Dr Jamie Forth

Staff details

Department Computing
Email j.forth (
Dr Jamie Forth

Jamie is a musician, artist/coder, and interdisciplinary scientific researcher. His artistic research centres around collaborative music and performance making in the context of DIY networks and inclusivity. Jamie's scientific research focuses on the development of computational methods for modelling processes associated with the perception, cognition and creation of music. He has also undertaken post-doctoral work in the field of multi-agent systems and the Semantic Web.

Jamie is also a part-time lecturer at Goldsmiths, teaching in areas of computer music composition, programming and data visualisation. He is interested in supervising projects concerning coding as artistic practice; technologically mediated interaction in live performance; DIY/punk/dance/pop-culture; critical and feminist perspectives in contemporary arts practices; human/animal/environmental rights; and political engagement and activism.

Academic qualifications

  • PhD (Computer Science), Goldsmiths, University of London
  • 2012 - MA (Electroacoustic Composition), City University, London
  • 2004 - BMus Hons (Music), City University, London, 2003

Professional projects

Jamie has recently collaborated with dance artists including Janine Harrington, Clare Daly, and Anders Duckworth, producing fixed, interactive and live-coded sound works for performances at venues including Trip Space, Deptford X, and The Place, London.

As a guitarist and drummer Jamie regularly performs throughout the UK and Europe, and in 2016 toured the US and Mexico.

Recent publications

Agress, K., J. Forth, and G. A. Wiggins (2017). “Evaluation of musical creativity and musical metacreation systems”. In: ACM Computers in Entertainment. In press.

Forth, J., K. Agres, M. Purver, and G. A. Wiggins (2016). “Entraining IDyOT : Timing in the Information Dynamics of Thinking”. In: Frontiers in Psychology 7.1575, pp. 1–19.

Wiggins, G. A. and J. Forth (2016). “Computational Creativity and Live Algorithms”. In: Handbook of Algorithmic Music. Ed. by A. McLean and R. Dean. Oxford, UK: Oxford University Press. In press.

Pontis, S., G. Kefalidou, A. Blandford, J. Forth, S. Makri, S. Sharples, G. A. Wiggins, and M. Woods (2015).  “Academics’ responses to encountered information: Context matters”. In: Journal of the Association for Information Science and Technology.

Wiggins, G. A. and J. Forth (2015). “IDyOT: A Computational Theory of Creativity as Everyday Reasoning from Learned Information”. In: Computational Creativity Research: Towards Creative Machines. Ed. by T. R. Besold, M. Schorlemmer, and A. Smaill. Vol. 7. Atlantis Thinking Machines. Paris, FR: Atlantis Press, pp. 127–148.

Boso, M., J. Forth, A. Bordin, R. Faggioli, E. D’Angelo, P. Politi, F. Barale, and P. Heaton (2013). “Transposition ability in a young musician with autism and blindness: Testing cognitive models of autism”. In: Psychomusicology: Music, Mind, and Brain 23.2, pp. 109–116.