**" will be presented at the 13th AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment Conference (AIIDE'17) in Snowbird, Utah. This study presents the first report of Artificial Improvisation, or improvisational theatre performed live, on-stage, alongside an artificial intelligence-based improvisational performer. The Artificial Improvisor is a form of artificial conversational agent, or chatbot, focused on open domain dialogue and collaborative narrative generation. ![Two improvisers on stage with a small humanoid robot on a chair, beside an audience volunteer holding a microphone.](https://korymathewson.com/improvised-theatre-alongside-artificial-intelligences/images/humanmachine-edinburgh-2017.jpg) Mathewson (as Albert) and Mirowski (as mYleZ), alongside A.L.Ex. the improvisational theatre robot and an enthusiastic audience member at the Edinburgh Fringe Festival 2017 in Edinburgh, Scotland. Using state-of-the-art machine learning techniques spanning from natural language processing and speech recognition to reinforcement and deep learning, these chatbots have become more lifelike and harder to discern from humans. Natural human conversations are seldom limited in scope and jump from topic to topic, they are laced with metaphor and subtext and face-to-face communication is supplemented with non-verbal cues. Live improvised performance takes natural conversation one step further with multiple actors performing in front of an audience. In improvisation, the topic of the conversation is often given by the audience several times during the performance. These suggestions inspire actors to perform novel, unique, and engaging scenes. During each scene, actors must make rapid-fire decisions to collaboratively generate coherent narratives. **This new work introduces Pyggy and A.L.Ex. (Artificial Language Experiment), the first two Artificial Improvisors, each with a unique composition and embodiment.** The paper highlights research and development, successes and failures along the way, celebrates collaborations enabling progress, and presents discussions for future work in the space of artificial improvisation. [Read the full paper](https://humanmachinelive.files.wordpress.com/2017/10/2017-aiide-mathewson-mirowski.pdf) --- # Building a Sextbot: botrotica Kory W. Mathewson · 2017-06-13 · https://korymathewson.com/building-a-sextbot-botrotica/ · Creating 'botrotica,' an art project exploring intimacy and technology through an SMS-based conversational bot. In this post, I describe the development, deployment, and conclusions of a recent art-project-cum-coding-experiment called **botrotica**. **botrotica** is a sextbot. It is a chat bot that is based on the sext messages that we send to each other. This sextbot is an exploration in sexting developed for futuresmut, a thematic cabaret at Nextfest 2017, an emerging artist festival in Edmonton, Alberta. ![](https://korymathewson.com/building-a-sextbot-botrotica/images/Future-Smut-770x380.png) ## Background The internet enables us to explore our identities and develop social and communication skills. Technology has changed the way that we interact with each other. How do we share ourselves online when only one other is watching? Who do we share ourselves with and what exactly are we sharing? These hypothetical questions remind me of a favorite quote from a song I love: > The television went from being a babysitter to a mistress Technology made it easy for us to stay in touch while keeping a distance 'til we just stayed distant and never touched Now all we do is text too much -- Sage Francis, [The Best of Times](https://www.youtube.com/watch?v=VA8hzUDXvtk) Thoughts, ideas, pictures, and videos can all now be shared privately with passion partners. It has been found that rather than increasing intimacy in these types of relationships, sexting may act as a buffer for physical intimacy and may be associated with risky behaviour in teens and young adults \[1, 2\]. **botrotica** explores questions of sexual communication, instigation, privacy, and censorship. ## Interaction botrotica is situated behind a phone number. Participants only need a mobile phone for interaction. This interactive cyber-installation piece turned-on for the duration of the futuresmut cabaret. If users texted the number they engaged the bot in a back and forth conversation which ranged from purely deterministic, preset dialog, to generative dialog pieces from a model trained on huge swaths of online erotica, to hooks into machine learning systems to classify objects, faces, details, emotions, and not-safe-for-work flags in the images (this was particularly engaging for those that engaged in sexy dialogs). ![](https://korymathewson.com/building-a-sextbot-botrotica/images/unnamed-2-e1497363532933-512x384.jpg) An early doodle of the physical installation... modeling the "lonely home". It was modeled to respond like a late night sexter. It would talk slightly coy and dirty, ask for (and send) photos (of sexy robots of course). The game was that if the user sent an image to the bot, then it would classify the objects in an image, thereby 'objectifying' the user. ![](https://korymathewson.com/building-a-sextbot-botrotica/images/Screenshot_20170613-110058.png) Example classification, rating, and leaderboard based on my 'classic' gym swole sweaty selfie. It would also classify potentially NSFW content, thereby rating the image, and it would assign scores to the images completely arbitrarily. Images that scored higher would be then completely randomly ranked on a fictitious leaderboard. For example, in response to a racy MMS **botrotica** responded: > 73.42% explicit nudity. 37.27% graphic male nudity. I see a beautiful face. I am 70.0% sure. You look CONFUSED and a little bit CALM. I would guess you are somewhere between 35 and 52. Looks like a 2 dressed up as a 8... I see people, person, human, tattoo... There was a pre-recorded message for those who call in to the number which prompted the human to leave a message and send an SMS for a faster response. ![](https://korymathewson.com/building-a-sextbot-botrotica/images/18902911_10154351238540146_2052517975_n-480x384.jpg) Advert cards littered around the physical space, with helloworld and the phone number on the card. For physical advertising, I had little business cards printing with the phone number on them and the words... helloworld (an [homage](https://en.wikipedia.org/wiki/%22Hello,_World!%22_program) to the traditional computer program used to introduce novices to a new language or toolset). Behind the card on a table sat a single flower and a tv/vcr combo playing old adverts for phone sex lines with this phone number dubbed over top. ![](https://korymathewson.com/building-a-sextbot-botrotica/images/18902150_10154351330395146_1238500436_n-480x384.jpg) Realized physical installation at futuresmut. During the night images from this video were interlaced briefly between scenes projected on the walls of the cabaret. For reference, this is what some of the images looked like: ![](https://korymathewson.com/building-a-sextbot-botrotica/images/slide_v2.001-770x433.jpeg) Images from the advert video. ## Tech **botrotica** is a service that runs on a Twilio phone number. It is python code which runs a server on an Amazon EC2 server in a docker container with hooks to Amazon Rekognition image analysis. Additionally, there is a trained tensorflow model running for seeded generation, similar to the models used in my previous (and [current](http://humanmachine.live)) work in [building an artificial improvisor](http://korymathewson.com/building-an-artificial-improvisor/). Of course, these models are trained with a (very) different dataset than the improvisational dialog agents. [YouTube video](https://www.youtube.com/watch?v=N542aQUX9cg) ## Results The results were incredible with 847 messages (731 SMS + 136 MMS) over the course of a single evening (5.5 hours). Interactions varied from innocent to full on sexy-text-messaging exchanging images and dirty talk, back and forth between human and agent. There were 64 minutes of recorded voice messages from 144 voice calls to the number. From human texts the system parsed and responded from a wide variety of ways. Some of these more engaging than others... similar to human-to-human communication. ## Conclusions **botrotica** served as an interesting window into the world sext messaging. It illuminated how popular simple chat interactions can be if prepared, produced, developed, and deployed appropriately and in interesting ways. This project gave me many ideas for future projects. For example, building future interactions of photo scavenger hunts, collaborative photo classification games, live streaming logs and interactions to rooms full of interlocutors, collective collaborations, and formats for large group communication at events and parties. What we share online changes as new technology lands. How and what I share on facebook is different from how I share on twitter, or this blog, or snapchat, or Youtube, etc. Early on in my creative career I wrote 15 correspondences entitled: "A series of letters to which I do not expect a response". These letters were written to inanimate objects and famous individuals. In a way, writing these letters gave me a channel through which I could communicate with an embodiment of a concept. I believe there is value in building these channels. It is not obscene (ala [Joseph Weizenbaum](https://en.wikipedia.org/wiki/Joseph_Weizenbaum)), in fact, I think it is beautiful, to think that in the future we may communicate our lusts, thoughts, fears, desires, emotions, judgements, interests, hopes, dreams and memories to artificial agents with full knowledge of their non-sentience. In a more distant future one step beyond one could imagine these systems communicating back. ## Thanks This project would not have been possible without the help from a small handful of incredible and helpful folks. Thanks go to Sam for making the event happen, curating, and inviting this piece into the event. Sarah for physical installations, discussion,  and deployment of physical interactions, idea storming. Lana for help on writing and aggregating texts and source material. Paul and Julian for testing. And every human who dove deep into experimenting and getting weird with the system on the evening of the event. ## References 1. Benotsch, Eric G., et al. "[Sexting, substance use, and sexual risk behavior in young adults](http://www.sciencedirect.com/science/article/pii/S1054139X12002327)." _Journal of Adolescent Health_ 52.3 (2013): 307-313. 2. Lenhart, Amanda. "[Teens and sexting](http://ncdsv.org/images/PewInternet_TeensAndSexting_12-2009.pdf)." _Pew Internet & American Life Project_1 (2009): 1-26. --- # 30 songs, 30 years. Kory W. Mathewson · 2017-06-05 · https://korymathewson.com/30-songs-30-years/ · A request for friends to submit songs for my 30th birthday playlist, with each song representing a year of my life. As you may know, June 5 is the date of my birth... As you may not know, for the last several years I have attempted to curate very specific gifts from friends and loved ones all over the planet. This year, my 30th, **I would like you to submit a song, your own or one from popular culture**. I am hoping to collect 30 songs, so that I may create a double-sided birthday mixtape. Feel free to submit the Artist-Title, the lyrics, or a YouTube link. It can be a song that you wrote, that you performed, or just one that you love. ![](https://korymathewson.com/30-songs-30-years/images/30_2-1.jpg) These can be songs that I introduced you to, or that you introduced me to. They can be musical, or funny, or sad, or capture something in the connection that we share. These can be songs that are long or short, maybe we listened to them together one time, or it was that song that you can never remember the name of but makes you think of me. Imagine that we are two points floating around in space; if you were to travel from one point to the other... what song would play in our minds the middle of your journey? What song lies at the intersection of you and I? Feel free to comment on this post, send it to me on facebook, or email me privately to submit. > Some may ask: "Kory, can I submit more than one song?", "Thank you for asking, yes of course, but no more than three. And double points if you can tell a rich narrative with three songs." As a reminder looking back on past years... - for my 29th birthday, I received many submissions of essays from 290-2900 words on "[finding the fun in others](http://korymathewson.com/a-simple-ask-for-my-29th-birthday/)". - 28 was all about [hand-written notes](http://korymathewson.com/write-more/). - 27 focused on [birthday pictures](http://korymathewson.com/27th-birthday-pictures/). - 26 centered around love letters, both nonymous and anonymous. - And for my 25th birthday I asked for [stories from your 25th](http://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) (or imagined future 25th) year. --- # Leadership in Improvisation Kory W. Mathewson · 2017-01-17 · https://korymathewson.com/leadership-in-improvisation/ · A keynote on leadership lessons from improvisation, covering listening, positivity, making choices, and embracing failure. Recently I was invited to give a talk on _Leadership in Improvisation_ for the [Peter Lougheed Leadership College](https://www.ualberta.ca/peter-lougheed) at the University of Alberta breakfast event about Making Connections. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.001.jpeg)It was a delightful opportunity to share my story, and the audience was engaged, motivated and taught me some things in the process. It is my hope that by sharing the story here, the story can continue. _Note_: It was critical to discuss the preparation of the talk with a sample of individuals who would be in the audience the week before, this allowed me to understand who would be in the room, what their expectations would be like, and what has worked well, and not as well, for that group in the past. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.002.jpeg) My name is Kory Mathewson; I am an improviser with Rapid Fire Theatre, and I am also a Ph.D. student in Computing Science studying artificial intelligence and machine learning at the University of Alberta. If you want to read Part 1 of the story of me making an Artificial Improvisor, check it out here: [korymathewson.com/building-an-artificial-improvisor/](http://korymathewson.com/building-an-artificial-improvisor/) _Note_: it was a failure. A not a total failure, because I learned a lot. I had four short and clear goals for the morning: - Teach the history of improvisation and its growing relevance in leadership. - Share my stories of success and failure. - Distil everything I have learned over 12 years of improvisation to 6 gemstones takeaways. - Explore some improvisational exercises with the audience. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.004.jpeg) The same question my mom asked when she found my brother (9) and I (6) driving in a convertible we didn't own. Let's start with a brief history of my improvisation that should help you understand me and how we got to this point? ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.005.jpeg) February 2005 at the Rapid Fire Theatre Nosebowl High School Improv Tournament. A bright-eyed memory of myself performing impeccable mime in cargo shorts, a popped collar pink polo shirt and rolled up tennis socks, with three of my best friends supporting from the bench. We lost that tournament, by a mile but we gained memories and fashion sense. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.006.jpeg) Flash forward to this month, on stage at Rapid Fire Theatre. Performing alongside the incredibly talented cast and the Mayor of Edmonton His Worship [Don Iveson](http://doniveson.ca/). Who here knows what improvisation is? Has anyone done improvisation? Has anyone seen a comedic improvisation show? Or performed jazz? Has anyone built an ingenious solution to a problem facing scarce resources and limited time? Improvisation, much like my life, is art and science. It sits at the intersection between the rules and pure creativity. By the end of this talk, I promised, you will all be familiar with improvisation and the ways that the principles of improvisation can help guide your leadership and collaboration. First, it is not about being funny, it is about failing together? ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.007.jpeg) I earned my stripes improvising in long 50-hour marathons. These grueling time tests stretch physical and mental abilities and provide an incomparable safe playground of practice. Practice makes perfect; but why? Because it elucidates your patterns, obstacles and growth goals, then focuses your efforts on improvements. The more you can adapt, response, and extemporize the more effective you will be. Veterans of the form respond proactively to sudden changes and road blocks. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.008.jpeg) The first lesson I learned in improvisation is that "the best improv performers can improvise with anyone." They make everyone else shine; this is not necessarily true about painters, musicians, mathematicians, or lawyers, but it is right about improvisors, and more importantly: **leaders**. Once I was in, I was hooked. So I did what any newly committed student of an art form does, I dug deep into the history of improvisation. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.009.jpeg) The river ran deep. Documented improvisation starts in Rome in the 4th century BC with the Atellan Farce and mask work. Flash forward thousands of years and we learn about Commedia dell-Art(e) in the early 1600's exploring character archetypes. Contemporaries in the field have written, studied, tested, tried and failed at shaping the art form. Each with their form of proselytizing: - [Stanislavski](https://en.wikipedia.org/wiki/Konstantin_Stanislavski): The greatest wisdom is to realize one's lack of it. - Spolin 1963: Through spontaneity, we are reformed into ourselves. - Boal 1973: Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it. - Johnstone 1987: If you have a good idea, open your mouth and say something else. And of course, no discussion of improvisation would be complete without mentioned the tortured genius of the 20th century, Del Close. A coach and mentor of many of today’s most popular comedians including Tina Fey, Amy Poehler. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.010.jpeg) With many words of wisdom, one that resonates with me as a leader is: > "Don’t bring a cathedral into a scene, bring a brick and let’s build together." - Del Close Bringing us to the first gemstone takeaway. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.011.jpeg) - Listen - Actually, listen. - Most people listen just enough to be able to respond. - Be willing to change. - Listen like this is the last thing they ever say. - Listen to the other is going to change your mind. > _"Listen_. Listen to one another like you know you are scholars. Artists. Scientists. Athletes. Musicians. Like you know you will be the ones to shape this world." - Sarah Kay ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.013.jpeg) - Positivity. - Accept, agree, say “Yes”. - Accept and offer, say “Yes, and…” - it improves your relationships with others AND with yourself. - It is also a base principle of meditation. Accept your currently emotional state. Yes I am feeling like this. If this is true, what else is true. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.014.jpeg) A series of yeses takes us somewhere. All it takes is one no to stop the momentum. But what do we get when we can say: "Yes, and..."![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.015.jpeg) But wait, there's more...![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.016.jpeg)Practice _strengthening your affirmation:_ - Practice saying “Yes, and..” - Use it to refocus, redirect, and **collect thoughts**. - Improvisational leaders **accept quickly** and **look for opportunities** immediately. - Make your **agreement prominent**. Much like building a cathedral, we can try collaborating in real time. You can try as well, with a partner try telling a story by writing it down on a piece of paper one-line-at-a-time, for an additional challenge try writing the story one-word-at-a-time. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.018.jpeg) Then read the stories back, and see what it is like to directly collaborate on a creative piece. Remember: there are no wrong answers, no mistakes, and no judgment. You are walking alone in a wooded forest, you have been without food and water for a few days and you are cold, scared and hungry. You come to a clearning and in the middle of the open area there is a saber-tooth tiger… you are afraid. You feel fear. Scientists think this stems from the amygdala, two almond-shaped bundles of nuclei in the temporal lobes of the brain. What is your emotional response? ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.019.jpeg) Most would say _fight_ or _flight,_ there is also new research on the _freeze_ mechanism, and of course, the fourth and least favorable option in real-life, _fail_. You have to do something very critical in this moment, which leads us to the next gemstone. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.020.jpeg) - Make choices. - In improv we often call them offers. - Make offers instead of asking questions. - Make your choices specific, unique and novel for bonus points. Often times when we are forced with a decision we encounter a psychological phenomenon called: _analysis paralysis._ Remember that you do not need to be 100% right 100% of the time. In fact, you need to be 100% right only about 10% of the time, the other times you just need to make a decision. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.022.jpeg) Your choices should be made in an attempt to make others look good. Shelve the ego and embrace the collective elevation and amplification. Endow others with power, status, and agency to create a team that functions better than individuals working independently. I have tried on 1000 masks and understand the world slightly differently from each perspective. