Pub Date : 2023-08-22DOI: 10.1017/s1355771823000523
Dario Sanfilippo
This article introduces the history and aesthetics of feedback-based music, from early practitioners to more advanced methods and state-of-the-art works based on adaptation. Some of the most relevant techniques developed over almost six decades of investigations in the area of recursive systems for electronic music are discussed to show the variety and richness that a single specialised domain can have, providing examples of how scientific and philosophical principles can be translated into music. The historical context is key to understanding the evolution of the field: feedback-based music arose during the same years in which cybernetics, together with other disciplines, were experiencing a profound transformation. I will provide an overview of how such disciplines changed, highlighting the connections between seemingly distant areas such as philosophy, biology and engineering, and the fact that the development of feedback-based music appears to have followed somewhat closely the evolution of systems thinking. Finally, the article explores questions of musical aesthetics and music theory related to the use of complex autonomous systems in live performance through observations on the author’s creative practice.
{"title":"The Aesthetics of Musical Complex Systems","authors":"Dario Sanfilippo","doi":"10.1017/s1355771823000523","DOIUrl":"https://doi.org/10.1017/s1355771823000523","url":null,"abstract":"This article introduces the history and aesthetics of feedback-based music, from early practitioners to more advanced methods and state-of-the-art works based on adaptation. Some of the most relevant techniques developed over almost six decades of investigations in the area of recursive systems for electronic music are discussed to show the variety and richness that a single specialised domain can have, providing examples of how scientific and philosophical principles can be translated into music. The historical context is key to understanding the evolution of the field: feedback-based music arose during the same years in which cybernetics, together with other disciplines, were experiencing a profound transformation. I will provide an overview of how such disciplines changed, highlighting the connections between seemingly distant areas such as philosophy, biology and engineering, and the fact that the development of feedback-based music appears to have followed somewhat closely the evolution of systems thinking. Finally, the article explores questions of musical aesthetics and music theory related to the use of complex autonomous systems in live performance through observations on the author’s creative practice.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44908819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-22DOI: 10.1017/s1355771823000389
Raul Masu, Francesco Ardan Dal Rì
In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along the x-axis, while in Time_Z the objects overlap along an imaginary z-axis. Based on our previous personal experience with the system, such forms of visual scores can help to develop new musicking strategies while live coding. In this article, we wanted to broaden such reflections, and we used them as probes in a study with three live coders. After tailoring the two systems to the usual practice of the three participants, we asked them to use the systems for three weeks and keep a diary. At the end, we interviewed them. Based on their comments, we present some reflections on the use of graphic forms of visualisation in live coding, on how they can support musicking process, and to what extent such visuals can be considered scores.
{"title":"Visual Representations to Stimulate New Musicking Strategies in Live Coding","authors":"Raul Masu, Francesco Ardan Dal Rì","doi":"10.1017/s1355771823000389","DOIUrl":"https://doi.org/10.1017/s1355771823000389","url":null,"abstract":"In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along the x-axis, while in Time_Z the objects overlap along an imaginary z-axis. Based on our previous personal experience with the system, such forms of visual scores can help to develop new musicking strategies while live coding. In this article, we wanted to broaden such reflections, and we used them as probes in a study with three live coders. After tailoring the two systems to the usual practice of the three participants, we asked them to use the systems for three weeks and keep a diary. At the end, we interviewed them. Based on their comments, we present some reflections on the use of graphic forms of visualisation in live coding, on how they can support musicking process, and to what extent such visuals can be considered scores.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41830063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-18DOI: 10.1017/s1355771823000420
Elizabeth Wilson, György Fazekas, Geraint A. Wiggins
Co-creation strategies for human–machine collaboration have recently been explored in various creative disciplines and more opportunities for human–machine collaborations are materialising. In this article, we outline how to augment musical live coding by considering how human live coders can effectively collaborate with a machine agent imbued with the ability to produce its own patterns of executable code. Using machine agents allows live coders to explore not-yet conceptualised patterns of code and supports them in asking new questions. We argue that to move away from scenarios where machine agents are used in a merely generative way, or only as creative impetus for the human, and towards a more collaborative relationship with the machine agent, consideration is needed for system designers around the aspects of reflection, aesthetics and evaluation. Furthermore, owing to live coding’s close relationship with exposing processes, using agents in such a way can be a useful manner to explore how to make artificial intelligence processes more open and explainable to an audience. Finally, some speculative futures of co-creative and artificially intelligent systems and what opportunities they might afford the live coder are discussed.
