Craig Vear

Craig Vear
De Montfort University | DMU · School of Arts


How we measure 'reads'
A 'read' is counted each time someone views a publication summary (such as the title, abstract, and list of authors), clicks on a figure, or views or downloads the full-text. Learn more


Publications (14)
This chapter discusses a hypothesis for embodied AI and its development with music robots. It proposes a solution to the challenge: if we want AI/robots to join us inside the creative acts of music, then how do we design and develop systems that prioritise the relationships that bind musicians inside the flow of musicking? This requires significant...
Full-text available
This article discusses the creative and technical approaches in a performative robot project called “Embodied Musicking Robots” (2018–present). The core approach of this project is human-centered AI (HC-AI) which focuses on the design, development, and deployment of intelligent systems that cooperate with humans in real time in a “deep and meaningf...
This article discusses the research findings from a year-long investigation funded by a Digital R&D for the Arts grant. The overarching aims of this research project were to understand how arts and cultural organisations can access mixed-reality environments and digital technology for creative play and learning, and how they can enable children and...
This article discusses the concept of Gesamtkomposition as a means with which to consider the mutual affection of sensorial media and its operational significance at the point of composition. It analyses and reflects upon the nature of such a concept, and evaluates its application through a major practice-based research project. This central work –...
This article discusses three compositions for autonomous laptops performing with improvising musicians. The laptops were programmed with software environments that make narrow-band ‘decisions’ regarding performative soundscapes. They also made ‘decisions’ about visual materials that were presented as onscreen scores for the human improviser to cons...


Cited By