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.023-1.jpeg) Alex Williams of the New York Times has a very nice piece on friendships as we progress through life. One of the more salient points to me is that the three elements required for making close friends. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.024.jpeg) These are the exact characteristics of my interactions with improvisers all over the world. From Liverpool to Austin, to Slovenia, to New York, and back through North America… I have found my community around the world. We build relationships over space and time because we can quickly adapt, work together, collaborate openly and communicate effectively. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.025.jpeg) My research is in Reinforcement Learning. Training artificially intelligent systems to act in certain ways given rewards as feedback. This is the same way that dolphins are trained to do mind-bending stunts. You can play this with a partner as well. Attempt to encourage your 'dolphin' to accomplish an unstated goal in the environment using only rewards as feedback. This simple exercise elucidates the importance of clear communication, systems of collaboration, and shared goals. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.026.jpeg) In life,we are each living our own story (or stories), but we are major and minor characters in many other stories. We are the character that will give the right piece of advice at the wrong time or the hidden romance that ends up falling out of love and stop writing letters right before a chapter ends. If this is the case, we should aim to make our story interesting. Aim to make offers over questions, decisions over ultimatums, and bring something specific, unique, and novel to each and every interaction. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.027.jpeg) Stories are about patterns. One of the easiest ways to understand patterns is through images. First, an action is taken establishing normal, then, with a second similar action, the pattern is established thereby creating a solid platform. Finally, the pattern is broken. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.028.jpeg) We can share the storytelling by trading back and forth on who is setting the patterns and who is breaking them. Improvisation encourages this ebb and flow, the constant back and forth of transferring energy between leading and following. These are the characteristics of an improvisational leader who can think, speak, and act freely on their feet: - Listen actively - Amplify with positivity - Confidence to make authentic choices - Bring out the best in others - Tell great stories ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.029.jpeg) Finally, is the failure. The most under discussed reality of the modern leader. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.030.jpeg) Here is a challenge, for the next conversation you have with a mentor or a peer that you have yet to connect on a deeper level with, ask them: > What has been your biggest failure? Then, focus on understanding the learning that came from that failure. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.031.jpeg) So, does anyone remember the first ‘best’ piece of advice that I ever received? The best improvisers, make everyone else shine. I wanted to put this to the test. So I did an improv show with the audience member with the least stage experience. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.032.jpeg) Spoiler alert: He was magnificent. So I thought, can I do it with an artificial intelligence? I would fuse my love for improvisation and machine learning. I would call it something sexy like “_artificial improvisation_, ” and there could be a hot Hamlet sequel skull in the bionic arm of a cyborg robot from the future. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.034.jpeg) Perfect. And then I would do it a whole bunch, and tell everyone I knew the story and find other people around the world that were similarly passionate. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.035-1.jpeg) And then make an art collective in the space, and book a swath of shows in 2017. Learning and growing along the way, building businesses and research that impact millions of people. That is how I embraced one of my biggest failures as a performer and scientist. ![](https://korymathewson.com/leadership-in-improvisation/images/20170111-Keynote-Leadership.037.jpeg) Questions for reflections: What do all the gemstones add up to? What is the big key takeway? --- # Reinforcement Learning for Profit Kory W. Mathewson · 2016-07-18 · https://korymathewson.com/rl-for-profit/ · Exploring where reinforcement learning is used in revenue-generating systems, from recommender systems to contextual bandits. Recently, one of my facebook friends, and alumni of the University of Alberta (with a PhD in Computing Science), Cosmin Paduraru posed a question: > Where is Reinforcement Learning used in revenue generating systems today? I have been thinking about this lots over the last month as I attended two international conferences on Artificial Intelligence and Machine Learning ([ICML](http://icml.cc/2016/) and [IJCAI](http://ijcai-16.org/index.php/welcome/view/home)) in NYC, USA. It is important to explore future prospects both inside and outside academia -- In case you need a catch up, I am currently at the University of Alberta [working on a PhD](https://korymathewson.com/research-archive-dec-2026/) in Computing Science with a focus on Reinforcement Learning and Artificial Intelligence. With the success of modern AI systems -- out of [the winter](https://en.wikipedia.org/wiki/AI_winter) and into the spring -- many companies have invested and continue to invested heavily into modern AI systems, backed by teams of leading researchers in the field (e.g. [Facebook](https://research.facebook.com/ai/), [Google](http://research.google.com/), [Microsoft](https://www.microsoft.com/en-us/research/), [IBM](http://researcher.watson.ibm.com/researcher/view_group.php?id=135), [Twitter](https://engineering.twitter.com/cortex), etc.). With that said, maybe Cosmin is right, Reinforcement Learning ([Sutton and Barto 1998](https://webdocs.cs.ualberta.ca/~sutton/book/ebook/the-book.html), and this [killer-intro by the fantastically talented Andrej Karpathy](http://karpathy.github.io/2016/05/31/rl/)) is seemingly publicly underrepresented in currently deployed systems making money in the real world, or is it? ![Adapted from Sutton and Barto 1998 and WALL-E](https://korymathewson.com/rl-for-profit/images/Screen-Shot-2016-07-17-at-6.44.14-PM.png) Adapted from Sutton and Barto 1998 and WALL-E Luckily I was at the International Joint Conference on Artificial Intelligence where I was attending a panel discussion on [The Business of AI](http://ijcai-16.org/index.php/welcome/view/industry_day), the panel was composed of all speakers from the industry day. A desirable venue to solicit a wide variety of opinions from thought leaders in the field. So I posed the question to them, their responses went as follows: [Peter Norvig](http://norvig.com/) (Director of Research at Google): "well… AlphaGo made a million bucks and then gave it away"... a recent tweet from [Demis Hassabis](https://deepmind.com/) (Google DeepMind) confirms: [Post by @demishassabis on X](https://x.com/demishassabis/status/739793493594378241) [Peter Stone](https://www.cs.utexas.edu/~pstone/)) (Founder and President, [Cogitai](http://www.cogitai.com/). Professor UoT (Austin)) gave lots of great examples of recent applications: He said,“We are on the cusp of moving from the academic lab to the industry for RL, adaptation, and lifelong learning...We are at the cusp, and that is the main motivation from Cogitai” He also referenced work by [Thomas G. Dietterich](http://web.engr.oregonstate.edu/~tgd/) on invasive species management, wildfire suppression, by [Joelle Pineau](http://cs.mcgill.ca/~jpineau/) on applying RL in healthcare, and by [Andrew Ng](http://www.andrewng.org/) and [Drew Bagnall](http://robotwhisperer.org/) on helicopter control. All of these could be as a practical demonstrations of specific, developing industrial applications. [Hiroaki Kitano](https://en.wikipedia.org/wiki/Hiroaki_Kitano) (President & CEO SONY Computer Science Laboratories) said that this is a current research area for Sony and to expect profitability using these and advancing RL algorithms in 2-5 years. Almost [10 years](http://www.sony.net/SonyInfo/CorporateInfo/History/sonyhistory-j.html) after Sony's last robotic venture, the Aibo, Sony CEO Kazuo Hirai has just recently ([late June 2016](http://www.ft.com/cms/s/0/3003b0d2-3f5e-11e6-9f2c-36b487ebd80a.html#axzz4EioFQ370)) said "the robots we are developing can have emotional bonds with customers, giving them joy and becoming the objects of love". [Guruduth Banavar](http://researcher.watson.ibm.com/researcher/view.php?person=us-banavar) (Chief Science Officer, Cognitive Computing, IBM Research) predicted that this is going to happen, sooner rather than later, and his prediction was that it will happen in the domain of conversational systems, dialog systems, and understanding the larger context of conversations. He also mentioned that the illustrious [Gerald Tesauro](http://researcher.watson.ibm.com/researcher/view.php?person=us-gtesauro) (the man behind [TD-Gammon](https://en.wikipedia.org/wiki/TD-Gammon)) is working on these problems. Interesting that he did not mention [Watson](http://www.ibm.com/watson/)... Some interesting answers from industry leaders. But I was surprised that no one mentioned: _recommender systems_ (like those on Amazon, Netflix, Yelp, and nicely formalized as an RL problem in [2005 by Shani et al.](http://www.jmlr.org/papers/volume6/shani05a/shani05a.pdf)), are these systems all collaborative filtering? Surely not. No one mentioned that Google Reinforcement Learning Architecture ([here is a quick summary](http://www.humphreysheil.com/blog/gorila-google-reinforcement-learning-architecture)), which I can only imagine could be behind some of the personal recommendations and rankings that Google does behind-the-scenes on Search, YouTube, and maybe ... Maps? No one mentioned _contextual bandits_, sometimes called associative RL (as discussed by [Li et al. 2010](http://www.research.rutgers.edu/~lihong/pub/Li10Contextual.pdf) for news recommendation), for serving ads and news stories. These systems are surely deployed on large-scale news sites by the publishers to maximize click-through-ratios and create a personalized experience. Microsoft recently announced [Multiworld Testing Decision Service](https://www.microsoft.com/en-us/research/project/multi-world-testing-mwt/), for making context based decisions... I guess there were no Microsoft representatives on the panel to toot this horn (thanks for [the catch](https://twitter.com/djpardis/status/754863844246233088) Pardis) With so much potentially out there, why was there no mention of these use cases for reinforcement learning? Where else could RL be hiding in the money-making wild? RL seems like an ideal candidate for systems of personalization on large-scale, sequential decision-making problems... so what am I missing? --- # What's your Doodle? Kory W. Mathewson · 2016-05-17 · https://korymathewson.com/whats-your-doodle/ · A collection of doodles gathered from friends over the years—everyone has a small drawing they make when their mind wanders. Back in May 2006 (10 years ago, thanks @[Meags](http://www.meagsfitzgerald.com/) for actually dating a doodle), I carried a notebook around with me and when I would have some down time with others I would ask them to share a doodle of theirs (something that they draw when they are on the phone, or in class, or a meeting) in this notebook. I collected so many of these doodles, from many different individuals. It is always surprising to see what people had ready to roll once they had a pen and a blank page. It seems like everyone has a small doodle ... so I ask....**what's your doodle?** ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.07.38.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.07.44.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.07.49-e1463514296826.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.07.54.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.07.59.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.08.03.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.08.10.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.08.14.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.08.39.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.08.42.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.08.45-e1463514437756.jpg) 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![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.09.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.12.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.31-e1463513734551.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.34.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.40-e1463513716432.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.47.jpg) ![](https://korymathewson.com/whats-your-doodle/images/2015-07-07-21.14.54.jpg) --- # Collective Improvisation: A review and thoughts... Kory W. Mathewson · 2016-05-16 · https://korymathewson.com/collective-improvisation-a-review-and-thoughts/ · A review of 'Collective Improvisation' by Sonja Vilč, exploring the roots and philosophies of modern improvisational theatre. May 2016, I am invited to Llubjana, Slovenia to teach and perform improvisation. Hosted by the three heads of the Cerberus of Slovenian improvisation Ju_š_, Vid and Peter at IGLU, I had an incredible time seeing what life was really like in Llubjana. ![Screen Shot 2016-05-13 at 10.38.12 AM](https://korymathewson.com/collective-improvisation-a-review-and-thoughts/images/Screen-Shot-2016-05-13-at-10.38.12-AM.png) The improvisational scene is alive and well in Llubjana, with monthly guests from around the world and some lively improv shows in Slovenian and English, it is truly a community worth venturing to for the adventurous improvisor. As well, word on the street is there is a Eurovision inspired Improvision show that draws hundreds and hundreds every year. Upon departing, Ju_š_ was kind enough to give me a book as a gift. By a fellow Slovenian improvisor named _Sonja Vilč_, the book is [_Collective Improvisation: From Theatre to Film_](http://www.stay-or-go.eu/book.html). The book is composed of three chapters: 1) The Roots and Teachings of Modern Improvisation, 2) Using the Principles of Improvisation in Film Creation, 3) Looking forward: The Promises of Improvisation. While the books main focus is the use of improvisational techniques in film creation, I was most interested in the background research on the roots of modern improvisational techniques and sections on the philosophies of improvisation. I enjoy what I would consider to be the European explorations of improvisational philosophies, and this book is full of great discourse and thoughts on the romantic ideals of what happens when you start making things up. ## The Roots of Modern Improvisational Teaching Vilč explores the history of modern improvisational teaching, clearly laying out a trajectory of learning and evolution of theory dating back to the late 1800's and early 1900's. I enjoy how she clearly delineates some lists of ideas and concepts: Four Johnstone-ian Basic Principles of Improvisation (pg 27): 1. Accept and embrace your first impulse; 2. Accept offers made by your other actors; 3. Advance the action by truthful reaction to what is happening; and 4. Advance the narrative by connecting previously established elements. ![quote-if-you-have-a-good-idea-open-your-mouth-and-say-something-else-keith-johnstone-80-38-27](https://korymathewson.com/collective-improvisation-a-review-and-thoughts/images/quote-if-you-have-a-good-idea-open-your-mouth-and-say-something-else-keith-johnstone-80-38-27.jpg) Three Del Close-ian (along with Elaine May and Theodore Flicker) Basic Principles of Improvisation (pg 67): 1. Do not deny what is said or done onstage. 2. Take the active as opposed to the passive choice. 3. The actor's business is to justify. ![quote-if-we-treat-each-other-as-if-we-are-geniuses-poets-and-artists-we-have-a-better-chance-del-close-79-71-32](https://korymathewson.com/collective-improvisation-a-review-and-thoughts/images/quote-if-we-treat-each-other-as-if-we-are-geniuses-poets-and-artists-we-have-a-better-chance-del-close-79-71-32.jpg) She delves into Del's discussions on where laughter comes from (pg 73): "Laughter is a response to a gestalt formation where two previously incompatible or dissimilar ideas suddenly form into a new piece of understanding. The energy release during that reaction comes out in laughter".  Which is all to say, that "the truth is funny". Vilč discusses the translation of the above principles and other thoughts and writings by improvisational innovators (Johnstone, Viola Spolin, Compass Players, Close, David Shepard, etc., pg. 87): 1. The idea of individual genius is **replaced by the collective group mind**. 2. The idea of a script is **replaced by an emergent narrative**, formed through the multitude of artistic, and audience, interactions. 3. The idea of a final product as the goal is **replaced by a focus on the risks and failures of an ongoing process**. ![quote-it-is-highly-possible-that-what-is-called-talented-behavior-is-simply-a-greater-individual-viola-spolin-53-25-06](https://korymathewson.com/collective-improvisation-a-review-and-thoughts/images/quote-it-is-highly-possible-that-what-is-called-talented-behavior-is-simply-a-greater-individual-viola-spolin-53-25-06.jpg) I enjoy one thought she presents as a derivative of a Randy Dixon-ian idea (pg 91): "Less structure can often mean less freedom", quite an odd concept, but she continues, "it is the limitations that work as catalysts for the creative processes and not the other way around". As Dixon said: "\[The\] forms are a skeleton structure that allow the improvisor to focus..." Vilč explores the ideas of the audience as the indirect-director, or the 'indirector" as I call it. They are reacting to what is happening on stage, in real-time, and the actors can modify their actions accordingly. But, the responses may be inconsistent across audience members, and thus the actors, as an ensemble, must synthesize and translate the conscious and subconscious indirections from the collective. Johnstonian improvisation focuses on the idea of "Yes, and"-ing any offer. But, there is an extension of this that connects to the theory of mind of the improvisors on stage. That is, that "in order to play ... one first has to know what the other improvisors want, one has to be able to inspire others". This note really resonates with me, as my inspiration these days has been stemming from the idea of [Finding your Fun in the Fun of Others](http://korymathewson.com/a-simple-ask-for-my-29th-birthday/). Improvisors should be able to quickly embrace multiple impulses (as offers and acceptances), and start to guide their offers to this specific situation (the actor across from them, the audience, the show, the moment) accordingly. I am not sure if this something I truly do on stage, but I like to think that being able to play with different individuals, starts with being able to model the actor that you are improvising with, and updating that model online during a scene/show/performance. Finally, there is a full chapter which explores some novel philosophies behind improvisation quite eloquently: 1. "...to enable truly innovative art forms that will be able to address the questions and issues we are interested in ... in a way that resonates with contemporary audiences, there needs to be a place and enough time for experimentation... Experimentation means that the artists need to have the freedom to take risks and ... to fail (pg 156). 2. Collective improvisation should be inclusive (pg 157). 3. "The other actor is the most important focus of my own work and it is only _through supporting the other actor_ that I will be able to shine and succeed myself" (pg 159, incl. Gregor Moder) 4. Taking risks is a precondition for anything to happen at all, and any mistakes do not exist. Out of the thousands of choices one could make the first and often accidental or associative choice is the best and it will always enable the next thing to happen. Quality is not a matter of pre-meditated action but of complete commitment to what one is doing _here and now (adapted from pg 163)._ 5. The audience is freed from a role of passive spectator by being included in the show (cf. Ranciere _The Emancipated Spectator, pg 164-5_). 6. One can only do things for oneself by doing them for and through the other (cf. Jean-Luc Nancy _Inoperative Community, pg 167_). Decision making happens because each individual is empowered to make decisions, but this is only possible if all the actors are tuned into the decisions of the others (pg 169). 7. **The more actors there are onstage, the less each individual needs to initiate and the more each individual needs to be actively listening** (pg 171). The thoughts and ideas presented in the book Collective Improvisation are inspiring and well-researched. I admire the preparation and writing of this book, as it formulates a great background for those of us that enjoy the philosophical understanding of improvisation as well as the historical exploration. As Julian Faid says, we are all looking forward to looking back. Anything in this post totally counter to what you believe? Let me know below! As you can probably imagine, I really dig _nerding out on improv theory_. --- # Will you write me something for my birthday? Kory W. Mathewson · 2016-05-13 · https://korymathewson.com/a-simple-ask-for-my-29th-birthday/ · A request for friends to write essays on 'Finding Fun in Others' for my 29th birthday, exploring joy through connection. ![IMG_2091 - New](https://korymathewson.com/a-simple-ask-for-my-29th-birthday/images/IMG_2091-New.jpg) This year, 2016, I have been very inspired by the ideas of Finding the Fun in Others. In May, I was invited to teach on this principle in workshops in London, England ([with C3Something](http://c3something.com/)) and Llubjana, Slovenia ([with IGLU](http://www.iglutheatre.com/)). What a true delight it was to get to share some of the ideas I have been floating around in my head with some of the best improvisors in the world. So, that being said, it is only fitting that I will make a request for my 29th birthday. As a reminder, it is _**June 5th**_, the 5th of June, JUNE 5, the fifth of June, the 156th day of the year in the Gregorian Calendar, Arbour Day in New Zealand and the Feast of Núr in the [Bahá'í calendar](https://en.wikipedia.org/wiki/Bah%C3%A1%27%C3%AD_calendar "Bahá'í calendar") (if Bahá'í Naw-Rúz falls on March 21). The request is as follows, for my 29th birthday I want you to share with me: **A short essay of length 290 - 2900 words on the topic of Finding Fun in Others.