{"title":"On the Integration of Machine Agents into Live Coding","authors":"Elizabeth Wilson, György Fazekas, Geraint A. Wiggins","doi":"10.1017/s1355771823000420","DOIUrl":"https://doi.org/10.1017/s1355771823000420","url":null,"abstract":"Co-creation strategies for human–machine collaboration have recently been explored in various creative disciplines and more opportunities for human–machine collaborations are materialising. In this article, we outline how to augment musical live coding by considering how human live coders can effectively collaborate with a machine agent imbued with the ability to produce its own patterns of executable code. Using machine agents allows live coders to explore not-yet conceptualised patterns of code and supports them in asking new questions. We argue that to move away from scenarios where machine agents are used in a merely generative way, or only as creative impetus for the human, and towards a more collaborative relationship with the machine agent, consideration is needed for system designers around the aspects of reflection, aesthetics and evaluation. Furthermore, owing to live coding’s close relationship with exposing processes, using agents in such a way can be a useful manner to explore how to make artificial intelligence processes more open and explainable to an audience. Finally, some speculative futures of co-creative and artificially intelligent systems and what opportunities they might afford the live coder are discussed.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41579723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.1017/s1355771823000353
Hernani Villaseñor-Ramírez
This article is a text on the encounter of live coding with soundscape, soundart installation and soundwalking. This combination involves leaving the studio or a stage for live coding outside or moving to a participatory event inside a gallery, as in the case of an art installation. The article presents four cases of live coders and artists who have worked with this mixture. To understand how these artists combine live coding with these sound practices, I interviewed them and observed their works and performances in videos posted on internet platforms. The article shows that live coding sound, commonly performed within a concert space, can happen in listening, participation or walking contexts. The cases explore the sound of nature and the city to integrate it into the live coding practice of each artist. This shows that live coding can be expanded, combined or hybridised with other sound practices and establish a dialogue between different communities.
{"title":"Live Coding Outside, Live Coding Inside: Listening, participation and walking","authors":"Hernani Villaseñor-Ramírez","doi":"10.1017/s1355771823000353","DOIUrl":"https://doi.org/10.1017/s1355771823000353","url":null,"abstract":"This article is a text on the encounter of live coding with soundscape, soundart installation and soundwalking. This combination involves leaving the studio or a stage for live coding outside or moving to a participatory event inside a gallery, as in the case of an art installation. The article presents four cases of live coders and artists who have worked with this mixture. To understand how these artists combine live coding with these sound practices, I interviewed them and observed their works and performances in videos posted on internet platforms. The article shows that live coding sound, commonly performed within a concert space, can happen in listening, participation or walking contexts. The cases explore the sound of nature and the city to integrate it into the live coding practice of each artist. This shows that live coding can be expanded, combined or hybridised with other sound practices and establish a dialogue between different communities.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41597361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-11DOI: 10.1017/s1355771823000444
Georgios Diapoulis
This article explores the similarities and differences between live coding and traditional music performances. The focus is on how bodily movements are expressed and whether pre-reflective processes may be activated during a live coding performance. While reports from practitioners vary on percepts of embodiment, the community is missing a theoretical background that reflects on practice. Understanding pre-reflective processes in live coding can benefit performance practices and tool development. As a live coder, I reflect on personal experiences and explore what I call ‘interactivity variations’, a term to denote different gestural manners of interactions during a performance. I observe patterns of embodiment among various live coders who use diverse performance systems from online videos. Out of 11 examples of performance systems, two cases demonstrate interactivity variations that can activate pre-reflective processes while another exploits direct manipulation. I present some implications for the patterns of bodily movement during a live coding performance and discuss how descriptive and prescriptive notation can be important and potentially influence our sensorimotor network. The article contributes a first account of a sensorimotor theory on live coding performances, reflecting on practice and embodied music cognition by presenting an aesthetic analysis of 11 online video examples.
