The new book explores the uneasy relationship between Chinese internet users and a government that is always watching. Let's play a game of two truths and a lie. Of the three following statements, which one would you guess is made up? China was once home to the world's largest gay dating app with more users than Grindr, and it later went public on Nasdaq. The app's founder was a Chinese police officer who didn't come out at work until after he had been running an online forum for gay men for a decade.

Improvisation--the art of spontaneous creation that unfolds moment-to-moment without a scripted outcome--requires practitioners to continuously sense, adapt, and create anew. It is a fundamental mode of human creativity spanning music, dance, and everyday life. The open-ended nature of improvisation produces a stream of novel, unrepeatable moments--an aspect highly valued in artistic creativity. In parallel, open-endedness (OE)--a system's capacity for unbounded novelty and endless "interestingness"--is exemplified in natural or cultural evolution and has been considered "the last grand challenge" in artificial life (ALife). The rise of generative AI now raises the question in computational creativity (CC) research: What makes a "good" improvisation for AI? Can AI learn to improvise in a genuinely open-ended way? In this work-in-progress paper, we report insights from in-depth interviews with 6 experts in improvisation across dance, music, and contact improvisation. We draw systemic connections between human improvisa-tional arts and the design of future experiential AI agents that could improvise alone or alongside humans--or even with other AI agents--embodying qualities of improvisation drawn from practice: active listening (umwelt and awareness), being in the time (mindfulness and ephemerality), embracing the unknown (source of randomness and serendipity), non-judgmental flow (acceptance and dynamical stability, balancing structure and surprise (unpredictable criticality at edge of chaos), imaginative metaphor (synaesthesia and planning), empathy, trust, boundary, and care (mutual theory of mind), and playfulness and intrinsic motivation (maintaining interestingness).

With the development of generative artificial intelligence (GenAI) tools to create art, stakeholders cannot come to an agreement on the value of these works. In this study we uncovered the mixed opinions surrounding art made by AI. We developed two versions of a dance performance augmented by technology either with or without GenAI. For each version we informed audiences of the performance's development either before or after a survey on their perceptions of the performance. There were thirty-nine participants (13 males, 26 female) divided between the four performances. Results demonstrated that individuals were more inclined to attribute artistic merit to works made by GenAI when they were unaware of its use. We present this case study as a call to address the importance of utilizing the social context and the users' interpretations of GenAI in shaping a technical explanation, leading to a greater discussion that can bridge gaps in understanding.

Group dance generation from music has broad applications in film, gaming, and animation production. However, it requires synchronizing multiple dancers while maintaining spatial coordination. As the number of dancers and sequence length increase, this task faces higher computational complexity and a greater risk of motion collisions. Existing methods often struggle to model dense spatial-temporal interactions, leading to scalability issues and multi-dancer collisions. To address these challenges, we propose ST-GDance, a novel framework that decouples spatial and temporal dependencies to optimize long-term and collision-free group choreography. We employ lightweight graph convolutions for distance-aware spatial modeling and accelerated sparse attention for efficient temporal modeling. This design significantly reduces computational costs while ensuring smooth and collision-free interactions. Experiments on the AIOZ-GDance dataset demonstrate that ST-GDance outperforms state-of-the-art baselines, particularly in generating long and coherent group dance sequences. Project page: https://yilliajing.github.io/ST-GDance-Website/.

Imagine a humanoid that can safely and creatively dance with a human, adapting to its partner's proficiency, using haptic signaling as a primary form of communication. While today's AI systems excel at text or voice-based interaction with large language models, human communication extends far beyond text-it includes embodied movement, timing, and physical coordination. Modeling coupled interaction between two agents poses a formidable challenge: it is continuous, bidirectionally reactive, and shaped by individual variation. We present CoMPAS3D, the largest and most diverse motion capture dataset of improvised salsa dancing, designed as a challenging testbed for interactive, expressive humanoid AI. The dataset includes 3 hours of leader-follower salsa dances performed by 18 dancers spanning beginner, intermediate, and professional skill levels. For the first time, we provide fine-grained salsa expert annotations, covering over 2,800 move segments, including move types, combinations, execution errors and stylistic elements. We draw analogies between partner dance communication and natural language, evaluating CoMPAS3D on two benchmark tasks for synthetic humans that parallel key problems in spoken language and dialogue processing: leader or follower generation with proficiency levels (speaker or listener synthesis), and duet (conversation) generation. Towards a long-term goal of partner dance with humans, we release the dataset, annotations, and code, along with a multitask SalsaAgent model capable of performing all benchmark tasks, alongside additional baselines to encourage research in socially interactive embodied AI and creative, expressive humanoid motion generation.

