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Exploring Live Coding as Performance Practice

Yıl 2021, Cilt , Sayı 21, 21 - 37, 07.12.2021

Öz

Live coding is the dynamic process of modifying the source code of a running software that generates sound or visuals (Collins, 2011; Collins et al., 2003; Collins & Escrivan Rincón, 2011; Nilson, 2007). It is an emerging laptop performance paradigm that is used in many art scenes and research practices in the digital arts and contemporary musical scenes, such as Computer Music, Electroacoustic performance and the broad landscape of Sonic/Sound Art, as well as in the Algorave community, a live music idiom broadly referring to the creation of dance music using live coding to hack music which interacts with visuals. In the context of Electroacoustic music, it provides an ideal interface for experimentation as it allows one to improvise the structure of algorithms that constitute the sound synthesis engine of a computer-based musical environment, and thus releases the performer from constraints and limitations from fixed interaction possibilities. This not only relates on the interactivity capabilities of a digital system, but also has a great impact on the higher level musical characteristics of a composition, as opposed to other paradigms of live electronic music. This artistic practice, enacted by the technical act of programming, is deployed by the coder/performer as a means to create indeterministic sonic manipulations informed by his/her aesthetic musical decisions during improvisation. Interestingly, live coding also contributes to the question of causality in the performance of electronic music. One can argue that live coding addresses this issue by inviting the audience to engage in the live process via visualizing the alteration of the structure of the code in real time, enhancing the sense of liveness during improvisation. While live coding merely indicates the techne of devising sound algorithms “on the fly,” it spans many diverse ecosystems in a live electronic music landscape. Live coding also heralds the emergence of dedicated artistic communities, such as the Algorave and Toplap organization, referred as the “home of live coding”. Toplap hosts new findings and projects, while a dedicated conference named International Conference on Live Coding is inviting new research internationally, highlighting new tools and practices in the field. The author will report his own research in the field of live coding, reflecting on two personal ongoing projects: the Istanbul Coding Ensemble (ICE), a laptop ensemble working in the field of dynamic programming and improvisation using networked music systems, and an Algorave side project given the alias Chunk No_Reace.