{"title":"Musical Live Coding in Relation to Interactivity Variations","authors":"Georgios Diapoulis","doi":"10.1017/s1355771823000444","DOIUrl":"https://doi.org/10.1017/s1355771823000444","url":null,"abstract":"This article explores the similarities and differences between live coding and traditional music performances. The focus is on how bodily movements are expressed and whether pre-reflective processes may be activated during a live coding performance. While reports from practitioners vary on percepts of embodiment, the community is missing a theoretical background that reflects on practice. Understanding pre-reflective processes in live coding can benefit performance practices and tool development. As a live coder, I reflect on personal experiences and explore what I call ‘interactivity variations’, a term to denote different gestural manners of interactions during a performance. I observe patterns of embodiment among various live coders who use diverse performance systems from online videos. Out of 11 examples of performance systems, two cases demonstrate interactivity variations that can activate pre-reflective processes while another exploits direct manipulation. I present some implications for the patterns of bodily movement during a live coding performance and discuss how descriptive and prescriptive notation can be important and potentially influence our sensorimotor network. The article contributes a first account of a sensorimotor theory on live coding performances, reflecting on practice and embodied music cognition by presenting an aesthetic analysis of 11 online video examples.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41626346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/s1355771823000559
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"OSO volume 28 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1355771823000559","DOIUrl":"https://doi.org/10.1017/s1355771823000559","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/S1355771823000407
Emma Wilde, Mario Alberto Duarte-García
Live coding in Latin America has always been tied to educational access concerns and has been disseminated through the region by way of free workshops offered outside of academic institutions. Although there is significant live coding activity in Latin America, live coding outside of the European context has been little explored. We interviewed 11 female practitioners active in live coding nodes in Latin America to uncover the challenges this group faces in terms of access to music education and live coding with the aim of determining what strategies can be implemented to mitigate these challenges and promote diversity in the future. We also consider the role of collective activity and how interaction between live coding nodes in the region has led to the formation of safe spaces in which participants can share resources. The results show that live coding offers attractions for those who have faced challenges in music academia while those with non-music backgrounds found an introduction to sound creation through live coding. This suggests that live coding provides new opportunities for inclusiveness that could be taken advantage of by music academics.
{"title":"Livecoderas Latinoamericanas: Diversity, educational access and musicking networks in live coding in Latin America","authors":"Emma Wilde, Mario Alberto Duarte-García","doi":"10.1017/S1355771823000407","DOIUrl":"https://doi.org/10.1017/S1355771823000407","url":null,"abstract":"Live coding in Latin America has always been tied to educational access concerns and has been disseminated through the region by way of free workshops offered outside of academic institutions. Although there is significant live coding activity in Latin America, live coding outside of the European context has been little explored. We interviewed 11 female practitioners active in live coding nodes in Latin America to uncover the challenges this group faces in terms of access to music education and live coding with the aim of determining what strategies can be implemented to mitigate these challenges and promote diversity in the future. We also consider the role of collective activity and how interaction between live coding nodes in the region has led to the formation of safe spaces in which participants can share resources. The results show that live coding offers attractions for those who have faced challenges in music academia while those with non-music backgrounds found an introduction to sound creation through live coding. This suggests that live coding provides new opportunities for inclusiveness that could be taken advantage of by music academics.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57121441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/S1355771823000493
Alexandros Drymonitis
Live coding is a celebrated practice that is used in many areas, combined with a variety of artistic fields. Code poetry is a form of poetry with many variations, all of which have a common rule: the code that is or produces the poem must compile without errors. The meeting point of live coding and code poetry seems to have not yet been thoroughly explored, leaving space for experimentation and research. Certain attempts have already been made, where live coding is either approached through natural language or used to break up and merge chunks of existing poems, forming new ones. Computer code has also been used to write deterministic opera librettos, following the code poetry paradigm. This article focuses on the literary and artistic attributes of code, on code poetry and on the existing attempts to combine it with live coding. It also highlights the narrative attribute of musical live coding to formulate a rationale for combining live coding with code poetry in a musical context. The goal is to examine the possibilities of this combination, as well as how this can be achieved, from a technical point of view.
