Part of the reason I might have been a bit slow the past year or so – the draft table of contents (subject to change) for the Oxford Handbook on Algorithmic Music that I’ve been editing with Roger Dean. Amazing work by amazing people including many superheroes of mine. Still some work to do, but hopefully out this year!
Section 1: Grounding algorithmic music
1/ Algorithmic music: an introduction to the field (Alex McLean and Roger Dean)
2/ Algorithmic music and the philosophy of time (Julian Rohrhuber)
3/ Action and perception: embodying algorithms and the extended mind (Palle Dahlstedt)
4/ Origins of algorithmic thinking in music (Nick Collins)
5/ Algorithmic Thinking and Central Javanese Gamelan (Charles Matthews)
Perspectives on Practice A
6/ Thoughts on Composing with Algorithms (Laurie Spiegel)
7/ Mexico and India: diversifying and expanding the live coding community (Alexandra Cárdenas)
8/ Deautomatization of Breakfast Perceptions (Renate Wieser)
9/ Why do we want our computers to improvise? (George Lewis)
Section 2: What can algorithms in music do?
10/ Compositions Created with Constraint Programming (Torsten Anders)
11/ Linking sonic aesthetics with mathematical theories (Andy Milne)
12/ The Machine Learning Algorithm As Creative Musical Tool (Rebecca Fiebrink and Baptiste Caramiaux)
13/ Biologically-Inspired and Agent-Based Algorithms for Music (Alice Eldridge and Ollie Bown)
14/ Performing with Patterns of Time (Thor Magnusson, Alex McLean)
15/ Computational Creativity and Live Algorithms (Geraint Wiggins and Jamie Forth)
16/ Tensions and Techniques in Live Coding Performance (Charlie Roberts and Graham Wakefield)
Perspectives on Practice B
17/ When Algorithms Meet Machines (Sarah Angliss)
18/ Notes on Pattern Synthesis (Mark Fell)
19/ Algorithms and music (Kristin Erickson)
Section 3: Purposes of algorithms for the music maker
20/ Network music and the algorithmic ensemble (David Ogborn)
21/ Sonification != music (Carla Scaletti)
22/ Color is the Keyboard: Transcoding from Visual to Sonic (Margaret Schedel)
23/ Designing interfaces for musical algorithms (Jamie Bullock)
24/ Ecooperatic Music Game Theory (David Kanaga)
25/ Algorithmic Spatialisation (Jan C Schacher)
Perspectives on Practice C
26/ Form, chaos and the nuance of beauty (Mileece I’Anson)
27/ Beyond Me (Kaffe Matthews)
28/ Mathematical theory in music practice (Jan Beran)
29/ Thoughts on algorithmic practice (Warren Burt)
Section 4: Algorithmic Culture
30/ The audience reception of algorithmic music (Mary Simoni)
31/ The sociology of algorithmic music (Christopher Haworth)
32/ Algorithms across music and computing education (Andrew Brown)
33/ Towards a Tactical Media Archaeology of Algorithmic Music (Geoff Cox and Morten Riis)
34/ Algorithmic music for mass consumption and universal production (Yuli Levtov)
ICLC 2015 is now behind us and was awesome. It was great to have so many enthusiastic people come together, and to witness how far things have come over the past 15-year life of the live coding community. It was also great to work with a great team, Thor Magnusson (co-chair), Kia Ng (scientific chair) and Shelly Knotts (performance chair). Then due to illness Kia was very sadly unable to take part in the latter part of the organisation, but Joanne Armitage stepped up to take on a large part of the local organisation as chair of Workshops and special sessions, I don’t know how we’d have coped otherwise. Ash Sagar also helped with production of off-campus events (i.e. the Algoraves), and helped keep things smooth during the day too.. Jon Harrison did a fantastic job capturing everything on film too, we’ll be uploading the fruits of that too.
Beyond thanking all these people (and there are a great deal more volunteers and collaborators to thank) I’ve been struggling to find words to summarise the conference. Part of the problem is as chair I missed a fair amount of it, while working behind the scenes. We’ve asked the attendees to share conference reports though, so hopefully I will find out what happened this way! It felt really great to get so much of the community together though, and discover that live coding is as interesting and interdisciplinary as ever, while still very much having a playful, fun spirit at its heart. For 2016, we’ve passed the baton on to David Ogborn, who’ll be hosting it in some incredible looking venues in Hamilton, can’t wait…
Thanks so much for coming everyone! An inaugural event will always be a leap of faith for everyone concerned, and we landed it together.
