Originally published in The New York Times

The new Anthony Bourdain documentary, “Roadrunner,” is one of many projects dedicated to the larger-than-life chef, writer and television personality. But the film has drawn outsize attention, in part because of its subtle reliance on artificial intelligence technology.

Using several hours of Mr. Bourdain’s voice recordings, a software company created 45 seconds of new audio for the documentary. The A.I. voice sounds just like Mr. Bourdain speaking from the great beyond; at one point in the movie, it reads an email he sent before his death by suicide in 2018.

“If you watch the film, other than that line you mentioned, you probably don’t know what the other lines are that were spoken by the A.I., and you’re not going to know,” Morgan Neville, the director, said in an interview with The New Yorker. “We can have a documentary-ethics panel about it later.”

The time for that panel may be now. The dead are being digitally resurrected with growing frequency: as 2-D projections, 3-D holograms, C.G.I. renderings and A.I. chat bots.

A holograph of the rapper Tupac Shakur took the stage at Coachella in 2012, 15 years after his death; a likeness of a 19-year-old Audrey Hepburn starred in a 2014 Galaxy chocolate ad; and Carrie Fisher and Peter Cushing posthumously reprised their roles in some of the newer “Star Wars” films.

Few examples drew as much attention as the singing, dancing hologram that Kanye West gave Kim Kardashian West for her birthday last October, cast in the image of her late father, Robert Kardashian. Much like Mr. Bourdain’s vocal doppelgänger, the hologram’s voice was trained on real audio recordings but spoke in sentences never uttered by Mr. Kardashian; as if communicating from the afterlife, the hologram expressed pride in Ms. Kardashian West’s pursuit of a law degree and described Mr. West as “the most, most, most, most, most genius man in the whole world.”

Image: Somnath Bhatt

This story originally appeared in print in the July 25, 2021  edition of The New York Times. To read the full story online, click here.



© Adrienne Matei 2017