On 10.01.2007, at 14:18, 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?
>
> 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.
i don't believe this. musicians learn to sight-read and perform very
complex tasks. just appearing on a stage and be in focus must hinder
the concentration. they still can create wonderful and engaged music.
thor - it sounds to me like you have a romantic ideal about 'feeling'
the music. like [jazz]musicians closing their eyes and lets the
music/inspiration/vibe take over. that stinks i think ;-)
performance is labour, skill, self exposition and cheap tricks.
personally i never enjoy music nearly as much while performing as
when i'm in the audience. this also implies if i'm in the back just
doing the visuals for some random act - can't remember afterwards how
it sounded. just vaguely what i did and if i had fun or not. very
similar to losing track of time while programming.
i'm certain musicians and live coders are the like in this respect.
ie the result can't be fully appreciated while being created.
_f
> This happens of course with instrumentalists as well, when for example
> they feel that they're playing too low and go to the amplifier to
> raise the volume.
> But arguably it's not the fundamental mode of the performance.
>
> 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.
>
>> It's worth stating that the biggest value of this practise clearly
>> isn't
>> in getting better at typing. I think it's more about developing a
>> musical style.
>
> 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'm probably bullshitting a lot here, but hey
>
> thor
>
#|
fredrikolofsson.com klippav.org musicalfieldsforever.com
|#
Received on Wed Jan 10 2007 - 14:58:43 GMT