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This position focuses on distributed and embodied AI for music, exploring how intelligence and musical agency can be distributed across bodies, musical instruments, and technological devices. This PhD/Doctoral student may investigate combinations of performers and embedded computational agents using physiological or gestural sensing, TinyML, microcontrollers, and one-to-many / many-to-many communication as a means to explore musical systems in which decision-making occurs across interconnected nodes.
At the heart of the position is a question of how distributed AI systems might "think" through material or bodies when computational power is limited, but communication between embodied nodes is rich and complex.
For example: what information is sensed locally? What is communicated between performers or devices? What is the temporality of this communication? Where do computational decisions occur? What can these architectural considerations contribute to the field of music, and conversely, what can musical experimentation contribute to how the architecture of AI systems is conceived?
Intersecting concepts of biofeedback and cybernetics with digital lutherie, human–computer interaction, and research-creation, the fellow will explore creative interfaces for distributed musical systems. Projects might explore physiological or gestural computing, networked microcontrollers, on-device sensing and inference, TinyML, or communication among multiple performers and computational agents. These technologies may be investigated through composition, performance, installation, or new forms of digital musical instrument.
The position particularly welcomes candidates interested in questioning assumptions about where intelligence, agency, and control reside within computational systems, or systems of musical thought. Feminist and queer theory, disability studies, critical approaches to technology, non-Western epistemologies, and other cultural or philosophical traditions may provide not only frameworks for analyzing these systems, but models for designing alternative relationships among bodies, machines, and musical agents.
These orientations are invitations rather than requirements, and candidates are equally encouraged to bring other theoretical, technical, artistic, or practice-based approaches to these questions. I am curious to hear your ideas!