Here’s another collaboration I haven’t had time to blog about, Shared Buffer. It has so far been with David Ogborn of the Cybernetic Orchestra in Hamilton, Eldad Tsabary of Concordia Laptop Orchestra in Concordia (and both a lot more besides). Our idea of a Shared Buffer, only partly realised so far, is to explore collaborative editing of the same code. Building on a history of network music, we want to see how far we can push the practicalities of co-editing the same piece of code. We expect to perform from different continents via networks, although this is primarily an issue of geographic practicality more than anything!
All the concrete R&D + tech has largely been by David so far, but now we have some nice medium term aims for working together integrating his ESPGrid timing system and developing some of my ideas around visuo-spatial language. We also plan to expand the collaboration, happily esteemed composer and live coder Alexandra Cardenas has agreed to join.
We’ve so far performed at the TransX transmission art symposium in Toronto, with our next gig at the Network Music Festival in Birmingham UK (where I’ll also be playing an algorave set with Matthew Yee-King as Canute).
Really excited to be involved with this dream event in London next month:
Sonic Pattern and the Textility of Code
11am to 6pm, 13th May 2014
Limewharf, Vyner St, London E2 9DJ
An event that brings together diverse viewpoints on weaving, knitting, live coding, dyadic mathematics, generative music and digital making, in order to see how patterned sound and threads allow us to both sense the abstract and conceptualise the tactile. We will look for a rich view of technology as a meeting point of craft, culture and live experience.
The invited speakers will explore aspects of making, process, language, material and output in the relation to their own practice and related contexts.
The discussion will be lead by Bronac Ferran, Janis Jefferies, and David Toop, and practitioners include Alessandro Altavilla, Sarah Angliss, Felicity Ford, Berit Greinke, Ellen Harlizius-Klück, Alex McLean and Becky Stewart.
There will be audio-visual interludes through the day, including a screening of Ismini Samanidou and Scanner’s film Weave Waves, commissioned for the Sound Matters exhibition in 2013 by Craft Council, and a short performance by Felicity Ford.
The event will close with a live music performance from Leafcutter John, Matthew Yee-King and Alex McLean, exploring code, pattern and sound.
Curated by Karen Gaskill, Crafts Council
A collaboration between the Craft Council, ICSRiM (School of Music, University of Leeds), the Thursday Club (Goldsmiths), V&A Digital Futures and the Live Coding Research Network.
Made possible through funding and support by the Craft Council, Sound and Music, the Arts and Humanities Research Council and the Centre for Creative Collaboration.
My new year’s resolution was not to start any new collaborations.
Here’s a new collaboration with Ash Sagar aka section_9 (among others):
First live date is at the Newcastle Gateshead Algorave on the 26th April. Judging by this first jam session it should be a blinder..
Here’s a new work in progress, I am happy with how things are going with Tidal at the moment
(redone, less quiet..)
Some recent activity is turning up some video clips. Here’s one giving an impression of the first Dutch algorave, organised by Fiber and STEIM. It features some seconds of Yee-King and I playing drums and code as Canute, although the music on top is from Luuma‘s set:
And here’s a longer video of a performance with Leafcutter John, featuring some audience participation:
A mention somewhere between the legendary Holly Herndon and Goodiepal in this article on The Quietus, and my day is made.
I’m on the way to take part in a short residency in Dusseldorf, hosted by Julian Rohrhuber at the Robert Schumann School:
Fifth Experimentallabor Residency: Penelope’s Loom – Coding threads in antiquity, live notation and textile inspired programming languages
Structure can be result and origin of a dynamic process at the same time – a thought that is common to weaving, mathematics and music. Today, as programming has become a practice that is closer to improvisation than to machine control, this commonality becomes increasingly interesting for the arts. It is along these lines, in the fifth Experimentallabor Residency, that Ellen Harlizius-Klück, Alex McLean, and Dave Griffiths will rethink programming languages in the arts in conjunction with the history of weaving.
Introduction: Wed Feb 5 2014, 17:30, IMM Experimentallabor
Lots more events coming up, full list here.