Kaynakça

  • Baalman, M. 2020. Code LiveCode Live [Personal Website]. Marije Baalman. https://marijebaalman.eu/projects/code-livecode-live.html
  • Blackwell, A., 2015. Patterns of User Experience in Performance Programming. [online] https://doi.org/10.5281/ZENODO.19315.
  • Behind the Screens: Marije Baalman. 2020, June 30. Https://Medium.Com. https://medium.com/behind-the-screens-challenge/behind-the-screens-marije-baalman-559ca3f1696b
  • Burland, K. and McLean, A., 2016. Understanding live coding events. International Journal of Performance Arts and Digital Media, [online] 12(2), pp.139–151. https://doi.org/10.1080/14794713.2016.1227596.
  • Calore, M. 2019. DJs of the Future Don’t Spin Records—They Write Code. Wired. https://www.wired.com/story/algoraves-live-coding-djs/
  • Cocker, E. n.d.. Kairos Time: The Performativity of Timing and Timeliness … or; Between Biding One’s Time and Knowing When to Act. 16.
  • Cocker, E. 2013. Live Notation: – Reflections on a Kairotic Practice. Performance Research, 18(5), 69–76. https://doi.org/10.1080/13528165.2013.828930
  • Cocker, E. 2018. What now, what next—Kairotic coding and the unfolding future seized. Digital Creativity, 29(1), 82–95. https://doi.org/10.1080/14626268.2017.1419978
  • Collins, N. 2011. Live Coding of Consequence. Leonardo, 44(3), 207–211. https://doi.org/10.1162/LEON_a_00164
  • Collins, N., & Escrivan Rincón, J. d’. 2011. The Cambridge companion to electronic music. Cambridge University Press. http://dx.doi.org/10.1017/CCOL9780521868617
  • Collins, N., McLEAN, A., Rohrhuber, J., & Ward, A. 2003. Live coding in laptop performance. Organised Sound, 8(3), 321–330. https://doi.org/10.1017/S135577180300030X
  • Dagdeviren, O. 2018. Google Form Survey on Live Coding and the audience. unpublished; A Brief look at Live Coding Events.
  • de Campo, A., Vacca, A., Hoelzl, H., Ho, E., Rohrhuber, J., & Wieser, R. 2007. Code As Performance Interface—A Case Study. 6.
  • Hermann, T., Hunt, A., & Neuhoff, J. G. (Eds.). 2011. The sonification handbook. Logos Verlag.
  • Hunt, A., Dd, Y., Wanderley, M., & Paradis, M. 2002. The Importance of Parameter Mapping in Electronic Instrument Design. Journal of New Music Research, 32. https://doi.org/10.1076/jnmr.32.4.429.18853
  • Lee, S. W., & Essl, G. 2014. Models and Opportunities for Networked Live Coding. 5.
  • Luka. 2019, October 19. Live Coding and Algorave. Medium. https://lukabaramishvili.medium.com/live-coding-and-algorave-9eee0ca0217f
  • Miranda, E. R., & Wanderley, M. M. 2006. New digital musical instruments: Control and interaction beyond the keyboard. A-R Editions.
  • Nilson, C. 2007. Live coding practice. Proceedings of the 7th International Conference on New Interfaces for Musical Expression - NIME ’07, 112. https://doi.org/10.1145/1279740.1279760
  • Ogborn, D. 2014. Live Coding in a Scalable, Participatory Laptop Orchestra. The MIT Press, 38 (Spring 2014), 15. https://www.jstor.org/stable/24265529
  • Rohrhuber, J., de Campo, A., & Wieser, R. 2007. Notes on Language Design for Just In Time Programming. 4. http://web.cecs.pdx.edu/~dreeder/site/nysc/doc/rohrhuber,etal--jit.pdf
  • Rohrhuber, J., de Campo, A., Wieser, R., van Kampen, J.-K., Ho, E., & Hölzl, H. 2007. Purloined_letters. 7. http://www.wertlos.org/~rohrhuber/articles/Purloined_Letters_and_Distributed_Persons.pdf
  • Sicchio, K. 2014. Hacking Choreography: Dance and Live Coding. Computer Music Journal, 38(1), 31–39. https://doi.org/10.1162/COMJ_a_00218
  • Vasilakos, K. 2016. An evaluation of digital interfaces for music composition and improvisation. [PhD, Keele University]. http://eprints.keele.ac.uk/1606/1/Vasilakos%20PhD%202016.pdf
  • Vasilakos, K. 2018. Greap: an Interactive System For Gestural Manipulation of Sonic Material Using a Leap Motion Device. Porte Akademik Journal of Music and Dance Studies, 17 (Spring 2018), 15.
  • Vasilakos, K. n/a, Wilson, S., McCauley, T., Yeung, T. W., Margetson, E., & Khosravi Mardakheh, M. 2020. Sonification of High Energy Physics Data Using Live Coding and Web Based Interfaces. In R. Michon & F.
  • Schroeder (Eds.), Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 464–470). Birmingham City University. pdfs/nime2020_paper76.pdf
  • Wang, G., & Cook, P. R. 2017. 2004: On-the-Fly Programming: Using Code as an Expressive Musical Instrument. In A. R. Jensenius & M. J. Lyons (Eds.), A NIME Reader (Vol. 3, pp. 193–210). Springer International Publishing. https://doi.org/10.1007/978-3-319-47214-0_13
  • Wilson, S., Lorway, N., Coull, R., Vasilakos, K., & Moyers, T. 2014. Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems. Computer Music Journal, 38(1), 54–64. https://doi.org/10.1162/COMJ_a_00229
  • WIRED. 2006. Real DJs Code Live. Wired. https://www.wired.com/2006/07/real-djs-code-live/
  • Zmölnig, Io., & Eckel, G. 2007. Live coding: An overview. International Computer Music Conference, ICMC 2007, 295–298.

