Organised Sound最新文献

{"title":"Discovering Creative Commons Sounds in Live Coding","authors":"Anna Xambó Sedó","doi":"10.1017/S1355771823000262","DOIUrl":"https://doi.org/10.1017/S1355771823000262","url":null,"abstract":"This article reports on a study to identify the new sonic challenges and opportunities for live coders, computer musicians and sonic artists using MIRLCa, a live-coding environment powered by an artificial intelligence (AI) system. MIRLCa works as a customisable worldwide sampler, with sounds retrieved from the collective online Creative Commons (CC) database Freesound. The live-coding environment was developed in SuperCollider by the author in conversation with the live-coding community through a series of workshops and by observing its use by 16 live coders, including the author, in work-in-progress sessions, impromptu performances and concerts. This article presents a qualitative analysis of the workshops, work-in-progress sessions and performances. The findings identify (1) the advantages and disadvantages, and (2) the different compositional strategies that result from manipulating a digital sampler of online CC sounds in live coding. A prominent advantage of using sound samples in live coding is its low-entry access suitable for music improvisation. The article concludes by highlighting future directions relevant to performance, composition, musicology and education.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"276 - 289"},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44257694","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}

{"title":"Agent-Based Music Live Coding: Sonic adventures in 2D","authors":"Gerard Roma","doi":"10.1017/S1355771823000274","DOIUrl":"https://doi.org/10.1017/S1355771823000274","url":null,"abstract":"This article describes agent-based music live coding, an approach for music performance and composition based on programming a set of agents in a 2D plane. This style of programming draws from the tradition of agent-based models and facilitates interactive algorithmic control of data-driven sound synthesis methods such as wave terrain synthesis or corpus-based concatenative synthesis. The main elements are a ‘terrain’, which may be used to access different types of data, a set of agents and their trajectories, and a set of synthesis functions associated to agents. An implementation using the SuperCollider language is demonstrated.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"231 - 240"},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49473069","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}

{"title":"Live Coding and Music Production as Hybrid Practice","authors":"Hussein Boon","doi":"10.1017/S1355771823000419","DOIUrl":"https://doi.org/10.1017/S1355771823000419","url":null,"abstract":"This article discusses incorporating live coding as part of a new Foundation pathway for music production at a UK university that started in September 2022. The inclusion of live coding, using the application Sonic Pi, is situated alongside music production using a DAW, initially through the process of drum programming. The role of Sonic Pi is also to provide a means for producers to take their productions into the live performance space. This article’s contribution is in three areas. The first is to provide a short history of live coding at the current institution coupled with a longer account of my fragmented journey into live coding to provide some context. For the second discussion area, information about the foundation, its structure and how it fits into the overall degree programme is discussed. This section also includes some short code examples to illustrate the approach and links to video materials. For the last discussion area I outline an area of crossover between production and live coding which opens up a number of critical discussion points. This concerns the use of a breakbeat, what this means when used in productions, in live coding and when shipped with paid for or free software.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"253 - 263"},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43967042","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}

{"title":"The Unknowing Side of the Algorithm: Decolonising live coding from Latin America","authors":"Aldo Mauricio Lara Mendoza, Laura Viviana Zapata Cortés, Emre Dündar","doi":"10.1017/S1355771823000468","DOIUrl":"https://doi.org/10.1017/S1355771823000468","url":null,"abstract":"In this article we discuss and critically analyse some colonial assumptions of live coding from the Global North in contrast to the practice of live coding in Latin America (LATAM). To do so, we first look at different colonial problems that arise from different contemporary approaches. This results in a recommendation to consider more complex conditions of power that exist in the Global South and shows how live coding can put into practice greater complexity in the social system of art that could contribute to the structural reinforcement of the next society, as well as a critique of the inherited tonality in different media. We then proceed to criticise other sound colonial assumptions by using the decolonial praxis-theory from LATAM live coders and propose different forms of sound decolonisation. Finally, we propose a way to reconcile the convergence of interests between live coding in Latin America, the ‘methodology’ of Black studies, and the ‘theory’ of sonic fiction. In the conclusion, we pose several critical questions that could serve as the basis for further investigations.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"162 - 172"},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46026949","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}