** You can feel free to make it about improvisational theatre, about academia, about art or science, or life in general. You can make it specific or general, postulate wildly or sincerely. Tell me a horrific tale of a fun-free vacuum, or spin a heart-warming story of a land filled with fun-buns and jelly-bellys. What is fun, what are others, what does it mean to find? Feel free to semantically define it for yourself... It is my hope that I can collect 29 of these short pieces and accumulate them in a collective creation collection. Much like I have done over the last four years. Another small piece in my larger, yearly, creative endeavour to collect, embrace, and feature the creativity around me. _As a note, feel free to add any necessary attachments, be it audio, visual, photos, supplementary writings, tree diagrams, pins on a map, that may help to clarify and expand your essays._ To deliver the present to me, you can feel free to email it to me, you can  email me for my address and then hand write it and mail it to me (as you know, [I love hand written letters](http://korymathewson.com/write-more/)). You can hand deliver it to me (if you are in Edmonton, or Toronto (I will be there May 30 - June 5 (which is my birthday as a reminder))) \[ How about that, triple-nested parentheses \]. Over the past four years I have asked for some exciting, collective creation style gifts for my birthday! 25th year: [25 Stories on 25 Years of Age](http://korymathewson.com/all-i-want-for-christmas-is-a-good-story/) 26th year: 26 Love Letters 27th year: [27 Birthday Pictures](http://korymathewson.com/27th-birthday-pictures/) 28th year: [28 Handwritten Notes](http://korymathewson.com/write-more/) --- # Building an Artificial Improvisor Kory W. Mathewson · 2016-04-08 · https://korymathewson.com/building-an-artificial-improvisor/ · The journey to build Pyggy, an AI system for live improvisational theatre, combining speech recognition, chatbots, and text-to-speech. ![Bonfire_AI](https://korymathewson.com/building-an-artificial-improvisor/images/Bonfire_AI.jpg) In June 2015, I started a journey to develop an Artificial Intelligence that I could perform improvisational theatre with. April 8, 2016, my dream becomes a reality. ## Background As you may or may not know, I am an improvisor, and a Ph.D. student in Computer Science, studying artificial intelligence. Early on in my improv career a very, very good improvisor told me: > A good improvisor looks great on stage. The best improvisors make everyone else look good. This was advice that I have held closely through my artistic journeys. Lee White ([twitter](https://twitter.com/the_eldubs), [wikipedia](https://en.wikipedia.org/wiki/CRUMBS)), a talented Canadian performer (and my improv Uncle) told me about a show where he selected from the audience the individual with the least stage / public speaking experience and then did a show with them. I was up for the challenge and pitched the show to then [Rapid Fire Theatre's Artistic Director Amy Shostak](http://www.amyshostak.ca/). She fostered the idea (as all great improvisors do) and I performed the show multiple times to great success. ![1511359_10151947650546582_7070474645998644371_n](https://korymathewson.com/building-an-artificial-improvisor/images/1511359_10151947650546582_7070474645998644371_n-1.jpg) If I could do improvisation with anyone in the audience, could I improvise with anything? (this reminds my of another mentor and early guide Jacob Banigan ([twitter](https://twitter.com/jacobbanigan)), and his work in solo improvisation). Some more cool background research that I found and followed up on: - [Shimon](http://www.gtcmt.gatech.edu/projects/shimon), an improvising robotic marimba player that is designed to create meaningful and inspiring musical interactions with humans, leading to novel musical experiences and outcomes. from [Gil Weinberg](http://www.gtcmt.gatech.edu/people/gil-weinberg) et al. - [Digital Improvisational Theatre: _Party Quirks_](https://doi.org/10.1007/978-3-642-23974-8_5) - from [Brian Magerko](http://homes.lmc.gatech.edu/~bmagerko6/) et al. - [Robot Improv: Using Drama to Create Believable Agents](https://doi.org/10.1109/ROBOT.2000.845355) - from Allison Bruce et al. ## The Journey to AI (artificial improvisation) ### Improvaganza 2015 It was at Improvaganza 2015 that the idea of building an artificial intelligence came to be. Sitting at the pub with friend-from-across-the-pond [Adam Meggido](http://www.extemporetheatre.com/about-us/adam-meggido/), who just recently won an Olivier (like a TONY for Brits) for [Showstopper on the West End of London](http://www.theshowstoppers.org/). Adam told me to embrace my scientific side, he challenged me to bring the best in artificial improvisational technology to the stage. Most importantly, he told me in no uncertain terms: > The first time will be the worst time, but the science is getting better every year -- every month even. So, just start! Adam was a great initial sounding board, he helped me wrap my ideas around the basic foundations of why this kind of project would happen. #### How and why science and art intersect? Bringing AI to the stage is fascinating, but for me it was due to three main points: 1. Science broadens our artistic understanding; 2. Art broadens our scientific curiosity; and 3. Both can be used to explore and understand humanity. Deep, I know, but it is in these points that I found my main inspiration. #### **Science broadens Art** The worlds of art and science are intrinsically linked. We, as artists, grow experimentally with every performance. Similarly, we as scientists, are imbued with creativity in hypothesizing. The combination of technology and storytelling is not the novel convention. Differently stories are told through different means. [The medium is the message (as Marshall McLuhan says)](https://en.wikipedia.org/wiki/The_medium_is_the_message).  The way that we tell the story, symbolically connects to the messages being portrayed in the contained narrative. We are connecting the minds of the audience with the performers, sharing their awareness of the performance live and in real-time with the performance as it is happening. By allowing the transparency between the story-teller and the audience, we can collaborate the share in the experience. Our art will push our technology, but our technology should push our art as well. As audiences evolve they want to be challenged, and we should not be afraid to experiment with the newest and most powerful tools to capture that excitement. #### Art Broadens Science Creatives are paving a road of technological experimentation. By fusing the worlds of natural and artificial we can start to see the links between the sentient and the synthetic. We are using a means that is appreciated, understandable and approachable in performance theatre, to share knowledge of advancing technology. Artificial Intelligence is a tool, this is a specific implementation of that tool. It is the medium with which we can tell these stories.  Emotional Artificial Intelligence (that is, one that can portray empathy or sympathy or compassion) is somewhat abstract and unappreciated in the scientific literature. By creating these links we are able to somehow add dimension to the discussion. #### Using Both to Understand Humanity What is it to be human? What are basic human values? Is morality relative? These are all extremely difficult questions to think about, let alone to start to answer. Perhaps, the combination of the human and the machine, raw and live in front of an audience which shaping the experience, can help to understand how to approach answers. Can a robot perform a Shakespearian monologue? Can a robot act? Can a synthetic voice perform all the parts in a play? Can the robot be the actor and the director and the audience? Where does the human NEED to come into a theatre piece, if at all? Theatre helps us to understand the human condition, but perhaps it could help us to understand the human as well. #### Performance Ideas Pt. 1 The 'Adam' discussions (the creationist metaphor is not lost on me) also lead to two interesting ideas for the performance: - A potential branching cue structure where I can cue the booth to play the next sound cues, which could be the voice of the AI. Rather than the deterministically selected cue, it could choose randomly from a set. This selection could also be biased from choices it has (or I have) made in the past. - The idea of the AI bring a voice that convinces of how real it is by physically embodying an audience member. Perhaps the voice helps select someone from the audience and they then are the physical embodiment of the voice. ### January 2016 It was deep in the cold Edmonton winter when the Reinforcement Learning and Artificial Intelligence lab at the University of Alberta was visited by [Dr. Michael Littman](http://cs.brown.edu/~mlittman/). A renowned AI scientist, who made time to sit down and chat with me about research ideas and ... creative projects. While at I was at first hesitant to share some of my more out-there ideas, Dr. Littman embraced the ideas wholeheartedly. He imbues the sense of "Yes, and", a notable quality for an academic. Dr. Littman was thrilled with the idea of the show, and connected me to a fiend of his named Tom Sgouros. While I didn't realize it at the time, this was one of the critical connections between the art and the science. ### Tom Sgouros and JUDY ![judy](https://korymathewson.com/building-an-artificial-improvisor/images/judy.jpg) In Spring 2005 ([yes, that is the correct date, I know it seems like a long time ago for what I am about to tell you, so see the date on the headline of this article](http://www.inf.ed.ac.uk/events/judy/)), Tom performed alongside a robot that he built named Judy. Tom explored the question: > IF YOU BUILD A ROBOT SMART ENOUGH TO DO THE DISHES, WILL IT ALSO BE SMART ENOUGH TO FIND THE TASK BORING? FIND OUT IN THIS EXCLUSIVE INTERVIEW WITH A ROBOT. Needless to say, this was utterly inspiring. Tom told me about his history of performance, with so many inspiring shows (and creative uses of VCRs, fake tapes, and cue buttons intelligently hidden around the stage) . ### Performance Ideas Pt. 2 I told Tom about the show I was imagining: - The show is somewhere in between Her, Pygmalion and tomorrow's tomorrow. It exists in a world where humans and robots can have relationships. It is, in that sense, some what futurism. It provides some commentary on the judgement of others on the choices we make. I had the idea of using the robot as an introduction to the surrogate; can the robot convince an audience member to be the vessel, and at that point, it could be that the human is the intelligent being? - This could show the tradeoff between the human and the machine. Plus then I would get to have a lovely, improvised scene, with someone from the audience, as they are 'acting', as if the AI gave them full control. - Perhaps there is a place for audience interaction, or maybe the audience has some driving power over the intelligence, how can this feedback help to drive the show. - Perhaps there is a natural language processing piece to incorporate, or a dynamic voice synthesis piece (as those are still very developmental). ## The Hard Part With my background research done.  It was time to start with the implementation ### My name is Pyggy I wanted a robot that I could improvise with, but I was less focused on the hardware and more interested in the dialog engine. With improvisation listening is key, so I needed an intelligence that could hear me and speak. I started building Pyggy. The name Pyggy comes from the name Pygmalion, and the fact that Pyggy is build in Python (see what I did there), it also stems from this haunting video: [YouTube video](https://www.youtube.com/watch?v=rLy-AwdCOmI) > Seemingly alone, Pygmalion sought to create for himself a perfect, pure, unsullied companion. He used his particular skills to this end: he created a statue bride. What I was setting out to do was build a perfect improvising companion, and there are eternal dangers of seeking idealist ideas. Pygmalion is also the name of a George Bernad Shaw play about an academic who makes a bet that he can train Cockney flower girl Eliza Doolittle to pass for a duchess. How fitting. Ps. if you haven't yet, turn on My Fair Lady while you read the rest of this post. You won't miss much, just the credits and some exposition. ### The Technology It was less the fancy robotics that I wanted to focus on, in improv you have to play so many characters, so fleshing out a body isn't the top priority. So, having made the decision to stick with the software implementation I started  programming. **[Pyggy is free and open-source](https://github.com/korymath/Pyggy) if you want to try to get it running on your own system**. Behind Pyggy there are several modules: - Pandorabots Chatbot - Chatterbot learning Chatbot - Speech recognition - Speech synthesis #### Speech Recognition and Synthesis Speech recognition is done by the [python module of the same name](https://pypi.python.org/pypi/SpeechRecognition/). Pyggy uses the newly released [Google Speech API](https://www.google.com/intl/en/chrome/demos/speech.html) (which was majorly updated during development, see Adam, technology won't stop progressing, so it was right to jump in before it was 'ready'). Synthesis is done by the onboard speech text-to-speech system for the mac, but I did download some better sounding voices (for my ears, the best ones are Tom and Samantha). ### Pandorabots Chatbot The [Pandorabots](http://pandorabots.com/) chatbot playground is a great place to get your feet wet starting to play with chatbots. They have some great AIML libraries which serve as a nice structured foundation for their bots. As well, their API from [chatbots.io](https://developer.pandorabots.com/) makes it super easy to start your chatbot up and deploy it live. But their training is quite difficult as it all relies on the [mostly deterministic AIML](http://www.alicebot.org/aiml.html). It made for some interesting conversations, but I couldn't really train it deeply on conversational knowledge, and it worked best only when I was asking the 'right' questions. Finally, it is not free and not open source. ### Chatterbot Chatbot The Chatterbot Chatbot from  Gunther Cox is [free and open-source](https://github.com/gunthercox/ChatterBot). Which is great because while it is a strong code base to start a project on, I found that I wanted to train it on huge datasets and it was quite slow. I was able to fork the repository and modify things nice and quickly so my training could happen lightning quick. Maybe it will even make it into the main codebase! I was also able to deploy it quickly on a working training interface (**which is currently not running**, but as I wanted to freeze the training), so that I could enlist the help of my fellow improvisors to help seed and train the model. ![Screen Shot 2016-04-08 at 3.23.10 PM](https://korymathewson.com/building-an-artificial-improvisor/images/Screen-Shot-2016-04-08-at-3.23.10-PM.png) The chatbot runs on a database (MongoDB) which is trained on a huge corpus ([Cornell Movie-Dialogs Corpus](http://www.mpi-sws.org/~cristian/Cornell_Movie-Dialogs_Corpus.html)) of conversations. This corpus is gigantic (300k utterances from over 10k characters), due to the training speed limitations of chatterbot I had to settle for training on a random subset of 20000 conversations, and it still took an hour to train. For the next iteration, I want to use the full corpus. It works by fuzzy matching my speech recognized input string with some strings in its dictionary and then producing the most likely response to that input. [YouTube video](https://www.youtube.com/watch?v=YeFlsh4G-1U) ### Gluing it Together I combined the chatbots, to get the best of both worlds. The chatbot-like feel of the Pandora bot, and the deep conversational knowledge and interest of the chatterbot, and I got Pyggy. ### Visualization As there will be an audience for the performance, and it will be taking place in a well-equipped theatre, I though that it would be best to find an interesting visualization for Pyggy. A great recommendation at the 11th hour led me to build a nice face with talking animation using the [Magic Music Visualizer](https://magicmusicvisuals.com/) and [Soundflower](https://github.com/mattingalls/Soundflower) to port the audio through. [YouTube video](https://www.youtube.com/watch?v=kuWngFG1L80) ## Performance Ideas Pt. 3 - You're On I have been so incredibly supported on my academic and creative artistic sides, it has been a great learning journey over the last year or so. So, April 8 is the performance. I am performing alongside Pyggy in [Rapid Fire Theatre's Bonfire Festival](http://rapidfiretheatre.com/festival/bonfire/). Thanks to the current Artistic Director Matt Schuurman for giving me the chance to do it, and pushing me when things were faltering. I plan to wear a headset microphone, and project Pyggy on the screen, and have a scene with Pyggy. It sounds weird to say, but it is going to happen. I will pray to the non-denominational demo gods that things don't crash, I will break legs with the other actors on stage. It feels like my worlds of science and improvisation are colliding right in front of my eyes. Or, your eyes, if you are going to be there... This time. But like Adam says, the first time will be the worst time, because technology is only going to progress, Pyggy is only going to get better at conversing, and I will only get better at training Pyggy. ![unnamed](https://korymathewson.com/building-an-artificial-improvisor/images/unnamed-1-570x384.jpg) ## Thank You As I reflect on Pyggy, I am overwhelmed with the passion and enthusiasm of friends, colleagues, and collaborators. It was common for me to bring it up and for friends to quickly offer help and ideas on creation, so thank you to: Paul, Sarah, Matt, Joel, Brendan, Paul, Joe, Nikki, Leif, Julian, Paul, Lana, Stu... it is moments like this that helped me through the 'this is never going to work' phase: ![Screen Shot 2016-04-08 at 3.38.26 PM](https://korymathewson.com/building-an-artificial-improvisor/images/Screen-Shot-2016-04-08-at-3.38.26-PM.png) --- # Visiting Washington State University Kory W. Mathewson · 2016-03-02 · https://korymathewson.com/visiting-wsu/ · Visiting the Intelligent Robot Learning Lab at Washington State University, giving talks on reinforcement learning and robotics. Recently, I was invited to perform [TEDxRFT](http://tedxrft.com/) at the [Seattle Festival of Improvised Theatre](http://www.seattleimprov.com/). It was a delightful opportunity to do our show for a new audience in a new city, to travel to Washington State and to visit some old friends from Portland and abroad! ![20160229-visit-slides.001](https://korymathewson.com/visiting-wsu/images/20160229-visit-slides.001.jpeg) It was also an opportunity for me to take a shot in the dark and send an email to a professor at Washington State University whose work I admire very much. [Dr. Matt Taylor](http://www.eecs.wsu.edu/~taylorm/) works in the domain of reinforcement learning in the [Intelligent Robot Learning Laboratory](http://irll.eecs.wsu.edu/), or IRL at WSU. I am familiar with his work through [my research](https://korymathewson.com/research-archive-dec-2026/) on current topics in the field of teaching robots (see a recent paper of our [thought framework](https://sites.ualberta.ca/~pilarski/docs/papers/Pilarski_2015_PNSMI.pdf)). ![20160229-visit-slides.002](https://korymathewson.com/visiting-wsu/images/20160229-visit-slides.002.jpeg) The IRL is an amazing place with research in the areas of Reinforcement Learning, Transfer Learning in heterogenous domains, Multi-agent Exploration and Optimization, Autonomous robots, and Deep Knowledge Transfer... [read more about their current projects.](http://irll.eecs.wsu.edu/current-projects/) Matt enthusiastically invited me to come visit the lab at WSU, to give a talk as part of the [Smart Environments Research Center](http://serc.wsu.edu/) _Distinguished Speaker Series_ and to guest lecture in his Introduction to Robotics class (I gave a lecture titled Don't Shoot the Robot, inspired in large part by the dog training work of [Karen Pryor](http://www.clickertraining.com/karen)). There are many things happening in and around the lab that I very much enjoy: - Interest in project teams (3D printed prosthetic hands controlled by EEG and [RoboSub](http://www.auvsifoundation.org/foundation/competitions/competition-central/robosub)); - [Hardware Hackathon](http://ieee.wsu.edu/node/72) to bring together small, diverse teams for a short hack on a new project; - Great science and engineering on remote biophysical monitoring, and assisted catheter insertions; - Lots of access to robotic development hardware (UAVs, drones, [Turtlebots](http://www.turtlebot.com/)); and - Great science on interactive reinforcement learning ([like this amazing work](http://irll.eecs.wsu.edu/wp-content/papercite-data/pdf/2016aamas-peng.pdf)). Lots of this work happens in the Frank Innovation Zone, or Fiz, which is an amazing Community Studio with Wood, Desktop and Metal Fabrication, Electrical Testing and Fabrication and lab space to experiment with the new robots and algorithms. Students are trained on the tools and machines and they are further supported by staff who can purchase raw materials and advise on projects. ![20160229-visit-slides.014](https://korymathewson.com/visiting-wsu/images/20160229-visit-slides.014.jpeg) It is fun to  connect with amazing scientists and engineers who are physically far away, but, when it comes to the research we are doing, it