About
Meredith Thomas is an artist and creative technologist based in Berlin who has worked with frontier media and technology for over a decade. Meredith studied biomedical engineering (MEng, 2009–13) and science communication (MSc, 2013–14) at Imperial College London. After moving to Berlin he turned to creative technology. He started by building multisensory VR experiences with You VR (2017–18) and later worked as a creative coder at Waltz Binaire (2019–21). Since then, much of his work has been with independent theatre companies in Germany, building AI-driven performances and installations. In 2022 he was a fellow at the Academy for Theater and Digitality.
The engineer and the artist in Meredith feed each other. As an engineer, he is drawn to new uses of machine learning in creative work. That has included real-time training and inference, LLMs and voice cloning, speech recognition and synthesis, generative systems from cellular automata to diffusion, and branching stories driven by the audience. He builds these systems in Python, C++, openFrameworks, TouchDesigner and Unity, and deploys them on hardware suited to performance and installation, from Raspberry Pi and Jetson boards to custom servers. These systems must be stable enough to run live, with interfaces that performers and operators can trust.
As an artist, Meredith looks just as closely at the questions these systems raise: what artificial intelligence is, what it is becoming, and what it means for the people living alongside it. Because Meredith builds the machinery himself, his critique rests on years of hands-on intuition and technical grounding in the systems he questions. In productions for theatre, museums and festivals, he serves the vision of the piece.
His theatre work began with Regie KI (2020), an early experiment in AI direction at the Düsseldorfer Schauspielhaus. A long collaboration with the collective Cobratheatre.cobra followed, from AntifAI: German Horror Daemonium (2021, Schauspielhaus Bochum) to Haufen Uffruhr Fortschritt II (2024, Theater Eisleben). Increasingly, his productions put audiences in conversation with machines: ANA (2023, Residenztheater München), Friendly Fire at the Shrink (2025, Schlachthaus Theater Bern) and, most recently, Versuch über die nachhaltige Ordnung merkwürdiger Dinge (2026, Stadttheater Gießen). Outside the theatre, he created the AI installation Unhate (2022) for Deutsche Telekom, shown at Mobile World Congress in Barcelona. In his own work, such as the installation Melete (2022, Academy for Theater and Digitality), Meredith like to prod at forgotten branches in the tree of AI development.
He works comfortably with directors, dramaturgs, scientists, designers and technicians, and is as much at home shipping a working pipeline as explaining what it means. Meredith also teaches and speaks. He has led workshops for artists in Python, creative AI, openFrameworks, Unity and VR with School of Machines in Berlin, at HfG Karlsruhe, and for festivals in Riyadh and Kharkiv.