On Wed, 2007-01-10 at 13:18 +0000, thor wrote:
> But do you think there is a difference in that the instrumentalist,
> when playing
> with his/her ensamble/group, is extremely concentrated on the music
> and not on the tool/instrument he/she is using when making the music?
A programming language is a textual language designed for human
expression, so not that far from other human languages such as English.
Can a novelist concentrate on the novel and not the language they are
using?
> The performer coding away on the computer has to get into the
> algorithm
> and stop concentrating on the music while typing. It seems like an
> oscillation
> between being immersed in the music and the abstract machine.
The algorithm is the music!
> I'm curious to hear about how all of you subjectively experience the
> music
> whilst coding in a live situation. I myself feel that I loose
> connection with the
> music when going into the code too much so I tend not to code too much
> in
> live situation although I can't resist sometimes. But I might be bad
> at multitasking
> or splitting the consciousness into both following the music and the
> algorithm.
A good question. When it's good I just become ears listening and mind
playing with music as text. There is a lot of "what shall I do next?"
Apart from that I don't know how to describe it. I always mean to look
up and see what video Dave is making, but I never manage it. Apart from
that I don't know what else to say, I'll think about it straight after
the next performance.
> Following the argument above, the biggest characteristic of the
> musical style
> of live-coding might be that the formal structure of the music is
> dependent
> upon how long it takes the coder to code a new theme/part. So the
> instrument
> building/designing becomes part of the aesthetic of the music.
I think we should aim to be able to enact a thematic change within 3
seconds of deciding to do it, which might be faster than instrumental
musicians.
alex
Received on Wed Jan 10 2007 - 14:59:47 GMT