Yıl 2021, Cilt , Sayı 21, 21 - 37, 07.12.2021

Öz

Kaynakça

  • Baalman, M. 2020. Code LiveCode Live [Personal Website]. Marije Baalman. https://marijebaalman.eu/projects/code-livecode-live.html
  • Blackwell, A., 2015. Patterns of User Experience in Performance Programming. [online] https://doi.org/10.5281/ZENODO.19315.
  • Behind the Screens: Marije Baalman. 2020, June 30. Https://Medium.Com. https://medium.com/behind-the-screens-challenge/behind-the-screens-marije-baalman-559ca3f1696b
  • Burland, K. and McLean, A., 2016. Understanding live coding events. International Journal of Performance Arts and Digital Media, [online] 12(2), pp.139–151. https://doi.org/10.1080/14794713.2016.1227596.
  • Calore, M. 2019. DJs of the Future Don’t Spin Records—They Write Code. Wired. https://www.wired.com/story/algoraves-live-coding-djs/
  • Cocker, E. n.d.. Kairos Time: The Performativity of Timing and Timeliness … or; Between Biding One’s Time and Knowing When to Act. 16.
  • Cocker, E. 2013. Live Notation: – Reflections on a Kairotic Practice. Performance Research, 18(5), 69–76. https://doi.org/10.1080/13528165.2013.828930
  • Cocker, E. 2018. What now, what next—Kairotic coding and the unfolding future seized. Digital Creativity, 29(1), 82–95. https://doi.org/10.1080/14626268.2017.1419978
  • Collins, N. 2011. Live Coding of Consequence. Leonardo, 44(3), 207–211. https://doi.org/10.1162/LEON_a_00164
  • Collins, N., & Escrivan Rincón, J. d’. 2011. The Cambridge companion to electronic music. Cambridge University Press. http://dx.doi.org/10.1017/CCOL9780521868617
  • Collins, N., McLEAN, A., Rohrhuber, J., & Ward, A. 2003. Live coding in laptop performance. Organised Sound, 8(3), 321–330. https://doi.org/10.1017/S135577180300030X
  • Dagdeviren, O. 2018. Google Form Survey on Live Coding and the audience. unpublished; A Brief look at Live Coding Events.
  • de Campo, A., Vacca, A., Hoelzl, H., Ho, E., Rohrhuber, J., & Wieser, R. 2007. Code As Performance Interface—A Case Study. 6.
  • Hermann, T., Hunt, A., & Neuhoff, J. G. (Eds.). 2011. The sonification handbook. Logos Verlag.
  • Hunt, A., Dd, Y., Wanderley, M., & Paradis, M. 2002. The Importance of Parameter Mapping in Electronic Instrument Design. Journal of New Music Research, 32. https://doi.org/10.1076/jnmr.32.4.429.18853
  • Lee, S. W., & Essl, G. 2014. Models and Opportunities for Networked Live Coding. 5.
  • Luka. 2019, October 19. Live Coding and Algorave. Medium. https://lukabaramishvili.medium.com/live-coding-and-algorave-9eee0ca0217f
  • Miranda, E. R., & Wanderley, M. M. 2006. New digital musical instruments: Control and interaction beyond the keyboard. A-R Editions.
  • Nilson, C. 2007. Live coding practice. Proceedings of the 7th International Conference on New Interfaces for Musical Expression - NIME ’07, 112. https://doi.org/10.1145/1279740.1279760
  • Ogborn, D. 2014. Live Coding in a Scalable, Participatory Laptop Orchestra. The MIT Press, 38 (Spring 2014), 15. https://www.jstor.org/stable/24265529
  • Rohrhuber, J., de Campo, A., & Wieser, R. 2007. Notes on Language Design for Just In Time Programming. 4. http://web.cecs.pdx.edu/~dreeder/site/nysc/doc/rohrhuber,etal--jit.pdf
  • Rohrhuber, J., de Campo, A., Wieser, R., van Kampen, J.-K., Ho, E., & Hölzl, H. 2007. Purloined_letters. 7. http://www.wertlos.org/~rohrhuber/articles/Purloined_Letters_and_Distributed_Persons.pdf
  • Sicchio, K. 2014. Hacking Choreography: Dance and Live Coding. Computer Music Journal, 38(1), 31–39. https://doi.org/10.1162/COMJ_a_00218
  • Vasilakos, K. 2016. An evaluation of digital interfaces for music composition and improvisation. [PhD, Keele University]. http://eprints.keele.ac.uk/1606/1/Vasilakos%20PhD%202016.pdf
  • Vasilakos, K. 2018. Greap: an Interactive System For Gestural Manipulation of Sonic Material Using a Leap Motion Device. Porte Akademik Journal of Music and Dance Studies, 17 (Spring 2018), 15.
  • Vasilakos, K. n/a, Wilson, S., McCauley, T., Yeung, T. W., Margetson, E., & Khosravi Mardakheh, M. 2020. Sonification of High Energy Physics Data Using Live Coding and Web Based Interfaces. In R. Michon & F.
  • Schroeder (Eds.), Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 464–470). Birmingham City University. pdfs/nime2020_paper76.pdf
  • Wang, G., & Cook, P. R. 2017. 2004: On-the-Fly Programming: Using Code as an Expressive Musical Instrument. In A. R. Jensenius & M. J. Lyons (Eds.), A NIME Reader (Vol. 3, pp. 193–210). Springer International Publishing. https://doi.org/10.1007/978-3-319-47214-0_13
  • Wilson, S., Lorway, N., Coull, R., Vasilakos, K., & Moyers, T. 2014. Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems. Computer Music Journal, 38(1), 54–64. https://doi.org/10.1162/COMJ_a_00229
  • WIRED. 2006. Real DJs Code Live. Wired. https://www.wired.com/2006/07/real-djs-code-live/
  • Zmölnig, Io., & Eckel, G. 2007. Live coding: An overview. International Computer Music Conference, ICMC 2007, 295–298.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik
Bölüm Araştırma Makaleleri
Yazarlar

