Jason Jamerson

My early leadership in the national conversation around artificial intelligence and generative creative media has been recognized through media coverage, published scholarship, and invited speaking engagements. My work has been featured in Lighting & Sound America, The Theatre Times, and Scenography Today. I have presented at SIGGRAPH, Ford's Theatre's AI Roundtable, the AI x Fashion Policy Symposium, George Washington's Mount Vernon, and two national conferences of the United States Institute for Theatre Technology, addressing the rapidly changing state of AI art, authorship, creative practice, and institutional responsibility across the creative industries.

Across these platforms, I have helped move the conversation beyond novelty and speculation toward a more developed understanding of generative creativity as a professional practice. My work examines how artists and designers can direct intelligent systems with purpose, integrate them into established creative processes, and use them to expand the scale, speed, and range of visual development while maintaining authorship and a coherent artistic point of view.

I began integrating generative tools into production design as the technology first became viable for professional use. Since then, I have developed methods connecting generative image systems with spatial storytelling, real-time visualization, projection design, virtual production, and immersive media. This work considers both the practical capabilities of the tools and the larger questions they introduce around copyright, ethics, creative labor, education, and the responsibilities of cultural institutions.

My applied work includes collaboration with internationally recognized opera designer Gary McCann during the development of Bucharest National Opera's production of The Phantom of the Opera. Generative imagery moved from visual research and concept development into the final design language of the production, establishing an early example of AI-generated material contributing directly to a fully realized major-stage environment.

I have since worked with designers and productions across the country to incorporate generative tools into research, concept development, visual communication, projection design, and production planning. These collaborations demonstrate how AI can accelerate iteration, reveal unexpected visual directions, and allow creative teams to move more fluidly between research, imagination, design, and execution.

I am currently designing projections for The Vampire, an Off-Broadway musical in development as an extensively AI-supported theatrical production. Generative systems contribute across visual development, music composition, design, and production planning, creating a sustained experiment in directing multiple forms of artificial intelligence toward a unified creative work.

This work has developed into a broader program of research and leadership in generative creativity. I am advancing frameworks through which artists, institutions, and intelligent systems can create together with greater ambition and purpose, establishing new models for design, storytelling, scholarship, and cultural experience.