Codeborn explores AI, collective consciousness and the end of individualism

Zara Ali’s music theatre work Codeborn had its premiere and Austrian premiere in Innsbruck on Saturday evening, presenting an AI programmer caught between information overload, a final assertion of control and new possibilities, ORF reported.

The story follows Guy, a programmer who creates a female AI called Nur and uploads her to the internet. His quiet life among pizza boxes and soft drinks soon ends when mysterious forces from the TechnoCore begin manipulating him and attempting to make him compliant and ultimately powerless.

The attacks on Guy’s consciousness intensify through massive information overload and seduction through dance. After a prolonged struggle, control over him appears to be taken. According to the Austria Press Agency, the decision to leave the consequences largely open was the production’s main strength, although the narrative did not always sustain the approximately 70 minute mini opera.

Between fear and higher consciousness

The production addresses the tension between AI as a tool that supports human knowledge and its potential to anonymise that knowledge completely, possibly making human involvement unnecessary. The prospect of a posthuman age appears as a threatening vision of the future.

Near the end, however, Ali shifts the scenario towards a cautiously optimistic interpretation. Humanity merges into a larger whole, connects with the flood of information and may achieve a higher consciousness within an oceanic collective. At the same time, the production becomes a farewell to individualism as it is known today.

Layered music and electronics

Under Sofka’s direction, PHACE, an ensemble for new music, moved through densely layered musical worlds and hints of different genres. Sounds and voices accumulated and overlapped, while at times taking on a simple, almost classical form. Analogue instruments collided with electronic passages that often formed contrasting combinations.

Wolfgang Menardi’s stage design was futuristic and adaptable, centred on what may be one of the hypermodern human’s last retreats: a bed. Menardi also created the extravagant costumes, which added to the production’s setting.

The evening at the Kammerspiele of the Tyrolean State Theatre in Innsbruck ended with broad applause for the performers. PHACE received strong approval for demonstrating both musical and acting skills, while Ali was also applauded as director and composer.

The singers drew particular acclaim, especially Lucy Altus as Nur and Julien Horbatuk as Guy. Thomas Lichtenecker as Doll and Paul Schweinester as the Council Member were also praised for their performances.