Re: [livecode] transmediale submission

From: Julian Rohrhuber <rohrhuber_at_uni-hamburg.de>
Date: Wed, 8 Sep 2004 22:18:30 +0200

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.

-- 
.

Received on Wed Sep 08 2004 - 20:19:35 BST