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Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 31–39.
Published: 01 March 2014
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This article explores the intersection of live coding and choreography, discussing the “practice as research” project Hacking Choreography . It examines the use of computer programming languages within dance scores, the creation of scores in real time, and the transparency of these scores to the audience during performance. Four pieces created by the author are discussed in terms of these elements and compared to live-coding practices for computer music. Through this, not only does live coding emerge as a performance practice related to sound or visuals, but it also continues its trajectory as a transdisciplinary approach to live performance events.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 40–53.
Published: 01 March 2014
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What does computation sound like, and how can computational processing be integrated into live-coding practice along with code? This article gives insights into three years of artistic research and performance practice with Betablocker, an imaginary central processing unit architecture, specifically designed and implemented for live-coding purposes. It covers the themes of algorithmic composition, sound generation, genetic programming, and autonomous coding in the light of self-manipulating code and artistic research practice.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 17–30.
Published: 01 March 2014
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Live coding (Collins et al. 2003 and other articles in this special issue of Computer Music Journal ) is the central performance practice of the Cybernetic Orchestra, a laptop orchestra at McMaster University in Hamilton, Ontario, Canada. Inspired by the idea of participatory culture, the ensemble has been made open to a diverse and ever changing roster of participants, and may be likened to a human laboratory exploring this question: How is live coding scalable onto larger groups of people coming from diverse backgrounds? This article presents the practices that have developed during the first three years of the Cybernetic Orchestra's existence, starting with a summary of our human organization and physical infrastructure. The EspGrid software, developed for enhanced network synchronization and sharing, is reviewed before a final section presents the live coding practices that have crystallized around this specific collective of people, equipment, and code.
Journal Articles
Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 54–64.
Published: 01 March 2014
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Much improvised music that has developed since the advent of free jazz has been concerned with the imposition of structure, often through systems of directed improvisation, or through the use of rule-based approaches (e.g., game pieces). In this article, we explore the possibility of a networked live-coding system as a structural intervention mechanism par excellence , through the discussion of two pieces from the repertoire of the Birmingham Ensemble for Electroacoustic Research.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 8–16.
Published: 01 March 2014
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After an eventful decade of live-coding activities, this article seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live-coding research and discusses some examples of how live-coding practitioners engage with these points in their system design and performances. In light of the extremely diverse manifestations of live-coding activities, the problem of defining the practice is discussed, and the question is raised whether live coding is actually necessary as an independent category.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 77–89.
Published: 01 March 2014
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This article concerns the emerging creative practice of live coding (i.e., the real-time programming of electronic music in text-based programming environments), and explores how this practice can be deployed as a tactic of resistance against the overreach of restrictive intellectual property policy. I begin by surveying definitions of copyright and patent law, and related issues, to situate live coding in the field of existing perspectives on cultural ownership. Drawing on legal theory and critical discourse on improvised music in other genres, I then argue that the dynamic, palimpsestic, and improvisational qualities of live coding contradict many of copyright law's core assumptions regarding the nature of “fixed” works of art. These contradictions can be usefully mobilized for the purpose of resisting legal and economic enclosures of the digital cultural commons. As I conclude, live coding can, from its current, inherently ambivalent position on copyright matters, develop a strong, performance-based critical stance against the imbalances and shortcomings of intellectual property regimes and outdated notions of exclusive cultural ownership. Integrating artistic practices with ongoing and emerging critiques of intellectual property, such resistance can go a long way towards highlighting readily available opportunities to oppose and confound the law.
Journal Articles
Publisher: Journals Gateway
Computer Music Journal (2014) 38 (1): 65–76.
Published: 01 March 2014
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The ten-year anniversary of TOPLAP presents a unique opportunity for reflection and introspection. In this essay we ask the question, what is the meaning of live coding? Our goal is not to answer this question, in absolute terms, but rather to attempt to unpack some of live coding's many meanings. Our hope is that by exploring some of the formal, embodied, and cultural meanings surrounding live-coding practice, we may help to stimulate a conversation that will resonate within the live-coding community for the next ten years.