Had a great time at No Bounds festival yesterday, mostly succeeded in pushing through post-election tiredness although think it shows a little bit in the radio piece I recorded there.. A ‘3 minute epiphany‘ on Mary Anne Hobbs’s (extremely good) Radio 6 show.. Listen here
Had a fun time in Leeds last night, here’s the recording of my live code improv:
A recording of a stream I did to Algorave Montréal this morning
They’re using it in the first track, to control ebows on their guitars as well as triggering sample patterns. True to form, it’s a huge song. Here’s an article with a bit more info.
Looking forward to talking about Algorave, live coding, TidalCycles and a cultural grounding for it all in pattern at TEDx Hull tomorrow. I have been a bit unsure whether the showbiz 15 minute talk was for me but preparing for it has been a nice exercise in organising my thoughts, and I am now really looking forward to it. I’ll do some semi-improvised live coding, hopefully won’t crash and burn.. The rest of the line-up is really interesting too.
I’ve just realised that I haven’t posted here about my new job. I have left my post as research/teaching fellow in the University of Leeds, and since February 2017 have started work for a Museum, in particular the Research Institute of the Deutsches Museum, an incredible science museum in Munich — although I am still based in Sheffield UK. I’ll be working part time over the next five years on the PENELOPE research project lead by Ellen Harlizius-Klück, following our previous project Weaving Codes, Coding Weaves.
Among interviews with a range of nice folks it includes some words by me as well as this mix that I mentioned in an earlier post:
I really enjoyed making the mix – a real pleasure to get close to the music, and although I am very rusty (and last time was mixing vinyl), it still felt like a different way of listening, I’ve missed it. It was good also to bring such nice music together, looking forward to doing more of these.
Read the full article here: http://mixmag.net/feature/algorave/
Another video I forgot to post here, this one from Idle Chatter back in October 2016, with RITUALS aka Dan Hett on visuals
From around the year 2000, musicians, visual artists and choreographers have been popping up around the world to form a community of live coders. This community uses programming languages to create live work, predominantly in the performing arts. This idea appeared from different places in various flavours, such as just-in-time programming and on-the-fly programming, although the term live coding has became standard.
Patchwork portrait of seminal live coding band Powerbooks Unplugged (2004-),
film by Jonas Hummel (2010)
But, liveness and code form an unlikely friendship. On one side, liveness is about direct, unmediated connection, in the moment. On the other, code is about abstraction, generalisation, procedures to be replayed across different timespans and media. From this perspective live coding is almost oxmoronic — liveness is about now, code is about whenever. It is no wonder that many live coders purposefully embrace error and failure — their practice runs against our understanding of what code is for.
But when we write code not to make reuseable software, but to create in the moment, it takes on a very different quality, something closer to the embodied experience of speech. Live coders can work across networks or across disciplinary boundaries, pushing against the distinction between natural and computer languages.
Shared Buffer (Alexandra Cardenas, David Ogborn, Eldad Tsabary, Alex McLean)
@ Pikselfest Norway, 2014
Live coding has developed and grown over the past 17 years into a thriving, international community, meeting to create symposia [1,2], festivals [1,2], conferences, concerts and long nights of techno. All these performances involve the act of computer programming as performance: instructions are written and modified by a human while a computer executes them. Proclaiming “show us your screens”, live coders open up the developing structure and movement behind their work by projecting their screens, so the audience can experience the code grow alongside the development of its output.
Study in Keith, Andrew Sorensen
The experience of live coding is a strange one. Locked in a state of creative flow, working in a world made entirely of symbols, words and text, while simultaneously hyper-aware of the passing of time, and of the sound generated from the composition of those symbols. Hearing is a sense of touch, a way to feel the code. This is amplified further by the presence of others in the room, whose expectations you play with and respond to.
Kindohm @ ICLC 2016, Hamilton
Live coding isn’t a genre, or a set of tools, but a community of diverse practices, rolling back history to look for paths not taken — stripping back the graphical user interface to find the language machine underneath. Then, not using the language to describe already-made designs but to explore live thought, externalised through language.
REPL Electric — The Stars