{"title":"Algorave Music Practice in Indonesia: Paguyuban Algorave","authors":"Patrick Hartono, Stevie J. Sutanto","doi":"10.1017/S1355771823000390","DOIUrl":"https://doi.org/10.1017/S1355771823000390","url":null,"abstract":"This article examines the creative practice of Algorave music in Indonesia, with a focus on the Paguyuban Algorave community based in Yogyakarta. The Algorave movement, which has gained international recognition in recent years, has been observed to amalgamate with local culture, which created a unique musical approach. The research presented in this article delves into the distinctive musical approach of the Paguyuban Algorave community and aims to understand the reasons for its widespread acceptance compared with other forms of computer-aided music. The article also explores the future direction of the Algorave movement in Indonesia, considering the antecedents of Indonesian contemporary music that have contributed to its development in the country. Furthermore, this study investigates the influence of communal and hereditary factors on the community’s interactions, communication and knowledge-sharing.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"185 - 194"},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49586285","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}

{"title":"Anatomical Intelligence: Live coding as performative dissection","authors":"Joana Chicau, Jonathan Reus","doi":"10.1017/S1355771823000481","DOIUrl":"https://doi.org/10.1017/S1355771823000481","url":null,"abstract":"This article describes the method of ‘dissective’ live coding, as developed through the artistic-research project Anatomies of Intelligence. In this work we investigate how live coding can be used as an approach for performative explorations of a data corpus and a machine learning algorithm operating on this corpus. The artistic framework of this project collides early Enlightenment-era anatomical epistemologies with contemporary machine learning, creating a fertile space for novel, embodied artistic methods to emerge. We engage audiences in an immersive, live-coded experience where image and sound are driven by our dissective approach, revealing the underlying rhythms and structures of a machine learning algorithm running live on an artist-made dataset. To support these performances we have developed a custom browser-based software, the Networked Theatre, used for both hybrid in-person/online audiovisual performances. In this article we describe this work and reflect on our experience as performers and audience feedback, which suggests that our dissective method of live coding, based on examining ‘ready-made’ algorithms, offers a unique experiential entryway into the bodies of machine learning and data corpi.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"290 - 304"},"PeriodicalIF":0.6,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43801401","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}

{"title":"Editorial: Live Coding Sonic Creativities","authors":"Anna Xambó Sedó, Gerard Roma, Thor Magnusson","doi":"10.1017/s135577182300047x","DOIUrl":"https://doi.org/10.1017/s135577182300047x","url":null,"abstract":"Live coding has evolved considerably since its emergence in the early 2000s, as presented in the seminal 2003 Organised Sound (8/3) article ‘Live Coding in Laptop Performance’ by Collins, McLean, Rohrhuber and Ward. Differentiating itself from early laptop music and other computer music, it is a performance practice that promotes the sharing of the musical process with the audience, emphasising the code itself as a form of musical notation. Live coding has been adopted into various fields of art, but as musical algorithmic thinking, it has been explored and developed by many practitioners and collectives across the world up to the present and there is a broad range of divergent practices within the field. We are therefore thrilled to present the special issue ‘Live Coding Sonic Creativities’, which is the first special issue on live coding in Organised Sound. This has been a long journey of almost two years of work. In response to the invitation by Leigh Landy and James Andean in September 2021, we decided to offer a free online workshop to interested authors and a cycle of early draft feedback for early career authors. The workshop received 38 expressions of interest from around the globe. The workshop, which was held on 30 May 2022, gave us the opportunity to form a platform for authors to discuss and develop their ideas related to the special issue. Eight of the articles published here are from authors who took part in the workshop. Overall, we think this process was helpful and inclusive to the authors because several of the authors are publishing in the OS journal for the first time. The core research question of this special issue concerns the idiosyncratic sonic creativities that emerge from the practice of live coding and what new sonic material live coding has enabled. This special issue takes the pulse of live coding applied to sonic creativity with a breadth-and-depth collection of 14 articles and a book review. In our call for submissions, we asked where live coding might be heading sonically speaking. How can live coding bring novel ways of organising sounds never experienced before? What new languages, systems and interfaces could enable new sonic and musical ideas? We think now is the opportune time to inspect live coding from a sonic arts perspective as well as a software studies and (digital) humanities perspective, looking at the past, present and especially the future of live coding. In this issue, we seek to critically analyse live coding from a sociocultural and musicological perspective, as well as enquire how digital culture and cultural heritage have been impacted by this practice. The collection of articles is genuinely diverse in terms of themes including new theories and philosophies on live coding, diversity and inclusion and contemporary sociocultural processes embodied by different communities of practice. The articles represent a breadth in musical genres, approaches to live coding, interdisciplinary practice relate","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"147 - 148"},"PeriodicalIF":0.6,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49513517","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}

