Live coding in laptop performance

@article{Collins2003LiveCI,
  title={Live coding in laptop performance},
  author={N. M. Collins and Alex McLean and Julian Rohrhuber and Adrian Ward},
  journal={Organised Sound},
  year={2003},
  volume={8},
  pages={321 - 330}
}
Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the programs themselves as they perform. Often this activity takes place within some established language for computer music like SuperCollider, but there is… 

Comparative Analysis of Platforms for Live Coding

This work performs a comparison between three pla�orms for live coding, i.e., the real-�me crea�on of sounds and rhythms through mathema�cal expressions, and found that each pla-orm can be adjusted to a different type of user, genera�ng the following recommenda�ons.

A Software System for Laptop Performance and Improvisation

This thesis project presents an alternative software interface that aims to bring a sense of active creation to laptop performance, and prevents the use of prepared control sequences and allows the live assembly of generative musical processes.

Live Coding Using a Visual Pattern Composition Language

Live coding is a performance practice in which music is created by writing software during the performance. Performers face the difficult task of programming quickly and minimizing the amount of

Live coding: an Overview

An overview on the evolution of Live Coding within the last decade is given, where the performers create and modify their software-based instruments during the performance.

The Programming Language as a Musical Instrument

Analysis of live coding as a context for programming allows us to escape the implicit assumptions of the commercial office environment in which so much end-user programming has been studied, and the study of unusual programming contexts such as Laptop music may lead to more general benefits for programming research.

TROOP : A COLLABORATIVE TOOL FOR LIVE CODING

Live Coding is a movement in electronic audiovisual performance that emerged at the turn of the millennia [1] and is now being performed all over the world through range of artistic practices [2]. It

Live Writing: Asynchronous Playback of Live Coding and Writing

Live Writing offers a new way for a live coder to archive live coding music and to communicate with others in asynchronous fashion and aims to transform wrien communication into a real-time experience so that a writer can display a writing to readers in areal-time manner as if it is being typed in front of the readers.

Collaborative Textual Improvisation in a Laptop Ensemble

This work believes that the dynamics of ensemble performance can lead laptop musicians in new creative directions, pushing them towards more real-time creativity and combining the diverse skills, ideas, and schemas of the ensemble’s members to create unexpected, novel music in performance.

Scoring with Code: Composing with algorithmic notation

This article presents the Threnoscope as an example of a system that implements both representational notation and a prescriptive code score, and explores the context of creating linear ‘code scores’ in the area of musical notation.

Live Writing : Writing as a Real-time Audiovisual Performance

This paper suggests a novel form of audiovisual performancelive writing that transforms creative writing into a realtime performing art and describes two live writing performances that take different approaches as they vary the degree of composition and improvisation in writing.
...

References

SHOWING 1-10 OF 12 REFERENCES

The Computer Music Tutorial

Rethinking the Computer Music Language: SuperCollider

Instrument functions in SuperCollider can generate the network of unit generators using the full algorithmic capability of the language, and can easily generate multiple versions of a patch by changing the values of the variables that specify the dimensions.

A Furified Freestyle: Homer and Hip Hop

Since Albert Lord published The Singer of Tales in 1960, the ParryLord oral-formulaic theory has been applied to various kinds of poetry from all over the world. Ruth Finnegan has studied griots in

Understanding computers and cognition - a new foundation for design

It is argued that what AI needs is not so much a hermeneutic approach as a better appreciation of biology and psychology.

Hyperimprovisation: Computer-Interactive sound improvisation

Continued Evolution of the SuperCollider Real Time Synthesis Environment

SuperCollider version 2.0 (SC2) is a completerewrite of the system to make it more expressive, more efficient, andeasier to use.

ANGRY – usr / bin / bash as a performance tool

  • Cream 12 , from the generative . net mailing list
  • 2003

Cream 12, from the generative.net mailing list

  • 2003