Konstantinos VASİLAKOS Bu kişi benim (Sorumlu Yazar)
Istanbul Technical University, Advanced Studies in Music Department
0000-0002-3058-0048
Türkiye

Yayımlanma Tarihi 7 Aralık 2021
Başvuru Tarihi 15 Nisan 2021
Kabul Tarihi 3 Ekim 2021
Yayınlandığı Sayı Yıl 2021, Cilt , Sayı 21

Kaynak Göster

Bibtex @araştırma makalesi { porteakademik1033868, journal = {Porte Akademik Müzik ve Dans Araştırmaları Dergisi}, eissn = {2619-9688}, address = {İstanbul Teknik Üniversitesi Türk Musikisi Devlet Konservatuarı Müzikoloji Bölümü İTÜ Maçka Kampüsü Beşiktaş/İstanbul}, publisher = {İstanbul Teknik Üniversitesi}, year = {2021}, number = {21}, pages = {21 - 37}, title = {Exploring Live Coding as Performance Practice}, key = {cite}, author = {Vasilakos, Konstantinos} }
APA Vasilakos, K. (2021). Exploring Live Coding as Performance Practice . Porte Akademik Müzik ve Dans Araştırmaları Dergisi , (21) , 21-37 . Retrieved from https://dergipark.org.tr/tr/pub/porteakademik/issue/66105/1033868
MLA Vasilakos, K. "Exploring Live Coding as Performance Practice" . Porte Akademik Müzik ve Dans Araştırmaları Dergisi (2021 ): 21-37 <https://dergipark.org.tr/tr/pub/porteakademik/issue/66105/1033868>
Chicago Vasilakos, K. "Exploring Live Coding as Performance Practice". Porte Akademik Müzik ve Dans Araştırmaları Dergisi (2021 ): 21-37
RIS TY - JOUR T1 - Exploring Live Coding as Performance Practice AU - Konstantinos Vasilakos Y1 - 2021 PY - 2021 N1 - DO - T2 - Porte Akademik Müzik ve Dans Araştırmaları Dergisi JF - Journal JO - JOR SP - 21 EP - 37 VL - IS - 21 SN - -2619-9688 M3 - UR - Y2 - 2021 ER -
EndNote %0 Porte Akademik Müzik ve Dans Araştırmaları Dergisi Exploring Live Coding as Performance Practice %A Konstantinos Vasilakos %T Exploring Live Coding as Performance Practice %D 2021 %J Porte Akademik Müzik ve Dans Araştırmaları Dergisi %P -2619-9688 %V %N 21 %R %U
ISNAD Vasilakos, Konstantinos . "Exploring Live Coding as Performance Practice". Porte Akademik Müzik ve Dans Araştırmaları Dergisi / 21 (Aralık 2021): 21-37 .
AMA Vasilakos K. Exploring Live Coding as Performance Practice. Porte Akademik Müzik ve Dans Araştırmaları Dergisi. 2021; (21): 21-37.
Vancouver Vasilakos K. Exploring Live Coding as Performance Practice. Porte Akademik Müzik ve Dans Araştırmaları Dergisi. 2021; (21): 21-37.
IEEE K. Vasilakos , "Exploring Live Coding as Performance Practice", Porte Akademik Müzik ve Dans Araştırmaları Dergisi, sayı. 21, ss. 21-37, Ara. 2021

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