{"title":"Alan F. Blackwell, Emma Cocker, Geoff Cox, Alex McLean and Thor Magnusson, Live Coding: A User’s Manual. Cambridge, MA: MIT Press, 2022. ISBN: 9780262544818. doi: https://doi.org/10.7551/mitpress/13770.001.0001","authors":"Ian Clester","doi":"10.1017/s1355771823000432","DOIUrl":"https://doi.org/10.1017/s1355771823000432","url":null,"abstract":"","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"28 1","pages":"315 - 318"},"PeriodicalIF":0.6,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47269392","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}

{"title":"Debris: Machine learning, archive archaeology, digital audio waste","authors":"Roberto Alonso Trillo, Marek Poliks","doi":"10.1017/s1355771823000249","DOIUrl":"https://doi.org/10.1017/s1355771823000249","url":null,"abstract":"This article fragments and processes Debris, a project developed to formalise the creative recycling of digital audio byproducts. Debris began as an open call for electronic compositions that take as their point of departure gigabytes of audio material generated through training and calibrating Demiurge, an audio synthesis platform driven by machine learning. The Debris project led us down rabbitholes of structural analysis: what does it mean to work with digital waste, how is it qualified, and what new relationships and methodologies do this foment? To chart the fluid boundaries of Debris and pin down its underlying conceptualisation of sound, this article introduces a framework ranging from archaeomusicology to intertextuality, from actor-network theory to Deleuzian assemblage, from Adornian constellation to swarm intelligence to platform and network topology. This diversity of approaches traces connective frictions that may allow us to understand, from the perspective of Debris, what working with sound means under the regime of machine intelligence. How has machine intelligence fundamentally altered the already shaky diagram connecting humans, creativity and history? We advise the reader to approach the text as a multisensory experience, listening to Debris while navigating the circuitous theoretical alleys below.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":"412 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41274273","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}

{"title":"Spatiotemporal Networks in Ryoji Ikeda’s Electronic Music: Loop, variation and re-contextualisation of sound","authors":"Marina Sudo","doi":"10.1017/s1355771823000298","DOIUrl":"https://doi.org/10.1017/s1355771823000298","url":null,"abstract":"Ryoji Ikeda’s sonic composition has often been considered to prioritise a physical, immersive experience of space over temporal musical progression. This article challenges this commonly held view, arguing that the static nature of his work should be understood in terms of complex interactions between space and time rather than in dualistic terms. By analysing a large-scale sonic transformation within his 2005 album Dataplex, the article uncovers complex rhizomatic networks of materials that expand across multiple tracks. The links between the album tracks leads to an unconventional quality of musical time that contains a high degree of statis yet nevertheless presents a non-linear progression, which is created through repetition (loops), variation and re-contextualisation of sounds. The analysis suggests that experiencing the ordered series of tracks in the album means accumulating information and exploring memory within a non-interchangeable process of sonic flow and metamorphosis. Despite the fragmentary nature of these internal continuities, the resulting rhizomatic networks provide a means to understand and even to listen structurally to Ikeda’s sonic composition.","PeriodicalId":45145,"journal":{"name":"Organised Sound","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47124039","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}