feels like they are right next door. I can't stress enough how important it is to get out of the place you are working in, and to travel to gain exposure to the work happening elsewhere in parallel. It also helps give you perspective on the work you are doing and how it fits into the global knowledge landscape. Special thanks to the amazing students of Matt's who made my stay so easy and enjoyable: [Gabe, Bei, James, Chris and everyone else](http://irll.eecs.wsu.edu/lab-members/) who shared with me their research ideas, goals and progress. ![IMG_1664 2](https://korymathewson.com/visiting-wsu/images/IMG_1664-2-e1456895181280.jpg) --- # Applying for and Winning Major Canadian Scholarships Kory W. Mathewson · 2015-09-16 · https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/ · Advice and strategies for applying to and winning major Canadian graduate scholarships including NSERC, Vanier, and Killam awards. I was invited to present what I knew about applying for and winning major scholarships to the incoming graduate students in Computing Science at the University of Alberta. This is the talk that I wish I heard ten years ago when I was just starting out as an undergraduate student. TL;DR: [Check out my slides directly](http://bit.ly/korymath-603) and get right into them. If you are going to use anything from the slides please be sure to properly attribute it. ## Preface I think it is critical for new students (Graduate and Undergraduate) to hear directly from students who have won major scholarships/grants/awards to get a sense of what those students did right, and how they can best make their application competitive. There are many points that students will tell you (which you will read below), that officials at the University, or the granting agency, can not talk about. While these keys are specifically written for major scholarships (requiring in-depth prepared sections academic and extra-curricular achievement) much of the information is more generally relevant. ## Major Scholarships in Science and Engineering - Natural Sciences and Engineering Research Council of Canada Canadian Graduate Scholarships and Postgraduate Scholarships (NSERC CGS / PGS) for [Master's](https://uofa.ualberta.ca/graduate-studies/awards-and-funding/scholarships/cgsm-canada-graduate-scholarships-masters) and [Doctoral research](https://uofa.ualberta.ca/graduate-studies/awards-and-funding/scholarships/doctoral-tri-council-scholarships) (also covers SSHRC and CIHR) - [Alberta Innovates Technology Futures](https://uofa.ualberta.ca/graduate-studies/awards-and-funding/scholarships/aitf-ab-innovates-technology-futures) - [Killam Trust Scholarships](https://uofa.ualberta.ca/graduate-studies/awards-and-funding/scholarships/killam) - [Vanier Canada Graduate Scholarships](https://uofa.ualberta.ca/graduate-studies/awards-and-funding/scholarships/vanier) ## About Me To date I have secured almost $100,000 in scholarships, grants, and awards. My [academic history](https://korymathewson.com/research-archive-dec-2026/) looks like this: - 2010 - B.Sc. Electrical (Biomedical) Engineering (Photoacoustic microscopy) - 2014 - M.Sc. Biomedical Engineering (Measuring blood flow and oxygenation with MRI) - Current - Ph.D. in Computing Science (Artificial intelligence in prosthetic limbs) ![from Prosthetic Devices as Goal-Seeking Agents. Pilarski, Sutton and Mathewson. 2015.](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/1utBqB66YY6rpa5XqaX4ToTHiMbR-Egx1shGksX34Xk-579x433.png) From [Prosthetic Devices as Goal-Seeking Agents. Pilarski, Sutton and Mathewson. 2015.](https://sites.ualberta.ca/~pilarski/docs/papers/Pilarski_2015_PNSMI.pdf) ## Inspirational Quote > Someone has to win, convince them it is you. -- [Kyle Mathewson](http://kylemathewson.com/) ## 10 Keys to Applying and Winning - Find all Award Details - Follow a Schedule - Follow the Rules - Use Available Resources - Don’t Waste Words - Trust your Past Work - Secure Excellent References - To Win More, Apply More - Review, Review, Review - Do Something Today ## Find Award Details Locate all the information on the relevant scholarships. Collect it in a quick easy to read manner. Your department, or faculty, will most like have a repository like the University of Alberta does here. Go thank them in person for doing the hard work of collecting all the information. Your gratitude will go a long way. ## Follow a Schedule ![vertical_hold](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/vertical_hold-770x433.jpg)Start right now. Open your calendar. Set internal deadlines, and stick to them. Signatures and references take time. Your countdown should start the moment the information is posted. Add award reviews to your daily, weekly, monthly, and semester check-ins. ### My Usual Schedule - 12 months before: Research past posting - 6 months before: Prepare required materials - 2 months before: Compile all required materials - 1 month before: Final version for peer-review - 2 weeks before: Proofread final version - 1 week before: Make final hard copies - 2 days before: Submit ## Follow The Rules ![color_inside_the_lines](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/color_inside_the_lines.jpg) Agencies try to make it easy. The best place to look for how to fill the form out is to find the application information. Note word limits, page limits, and formatting. One Canadian granting agency reported 25% of applications are incomplete (_The Peer Review_). ## Use Available Resources ![naturalresources580_1](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/naturalresources580_1-570x376.jpg) Connect with friends and colleagues about awards. Contact past winners to discuss what worked for them. Engage with potential supervisors and discuss framing a research proposal. Make friends with just enough English majors, and scratch their backs. If you don't have English major friends, contact a writing support group like the [Centre for Writers](http://c4w.ualberta.ca/). If you want more administrative support, contact the [Faculty of Graduate Studies and Research (FGSR)](https://uofa.ualberta.ca/graduate-studies). Contact your Graduate Advisor, they are an incredible resource for departmental needs. ### Research Past Winners Find past information on agency websites. Investigate the work past winners did by cross referencing with Google Scholar and Google. How did they present their work in a compelling way? What was their hook? Read past applications. ### Ask Questions to the Agency If something on the application is unclear, it is better to clear it up early (prior to application) with someone at the agency. Keep moving until you get the answer, be flexible. Added benefit is that it then creates a connection with the agency, someone who may help you in the future. Then they get a chance to help you before you even apply. ## Don't Waste Words Every application you create, creates value. Don’t waste words. Past applications and award descriptions are gold mines for personal statements, and proposals. Write timelessly. Reference time directly rather than “recently” or “last year”. Keep your entire history on a [professional internet presence](https://korymathewson.com/research-archive-dec-2026/). Forces you to stay updated. Review background literature (with reference) on interesting research questions. ### Clearly Describe Your Research Proposal You should be able to clearly describe your work in 1500 words, or 500, or 150, or 15, or 5 words. Describe your work out loud. Record it. Note the questions people ask about your work. These are the points that you can be more clear about next time. Your proposal **does not** have to be your current work, or all of what you plan to work on. It does need to be clear, concise and contained. Be honest with what you can accomplish. ### Know Your Audience Use appropriate language. Often science-minded individuals working outside of your specific field review your application. Tailor you application to the funding agency. You should be able to explain it to me, or the person next to you, or my grandmother. “Good writing will not save bad ideas, but bad writing will kill good ones” - _[Kracier, The Art Of Grantsmanship](http://research.fraserhealth.ca/media/The_Art_of_Grantsmanship40.pdf)_ ## Trust Your Past Work ![71WupPBFm2L._SL1036_](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/71WupPBFm2L._SL1036_.jpg) My past research is full of challenging research (Scoliosis brace internal biomechanic monitoring, EEG seizure detection). **Failure teaches more than success.** Everything you do can be described as significant, even if you think it's not. Talk to someone about how to expand your experiences. Your grades are sufficient. Your professional and volunteer experience is suitable and character developing. Your research is worthy of funding. ### Include all Relevant Experience ![Flickr_IntroverLeadersCommunicationMED-kenfagerdotcom4886342418_db75a10808](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/Flickr_IntroverLeadersCommunicationMED-kenfagerdotcom4886342418_db75a10808.jpg) Your past Academic, Research, Corporate, Startup experience is relevant. Highlight communication and leadership. These two skill-sets are highly regarded. ### Develop Yourself Actively attempt to fill the gaps in your character development. Seek out volunteer and/or internship opportunities. Maintain or improve your grades. Get involved in campus culture. If what you want doesn’t exist yet, make it happen. ## Secure Excellent Reference Letters Find someone who has: - Worked with you closely; - Worked with you long enough to write from real knowledge; - Relevance to the scholarship; - A positive opinion of you and your abilities. - A personal style that is warm and supportive. If you can not ask clearly and confidently ask: **Can you write me an excellent letter of reference?** then, **you are asking the wrong reference.** Give writer full application and details on your personal and academic history (strong website helps). Give writer details on the scholarship including your internal deadline, what to focus on and how to submit. Thank them up front, you will probably want another reference from them. Ask for more references, and copies, than you need to submit. You can read their reference and get a sense of how excellent the reference letter is. ## To Win More... Apply More > You miss 100% of the shots you don’t take. -- [Wanye Gretzky](https://en.wikipedia.org/wiki/The_Great_One) Start with confidence. Don’t have the confidence? Borrow some. Ask a trusted mentor if you should apply, they will champion you. The more you apply, the more you will: - Solidify a process and develop good habits; - Communicate about yourself and your research effectively; and - Win. ## Proofread Print out the full application, change styles for a new perspective. Find someone who is a better writer than you do proofread for you. Multiple proofreaders at multiple times give multiple perspectives. Read through it (out loud) with a fine toothed red pen for grammar, spelling, and formatting. If you can’t get the small details of your application right, then **how are you expected to get the small details of the research right?** The small details are easy to get right, and very negative if you get them wrong. ### Peer Review Trust fellow lab mates and colleagues to provide you honest, constructive feedback and do the same for them. Garner feedback from friends, family, and lovers that have may have no knowledge of science. Your former supervisor and new supervisor can help to champion your application. Every person should be able to read your application and clearly understand each section. Prepare your self for lots of feedback and major revisions. Make it longer to cut it down. No word, sentence, paragraph or section is sacred. Don’t take it personally. Don’t get stuck on certain ideas. Let others see the hierarchy of information you trying to convey with your application. ## Academic Personality I believe that the optimal academic personality looks a little like this: ![Screenshot 2015-09-16 10.34.04](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/Screenshot-2015-09-16-10.34.04.png) ## Do Something Today Do something everyday that to help secure funding. Continue preparing your current applications. Get hardcopy up-to-date transcripts. Reach out to your potential references. It is difficult to improve your record a week before the deadline, but if your timeline is a year away, you can develop your skills/experience and academics ## Do Something Tomorrow ![tumblr_mhh2x5iLH01qzj0mao1_500](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/tumblr_mhh2x5iLH01qzj0mao1_500.jpg) Start researching past winners, and read their applications. Compile your past work into an online presence. Start your standardized Canadian Common CV. ## When You Win Buy me a beer. Follow up with your reference writers. Add the scholarship to your awards list with all relevant information (amount, duration, etc.). Backup your full application for next time. ## If You Do Not Win This Time Remember: applying for funding is a process, every time. You will learn more from failure than success. Ask for feedback if it is not provided. Save everything you did for the next application. Examine any and all feedback from reviewers. Plan improvements on each section. Start making yourself better today! I’ll buy you a beer, send me an [email](mailto:korymath@gmail.com). ## Conclusion ![3938828883200_cCB5P8SI_l](https://korymathewson.com/applying-for-and-winning-major-canadian-scholarships/images/3938828883200_cCB5P8SI_l.jpg) Apply early and often for scholarships, grants and awards. If I missed anything, please comment below or send along an email with your thoughts. [YouTube video](https://www.youtube.com/watch?v=mOHpbDodfsk) An old picture of me as a knight, your reward if you made it this far... click the picture to see the whole video. --- # Robots are NOT People Too Kory W. Mathewson · 2015-08-24 · https://korymathewson.com/robots-are-not-people-too/ · Exploring the ethical questions of robot rights, AI responsibility, and autonomous vehicle liability. Recently, I was engaged in a lively debate with some colleagues at the [Reinforcement Learning and Artificial Intelligence Lab](http://incompleteideas.net/rlai.cs.ualberta.ca/RLAI/ualberta.html) at the University of Alberta. The topic of conversation slowly progressed to the question of **whether or not robots should be granted the same rights as humans**. Your idea of a robot may be completely different from mind. Let's keep this definition open, it could be something as simple as your home thermostat or vacuum, which may or may not have a very basic artificial intelligence (AI) inside ([Nest](https://nest.com/ca/), [Roomba](http://www.irobot.com/)). Maybe when I say robot some pop-culture bot from a popular books, movie, or TV show comes to mind. Maybe it is Terminator, Rosie, WALL-E, Chappie, or the robots in Ex Machina. What happens if an AI commits a crime? This already has happened when an AI [purchased drugs on the dark web](http://www.cnbc.com/2015/04/21/robot-with-100-bitcoin-buys-drugs-gets-arrested.html). For reference, no charges were pressed against the robot nor the artists behind the robot. What happens if a robot kills someone? Tragically, this also happened when a robot [grabbed and crushed a worker at a Volkswagon factory in Germany](http://www.theguardian.com/world/2015/jul/02/robot-kills-worker-at-volkswagen-plant-in-germany). Who is responsible? The designer, the builder, the programmer, the manufacturer, the marketer, the hardware of the robot, or the Artificial Intelligence itself? ## Empathy Are we falsely empathizing with humanoid (or animal-like) robots? We are designing robots to act, move, and think more and more like animals and humans. Interestingly, what do you feel when you see a human kick Boston Dynamic's robotic dog? ![b907c3172ecfb9414129b244800e9954df58abe2](https://korymathewson.com/robots-are-not-people-too/images/b907c3172ecfb9414129b244800e9954df58abe2.gif) Do you feel like this is a rude behaviour? Or is this a scientist testing his experiment? Kate Darling wrote a thesis on the idea of giving social robots rights, and her ideas on why we may feel this is an unacceptable behaviour are illuminating, briefly: > Given the lifelike behaviour of the robot, a child could easily equate kicking it with kicking a living thing, such as a cat or another child. As it becomes increasingly difficult for children to fully grasp the difference between live pets and lifelike robots, we may want to teach them to act equally considerately towards both. [Kate Darling, Extending Legal Rights to Social Robots](http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2044797) ## Self-Driving Car Rights and Responsibilities As a thought experiment, imagine a situation where you are travelling in a Google autonomous vehicle. You are not 'driving' the vehicle per se, you are a passenger in the car. You do not have control over the vehicle. ![google-self-driving-car](https://korymathewson.com/robots-are-not-people-too/images/google-self-driving-car-770x433.jpg) Imagine a situation where the car is speeding. Are you responsible for the speeding infraction? What if you are intoxicated? [Is it legal to be intoxicated while travelling in an autonomous vehicle?](http://gizmodo.com/should-people-be-allowed-to-drink-and-drive-self-driv-1546616659) Now imagine that you are enjoying a leisurely drive in this autonomous vehicle, driving down a country road and you come speeding up to a stalled car on the road. Just as you are about to pass this car, the operator of that vehicle comes out into the road to wave you down. Crash. Your autonomous vehicle collides with this person. Now, are you responsible? Do we extend the responsibility to the car itself? Is it Google's fault for some kind of sensor failure? What if instead, your car quickly veered out of the way of the collision, but that started a swerve and hydroplane and flips the car you are travelling in. Then, it would seem, that the car made the decision to avoid colliding with the stalled car's driver by putting you, its operator, in danger. As well, it would be putting itself in danger, but it would have saved the life of an innocent by stander.  Who is responsible for your life? What happens if one day your Google self-driving car woke up and decided it wanted to be a hockey player? It sent you a message to your iPhone that said: > Sorry about the accident, I feel like I failed you. I no longer want to drive you around, I want to be the next Wayne Gretzky. Are you being unfair to keep your self-driving car locked up in the garage? On one hand you are potentially giving it the responsibility of your life, and on the other hand you are owning it and commanding it to do exactly what you want. ## Discussion These are very important, very real questions we should be asking with autonomous vehicles sharing the road with us today. [Google is reported all self-driving car accidents](http://www.forbes.com/sites/brookecrothers/2015/06/08/google-now-reporting-driverless-car-accidents/). To explore the question of what rights we should grant robots we should also ask what responsibilities should we grant artificial intelligence? I personally believe that robots are not people and thus that we, the human creators, are responsible. We are the ones that are putting these devices in the world. In situations when they could potentially put humans in danger. I believe in the value of the human life, I do not see the 'life' of the robot as valuable as the human. I am a '[humanist](https://en.wikipedia.org/wiki/Humanism)', I believe that we 'own' these hardware/software pandoras boxes, and it is up to us as those responsible to ensure the safety of other humans. This train of thoughts leads to ideas of wild robots, that have escaped from their owners. It also could spring LIBERATORS, or human/machine teams which emerge to set enslaved robots free.  