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 thinking around some core questions such as ‘what does AI need to do in order to stimulate an embodied interaction in music?’, ‘what sort of intelligent agent does the AI need to be?’ and ‘what does the machine need to learn; what is to be modelled?’. I proffer a definition of embodied AI as an intelligent agent whose operational behaviour is determined by percepts (Percepts are objects of perception, or put another way, something that is perceived) interacting to the dynamic situation within which it operates, and outline foundational theories such as embodiment, embodied cognition, flow, musicking, meaning-making and embodied interaction to argue for such a concept in music. Following this, I outline the theoretical and conceptual structures that I have developed in order to get embodied AI and musicking robots to create music and meaning with human-musicians through which I offer examples of some of the works that have been developed using this approach.
Vear, C. (2022). Embodied AI and Musicking Robotics. In C. Vear, & F. Poltronieri (Eds.), The Language of Creative AI: Practices, Aesthetics and Structures (113-135). Springer International Publishing. https://doi.org/10.1007/978-3-031-10960-7_7