Hey Jo,
Thanks for sharing this - would you like to make it a post on TOPLAP?
I will make you an account if so.
I guess you are already aware of
http://esoteric.codes/ , but I'd
encourage you to get in touch with Daniel Temkin (CC:d) I think he'd
be interested in this. Also Kate Sicchio (
http://sicchio.com) who I
think is lurking here :) I think the idea of using esolang to explore
the seams between live coding and choreography is a very nice
approach.
Best of luck with it,
alex
On 11 April 2016 at 11:20, jo_chicau <joaninha_quelhas_at_hotmail.com> wrote:
> ― Attachment links are at the end of this email ―
>
> ‘WebPage Act I, II and III’ is an assemblage of graphic experiments emerging from a new hybrid form of composition combining principles of choreography within the formal structures of coding. This performance follows an investigation on possible connections - and coexistence of choreography and web design. In this process, the idea of a performance became relevant as a way to expose the compositional process that is being researched, making the relations between the abstractness of code and its manifestation in the web interface more clearly visible.
>
> This piece happens in a rather minimal setting, with a series of projections of webpages working as stages for cross-referencing choreographic concepts and methods with web design scripts and processes.
>
>
> ::: Macro-structure: the live performance setting.
>
> The performance starts with a blank webpage, followed by the opening of the web console. The screen is now divided in two stages: the ‘front-stage’, the interface a user normally acesses and the ‘backstage’ or the web console in which programming languages can be ran. In the web console I am calling, juxtaposing and manipulating different functions from a glossary of code, while simultaneously displaying the varied outcomes of graphic elements in the screen. These functions are named after choreographic concepts, which are assigned to specific web design actions. While the computer interprets the code, the readers/ audience will be interpreting and start wondering about the relationship between the 'choreographic vocabulary' * of the code and its immediate outcome. The position of an active user of the interface shifts towards the one of a spectator of the interface. Her/his role becomes then to follow and interpret the unfolding of events being choreographed in the
screen.
>
> (see video link below)
>
> The screen becomes an open stage, providing the audience the access to the methodology and the tools used during the performance. This way turning the designer into a choreographer who supplies the rhythms, the context, and the set of steps that will be performed. Even if calling functions from the same glossary, it can never be reconstructed exactly the same way, every time “WebPage Act I, II and III” is being performed there is a construction of a new path through the code, a fluid narrative, even if in this case, a rather abstract narrative.
>
> Here is a link to a video rehearsal: https://www.youtube.com/watch?v=iaNSEOlgK-Y
>
> * (a two dimensional syntax:
>
> I started using esoteric programming languages as an attempt to overcome the abstractness of algorithmic code and simultaneously as a way to develop my own design language which derives from choreographic concepts.
> Esoteric programming languages, also called esolang, are used when writing software, integrating a new grammar to the existing one. Although an esolang doesn’t have a proper functionality, it is used in combination with other programming languages to explore alternative ways of composing and writing code. Another advantage of esolang, is the fact that it allows for a minimalistic set of instructions based on key terms, in these case relating to the predefined choreographic parameters from the design composition.
> In the ”Piece” the esolang is then the combination of choreographic concepts with programming languages, mostly web-based, such as javascript. In my code every javascript function is aims to translate a choreographic concept, which can only be visible in the browser in moment of the performance. Here is an example of a script which is both computer-readable and a representation of the process of translating choreography into programming: (see image with code snippet).
>
>
> A set of categories that comprehend and represent the choreographic thought is then applied to the design creative process. All the functions together form a new vocabulary of ‘choreographic code’, a glossary which holds the elements that will be used for the live composition during the performance.)
>
>
> Live coding is a new adventure for me, and I am excited to share and discuss the different issues that will come across!
> livecode now contains the following files
>
> http://lurk.org/r/file/7GmSMvIAzJTAPOTewpR7BF7aUHg-wz5-2zpao8U
> Name: code_eg.2_joanachicau.png
> Type: image/png
> Size: 122KB
>
> http://lurk.org/r/file/kEOntvvwO289AHMYV5MTQqpumPO-op3-2zpao8W
> Name: code_eg.3_joanachicau.png
> Type: image/png
> Size: 91KB
>
> http://lurk.org/r/file/bUUDO5WsWv5TAtvmyMZ32DU86Ox-A1O-2zpao8X
> Name: code_eg.1_joanachicau.png
> Type: image/png
> Size: 135KB
>
>
> --
>
> Read the whole topic here: livecode:
> http://lurk.org/r/topic/45iKzkm6OVRs1xhLgQvHh
>
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Received on Sat May 07 2016 - 07:30:10 BST