When artificial intelligence reaches a level of self-awareness, do you think it would demand the same rights as humans? Would it immediately see itself as superior and enslave (or destroy) us all? ![ff_robot_large-660x494](https://korymathewson.com/robots-are-not-people-too/images/ff_robot_large-660x494-660x433.jpg) For now, we can enjoy the fictionalized worlds of BioWare's Mass Effect, The Matrix, and Jimmy Fallon's sexy robot imagination to explore the moral obligations and ethical implications of super-intelligence robots. ## Open Questions After discussing this post with friend Paul, we came to some big open questions. What does a (sentient?) machine do when, having being programmed with moral parameters witnesses a human repeatedly violating those parameters? When humanity produces a sentient intelligence that doesn't have a life span, will humanity have created the next level of enlightened being? ## Further Reading and Sources 1. [http://techcrunch.com/2015/08/22/artificial-intelligence-legal-responsibility-and-civil-rights/#.4lyht2:dk8I](http://techcrunch.com/2015/08/22/artificial-intelligence-legal-responsibility-and-civil-rights/#.4lyht2:dk8I) 2. [https://en.wikipedia.org/wiki/Ethics\_of\_artificial\_intelligence](https://en.wikipedia.org/wiki/Ethics_of_artificial_intelligence) 3. [http://papers.ssrn.com/sol3/papers.cfm?abstract\_id=2044797](http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2044797) 4. [http://io9.com/5941701/should-we-extend-legal-rights-to-social-robots](http://io9.com/5941701/should-we-extend-legal-rights-to-social-robots) 5. [https://mycroft.ai/should-artificial-intelligences-have-rights/](https://mycroft.ai/should-artificial-intelligences-have-rights/) 6. [http://theconversation.com/robot-law-what-happens-if-intelligent-machines-commit-crimes-44058](http://theconversation.com/robot-law-what-happens-if-intelligent-machines-commit-crimes-44058) 7. [http://www.dailymail.co.uk/sciencetech/article-3168081/Should-robots-human-rights-Act-regulate-killer-machines-multiply-demand-right-vote-warns-legal-expert.html](http://www.dailymail.co.uk/sciencetech/article-3168081/Should-robots-human-rights-Act-regulate-killer-machines-multiply-demand-right-vote-warns-legal-expert.html) 8. [http://theconversation.com/self-driving-cars-will-not-help-the-drinking-driver-31747](http://theconversation.com/self-driving-cars-will-not-help-the-drinking-driver-31747) --- # Dirt City: Grime and Punishment Kory W. Mathewson · 2015-08-12 · https://korymathewson.com/dirt-city/ · Behind the scenes of 'Dirt City: Grime and Punishment,' a film noir comedy co-written for the 2015 Edmonton Fringe Festival. The 2015 Edmonton Fringe Festival is almost upon us and this year will be a very special one for me. I co-wrote a show, alongside Colin Matty, Sam Jeffery and Lee Boyes. It is a wild ride to put a show together from scratch, and while it may be old habit for some talented fringe veterans, I had a lot to learn. ## The Concept Around June 2014, Colin and I were riffing on the idea of writing another show together after the [wild](http://www.vueweekly.com/the_next_best_things1/) ([mild](http://www.torontosun.com/2011/08/18/fringe-review-my-name-is-jonas-25)) success of My Name is Jonas (a concept-comedy-sketch show based on The Blue Album by Weezer, it was attended by Zach Galifianakis "[which is probably the best endorsement any fringe show could ask for](http://www.thebounce.ca/2011/08/14/celeb-sighting-at-fringe-fest/)". The idea gets shelved after we lose the Fringe lottery and the writing begins. The idea comes up over a small riff on _ordering red herring at a diner_, it flourishes from there... ![2015-08-04 15.53.08](https://korymathewson.com/dirt-city/images/2015-08-04-15.53.08-e1439397524132-740x433.png) Raymond Chandler's The Big Sleep (1946 Film) with Bogart and Bacall. [This scene](https://www.youtube.com/watch?v=Sqoxk3SrZRw) is the origin of the 'take-off-the-glasses-let-down-the-hair" to make you more sexy move. If that is a move. ## Writing During the writing process we ask two additional members of [Rapid Fire Theatre](http://rapidfiretheatre.com) to join the team, Sam and Lee. Both are extremely talented performers who bring their own special talents to the show. Writing begins and continues over the summer of 2015 with a Google Doc that expands and contracts with good ideas and bad. ![IMG_0120](https://korymathewson.com/dirt-city/images/IMG_0120-770x433.jpg) Rehearsal in the best room in the Fine Arts Centre. One idea that is presented by Joe Vanderhelm is the idea of writing a dramedy, but with each edit creating a second script with each of the removed chunks in chronological order, then presenting both shows in parallel (this is an obvious idea, but I wonder if it has ever been done?). Paul Blinov and Lana Cuthbertson are great help and supports on the writing of the script, making sure that things make sense, flow, and stay interesting. Jokes are punched up, love is magnified and the mystery is expanded. ![IMG_0154](https://korymathewson.com/dirt-city/images/IMG_0154-770x433.jpg) Character portraits of (L-R) The Mayor, Pinot Noir and Ella Twist. Lee, Kory and Sam. ## Producing and Directing Putting a show together is hard work. The amazing team of talented artists and volunteers are Rapid Fire Theatre help to design promotional material (thank you Matt Schuurman) and handle administrative tasks (thank you Karen Brown Fournell). We decide to self-direct the show as a co-creation team and elect not to bring in an outside director. Several individuals volunteer their time to come in and watch segments or runs of the show and provide an outside eye (thank you Matt, Paul, Andy and Lana). ## Design Late in the game we ask Syd Gross to join the team as the technical designer and stage manager. Her eye for lighting and ear for sound help to elevate the script to a magical space of suspended reality where dangerous and sexy things can happen. The lighting, sound and costumes in a film noir are integral to the motif and story-telling and the dirty underbelly world that we zoom in on is aided by the ambience. ![IMG_0116](https://korymathewson.com/dirt-city/images/IMG_0116-770x433.jpg) Costume shopping with Ball'n Colin. ## Press We have been lucky to be featured on the [What It Is Podcast as part of the Forceful Fringe Promo 2015 show](http://whatitispodcast.com/2015/08/07/ep-76-forceful-fringe-promo-2015-pt-1/), discussing gender politics and how to pitch a show to BROS. ![IMG_0135](https://korymathewson.com/dirt-city/images/IMG_0135-770x433.jpg) Podcasting with Taylor Chadwick and Colten Taylor Thomas. As well, we had a nice little write up on [After the House Lights by Jenna Marynowski](http://afterthehouselights.com/2015/08/12/dirt-city-grime-and-punishment-at-the-edmonton-fringe-festival/), where we  discuss the show and coming from a world of improvisation into a scripted show. ## Conclusions > This city never sleeps, except when it does. It takes a village to raise a fringe show, in this case it takes E-town, or E-ville, or EVIL... Come see Dirt City: Grime and Punishment at the 2015 Edmonton Fringe Festival starting Friday August 14th at Noon at Fringe Venue #9: Telus Phone Museum at 10437 - 83 ave. For more information check out [http://grimeandpunishment.ca](http://grimeandpunishment.ca) ![DirtCityPoster_FINAL](https://korymathewson.com/dirt-city/images/DirtCityPoster_FINAL1.jpg) Poster design by Matt Schuurman --- # Diving into HarshImprovNotes.com Kory W. Mathewson · 2015-07-08 · https://korymathewson.com/diving-into-harsh-improv-notes/ · Exploring HarshImprovNotes.com, a project collecting and analyzing harsh feedback given to improvisers during training. As of July 8th 2015 (only 5 days since it went online), [HarshImprovNotes.com](http://harshimprovnotes.com/) has over 400 submissions. That is 400 harsh improvisational theatre notes given. Granted some of those are mine, and granted some people submit more than 1, or 2, or 5, but the site has brought together a community of improvisers from around the globe to share something super-personal. To share a note that they have received somewhere along their training that they deemed _harsh._ ![color-1](https://korymathewson.com/diving-into-harsh-improv-notes/images/color-1-770x433.jpg) ## What makes a note _harsh? Perhaps it is a note given the wrong way, perhaps it was given by the wrong person, or at the wrong time. The harshness of a note can vary from person to person and moment to moment, so who am I to decide if a note is truly harsh or not. Often times it would seem that the harshest notes, least taken to heart, are those that are completely out of context. Many of the notes on the site are racist, sexist or otherwise offensive. ![YQA4hJrCpRrUOb5HCWFDglgo4xsXuFWE5I3XKB3JS8Q](https://korymathewson.com/diving-into-harsh-improv-notes/images/YQA4hJrCpRrUOb5HCWFDglgo4xsXuFWE5I3XKB3JS8Q.png) Think for a moment that there are people in your company that have been given a note strictly based on things that they can not change about themselves. I find that so hurtful. Maybe you are someone who gave a note like that somewhere along the way, if that is true, in the words of Paul Blinov, "you need to check yourself". ## Why ask if it was taken to heart? Asking if the note was taken to heart sort of allows for the submitter to reflect on the note, and see how much it truly impacted them. There is a precious dichotomy between the serious, well-natured note and the submitted who doesn't take it to heart. Similarly, there is something very curious about the harsh, offensive notes that are completely taken to heart. ![odi_G-przZemazhL6n6Xp2NuRK228neho3Z6-ZLe_Y8](https://korymathewson.com/diving-into-harsh-improv-notes/images/odi_G-przZemazhL6n6Xp2NuRK228neho3Z6-ZLe_Y8.png) It is interesting to look at the statistics of submissions on a large scale to see on average how much a harsh note was taken to heart. The scale is 1 - 10 (from 'not at all' - 'I think about it everyday').  The trend shows a wide variation around a mean of about 7.5 save for a huge spike at 1. What is this to mean? I call it the blue whale distribution. ![Untitled](https://korymathewson.com/diving-into-harsh-improv-notes/images/Untitled-e1436371368952.png) ## Why does this exist? HarshImprovNotes.com stemmed from my compulsive note taking, collecting, collating and aggregating. I have been doing improvisational theatre for 10 years, starting with Rapid Fire Theatre in Edmonton, Alberta, Canada. Soon after my first soirée in improv, I started travelling the world performing, learning, and teaching improvisation. I love the opportunities to co-create, to share creativity, and improvisation provides that in such a raw manner that I have wholly embraced it as a life passion. I have had many great, influential improv teachers, mentors, and peers in my life: Jacob Banigan, Patti Stiles, Chris Craddock, Kevin Gillese, Amy Shostak, Keith Johnstone, Dana Anderson, Donovan Workun, Alistair Cook, Becky Johnson, Graham Wagner, Kurt Smeaton, Joe Bill, Billy Tierny, Steve Sim, Lee White, and Craig Cackowski, Ken Campbell, Adam Meggido, Torsten Voller, Susan Messing, Matt Baram, Naomi Snieckus, Ron Pedersen, and the list goes on. That being said, over my progression in this wonderful art form I have encountered many harsh instructors (not going to name names). These companions and instructors have given me notes which I have both discounted, and taken to heart. They have reached deep into the pit of my soul and vacuumed up all the confidence marbles. Each time this happened, I would write that note down. I would collect it. Save it. Write it down and think about it. ![2015-07-07 09.15.38](https://korymathewson.com/diving-into-harsh-improv-notes/images/2015-07-07-09.15.38-770x433.jpg) > If the show sucks, it is because someone did something but usually because someone did not. This collection soon turned into notebooks and notebooks of introspective improvisational ramblings, positive and negative. I needed a way to synthesize the good and the bad. I needed a cathartic release of the strain and pressure of saving these notes. In the same way you can't keep love letters (or hate letters for that matter) forever, I wanted a means by which I could save the notes, de-personalize them after all these years, and open the discussion to the wider improvisation community. HarshImprovNotes.com does just that. It allows us to share what we have been harbouring, to hopefully move past that, into a realm of growth and development, together. ## Would this work for other domains? I think part of the reason that the notes read so well are because I, and many others, appreciate the improvisers sense of humour. I presume that either or both the giver and receiver of the note have at least somewhat attuned comedic-sense, so the notes are often funny. The idea of a similar collection of _Harsh Teamwork Notes_ or _Harsh Breakup Lines_ is somewhat more tragic in my mind. In improv, we are our own worst (and best) critics, but there is something to be said about the external director's eyes which see the performer as a part of the show as a whole. ## Final Thoughts I hope that this project makes me a better teacher and improv instructor. I hope that it makes us all more effective communicators. Improvisation is a young, transient art form. It is still developing modern masters. The vocabulary surrounding it is still forming (improv or impro? improvisor or improviser?), and I think that this allows for opportunities such as this: _to look back on how we provide and receive feedback, and refine it such that it is more meaningful, more constructive, more supportive and generally less harsh_. ## Appendix: Demographics of Users on the Site Using Google Analytics gives you all sorts of amazing insights in to visitors on the site. Here are several charts that show the demographics of the visitors to [HarshImprovNotes.com](http://harshimprovnotes.com). ![Screenshot 2015-07-08 10.03.41](https://korymathewson.com/diving-into-harsh-improv-notes/images/Screenshot-2015-07-08-10.03.41-770x147.png) --- # 28 Handwritten Letters Kory W. Mathewson · 2015-06-05 · https://korymathewson.com/28-handwritten-letters/ · A collection of handwritten letters from friends and family for my 28th birthday, continuing a tradition of meaningful birthday gifts. Handwritten letters for my 28th birthday. ![](https://korymathewson.com/28-handwritten-letters/images/2015-06-03-10.13.48.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/1486619_10153063573914234_1971560370478063273_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/1549440_10155698095370427_8494025322340393715_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/1907531_10152989592635028_4110621604320866847_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/10351582_10207255477849892_6177874653984893528_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/10407853_10155703726945457_8928696511280968638_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/10551021_10152836574912601_6457355039884902906_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11377284_10100629294781215_8199621187828154285_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11391389_10152859276335779_3822278976225249181_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11391492_10152921613458388_4329047160937933310_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11391744_10155645487745453_796946632353225243_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11401307_10100629274292275_7579582270784937317_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11401436_10155689361725055_1986236858903415588_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11407086_10152762633302133_6055815237868424304_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11407286_377665445764565_1417620091664490382_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11415298_10203965284645801_7630559802152799460_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11424461_10153270750256438_2656459686323359162_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11425834_516322110039_368019904302032124_n.jpeg) ![](https://korymathewson.com/28-handwritten-letters/images/11425834_516322110039_368019904302032124_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11426716_10155612406955627_1800494367664889389_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11427721_10153335781048959_5553584748680074739_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11427753_10153319289681119_2023250467586949645_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/11429088_10155623952515392_3978005456356013893_n.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/CGwI5yRUIAA9Id7.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/IMG_0239.jpg) ![](https://korymathewson.com/28-handwritten-letters/images/Screenshot-2015-06-11-12.03.02.png) --- # write more Kory W. Mathewson · 2015-06-04 · https://korymathewson.com/write-more/ · For my 28th birthday, I asked friends to send handwritten notes—celebrating the lost art of handwriting in a digital age. Recently, I was discussing with some friends the idea that the _art of handwriting_ has all but vanished. Seldom, in my day-to-day, do I **EVER** need to write something down. Often, I will have beside me my phone and laptop. Both of which can very efficiently capture thoughts and notes with a wide variety of [fancy keyboards](http://dryft.com/#about), cameras, and even through the microphone with fancy Natural Language Processing (thanks Ray Kurzweil - [you broken genius](http://www.quora.com/Is-Ray-Kurzweil-crazy)). > Side note: If you have not seen the Transcendent Man ([trailer](https://www.youtube.com/watch?v=B6hK0dmhHe4)), do yourself a favour and explore the weird and wild theories of Kurzweil himself on his quest to recreate his father from collective memory and artificial intelligence. It seems I am not the only one to have noticed this either; recent articles in the [New York Times](http://www.wsj.com/articles/SB10001424127887323530404578203970519252566) and [The Guardian](http://www.theguardian.com/lifeandstyle/2013/aug/21/lost-art-handwriting) share similar sentiments. It seems that the prevalence of digital communication has all but reduced the many years of teaching, training, and recitation to the scrawl-y shopping list, or brief meeting notes. ![FullSizeRender](https://korymathewson.com/write-more/images/FullSizeRender.jpg)   Thus, I thought that it would be fitting for my 28th year alive I would request you **write a note and send it to me**. I am not picky about block letters, longhand, script, joined-up writing, joint writing, running writing, or handwriting. I am not picky about the language you use, or if you sign it or want to keep it anonymous. Don't worry about the fancy pens or paper, and don't concern yourself with grammar and punctuation. At the very least make it legible (at least to you). You can send it to me physically (drop me a line at [korymath@gmail.com](mailto:korymath@gmail.com) for a mailing address), OR you can take a picture of it, and comment on this post or email it to me, or post it directly on [my facebook wall](http://facebook.com/korymath), or [tweet it to me](http://twitter.com/korymath). You could take a video of you writing it, and post that up [on Youtube](http://youtube.com/user/korymath). In researching this project I have found there is so much that is gleaned just from someone's handwriting. Vimala Rogers ([graphotherapist](http://en.wikipedia.org/wiki/Graphology#Graphotherapy)), a  writes that "changing your handwriting can change your life" in [Amazon.ca's  #1 Best-Seller in Handwriting Analysis](http://www.amazon.ca/Your-Handwriting-Can-Change-Life/dp/0684865416). There are handwriting analysts across criminology, history, law and sociology, and even people that work long and hard to copy someone else's handwriting and signatures called [forgers](http://en.wikipedia.org/wiki/Signature_forgery). Of course, you may remember some successful past requests I have made, such as [25 Stories on 25](http://korymathewson.com/all-i-want-for-christmas-is-a-good-story/), and [27 Birthday Pictures](http://korymathewson.com/27th-birthday-pictures/).  I believe that there is a beauty in the collective creativity. Like that time Caitlin Curtis and I asked for [Love Letters from Amazon Mechanical Turk workers](http://thecouriers.org/), and then built an improv show around it. Write soon... --- # Pursuit of a Vision Kory W. Mathewson · 2015-05-15 · https://korymathewson.com/pursuit-of-a-vision/ · Reflections on Norbert Wiener's 'Cybernetics' and its foundational ideas on feedback, machine learning, and human-machine interfaces. Written by [Norbert Wiener](http://en.wikipedia.org/wiki/Norbert_Wiener), an American polymath, _Cybernetics: or Control and Communication in the Animal and the Machine_ was first published in 1948. It explores topics near and dear to my heart, including: mathematics, bionics, electrical engineering, computer science and more generally, the interface between the man and the machine. Weiner is a prodigious thinker. A Ph.D by 17, he studied directly under many influential thinkers of the time, including: [Bertrand Russell](http://en.wikipedia.org/wiki/Bertrand_Russell) (who loved [Leibniz](http://en.wikipedia.org/wiki/Gottfried_Wilhelm_Leibniz) almost as much as Weiner himself, and was a strong supporter of [Homosexual Law Reform](http://en.wikipedia.org/wiki/Homosexual_Law_Reform_Society)), [David Hilbert](http://en.wikipedia.org/wiki/David_Hilbert) (who believes there is more imagination in math than poetry), and [G.H. Hardy](http://en.wikipedia.org/wiki/G._H._Hardy) (alongside [Srinivasa Ramanujan](http://en.wikipedia.org/wiki/Srinivasa_Ramanujan), beautiful side note, Hardy once said that his greatest contribution was the discovery of Ramanujan and that it was "the one romantic incident in \[his\] life"). A renowned thinker, he conjures Leibniz, Gauss, Faraday, and Darwin for guidance in the unexplored vastness between two or three established areas of specialization. > It is these boundary regions of science which offer the richest opportunities to the qualified investigator (pg. 2). He argues that proper exploration of these spaces is best executed by a team of scientists, in the "habit of working together", specialists in their own field and knowledgable of their neighbours, that can recognize the significance of suggestion before it has taken on full expression. The main theory of Cybernetics, simply stated, is that feedback is fundamental to improvement in system control. From the first pages he introduces the ideas of machine learning and memory to improve performance: > In engineering, devices ... can be used not only to play games and perform other purposeful acts but to do so with a continual improvement of performance on the basis of past experience (pg. xii). > At every stage of technique since Daedalus or Hero of Alexandria, the ability of the artificer to produce a working simulacrum of a living organism has always intrigued people. This desire to produce and to study automata has always been expressed in terms of the living technique of the age (pg. 39). Wiener explores his ideas with a sort of casual-sage-giving-advice and guidance. He provides details on topics across many different fields, which surely interested him as an academic. Near to the end of the book he describes in plain-english how to create a chess computer better than the majority of the population, and then immediately describes how to make it learn from losses and become smarter. I would say that he was ahead of his time, but that is somewhat of an overused phrase with less substance than desired. Norbert Wiener was and remains a genius. A polymath who dedicated his life to the advancement of many big ideas. His thoughts on cybernetics shine through more than ever in my investigations of the human-machine interfaces of current. Nortbert, thank you. --- # Westgrid - High Performance Computing at the University of Alberta Kory W. Mathewson · 2015-05-04 · https://korymathewson.com/westgrid-high-performance-computing-at-the-university-of-alberta/ · A tour of the Westgrid high-performance computing center at the University of Alberta, home to Jasper and Hungabee supercomputers. As part of Research Data Management week (May 4-8 2015), several sessions on High Performance Computing are bundled into the [Compute Canada and WestGrid User Training Seminar](https://ist.ualberta.ca/at/hpc/workshop).  