Live Coding with the Cloud and a Virtual Agent

  title={Live Coding with the Cloud and a Virtual Agent},
  author={Anna Xamb{\'o} and Gerard Roma and Sam Roig and Eduard Solaz},
The use of crowdsourced sounds in live coding can be seen as an example of asynchronous collaboration. It is not uncommon for crowdsourced databases to return unexpected results to the queries submitted by a user. In such a situation, a live coder is likely to require some degree of additional filtering to adapt the results to her/his musical intentions. We refer to this context-dependent decisions as situated musical actions. Here, we present directions for designing a customisable virtual… 
1 Citations



Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases

A live coding system built on SuperCollider enabling the use of audio content from online Creative Commons (CC) sound databases such as Freesound or personal sound databases and its potential in facilitating tailorability of the tool to their own creative workflows is demonstrated.

A Meta-Instrument for Interactive, On-the-Fly Machine Learning

This work proposes a method for harnessing machine learning algorithms within a radically interactive paradigm, in which the designer may repeatedly generate examples, train a learner, evaluate outcomes, and modify parameters in real-time within a single software environment.

Live coding in laptop performance

This paper presents an introduction to the field of live coding, of real-time scripting during laptop music performance, and the improvisatory power and risks involved, and looks at two test cases, the command-line music of slub utilising Perl and REALbasic, and Julian Rohrhuber's Just In Time library for SuperCollider.

Music Information Retrieval in Live Coding: A Theoretical Framework

It is found that it is still a technical challenge to use high-level features in real time, yet using rhythmic and tonal properties (midlevel features) in combination with text-based information (e.g., tags) helps to achieve a closer perceptual level centered on pitch and rhythm when using MIR in live coding.

Sound recycling from public databases: Another BigData approach to sound collections

Among several different distributed systems useful for music experimentation, a new workflow is proposed based on analysis techniques from Music Information Retrieval combined with massive online databases, dynamic user interfaces, physical controllers and real-time synthesis, keeping in mind compositional concepts and focusing on artistic performances.

Reflections on Eight Years of Instrument Creation with Machine Learning

A deeper understanding of the value of ML for NIME practitioners is contributed, and it can inform design considerations for future ML toolkits as well as NIME pedagogy.

Adaptive Mapping of Sound Collections for Data-driven Musical Interfaces

A novel framework for automatic creation of interactive sound spaces from sound collections using feature learning and dimensionality reduction is proposed and implemented as a software library using the SuperCollider language.

A Signal Engine for a Live Coding Language Ecosystem

This paper reports on early advances in the design of a browser-based ecosystem for creating new live coding languages, optimal for audio synthesis, machine learning and machine listening, and contributes with the latest advances in Sema, a new user-friendly playground which integrates the signal engine.

Reflections on live coding collaboration

rough my practice as a live coder of music, I have enjoyed varied collaborations with percussionists, live artists, performance artists, dancers and choreographers, as well as other live coders. In

The Machine Learning Algorithm as Creative Musical Tool

It is shown that, like other interfaces, learning algorithms can be characterised by the ways their affordances intersect with goals of human users, and it is argued that the nature of interaction between users and algorithms impacts the usability and usefulness of those algorithms in profound ways.