Dance performance traditionally follows a unidirectional relationship where movement responds to music. While AI has advanced in various creative domains, its application in dance has primarily focused on generating choreography from musical input. We present a system that enables dancers to dynamically shape musical environments through their movements. Our multi-modal architecture creates a coherent musical composition by intelligently combining pre-recorded musical clips in response to dance movements, establishing a bidirectional creative partnership where dancers function as both performers and composers. Through correlation analysis of performance data, we demonstrate emergent communication patterns between movement qualities and audio features. This approach reconceptualizes the role of AI in performing arts as a responsive collaborator that expands possibilities for both professional dance performance and improvisational artistic expression across broader populations.

We describe DANCE^2, an interactive dance performance in which audience members channel their collective agency into a dancer-robot duet by voting on the behavior of a wearable robot affixed to the dancer's body. At key moments during the performance, the audience is invited to either continue the choreography or override it, shaping the unfolding interaction through real-time collective input. While post-performance surveys revealed that participants felt their choices meaningfully influenced the performance, voting data across four public performances exhibited strikingly consistent patterns. This tension between what audience members do, what they feel, and what actually changes highlights a complex interplay between agentive behavior, the experience of agency, and power. We reflect on how choreography, interaction design, and the structure of the performance mediate this relationship, offering a live analogy for algorithmically curated digital systems where agency is felt, but not exercised.

Dancers often prototype movements themselves or with each other during improvisation and choreography. How are these interactions altered when physically manipulable technologies are introduced into the creative process? To understand how dancers design and improvise movements while working with instruments capable of non-humanoid movements, we engaged dancers in workshops to co-create movements with a robot arm in one-human-to-one-robot and three-human-to-one-robot settings. We found that dancers produced more fluid movements in one-to-one scenarios, experiencing a stronger sense of connection and presence with the robot as a co-dancer. In three-to-one scenarios, the dancers divided their attention between the human dancers and the robot, resulting in increased perceived use of space and more stop-and-go movements, perceiving the robot as part of the stage background. This work highlights how technologies can drive creativity in movement artists adapting to new ways of working with physical instruments, contributing design insights supporting artistic collaborations with non-humanoid agents.

As robots enter the messy human world so the vital matter of safety takes on a fresh complexion with physical contact becoming inevitable and even desirable. We report on an artistic-exploration of how dancers, working as part of a multidisciplinary team, engaged in contact improvisation exercises to explore the opportunities and challenges of dancing with cobots. We reveal how they employed their honed bodily senses and physical skills to engage with the robots aesthetically and yet safely, interleaving improvised physical manipulations with reflections to grow their knowledge of how the robots behaved and felt. We introduce somatic safety, a holistic mind-body approach in which safety is learned, felt and enacted through bodily contact with robots in addition to being reasoned about. We conclude that robots need to be better designed for people to hold them and might recognise tacit safety cues among people.We propose that safety should be learned through iterative bodily experience interleaved with reflection.

We introduce MusicInfuser, an approach for generating high-quality dance videos that are synchronized to a specified music track. Rather than attempting to design and train a new multimodal audio-video model, we show how existing video diffusion models can be adapted to align with musical inputs by introducing lightweight music-video cross-attention and a low-rank adapter. Unlike prior work requiring motion capture data, our approach fine-tunes only on dance videos. MusicInfuser achieves high-quality music-driven video generation while preserving the flexibility and generative capabilities of the underlying models. We introduce an evaluation framework using Video-LLMs to assess multiple dimensions of dance generation quality. The project page and code are available at https://susunghong.github.io/MusicInfuser.