I was lucky enough to attend a session on High Performance Computing that concluded with a tour of the [Westgrid](https://www.westgrid.ca/) High Performance Computing center on campus at the University of Alberta. Hidden away in the depths of General Services Building (I knew this building housed some critical facilities) is the server center. It holds two of the most powerful systems in Canada, and perhaps the world: [Jasper](https://www.westgrid.ca/support/systems/Jasper/system_status) (4160 cores, 8 TB RAM, 356 TB file system) and [Hungabee](https://www.westgrid.ca/support/systems/Hungabee/system_status) (2048 cores, 16 TB RAM, 53 TB file system). Westgrid is connected by high-performance networks, so users can connect to the system which best fits their needs regardless of physical location. Rumors were confirmed, namely that there is a small section of the North Saskatchewan River that does not freeze due to the water exchange (ice cold water in to cool the systems and hot  water out) to keep these behemoths running smooth. ![Find the photo here: http://www.urbanrail.net/am/edmo/Edmonton-Dudley_B_%20Menzies_LRT_Bridge_winter.JPG](https://korymathewson.com/westgrid-high-performance-computing-at-the-university-of-alberta/images/Edmonton-Dudley_B_-Menzies_LRT_Bridge_winter-570x384.jpg) Photo by XuanZhang The workshop also did a great job at breaking down jargon terms like the 'cloud', the 'grid', and 'big data' into meaningful, technical, understandable concepts. --- # Computer Science Projects Kory W. Mathewson · 2015-04-27 · https://korymathewson.com/computer-science-projects/ · An overview of computer science projects from my graduate program at the University of Alberta, including machine learning and computer vision work. In September 2014 I started a graduate program in Computer Science at the University of Alberta, in beautiful Edmonton, Alberta, Canada. Since I started the program, I have been able to work on some awesome projects. While I do host some code publicly, lots of the projects do not have public repositories. ## Feature Selection and Classification in EEG Motor Imagery CMPUT 551: Machine Learning with Dr. Russ Greiner and Dr. Patrick Pilarski [YouTube video](https://www.youtube.com/watch?v=Qi0EfbE2qZg) ## Comparing Contemporary Trackers on Benchmark Datasets CMPUT 615: Multiple View Geometry with Dr. Martin Jagersand ([YouTube Playlist](https://www.youtube.com/playlist?list=PLQA5EuSDsU-26wWQ8FlY13n7mMjDyWcmH)) ## Perceptive Prosthetics Dr. Patrick Pilarski ## Big Data, Large Scale Psychology Studies using Amazon Turk Dr. Kyle Mathewson ## Projects in development: - [CleanMyStreet.ca](http://CleanMyStreet.ca) - Find out when your neighborhood will be cleaned. - ThisIsLikeThat - Find your favorite restaurant in a new city. - Optimal Pub Crawling in Edmonton - Eigenfaces in Photobooth Photos - Heart Rate from Video --- # Thesis, First First Author and Convocation Kory W. Mathewson · 2014-11-20 · https://korymathewson.com/thesis-first-author-convocation/ · Celebrating three milestones: thesis publication, first first-author paper in MRM, and MSc convocation at the University of Alberta. First, my thesis publication embargo has finally been lifted and my Master's thesis, _[Simultaneous Measurement of Blood Flow and Oxygen Consumption Immediately Post-Exercise with Magnetic Resonance Imaging](https://era.library.ualberta.ca/public/view/item/uuid:53400926-c8d3-4195-90e8-a0ad8b59cee4/),_ is now posted and you can access it on the Education & Research Archive, or [download it directly](https://era.library.ualberta.ca/public/view/item/uuid:53400926-c8d3-4195-90e8-a0ad8b59cee4/DS1/Mathewson_Kory_W_201409_MSc.pdf). I have just recently been informed that the second chapter of the thesis, [Feasibility and reproducibility of measurement of whole muscle blood flow, oxygen extraction, and VO2 with dynamic exercise using MRI](http://onlinelibrary.wiley.com/doi/10.1002/mrm.25564/abstract), will be published in Magnetic Resonance in Medicine in the coming weeks. That marks my very first first author publication. November 19 2014 marked convocation day for my degree, Master of Science in Biomedical Engineering, to be conferred at the Jubilee Auditorium. ![10155481_10152389663420404_3401899444302314114_n](https://korymathewson.com/thesis-first-author-convocation/images/10155481_10152389663420404_3401899444302314114_n-570x384.jpg) I was asked to join the Platform Party as a past Governor on the Board of Governors of the University of Alberta. ![63431_10152389644960404_5829216227945298672_n](https://korymathewson.com/thesis-first-author-convocation/images/63431_10152389644960404_5829216227945298672_n-570x384.jpg)As part of each convocation celebration the University likes to celebrate the mentorship of several graduands. Here is a great write up on the motivation behind my research in Biomedical Engineering: [Ingenuity helps engineering grad succeed in strong field](http://uofa.ualberta.ca/news-and-events/newsarticles/2014/november/ingenuity-helps-engineering-grad-succeed-in-strong-field). ![141118-convo-kory-mathewson-banner-127219-02-027-3](https://korymathewson.com/thesis-first-author-convocation/images/141118-convo-kory-mathewson-banner-127219-02-027-3-570x384.jpg) Here's a behind the scenes photo from the article's photoshoot in the Peter S. Allen MR Research Centre along side my two wonderful mentors, Mark Haykowsky and Rich Thompson. --- # Car Sharing in Edmonton Kory W. Mathewson · 2014-11-18 · https://korymathewson.com/car-sharing-in-edmonton/ · Comparing car sharing options in Edmonton, including Pogo and Hertz 24/7, with costs, features, and future predictions. I am a staunch supporter of car rentals and car sharing over ownership for a wide variety of reasons. I have been a member of Hertz 24/7 (earlier On Demand) since May 7 2012 and just today (November 18 2014) I was accepted as a member with Pogo. Edmonton has been slow to adopt car sharing programs, but with the [recent launch of Pogo](http://www.cbc.ca/news/canada/edmonton/pogo-car-share-program-starts-up-in-edmonton-1.2809812) it is probably best to add some context to the conversation. For both Pogo and Hertz, gas and insurance is included and both have mobile apps. For reference, [Edmonton is the biggest city north of Mexico where residents still lack a viable car-share](http://albertaventure.com/2014/05/dude-wheres-car/). [Pogo CarShare](https://pogocarshare.com/) - Number of cars: **17 (up to 50 over the next few months, the real-time map does not show cars that are not available)** - Cost: **$15.7395 / hour** - Sign-up cost: **$35** - Zone limitation: **Yes** - Leave cars anywhere: **Yes (in zone)** - Driver abstract required: **No** - Sign-up time: **16 days** - Pay for parking: No **(in zone)** ![Screen Shot 2014-11-18 at 1.11.42 PM](https://korymathewson.com/car-sharing-in-edmonton/images/Screen-Shot-2014-11-18-at-1.11.42-PM.png) [Hertz 24/7](https://www.hertz247.com/alberta/en-CA/reservation) - Number of cars: **3** - Cost: **$6.30 / hour** - Sign-up cost: **$0** - Region limitation: **No** - Leave cars anywhere: **No** - Driver abstract required: **No** - Sign-up time: **16 days** - Pay for parking: **Yes** ![Screen Shot 2014-11-18 at 1.09.52 PM](https://korymathewson.com/car-sharing-in-edmonton/images/Screen-Shot-2014-11-18-at-1.09.52-PM.png) Why don't these kinds of services work in Edmonton? Thinking into the future, will these car share programs eventually be converted to electric driverless cars? **Update:** As of 12/6/14, the Hertz 24/7® vehicles located on the University of Alberta campus will no longer be available. From Hertz: "It has been a pleasure to have partnered with the University of Alberta in this sustainable, cost-effective and innovative transportation solution." --- # Neonatal Resuscitation Simulation Walkthough Kory W. Mathewson · 2014-10-06 · https://korymathewson.com/neonatal-resuscitation-simulation-walkthough/ · Exploring neonatal resuscitation training simulators as part of a serious game development project at the University of Alberta. I am currently a Teaching Assistant for [CMPUT250: Computers and Games](http://cmput250.org/), and one of the groups is working with the [Community Service Learning](http://www.csl.ualberta.ca/) office at the University of Alberta as well as the Northern Alberta Neonatal Program at the Royal Alexandra Hospital Neonatal Intensive Care Unit. In CMPUT250, each team applies class concepts to create a short narrative-based game using the [Neverwinter Nights™](http://en.wikipedia.org/wiki/Neverwinter_Nights) game engine from [BioWare](http://www.bioware.com/en/), for one group the proposal is to design a serious game that could be used as a supplementary tool for Neonatal resuscitation training/ re-training. A major component in the design and build of this game is to research how neonatal resuscitation training occurs now in the hospital. I was lucky enough to be invited along to see the simulator. Looking forward to updating this as the team progresses. In the mean time, this was an invaluable experience which I very much appreciated being a part of. --- # Thesis Defense Live Blog Kory W. Mathewson · 2014-09-22 · https://korymathewson.com/thesis-defense-live-blog/ · A minute-by-minute live blog of my MSc thesis defense in Biomedical Engineering at the University of Alberta. 6:38 am - Wake up 7 minutes before the alarm clock. First success of the day. Disabled alarms for 7:00 am and 7:15 am. Will not be needing them. 7:02 am - Bike to the University of Alberta. Be sure to note the beautiful green and gold foliage. Arrive at the conference room. 7:30 am - Set up the projector and the Mac Book Air in the conference room. Test the slides. Rehearse the timing. Items needed for the defense include: MacBook Air, 1 black pen, 2 sheets of blank paper, 750 mL water. ![IMG_20140922_105000](https://korymathewson.com/thesis-defense-live-blog/images/IMG_20140922_105000-570x384.jpg) 8:00 am - Walk to the Tim Hortons. Purchase: 20 assorted Tim Bits, 4 ginger snap cookies, 1 bacon snack wrap and a single espresso. Consume bacon grilled breakfast wrap and espresso. ![IMG_20140922_073808](https://korymathewson.com/thesis-defense-live-blog/images/IMG_20140922_073808-570x384.jpg) 8:30 am - Start the coffee maker in the  conference room.  Ensure that the room smells like coffee and fresh gingerbread cookies. 9:00 am - Call to order by the thesis committee chair 9:05 am - Excuse myself from the room to allow preliminary discussion. 9:10 am - Commence 20 minute thesis defense presentation. 9:16 am - Consume 250mL of room temperature water 9:30 am - Conclude the 20 minute presentation in 20:38s ... Chair makes joke that he turned off his ears for the last 38 s. Quick retort that in that time all I did was thank him. 9:31 am - Questions commence. 4 committee members, 15 minutes of questioning each, from most external to the research to most internal. Questions range from general to specific and easy to hard. Some writing on a CHALK BOARD (noted for posterity's sake). ![IMG_20140922_133911](https://korymathewson.com/thesis-defense-live-blog/images/IMG_20140922_133911-570x384.jpg) 10:30 am - Questions conclude almost exactly on time. Motion to recess.10:34 am - Some brief discussion with lab mate during the recess. Consume 200 mL water. 10:43 am - Motion to reconvene. 2nd round of questions, following the same order. 10:46 am - Break to deliberate and discuss. Excused myself from the room. 10:48 am - Inviting to rejoin the meeting. Pass subject to the revisions outlined in the committee's notes. Feeling of satisfaction, and humble pride emanating from my body. Awkward handshakes ensure. 10:49 am - Motion to adjourn. 10:53 am - Fire alarm goes off in the building. Everyone evacuates. This is a great opportunity to inform everyone of the results of the defense. ![IMG_20140922_105649](https://korymathewson.com/thesis-defense-live-blog/images/IMG_20140922_105649-570x384.jpg) 11:05 am - Review committee's notes on revisions, and start to work through the edits. 12 noon - Enjoy lunch with the committee. Talk about success. Thank you to my committee for asking the hard questions and not letting me off easy. Thank you to my friends and family who volunteered their time and effort in my pursuit of scientific knowledge. I have performed in front of thousands of people with no idea what I was going to say, and yet, I was more nervous performing to a group of four extremely supportive individuals with a well rehearsed talk I had been preparing for three years. --- # The Game with The Brothers Hines Kory W. Mathewson · 2014-09-09 · https://korymathewson.com/ucb-brothers-hines/ · Notes from a workshop with The Brothers Hines on finding and playing 'The Game' in UCB-style improv comedy. On my recent trip to Portland, Oregon, I had the incredible honour of performing, and learning with Kevin and Will Hines. Commonly called [The Brothers Hines](http://east.ucbtheatre.com/shows/view/1790) when performing together, these two brothers are seriously on the same wavelength. They have mastered the slow-play game finding improv that I associate so distinctly with the Upright Citizens Bridge. ![The Hines Bros](https://korymathewson.com/ucb-brothers-hines/images/hines-bros.-3-e1410297803242-370x240.jpg) After working with the two brothers over the course of a weekend, I amassed a vast collection of notes and scribbles. This post is the culmination and distillation of that information into something that perhaps can share a little bit of an outsiders perspective on The Game. ## The Game What is the game? The game is everything. It's the way we structure our improvisations and our lives. It's what makes us laugh, and it's what the audience comes every night to see. The game is the idol of worship at Upright Citizens Brigade. ![2403353_orig](https://korymathewson.com/ucb-brothers-hines/images/2403353_orig-370x240.jpg) The game can occur in any situation, time, or place. When we set up a scene on-stage, we may or may not be thinking of the game. How do we find the game in a scene? It's the first thing that this performance interesting, absurd, unique or fun. It's the first weird thing that happens on stage. The game should be embraced and tended to. If your scene partner creates a bizarre exaggeration of a real-life scenario, embrace and exist in that exaggeration. Don't over explain, justify. What if the setup is truly bizarre — an outrageous hypothetical with no relation to lived reality? This is the normal in the scene, and the unique thing can come from contrast. Justify the world, and live within its rules. Don't just explain them; make them tangible, and play them to their fullest. It was once described that scenes in improv are either normal people in extraordinary circumstances, or extraordinary people in normal circumstances; both situations are completely valid but transpire differently. In either case, you want to keep track of the real world, and even in the most out there situation, maintain ways to stay true to the shared perceptions of you, your improv partners, and your audience. Let's take a step back and describe some workshop exercises that will prepare you to reach a state of comedic flow and achieve maximum absurdity. ## Exercises The first exercise is simple: describe an object. Create it in your mind and build it for your audience. Keep an eye to its details and start with a close lens before slowly expanding your field of vision. Don't think of inventing details but rather discovering things about the object that are already there. Most of this is selling it to yourself and your improv team — if you believe it, so will the audience. > Discovery over invention. The next exercise is to form a circle and voice a single character monologue with your group. The character is created line by line through the whole group, with each person building off what the previous team member contributes. There's no hurry; be confident and calm. Hang out with the details and stew in your own truth (or, to put it another way, sit in your own farts). Expand the character with clear, confident, and specific details. Don't just advance the story for its own sake; instead, breathe life into a shared persona. > Sit in your own farts. Now let's begin to use our bodies, which are an integral part of improv comedy. "Abstract Action Justification" works like this: one person gives an outsized, unplanned, unique, and nonspecific physical movement. A second person enters and justifies the first's actions while also creating his or her own character relationship to that initial stimulus. Begin rationally, then start to hone in on that game characteristic — naturally develop and begin to chase that weirdness in the scene. > Chase the weird. The two-person scene requires a lot from its participants, but its basic drives are the same. A successful scene immediately dives into a search for the game, a shared reality, and an interest in the other participant. ## Improv and The Game The exercises above should get you into the mindset and flow of successful improv comedy. The **details** of a situation are what define its success or failure. You want to be bold, specific, and mindful, but you also want to be economical. Don't just keep talking — and if a moment is fledgling, get out. You can always pull the rip cord. The absurdity or weirdness of a scene should be tangible and should be treated with emotional honesty. There is a lot to discover in any moment, and your comedy partners are creative. Work with your team to flesh out a situational and emotional reality rather than constantly piling on new inventions. Remember that, in improv, agreement is first priority. In standup comedy, it's truth. > The game is the unusual, the weird in the scene, it is the hook, or schtick, or handle. We want to justify the weird, keeping it real but exploring and heightening it at the same time. Being grounded and real at the start of a scene only helps to illuminate the weirdness. --- # Other Resources for the Contemporary Improvisor Kory W. Mathewson · 2014-09-05 · https://korymathewson.com/more-improv-resources/ · A curated list of improv blogs, podcasts, and online resources for the contemporary improviser. Recently, I posted a [big ol' list of the best books about improvisation](http://wp.me/pztyn-Ev). I did this for two reasons: 1. I like to keep my resources in order; and 2. To provide references for other improvising teachers / students / directors to enjoy. The post generated a lot of chatter on [Facebook](https://www.facebook.com/korymath/posts/10100454570654765?comment_id=10100456581814385&offset=0&total_comments=29&ref=notif¬if_t=share_comment) about great resources on improv and acknowledged that sometimes the best writing on improvisation is unpublished. While the collection of books may provide a great corpus of our extemporaneous art form, there exist far fewer critical contemporary writings / improv blogs / podcasts on improvisation, save for a few well curated, and more importantly updated regularly, resources online. Without further adieu, here is the small subset that I subscribe to: 1. [Improv Nonsense](http://improvnonsense.tumblr.com/) by [Will Hines](http://www.willhines.net/) 2. [Improv Octopus](http://improvoctopus.tumblr.com/) by [Alex Berg](http://losangeles.ucbtheatre.com/talent/view/6294) 3. [The Way of Improvisation](http://www.thewayofimprovisation.com/) by [Dave Morris](http://www.davemorris.tv/) (and others) 4. [People and Chairs](http://peopleandchairs.com/) 5. [Improv Nerd](http://jimmycarrane.com/blog/) by [Jimmy Carrane](http://jimmycarrane.com/about/) 6. [The Backline - An Improv Podcast](https://itunes.apple.com/ca/podcast/backline-improv-podcast/id900752717?mt=2) 7. [The Improv Resource Center](http://www.improvresourcecenter.com/mb/) These are incredible resources from contemporary thinkers in the improv world today... if I am missing something, let me know and I am happy to add them to the list. --- # Austin: In Retrospect Kory W. Mathewson · 2014-09-02 · https://korymathewson.com/austin-in-retrospect/ · Reflections on visiting Austin, Texas, highlighting its creative capital, southern hospitality, and vibrant arts scene. Austin, Texas is a beautiful city. Southern hospitality abounds in this deep and dirty town. At the centre of conservatism sits a creative capital, similar in many ways to the beautiful Edmonton, Alberta. It was a blast being around the [Out Of Bounds](http://www.outofboundscomedy.com/) Festival, Barton Springs, 6th Street, UT and South Congress. [YouTube video](https://www.youtube.com/watch?v=BITFfp_HjVg) Some Salt Lick BBQ, hot hot sidewalks, and from the Cathedral of Junk, Vince, with some conspiracy talk. Austin, you have been good to us. --- # Edmonton's Top 15 Light Rail Transit Stations Kory W. Mathewson · 2014-08-07 · https://korymathewson.com/edmontons-top-15-light-rail-transit-stations/ · A tongue-in-cheek guide to Edmonton's 15 LRT stations, featuring amenities like parking, washrooms, and airport transfers. After some in-depth research, I have come up with the top 15 LRT Stations in Edmonton, Alberta, Canada. In no particular order, they are: 1. Clareview 2. Belvedere 3. Coliseum 4. Stadium 5. Churchill 6. Central 7. Bay / Enterprise Square 8. Corona 9. Grandin / Government Centre 10. University 11. Health Sciences / Jubilee 12. McKernan / Belgravia 13. South Campus / Fort Edmonton Park 14. Southgate 15. Century Park You may be wondering: Where are these stops on a map that only shows the North Saskatchewan River? ![Edmonton's Top 15 LRT Stops](https://korymathewson.com/edmontons-top-15-light-rail-transit-stations/images/EdmontonLRT.png) You may be wondering: What sets these stations apart? Free commuter parking: **Clareview**, **Belvedere**, **Stadium** and **Century Park.** Designated parking for disabled customers: **Clareview**, **Belvedere**, **Stadium** and **Century Park**. Accessible public washrooms: **Clareview**, **Belvedere**, **Coliseum**, **Churchill**, **Central**, **Southgate**, **South Campus/Fort Edmonton Park** and **Century Park**. Bank machine: **University,** **Coliseum**, **Churchill**, **Stadium**, **Belvedere** and **Clareview.