Looks great - appreciate it, Nick!
Ge!
> thanks for doing this.
>
>
> >I enclose my draft below, ready to send really unless any overnight
> >objections.
> >But do we have a whomever_at_toplap.org e-mail to send this from?
> >to send to both:
> >
> >postbox_at_clubtransmediale.de
> >info_at_transmediale.de
> >
> >Dear Madam/Sir,
> > We, TOPLAP, enclose an entirely digital entry for the
> >transmediale award and club transmediale, considering the medium of
> >paper a little old fashioned.
> > We hope this is fine with you and will not disqualify us from
> participation.
> >With thanks for your upcoming judging efforts,
> >TOPLAP
> >
> >
> >application form details:
> >institution: TOPLAP
> >address- virtual, contact via www.toplap.org. For instance, join the
> >mailing list and talk.
> >title of work: TOPLAP authors: TOPLAP
> >
> >three keywords: interactive performative instrument
> >
> >URL: www.toplap.org
> >
> >Country: at least 5 Year: 2004
> >
> >accompanied by proposal/explanation below, plus the site itself.
> >
> >We agree to the conditions of entry and wish to enter the work for
> >selection in the award as well as for club transmediale.
> >
> >
> >
> >http://www.toplap.org/?TransmedialeSubmission
> >
> >Some computer languages allow a programmer to change a running
> >process on the fly by rewriting the code that defines it. If the
> >output of that code is a process being revealed to human senses, an
> >interactive performance is possible. Applied to live computer music
> >this means sound compositions can be heard as they form, and musical
> >algorithms adjusted while already playing.
> >
> >TOPLAP is the Temporary Organisation for the Promotion of Live
> >Algorithm Programming, set up to explore the application of live
> >programming to composition and performance. TOPLAP advocates
> >treating algorithms as live artistic material, allowing them to be
> >written and manipulated while they create music or video, perhaps in
> >front of an audience.
> >
> >The interests of the TOPLAP membership encompass live coding
> >performances with output in both audio and visual modalities, the
> >possibilities of immediate feedback given by prototyping
> >compositions in interpreted programming languages and new languages
> >for on-the-fly programming. This international organisation is
> >gathering membership and profile. Recent performances and
> >demonstrations have taken place in Japan, USA, Sweden, Germany,
> >England and Denmark.
> >
> >Further information on TOPLAP artists, events and theory is available at:
> >
> >http://www.toplap.org
> >
> >The site contains links to archived performances, papers on live
> >coding practise and history as identified by the group.
> >
> >For the transmediale awards TOPLAP submits itself. In particular, we
> >would like to highlight the LUBECK04 Manifesto for Live Coding
> >Performance, as linked:
> >
> >http://toplap.org/?ManifestoDraft
> >
> >For instance, criticism of laptop performers is rampant (by an old
> >guard?) but it is quite possible to fight such rejection on a better
> >surface: projection of laptop screens to reveal the whole
> >instrument. For audio especially, it is vital that we confront the
> >issue of a level playing field between laptop musicians and
> >conventional acoustic instrumentalists with such full disclosure.
> >Even whilst the immediacy of gesture is still open to debate, the
> >game is at least honest and education of audiences paramount. (Those
> >who worry about trivialisation of such pedagogy are ignoring the
> >possibility of closing your eyes whilst listening to music...). The
> >information can be discrete, not overbearing: but definitely
> >available.
> >
> >The organisation has identified many avenues of exploration for text
> >based interaction which we are seeking to address. Novel engagement
> >with adaptable level control of as great a flexibility as code
> >affords is a possibility too rich to ignore.
> >
> >For club transmediale TOPLAP proposes a session of performances from
> >live coders, with both audio and visual outputs. The audience will
> >see and hear the created musical and visual material, and also the
> >projected screens of the participants so that the processes are
> >entirely open and the craft apparent. The coded improvisations show
> >a novel blend of intellectual and emotional content that challenges
> >existing notions of both traditional haptic instrumental and DJ like
> >laptop performance.
> >
> >Attendance of particular TOPLAP members would be negotiated, but the
> >organisation is happy to also talk about its work in an appropriate
> >forum.
> >
> >Particular TOPLAP artists are linked from the site, which the judges
> >are encouraged to explore to see the breadth of activity and
> >enthusiasm in this new field.
>
> --
>
>
>
>
>
>
>
>
> .
>
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Received on Wed Sep 08 2004 - 20:37:45 BST