There's a very nice thread on learning and practicing live coding
going on on the sc-users list, in case you are not subscribed.
Julian's email (below) was one of the ones that I particularly liked.
Here's a link to the thread:
https://www.listarc.bham.ac.uk/lists/sc-users/thrd37.html#40278
---------- Forwarded message ----------
From: Julian Rohrhuber <julian.rohrhuber_at_musikundmedien.net>
Date: Fri, Jun 20, 2014 at 1:24 AM
Subject: Re: [sc-users] Research and training materials for live coding
To: sc-users <sc-users_at_lists.bham.ac.uk>
A lot of the question about how to approach live coding depends on
what you have in mind: Live coding, by definition, may or may not have
the aim to please an audience, and may or may not have an audience
indeed.
The tension of having to think in terms of changes of rules as basic
musical movements is a very interesting task in itself, and it is
actually a relief from the idea that a program should represent a
final state in a production process.
In teaching, it seems very productive to begin early with live coding,
simply as a means to experiment with differences between variations of
algorithms. In terms of traditional performance, a general issue in
the current state of live coding is the link between the two poles:
"blank sheet" vs. "code DJ". If you start from scratch, the dish is
cooked completely in front of your eyes. If you modify a larger
existing system, the transitions are potentially more interesting. But
in the first case as well as in the second, certainly there are
preparations hidden from view. Often there is memorisation, and there
are automatisms; what I long for most (both for myself and others) is
"public thought", improvised reasoning in sound.
What seems to be making this easier is a spectrum between "custom live
coding setups" and "piece specific languages". To find one's way
there, it is helpful to work with two documents: one for setup one for
live coding, and when practicing, move code fore and back between them
until it warms up. So a live coding piece is defined by a thematic
frame that sets the scene, but that is structured in a way that makes
it easy not only to change parameters but to work grammatically. Think
of improvised poetry, how would this work with a programming language
instead of a natural language?
In general for learning improvisation, there is really nothing that
could replace playing together with others.
But you asked for papers on the topic - did you look at
http://www.sussex.ac.uk/Users/nc81/research/livecodingpractice.pdf?
As for practicing materials, this is what is generally lacking from
contemporary art!
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--
Renick Bell
- http://renickbell.net
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- http://the3rd2nd.com
--
Read the whole topic here: livecode:
http://lurk.org/r/topic/6EE7mRrpMGxO2IDLqdr3J6
To leave livecode, email livecode_at_group.lurk.org with the following email subject: unsubscribe
Received on Fri Jun 20 2014 - 00:09:35 BST