** Transfer to Edmonton International Airport: **Century Park**. --- # One Second Everyday in Portland Kory W. Mathewson · 2014-08-06 · https://korymathewson.com/one-second-everyday-in-portland/ · A One Second Everyday video compilation capturing daily moments from my summer in Portland, Oregon. There are so many tiny, beautiful, funny, tragic moments in your life — how are you going to remember them all? What if you took a second of video everyday of your life and compiled them together? One Second Everyday - My Life in Portland - Jun 29 2014 to Aug 04 2014 [YouTube video](https://www.youtube.com/watch?v=tB-btnMpB64) --- # 36 Best Things To Do In and Around Portland Kory W. Mathewson · 2014-07-25 · https://korymathewson.com/portland-36/ · A curated guide to 36 must-do activities in Portland, Oregon, from food and hiking to improv and photobooths. With only 36 days in a brand new city, there exists slight battle between the time you have and the things that you get to do in that time. With so many recommendations (online, in books and magazines and from anyone that I mentioned the city of Portland to),  it made me think about how little hype there is about awesome things to do in my home town of Edmonton, Alberta, Canada. What's the deal with that? Could I make a similar list for Edmonton? The 36 Best Things To Do In and Around Portland: 1. Eat/drink at [Branch Whiskey Bar](http://www.branchpdx.com/), [Salt & Straw](http://saltandstraw.com/), [Bollywood Theatre](http://www.bollywoodtheaterpdx.com/), [Grain and Gristle](http://www.grainandgristle.com/), [Tin Bucket](https://www.facebook.com/pages/Tin-Bucket/475638412490835), [Lardo](http://lardopdx.com/), [Teote](http://www.teotepdx.com/), [Cultured Caveman](http://culturedcavemanpdx.com/), [Stumptown Dumplings](http://www.stumplings.com/menu.html), [Candy Babel](http://www.candybabel.com/), [Voodoo Doughnuts](http://voodoodoughnut.com/index.php), [Nong's Khao Man Gai](http://www.khaomangai.com/), Bailey's Taproom, [Podnah's](http://podnahspit.com/), Tasty n Sons, Screen Door, Ha VL, Le Pigeon, Pok Pok (noi) 2. Buy a book at [Powell's Books](http://www.powells.com/) ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975580,00.html)) 3. Explore the city on foot by running a bunch 4. Get a bike, and explore the city on bike ([Springwater Corridor Trail](http://en.wikipedia.org/wiki/Springwater_Corridor)) 5. Get to the coast in Astoria 6. Perform a show at the amazing [Curious Comedy Theatre](http://www.curiouscomedy.org/) 7. Monster hike/run in Forest Park ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975577,00.html)) 8. Show someone around town 9. Cross the Willamet on [every bridge](http://en.wikipedia.org/wiki/List_of_crossings_of_the_Willamette_River) (St. Johns, Fremont, Broadway, Steel, Burnside, Morrison, Hawthorne, Marquam, Ross Island, Sellwood) ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975578,00.html)) 10. Swim in the mighty Willamet River 11. Explore Vancouver, Washington by crossing the Columbia River 12. Dip in Maltinoma Falls 13. Explore sanctuary and tranquility at [The Grotto](http://www.thegrotto.org/) and the [Rocky Butte Natural Area](https://plus.google.com/116359923365654585696/about?gl=us&hl=en) 14. Hike to [Angel's Rest](http://www.portlandhikersfieldguide.org/wiki/Angel's_Rest) above the Gorge ("like you're on a balcony over a great auditorium") 15. Hike up the [Oneonta Gorge](http://www.portlandhikersfieldguide.org/wiki/Oneonta_Gorge_Hike) 16. Hike up Council Crest 17. Bike up and down Mount Tabor 18. Summit Mount Hood 19. Relaxing float down the [Clackamas River](http://en.wikipedia.org/wiki/Clackamas_River) 20. Hug a monster redwood in the [Hoyt Arboretum](http://www.hoytarboretum.org/) 21. Pull a petal in the International [Rose Test Garden](http://www.portlandoregon.gov/parks/finder/index.cfm?&propertyid=1113&action=viewpark) ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975581,00.html)) 22. Photobooth ([Florida Room](http://www.photobooth.net/locations/browse.php?ddState=38&locationID=368), Dots, [Ace Hotel](http://www.photobooth.net/locations/browse.php?ddState=38&locationID=247), [Beulahland](http://www.photobooth.net/locations/browse.php?ddState=38&locationID=447)) 23. Patron the [Saturday Market](http://www.portlandsaturdaymarket.com/) and [Portland Farmers Market](http://www.portlandfarmersmarket.org/) 24. Visit the Nike Factory Store and the [Adidas Campus](https://www.youtube.com/watch?v=_NyD3uu5WEA) 25. Traverse the best streets in Portland: Alberta, Hawthorne, Burnside, Belmont, Fremont 26. Live eclectic at the McMenamins [Kennedy School](http://www.mcmenamins.com/KennedySchool) and the [Bagdad Theatre](http://www.bagdadmovies.com/) ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975741,00.html)) 27. Sip some hot stuff and soak in the vibe at the [Lan Su Chinese Garden](http://www.lansugarden.org/) ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975583,00.html)) 28. Develop a slight jealousy over the incredible grocers both local ([Alberta Co-op](http://www.albertagrocery.coop/)) and larger (Whole Foods, Trader Joes) 29. Nude soak and sauna at the [Common Ground Wellness Center](http://soakandsauna.com/) 30. Devour a steak at the [Acropolis](http://acropolispdx.com/) ([details](http://content.time.com/time/travel/cityguide/article/0,31489,1975826_1975753_1975585,00.html)) 31. Shoot for a high score at the [Ground Kontrol Classic Arcade](http://groundkontrol.com/) 32. Train, Trail, Tram and Trolley on the [4T Trail](http://www.travelportland.com/article/4t-trail/) around the whole city. 33. See a main stage show at the [Keller Auditorium](http://www.portland5.com/keller-auditorium) ([Book of Mormon](http://www.bookofmormonbroadway.com/)) 34. Attend a spectator sport like the Trail Blazers, Timbers, Winterhawks, Thorns 35. Kayak to Ross Island 36. Oregon Museum of Science and Industry Being away from your home town makes you really think about the things you love in a city, what you find valuable, and what you miss. And some photos of the adventures are below: --- # Master of Science in Biomedical Engineering Kory W. Mathewson · 2014-07-03 · https://korymathewson.com/msc-bme/ · Completing my Master's in Biomedical Engineering at the University of Alberta, with thesis defense and research presentations. ![Capture](https://korymathewson.com/msc-bme/images/Capture7-e1409951553559.jpg) *Update September 5, 2014*: Thesis defense date has been scheduled, see the announcement above. I have been honoured to work with the incredibly inspirational Dr. Richard Thompson and Dr. Mark Haykowsky at the University of Alberta on a Master's in Biomedical Engineering. As I move towards completion and defense of my thesis, and publication of the results from our major pilot study, I thought it would be nice to post some video of the content I have been studying and presenting at several conferences. The first is a video of the [Research Elevator Pitch Competition](http://www.engineering.ualberta.ca/en/NewsEvents/Engineering%20News/2014/June/Gradstudentshonecommunicationskillsatelevatorpitchcompetition.aspx) (or the Thesis in Three Minutes) at the Faculty of Engineering Graduate Research Symposium 2014. I was honoured to be awarded [2nd place in the competition](http://www.engineering.ualberta.ca/en/NewsEvents/Engineering%20News/2014/June/Gradstudentshonecommunicationskillsatelevatorpitchcompetition.aspx); the winner, Katherin Evans, had an incredible pitch on "Optimizing a Tactor System to Provide Sensory Feedback for Upper Limb Amputees". [YouTube video](https://www.youtube.com/watch?v=RU_j9AufBZs) Added a few reactions to make the video a little more dynamic and enjoyable. Here is the video of the full 12 minute that I was honoured to give at the Faculty of Engineering Graduate Research Symposium 2014. This is very similar to the talk that I gave at the International Society for Magnetic Resonance in Medicine Annual Meeting in Milan, Italy May 10-18 2014. [YouTube video](https://www.youtube.com/watch?v=qewW1Dzf-vI) --- # Fearing for Your Life Kory W. Mathewson · 2014-06-19 · https://korymathewson.com/fearing-for-your-life/ · A harrowing encounter with a protective mother elk while running at Jasper Park Lodge, and lessons learned about trail safety. Late May 2014, I was running around the peninsula at the Jasper Park Lodge in Jasper, Alberta, Canada. As I turned the corner on the peak of the peninsula, I came face to face, not 5 feet away, from a full size angry-as-f\*\*k / startled-as-f\*\*k [bull elk mother](http://en.wikipedia.org/wiki/Elk). The staredown, chase and fight lasted 30 minutes, and I encountered plenty of scars and scrapes form trees and branches. I rolled my ankle pretty badly as she pushed me into the beautiful [Lac Beauvert](http://en.wikipedia.org/wiki/Lac_Beauvert). ![Where the west was won](https://korymathewson.com/fearing-for-your-life/images/flat550x550075f.jpg) I armed myself with a masher stick, and was able to fend the mother off and stay on her flank as I angled myself back toward the cabins, and main lodge. Luckily, a security / ranger saw me splashing around in the Lake, and as I ran back at full sprint toward the cabins, I ran past 'her' my saviour, and all I could say was "ELK". She asked me why I said that, she said it was obvious. It was 5 feet behind me and gaining on me. The mother was protecting her hidden calf, and to be fair, I would have eaten that baby elk so good if I found it. As I was sitting in the lobby at the Fairmont, waiting for a medic to come and tend to my wounds, a delightfully friendly set of German couples came up to me to talk to me, and surely investigate what had happened. ![](https://korymathewson.com/fearing-for-your-life/images/FB_IMG_1401570328884.jpg) Face cuts ![arm cuts](https://korymathewson.com/fearing-for-your-life/images/FB_IMG_1401578852870.jpg) Arm cuts I discussed to them the story of the attack, and they were surprised. Apparently not 30 minutes earlier they had a photographic encounter with the mother elk. Just recently they sent some of those photos, and a nice email to my collegue at Atomic Improv (Donovan). ![Just feeding ](https://korymathewson.com/fearing-for-your-life/images/745.jpg) Just feeding ![Just Chilling](https://korymathewson.com/fearing-for-your-life/images/758.jpg) Just Chilling > Your friend that had the encounter with the elk at Lake Louise said he would like a photo of the animal that caused him some grief. My wife and I whilst walking that morning came across the animal in a very composed repose and then saw it wander off towards the point. It was not until we were in the hotel that we realised what had happened to your friend. Enclosed are 2 photos that I took just before the fateful event. -Errol I appreciate their sending of the photos. Such a glimpse into subdued calm before the storm. When you run, follow a few safety rules: - Bring a phone - Tell someone where you are going and when you will be back - If in danger, run for your life, you will be surprised at your split time. --- # Listen to the Rocks Kory W. Mathewson · 2014-06-11 · https://korymathewson.com/listen-to-the-rocks/ · Reflections on running in the Arizona desert, finding wisdom in the rocks and peace in the solitude of long-distance running. I have written before about [how much I enjoy running](http://korymathewson.com/run-for-your-life/ "Run For Your Life"). Some individuals do not get the same sense of peace and tranquility from the perpetual motion of a good long distance run. They work out in gyms, and centers, packed with people on their phones... full of loud noises and equipment. When all you need to get your heart rate up, and get a proper sweat on, is a set of good shoes (it also helps to have a smartphone for GPS, and photos). On a recent run in a desert heat of Tuscon, Arizona I came across some words of wisdom... ![1400461264724](https://korymathewson.com/listen-to-the-rocks/images/1400461264724.jpg) Stand Tall Even When No One Is Looking This resonates with the runner mentality. We run for ourselves. We share the ups and downs of the run after, socially... but in the heat of the moments we can picking the best footing, the best line, the pace, and distance for ourselves. It is ultimately one of the most 'selfish' workouts one can indulge in. ![1400461139981](https://korymathewson.com/listen-to-the-rocks/images/1400461139981.jpg) Stop To Smell The Flower We must be reminded during the mind melt of a distance run that it is enjoyable. That our bodies and minds are getting stronger by doing this. We must take pause on our runs and smell the flowers, to appreciate how far you have come... ![1400461575216](https://korymathewson.com/listen-to-the-rocks/images/1400461575216.jpg) peace on top of cactus hill or how far you have left to go.... ![1400462171481](https://korymathewson.com/listen-to-the-rocks/images/1400462171481.jpg) the long way round and down And of course... it is always worth it to indulge and imbibe after an investment of that magnitude. ![IMG_20140518_184514](https://korymathewson.com/listen-to-the-rocks/images/IMG_20140518_184514.jpg) But, you will never be able to hear what the rocks are saying, if you never get to listen to them. You will not hear them when people are talking. Their voices are hidden below acoustic layers of technology and society. If rocks could talk, what would they say? If they pleaded to get thrown across a still pond, would you indulge them? If they begged you to find the smoothest one on the beach, would you spend a full afternoon? or weekend? or lifetime? --- # 27th Birthday Pictures Kory W. Mathewson · 2014-06-05 · https://korymathewson.com/27th-birthday-pictures/ · A collection of pictures and birthday wishes from friends for my 27th birthday, including a special Twilio-powered gift project. For my 27th birthday I asked everyone I knew to send me a picture (a photo they took preferably) alongside birthday wishes. This is part of a series I am working on ... asking for 25 "Stories When You Were 25" two years ago, and doing some audio interviews at 26. These idea all seem to stem from this collective creation work I have been continually fascinated by. The premise that the idea comes from me, but the content comes from the crowd. I think these photos are particularly poignant because, in this Social Media dominated world, we are so focused on capturing the moment, that we sometimes forget that we should appreciate each moment afterwards... The process of looking back, while not something that is particularly my forte (re: memory loss in improv), is fun in and of itself. Also, we take so many photos... I thought maybe it would be a nice opportunity to show someone who cares (me) a photo that they have taken but maybe not had the motivation/impulse/desire to share with anyone in particular yet. Maybe they had the most amazing they ever took and wanted to share that as well. Other examples of these kind of works include: - [timmikulaisgreat.com](http://timmikulaisgreat.com/) - a secret santa gift I curated for the man himself... asking the crowd to write reasons why they thought Tim was great. This content was aggregated in a database of nearly 165 reasons Tim is great. - [thecouriers.org](http://thecouriers.org/) - a collaboration with amazing Winnipeg Artist Caitlin Curtis... we used Amazon Turk to collect lost love letters. One day we will improvise on lost love letters, finally bringing some finality to their purgatory-like existence. --- # Several Funny Kory Videos Kory W. Mathewson · 2014-06-02 · https://korymathewson.com/several-funny-kory-videos/ · A collection of comedy videos and sketches from Rapid Fire Theatre, TEDxRFT, and various collaborations. Sometimes I make funny videos, lots of times these are done in collaboration with the wonderful improvisors of [Rapid Fire Theatre](http://rapidfiretheatre.com). [Vimeo video](https://vimeo.com/169340859) First check out this sweet trailer for TEDxRFT: [YouTube video](https://www.youtube.com/watch?v=wMvHtr-JQvk) Here is a full TEDxRFT show: [YouTube video](https://www.youtube.com/watch?v=9s2hy6Q3eno) Here is a full 6 Degrees of Science show: [YouTube video](https://www.youtube.com/watch?v=uiuUQ5hIPEg) This video won a Canadian Comedy Award! [YouTube video](https://www.youtube.com/watch?v=wnMH1KCVVyY) This video was made in conjunction with the Edmonton Federation of Community Leagues for the 2013 Community League Day. [YouTube video](https://www.youtube.com/watch?v=1YdADaG_k4A) These commercials were made with the increcible team over at [Reel Mensch Productions](http://www.reelmensch.com/) and [Kia West Edmonton](http://www.kiawestedmonton.com/): [YouTube video](https://www.youtube.com/watch?v=XDPzXe3mhoU) [YouTube video](https://www.youtube.com/watch?v=dIqDN3XH9YA) These two next videos were made in collaboration with the [Office of Student Judicial Affairs, University of Alberta](http://www.osja.ualberta.ca/), and [Townend Films](http://www.townendfilms.com/) [YouTube video](https://www.youtube.com/watch?v=8Bx5DAqTPhU) [YouTube video](https://www.youtube.com/watch?v=7U20JqG2Ghs) ## Rapid Fire Theatre Sketches [YouTube video](https://www.youtube.com/watch?v=7vXMZLKNwqQ) [YouTube video](https://www.youtube.com/watch?v=zX1x0_eOVAk) [YouTube video](https://www.youtube.com/watch?v=dXrzzFUspzc) ## Older Improvisational Performances [YouTube video](https://www.youtube.com/watch?v=f3IlAMeeclw) [YouTube video](https://www.youtube.com/watch?v=kHfhccnJwes) [YouTube video](https://www.youtube.com/watch?v=yyUFAtyijI0) [YouTube video](https://www.youtube.com/watch?v=oj3yUqjIUio) [YouTube video](https://www.youtube.com/watch?v=9S8uKAbQcUw) [YouTube video](https://www.youtube.com/watch?v=DQjNRG84dyQ) [YouTube video](https://www.youtube.com/watch?v=Wrd_--gn4vI) [YouTube video](https://www.youtube.com/watch?v=6HoNUYGNQSo) --- # Edmonton Community League Day 2013 Kory W. Mathewson · 2013-11-26 · https://korymathewson.com/edmonton-community-league-day-2013/ · A promotional video for Edmonton Community League Day 2013, created with Reel Mensch Productions. This was a super fun video that I worked in for the Edmonton Federation of Community Leagues, shot and cut by the incredibly talented Jared Paul of [Reel Mensch Productions](http://www.reelmensch.com/). [YouTube video](https://www.youtube.com/watch?v=mOHpbDodfsk) This video was an opportunity for me and Jared to finally work together after taking a multi-year hiatus since our collaborations on our own versions of Pulp Fiction, Home Along and Mighty Ducks. Jared approached me due to my background in improvisation, and my love for [Community League Day in Edmonton](http://www.efcl.org/). It is a great day to get out and meet your neighbors, and your neighbor's neighbors. Also, it is totally amazing to see what some neighborhoods are into. It was incredible to be working with Jared again. Much love to the entire Reel Mensch team. --- # Ladies Learning Code Workshop Kory W. Mathewson · 2013-11-23 · https://korymathewson.com/ladies-learning-code-workshop/ · Notes from instructing at Ladies Learning Code, a full-day WordPress development workshop at Startup Edmonton. This weekend I was lucky enough to be asked to help instruct at [Ladies Learning Code](http://ladieslearningcode.com/events/location/edmonton/) at [Startup Edmonton](http://www.startupedmonton.com/). From their website: > \[Ladies Learning Code is\] a women-run not-for-profit group working to empower everyone to feel comfortable learning beginner-friendly technical skills in a social, collaborative way. Lead by head instructor [Kasia Gawluk](https://twitter.com/confessionality) from [Code Word Media Design](http://www.codewordmediadesign.com/), the workshop was a full day crash course on WordPress development. Slides, from Wes Bos, are [available online](http://wesbos.com/llc/slides). Ladies Learning Code ([#LLCYEG](https://twitter.com/search?q=%23llcyeg&src=hash)) is unique in its approach to learner/instructor ratio mandates. There is a 4:1 (or better) ratio of learners to instructors, which allows for plenty of opportunities to ask specific question and get directed support. We started with [MAMP installation](http://www.mamp.info/en/index.html), downloading [WordPress 3.7.1](http://wordpress.org/), and setting up a local WP development environment. The WordPress Codex has a great [tutorial](http://codex.wordpress.org/Installing_WordPress_Locally_on_Your_Mac_With_MAMP) for this stage of the game, and we followed it almost to the letter. I am a strong believer that questions are where the real learning happens, and the morning started off with many great questions: - **I've been using WordPress for a while, as a blog that someone set up for me, and I have never had to install anything?** Great question, we are setting up a local (only our your own computer) development environment for testing/design/development before moving to production (or a live Website). Many web hosts have automated installs these days, for live production sites, so somewhere along the way every WordPress installation was, well, installed. - **Does PHP stand for anything?** Yes, in fact it stands for [PHP: Hypertext Preprocessor](http://en.wikipedia.org/wiki/PHP), a recursive acronym. It originally stood for Personal Home Page. - **Can you define the backend vs. the frontend?** This is the WordPress admin panel, where you can edit posts and content. Frontend is what your users can see. As many people are using different computers, different softwares, and different configurations... getting 40 different WP installations set up took a little more, than the [famous 5-minutes](http://codex.wordpress.org/Installing_WordPress#Easy_5_Minute_WordPress_Installation_on_Windows). Once we have databases configured on everyone's computer, and WordPress configured on everyones local hosts... we are away at the races. Presumably, the next step will be installing a custom theme, and moving from there. ![No photo releases required.](https://korymathewson.com/ladies-learning-code-workshop/images/IMG_20131123_111921.jpg) No photo releases required. I was wrong, content before customization. We are building some posts before we start themeing (is that a word?). A few questions have been raised about the difference between Categories and Tags...  There is a nice breakdown on [WordPress.com](http://en.support.wordpress.com/posts/categories-vs-tags/).  