{"title":"Live Coding Poetry: The narrative of code in a hybrid musical/poetic context","authors":"Alexandros Drymonitis","doi":"10.1017/S1355771823000493","DOIUrl":"https://doi.org/10.1017/S1355771823000493","url":null,"abstract":"Live coding is a celebrated practice that is used in many areas, combined with a variety of artistic fields. Code poetry is a form of poetry with many variations, all of which have a common rule: the code that is or produces the poem must compile without errors. The meeting point of live coding and code poetry seems to have not yet been thoroughly explored, leaving space for experimentation and research. Certain attempts have already been made, where live coding is either approached through natural language or used to break up and merge chunks of existing poems, forming new ones. Computer code has also been used to write deterministic opera librettos, following the code poetry paradigm. This article focuses on the literary and artistic attributes of code, on code poetry and on the existing attempts to combine it with live coding. It also highlights the narrative attribute of musical live coding to formulate a rationale for combining live coding with code poetry in a musical context. The goal is to examine the possibilities of this combination, as well as how this can be achieved, from a technical point of view.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49557747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/s1355771823000237
Philon Nguyen, Eldad Tsabary
Since the 1980s, deconstruction has become a popular approach for designing architecture. In music, however, the term has not been absorbed as well by the related literature, with a few exceptions. In this article, ways to find ideological groundings for deconstructivism in music are introduced through the concepts of enchaînement and reconstruction paradoxes. Similar to the Banach–Tarski paradox in mathematics, reconstruction paradoxes occur when reconstructing the parts of a whole no longer yields the same properties as the whole. In music, a reconstruction paradox occurs when a piece constructed from tonal segments no longer yields a perceived tonality. Deconstruction in architecture heavily relies on computer-aided design (CAD) to realise complex ideas. Similarly in music, computer-aided composition (CAC) techniques such as neural networks, concatenative synthesis and automated orchestration are used. In this article, we discuss such tools in the context of this advocated new aesthetics: deconstructivist music.
{"title":"Towards Deconstructivist Music: Reconstruction paradoxes, neural networks, concatenative synthesis and automated orchestration in the creative process","authors":"Philon Nguyen, Eldad Tsabary","doi":"10.1017/s1355771823000237","DOIUrl":"https://doi.org/10.1017/s1355771823000237","url":null,"abstract":"Since the 1980s, deconstruction has become a popular approach for designing architecture. In music, however, the term has not been absorbed as well by the related literature, with a few exceptions. In this article, ways to find ideological groundings for deconstructivism in music are introduced through the concepts of enchaînement and reconstruction paradoxes. Similar to the Banach–Tarski paradox in mathematics, reconstruction paradoxes occur when reconstructing the parts of a whole no longer yields the same properties as the whole. In music, a reconstruction paradox occurs when a piece constructed from tonal segments no longer yields a perceived tonality. Deconstruction in architecture heavily relies on computer-aided design (CAD) to realise complex ideas. Similarly in music, computer-aided composition (CAC) techniques such as neural networks, concatenative synthesis and automated orchestration are used. In this article, we discuss such tools in the context of this advocated new aesthetics: deconstructivist music.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47337176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1017/S1355771823000365
Andrew R. Brown
Creative activities often involve specific processes and techniques that reflect the unique nature of the activity. For live coders, these processes and techniques can be expressed as algorithms and functions in live coding languages. In many fields, these idiomatic processes are referred to as design patterns. Design patterns are important to understand because they can structure thought and direct users towards particular outcomes. This article examines the design patterns in live coding practices and languages, specifically focusing on the Live Coding Toolkit for Pure Data. Pure Data is a visual programming language, but few live coders have traditionally used it. This article explains how the Live Coding Toolkit allows Pure Data to effectively express the patterns of practice required for successful music live coding performance.
{"title":"Live Coding Patterns and a Toolkit for Pure Data","authors":"Andrew R. Brown","doi":"10.1017/S1355771823000365","DOIUrl":"https://doi.org/10.1017/S1355771823000365","url":null,"abstract":"Creative activities often involve specific processes and techniques that reflect the unique nature of the activity. For live coders, these processes and techniques can be expressed as algorithms and functions in live coding languages. In many fields, these idiomatic processes are referred to as design patterns. Design patterns are important to understand because they can structure thought and direct users towards particular outcomes. This article examines the design patterns in live coding practices and languages, specifically focusing on the Live Coding Toolkit for Pure Data. Pure Data is a visual programming language, but few live coders have traditionally used it. This article explains how the Live Coding Toolkit allows Pure Data to effectively express the patterns of practice required for successful music live coding performance.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47695876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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