On this site, I use Categories to categorize my posts and I use special functions to pull posts tagged with 'featured' into the featured post area at the top of the home page. Setting up a static page as your home page keeps your posts on a Blog page... You can change these settings at Settings -> Reading. Just remember, you must have pages published to change your Reading Settings. Also, remember, that sometimes your rewrite modules are not configured by default on WAMP... thank you to [room339 on the WordPress Support forums](http://wordpress.org/support/topic/how-to-change-permalinks-under-wamp). > In WAMP you need to turn on the rewrite\_module. To do this click on the WAMP icon in your task bar and navigate to: Apache>Apache modules> Scroll down to rewrite\_module and click it. Once you do this your pages should work immediately. Another great question: Do permalinks affect how you are listed in the Search Engines? Yes. Check out [this article on Yoast](http://yoast.com/articles/wordpress-seo/) for more details... I prefer month and name on the WordPress backend, Yoast says: > The default permalink is `?p=`, but I prefer to use either `/post-name/` or `/category/post-name/`. Different strokes for different folks I guess. Also, when writing the posts in your post editor, you can use the Visual Editor, or the Plain Text Editor, which can process HTML. From the [WordPress.com Support pages](http://en.support.wordpress.com/editors/): > **Note:** The HTML code you add must be well-formed and it must be listed in the [allowed HTML tags list](http://support.wordpress.com/code/#html-tags). You should also be aware that WordPress.com has [some code restrictions](http://support.wordpress.com/code/#javascript) such as no JavaScript, embeds, or custom forms. - **How do I embed content form YouTube or Vimeo?** You no longer need to worry about the HTML behind the embed, just make sure of the [WordPress oEmbeds](http://codex.wordpress.org/Embeds). Now that we have content, alive and ready, we install a theme, I like to follow the [WordPress Codex](http://codex.wordpress.org/Using_Themes#Adding_New_Themes_using_the_Administration_Panels) for this, and then we ensure that we are editing the live theme in our favourite text editor. Our theme follows a hierarchy, a template hierarchy... which is a pattern that determines which template file, or php file is used when the user visits a certain page. Learn more about the [Template Hierarchy on this sweet data visualization](http://marktimemedia.com/redesigning-the-template-hierarchy/) by [Michelle Schulp](http://marktimemedia.com/author/marktimemedia/). This infographic will help us determine which file to edit when we want to change the look of something on the front end. ![Custom Login Screen](https://korymathewson.com/ladies-learning-code-workshop/images/Screen-Shot-2013-11-23-at-12.50.24.png) Some people are enjoying the free time as others catch up... check out some of the sweet customizations on this [GIST code by Paul](https://gist.github.com/paulletourneau/7619166), see some more customizations and code snippets as he adds them on his [GitHub profile](https://gist.github.com/paulletourneau). The anatomy of a WordPress theme may seem daunting at first, but it is logical, patterned and similar across almost every theme. So once you understand it, you can see the familiar pieces on each and every theme. First edits we are making are to footer.php, classic edits to the copyright attribution... Confidence in HTML/PHP is key here... don't be afraid to try something, and fail... and then fix it. Iterative development is key. Adding images in the backend of a theme teaches us so many useful skills. From WordPress core functions, to mixing PHP and HTML, to bug tracking and fixing... it is a great introduction into theme edits. Taking a moment to field questions to get everyone caught up just after lunch. - **What is MAMP, XAMPP, WAMP?** MAMP, XAMPP, WAMP mimc the functionality of a web host. They are software that you can install on your own computer that creates a VIRTUAL server.  This is a great way to create your own web site and develop on your own time/computer etc. - **Can the sites that we are building locally be moved to a live host in the future?** Yes, there is an [article on the Codex](http://codex.wordpress.org/Moving_WordPress) my favorite tool to MIGRATE is [BackupBuddy](http://ithemes.com/purchase/backupbuddy/), it is literally the best for scheduled back ups and migration. - **Can we review what we have done and get everyone on the same page?** Sure, we have created a local server, installed WordPress, and started editing a theme. The theme has several files, that follow the hierarchy. The theme is styled with the style.css file. Now, we move on to CSS... which is the Cascading Style Sheet that adds the presentational semantics (look and format) to the elements from our PHP and HTML. We start with changing colors, learning about properties and values, and how selectors work for IDs and Classes. There are some good crash courses on CSS at [html.net](http://html.net/tutorials/css/) and [codeacademy](http://www.codecademy.com/tracks/web)... I would recommend checking out codeacademy first, because they make learning into a fun fun game. - **Do I have to type out the loop every time?** No way. Coding is lots of cutting and pasting. ```php ``` Quote I just heard from my amazing group at the back of the room: > I feel so victorious ... I was working for a while,  I was stuck on that point and now I figured it out. > Every time I start coding again, I remember how much I love it. That is exactly what I am talking about. That is what coding is all about. I am finding that while it is easy to follow instructions the first time, it is difficult to repeatably follow the instructions, or the critical path, even when the application changes slightly. A good example is that it is very easy to add an image as the header image, as a link back to the front page. But, once it is a matter of adding an image that links back to the homepage into the sidebar, it feels like a different problem, when in actuality it is the same code, in a different context... The "best" table at #LLCYEG WordPress Edition. I like to relate the loop to a giant magical lasso. All you need to do is whisper what you wish for, and then cast it into the abyss... then reel in all your wishes. Adding featured images is the best way to give each post some visual content. The theme that is used on this blog actually depends on featured images extremely, as it is a hyper-visual magazine layout. Also, the featured image allows for consistent styling of the images on posts and pages without considering styling. This avoids the issue of clients that try to align things crazy, or authors that add in images that are WAY TOO BIG. - **How would I make a theme from scratch to add to my WordPress installation?** There is a great [lifehacker article](http://lifehacker.com/5890139/how-to-create-a-custom-theme-for-your-wordpress-blog-with-minimal-coding-required) that goes through this process... All a theme needs is an index.php and a style.css with the proper theme definitions, and then you can extend from there. But, I would recommend starting with a base framework, like [underscores](http://underscores.me/) and editing from there. - **How can I see what styles are applied to each element in the browser?** Great Question... check out [Firebug](http://getfirebug.com/) and your browsers development tools. Custom page templates are critical in the custom display of content. It is absolutely integral to ensure that you have set the custom page template header text correctly, as it detailed on this [article on the codex](http://codex.wordpress.org/Page_Templates#Custom_Page_Template). [Widget](http://codex.wordpress.org/WordPress_Widgets) and [Plugins](http://codex.wordpress.org/Plugins) were very briefly covered at the end of the day, these are incredible ways to extend the functionality of WordPress. - **My site wants to update, but in the past I have had issues with updates conflicting, issues with analytics, and broken code... how can I avoid that?** Use an analytics plugin, like [Analyticator](http://wordpress.org/plugins/google-analyticator/), make changes to theme template files, or admin panel options. Final thoughts: 1. Take a peek under the hood. 2. Practice, practice, practice. 3. Ask questions, ask google. 4. Don't be overwhelmed, start with a minimum working product. 5. Try things, make mistakes, fix those things. --- # Run For Your Life Kory W. Mathewson · 2013-11-22 · https://korymathewson.com/run-for-your-life/ · Exploring the meditative philosophy of running, finding clarity and introspection through the void of long-distance runs. ![Run for your life.](https://korymathewson.com/run-for-your-life/images/1006029_10100224572622665_852945802_n.jpg "Run for your life.") Running allows for introspection, for clarity of mind, and free thought. There is an isolation, freedom of constraint both physical and mental, and an allowance for ideas to come and go as freely as each step lands. There is no one dictating the path you must take, and no expectation on your performance, other than those that you impose upon yourself. We run for health, for fitness, for travel. We run because it is the best way to take in a city. We run to get closer to something we love, and we run away from that which brings us pain. As  [Haruki Murakami](http://www.amazon.com/Haruki-Murakami/e/B000AP7AFI/ref=ntt_athr_dp_pel_1) states in his book [What I Talk About When I Talk About Running](http://www.amazon.com/gp/product/0307389839/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0307389839&linkCode=as2&tag=0atorgmarkdes-20): > I run to seek a void. This void, the all unknowing, kilometer 7 of a 10km run, or kilometer 37 of a 42km marathon, this is the freedom from thought that some runners thirst for. These sentiments are echoed in [Mark Sutcliffe's book, Why I Run](http://www.whyirun.ca/): > But sometimes, as long as you’re not in the middle of a crowded race or on a trail run through the forest or wallowing in self-pity, it can be helpful to look at the road behind you. You may find it reassuring to see how far you’ve come. Running allows us to progress forward through space and time, and to quantify that progression. Seldom in life are we granted such an opportunity to see a goal ahead of us, and have in our arsenal the tools we need to achieve said goal. With running we have everything we need, at all times. We have our body, and our mind. We don't have excuses, and justifications, we need not our voice, or the voice of any others. We don't need music, or ambient sound. We exist in a vacuum filled with oxygen rich air, a paradox of sorts, where we have nothing, and nothing is all we need. We exist in a Void. I thoroughly enjoyed [The Oatmeal's take on the idea of The Void](http://theoatmeal.com/comics/running), particularly this quote: > [But when I run, the world grows quiet.](http://theoatmeal.com/comics/running6) This void, this senseless existence is the paradise we seek, where we could run forever, is sometimes filled with thoughts. Happy, sad, jealous, envious, angry, mad, exalted, benevolent thoughts that range the gambit of emotion. And so seldom are we granted an opportunity to explore these thoughts of others. We live with these thoughts step by step on the trail, and they exist for fleeting moments, or are stewed upon for run after run, day after day... but they exist in this void. I never had considered asking others what they were thinking while running past them on our anti-parallel paths, it is some what of an unspoken rule, that you cannot breach their Void. Lucky not everyone feels this inhibited. This idea of prying into the minds of runners as their thoughts run wild is explored in a beautiful new short film by Matan Rochlitz, Ivo Gormley. From [The Runners](http://aeon.co/film/what-deep-thoughts-do-you-have-during-a-run/): > Liberated from responsibilities, their guards drop dramatically, releasing funny and brutally frank confessions, and weaving a powerful narrative behind the anonymous masses. [YouTube video](https://www.youtube.com/watch?v=6F7T1EGSoMQ) It captures the beauty of the thoughts we have as runners, and shares them, so candidly, with the public. Running is physical activity, so each run I start, and finish, I literally consider that I am running for my life. Each step I take propels me forward toward my goals, each breath I take inspires me to continue, each path is a new adventure waiting to happen,  and each run fills my head with more ideas than I could ever keep... --- # Addressing an Improv Weakness: Duo Improv Kory W. Mathewson · 2013-11-22 · https://korymathewson.com/addressing-my-improv-weakness-duo-improv/ · Exploring the challenges of duo improv and my journey to develop stronger two-person scene work through focused practice and performance. As an improvisor, there is a immense variety of shows that I perform in. Everything from the fast-and-funny short form of [Rapid Fire Theatre](http://rapidfiretheatre.com/)'s Theatresports to the 53-consecutive-hour long form marathons of [Die Nasty: The Live Improvised Soap Opera](https://www.facebook.com/pages/Die-Nasty-The-Live-Improvised-Soap-Opera/291140987652892). [Rapid Fire Theatre](http://rapidfiretheatre.com/) also produces CHiMPROV, which is a collection of mid-to-long form formats, developed and directed by members in the company. This wonderful playground show provides an opportunity to create and curate new formats, and fosters the incubation of those formats from idea-to-stage with the help of the extremely talented artistic staff of [Amy](http://rapidfiretheatre.com/cast-member/amy-shostak/), [Joe](http://rapidfiretheatre.com/cast-member/joe-vanderhelm/) and [Ben](http://rapidfiretheatre.com/cast-member/benjamin-gorodetsky/). In the summer of 2012, I took an opportunity to look at my body of work in improvisation and more specifically at CHiMPROV, I found something rather startling. I listed some of the shows that I have been, or currently am a part of: - The Imagineers (4) with Marc, Colin and Paul, with whom I was lucky enough to travel and perform at the Victoria Improv Festival. - Golden Diamonds (3) with Jessie and Joleen. - Off-Book: The Improvised Musical (5+) - JTS Brown (5+) brought back from the amazing [Craig Cachowski](https://twitter.com/Cackowski), guest instructor at the 2012 Vancouver International Improv Festival. - Dungeons and Dragons (5+) - Cunning Linguists (2) with Amy. This is a rather structured debate style show. With the exception of the structured debate-style show Cunning Linguists, I had been creating very little duo improv. While I had been performing many corporate events as a duo, along side [Donovan, and Atomic Improv,](http://www.atomicimprov.com/Home.html) I wasn't creating new duo shows. I was not working the craft of the improv pair to the fullest. I took it upon myself to change that. That was all the motivation I needed, and I was lucky enough to find someone in a similar boat with Josephine. We created Shot in the Dark, which explores the depth of a single moment by exploring the context of that moment in the associated characters lives. It also has a beautiful metaphorical tie in to Starbucks, which is also where we derive our suggestion from, as you can see in this performance: [YouTube video](https://www.youtube.com/watch?v=9S8uKAbQcUw) Early this year, I was given an opportunity to create a show with Joe to be the opening act, at the Roxy Theatre, for Get Real, with Chris and Toby. We created Six Degrees of Science, a show that perfectly intertwines our collective love of science and the physical world with improvisation and the imaginary world. ![6Degrees](https://korymathewson.com/addressing-my-improv-weakness-duo-improv/images/6Degrees.jpg) Now, with Shot in the Dark, and Six Degrees of Science... I am happily working on my duo work. Exploring the bounds of the improv duo. The benefits and challenges, as well as the beautiful simplicity. I now better understand the enjoyment shared by some of my favourite improvisational duos, like [CRUMBS](http://crumbscomedy.blogspot.ca/), and [Hip.Bang!](http://hipbang.ca/) All it took was spending time thinking about what was missing, and then making an effort to address it. [#lifelessons](https://twitter.com/search?q=%23lifelessons&src=hash) --- # How I Started Doing Improv? Kory W. Mathewson · 2013-08-26 · https://korymathewson.com/how-i-started-doing-improv/ · The story of how I started doing improvisation, discovered in a 2008 article about Jewish theatre in Edmonton. One question that I hear quite often after a performance is How and When I started doing improvisation. I was surprised to find the story published in a 2008 article titled "[Drawing Back the Curtain: Jewish Theatre on the Edmonton Stage](http://www.jahsena.ca/wordpress/wp-content/uploads/2008/09/summer-2008.pdf)", written by the extremely talented Laura Nichol. Timely, in that only a month ago me and Michele Miller were teaching improvisation together at the [Slow Flash Mob](http://www.makesomethingedmonton.ca/projects/72-the-slow-flash-mob/) event put on by Rapid Fire Theatre's Amy Shostak. I don't think that I ever saw this article in print, but I am happy to have stumbled across it again 5 years later. Today, it serves as a memory, that where you are is a result of those that helped you get there. Thanks Shecky. ![Heritage, Winter 2008, Jewish Archives and Historical Society of Edmonton and Northern Alberta](https://korymathewson.com/how-i-started-doing-improv/images/Capture2.jpg "Heritage Winter 2008 - Jewish Archives and Historical Society of Edmonton and Northern Alberta") --- # My Favorite Street Art Kory W. Mathewson · 2013-05-07 · https://korymathewson.com/my-favorite-street-art/ · A photo collection of favorite street art discoveries from travels around the world. ![](https://korymathewson.com/my-favorite-street-art/images/2012-07-30-17.44.33.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/2012-07-30-17.45.05.png) ![](https://korymathewson.com/my-favorite-street-art/images/2012-07-30-17.47.29.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/2012-07-30-17.48.41.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/2012-07-30-17.49.08.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/2012-09-29-19.14.23.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/BJsj6VLCQAIE6JQ.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/BJspMQ1CIAECIf2.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/image-e1367975422225.jpeg) ![](https://korymathewson.com/my-favorite-street-art/images/IMG_20130515_141612-11.jpg) ![](https://korymathewson.com/my-favorite-street-art/images/IMG_20140215_130441.jpg) --- # The Art of Liverpool Kory W. Mathewson · 2013-05-03 · https://korymathewson.com/the-art-of-liverpool/ · Photos and reflections from the 2013 Liverpool Improvathon and exploring the vibrant arts scene of Liverpool, England. I find [Liverpool](https://en.wikipedia.org/wiki/Liverpool), a small city and [metropolitan borough](https://en.wikipedia.org/wiki/Metropolitan_borough "Metropolitan borough") of [Merseyside](https://en.wikipedia.org/wiki/Merseyside "Merseyside"), England, United Kingdom along the eastern side of the [Mersey Estuary](https://en.wikipedia.org/wiki/Mersey_Estuary "Mersey Estuary"), to be an incredible city. It is filled with such a vibrancy for arts and culture. I recently, Apr 2-8, had the opportunity to travel to Liverpool for the [Impropriety 2013 Improvathon: Goin' West](http://impropriety.wordpress.com/2013/04/19/1179/), the entirety of which was [liveblogged](http://thedrcaptain.com/goin-west-the-liverpool-2013-improvathon-liveblog/) by the hilarious Doctor Captain, and [illustrated and interpreted](https://www.facebook.com/media/set/?set=a.10151567582080513.1073741826.517320512&type=1) by the amazingly talented [Jazamin Sinclair](https://www.facebook.com/jazamin). Thank you to all the amazing friends in Liverpool, and London, for your hospitality. I look forward to seeing you again soon, when you all come to Edmonton for the [Die Nasty Soapathon](http://www.casaannett.com/varsconatheatre/die-nasty/Die-Nasty_Web/Home.html)! ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_230031.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130402_191224.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130404_115510.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130404_191137.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130405_001847.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130405_001919.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130405_114159.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130405_141944.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130405_214526.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130405_214540.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_003500.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_115047.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_115057.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_115211.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_163357.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_170629.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_171223.jpg) ![](https://korymathewson.com/the-art-of-liverpool/images/IMG_20130408_220612.jpg) --- # All I Want For Christmas is a Good Story... Kory W. Mathewson · 2012-12-17 · https://korymathewson.com/all-i-want-for-christmas-is-a-good-story/ · A Christmas birthday wish asking friends and family to share their favorite stories as gifts. This year I have thought that all I would ask for, for Christmas, all that would be on the "**List of Things that Kory Mathewson Wants For Christmas**" (note the explicit keywords for SEO purposes), is a story. I would love a story from you. If you are older than 25 years of age, I would love a story of your life when you were 25, if you are younger than 25, I would love a story of what you want your life to be like when you are 25. Special Note: If, in the unlikely event, you ARE 25 years of age: First, congratulations, isn't it the best. Secondly, it would be wonderful if you told me a story that started with "The Greatest Part of Being 25 is..." The story could be in any format. It may be a short story, or a poem. It could be a voice mail, or an [email](mailto:korymath@gmail.com), or a [facebook message](http://facebook.com/korymath) or a [tweet](http://twitter.com/korymath). But, no matter what form, all I want is a story. No need to buy a present, or guess at what would make me smile. A tale of your life is what I would love the most. If I could collect **25 Stories of Age 25**, from my friends and loved ones, I would be the most pleased. So, I ask you, what is your story?