https://toplap.org/wiki/api.php?action=feedcontributions&user=84.9.37.205&feedformat=atomToplap - User contributions [en]2024-03-29T05:43:33ZUser contributionsMediaWiki 1.41.0https://toplap.org/wiki/index.php?title=FrequentlyAskedQuestions&diff=367FrequentlyAskedQuestions2005-07-31T22:38:29Z<p>84.9.37.205: </p>
<hr />
<div>== Where's all the FAQs? ==<br />
<br />
Here, but there's not many yet; for now, you're best off in the ToplapPapers section.<br />
<br />
However, if there's a particular question you'd like answered, please add it here and someone will add the answer shortly<br />
<br />
== Where's the music? I want to hear! ==<br />
<br />
See the [[HistoricalPerformances]] section for some archived performances including recent TOPLAP in Aarhus last summer and the ChucK projected duet.<br />
<br />
There's a live coding session I ([[DaveGriffiths]]) did here: [http://www.archive.org/audio/audio-details-db.php?collection=opensource_audio&collectionid=spider-lure here] which was a rehersal for [http://www.archive.org/audio/audio-details-db.php?collection=opensource_audio&collectionid=nebogeo-live-170704 this] gig. Both are quite long (20 mins) so there is a shorter track: [http://www.archive.org/audio/audio-details-db.php?collection=opensource_audio&collectionid=a-long-walk-take1 here]. They are composed by programming the rules for melody generating lsystems live. I'll document this process more clearly soon, as its being developed quite a lot - but the current spec for the score language can be found [http://www.pawfal.org/index.php?page=ScoreCode here]<br />
<br />
There's another few performances coding from scratch using ChucK, complete with video and scores: [http://on-the-fly.cs.princeton.edu/listen/ here]<br />
<br />
== What's the difference between generative music and live coding? ==<br />
<br />
DEFN 1 Generative music is created from some algorithm, usually running autonomously. There may be controls (parameters/arguments) to this process but the algorithm itself is fixed. Live coding is a way to substantially modify the actual nature of that algorithm, even as it calculates, in a realtime performance or interactive composition setting.<br />
<br />
DEFN 2 They are kind of opposites.<br />
<br />
Generative music is about sowing seeds, comparable with genetic modification; altering DNA, putting the DNA in eggs, and watching it grow to see/hear the effects. In contrast, live coding is more about piecing animals together from scratch in the womb, splicing different live animals together, modifying their DNA while they're still growing, then experimenting with different ways of slaughtering them to get the best audio/visual/aromatic effects.<br />
<br />
Note the above contains bold use of metaphor, TOPLAP do not condone any such activities on real life-forms (computer processes are not known to experience pain, and don't have faces).</div>84.9.37.205https://toplap.org/wiki/index.php?title=FrequentlyAskedQuestions&diff=12FrequentlyAskedQuestions2005-07-31T22:36:52Z<p>84.9.37.205: </p>
<hr />
<div>== Where's all the FAQs? ==<br />
<br />
Here, but there's not many yet; for now, you're best off in the ToplapPapers section.<br />
<br />
However, if there's a particular question you'd like answered, please add it here and someone will add the answer shortly<br />
<br />
== Where's the music? I want to hear! ==<br />
<br />
See the [[HistoricalPerformances]] section for some archived performances including recent TOPLAP in Aarhus this summer and the ChucK projected duet.<br />
<br />
There's a live coding session I ([[DaveGriffiths]]) did here: [http://www.archive.org/audio/audio-details-db.php?collection=opensource_audio&collectionid=spider-lure here] which was a rehersal for [this] gig. Both are quite long (20 mins) so there is a shorter track: [here]. They are composed by programming the rules for melody generating lsystems live. I'll document this process more clearly soon, as its being developed quite a lot - but the current spec for the score language can be found [here]<br />
<br />
There's another few performances coding from scratch using ChucK, complete with video and scores: [here]<br />
What's the difference between generative music and live coding?<br />
<br />
DEFN 1 Generative music is created from some algorithm, usually running autonomously. There may be controls (parameters/arguments) to this process but the algorithm itself is fixed. Live coding is a way to substantially modify the actual nature of that algorithm, even as it calculates, in a realtime performance or interactive composition setting.<br />
<br />
DEFN 2 They are kind of opposites.<br />
<br />
Generative music is about sowing seeds, comparable with genetic modification; altering DNA, putting the DNA in eggs, and watching it grow to see/hear the effects. In contrast, live coding is more about piecing animals together from scratch in the womb, splicing different live animals together, modifying their DNA while they're still growing, then experimenting with different ways of slaughtering them to get the best audio/visual/aromatic effects.<br />
<br />
Note the above contains bold use of metaphor, TOPLAP do not condone any such activities on real life-forms (computer processes are not known to experience pain, and don't have faces).</div>84.9.37.205https://toplap.org/wiki/index.php?title=FrequentlyAskedQuestions&diff=11FrequentlyAskedQuestions2005-07-31T22:35:26Z<p>84.9.37.205: </p>
<hr />
<div>== Where's all the FAQs? ==<br />
<br />
Here, but there's not many yet; for now, you're best off in the ToplapPapers section.<br />
<br />
However, if there's a particular question you'd like answered, please add it here and someone will add the answer shortly<br />
<br />
== Where's the music? I want to hear! ==<br />
<br />
See the [[HistoricalPerformances]] section for some archived performances including recent TOPLAP in Aarhus this summer and the ChucK projected duet.<br />
<br />
There's a live coding session I ([[DaveGriffiths]]) did here: [[here http://www.archive.org/audio/audio-details-db.php?collection=opensource_audio&collectionid=spider-lure]] which was a rehersal for [this] gig. Both are quite long (20 mins) so there is a shorter track: [here]. They are composed by programming the rules for melody generating lsystems live. I'll document this process more clearly soon, as its being developed quite a lot - but the current spec for the score language can be found [here]<br />
<br />
There's another few performances coding from scratch using ChucK, complete with video and scores: [here]<br />
What's the difference between generative music and live coding?<br />
<br />
DEFN 1 Generative music is created from some algorithm, usually running autonomously. There may be controls (parameters/arguments) to this process but the algorithm itself is fixed. Live coding is a way to substantially modify the actual nature of that algorithm, even as it calculates, in a realtime performance or interactive composition setting.<br />
<br />
DEFN 2 They are kind of opposites.<br />
<br />
Generative music is about sowing seeds, comparable with genetic modification; altering DNA, putting the DNA in eggs, and watching it grow to see/hear the effects. In contrast, live coding is more about piecing animals together from scratch in the womb, splicing different live animals together, modifying their DNA while they're still growing, then experimenting with different ways of slaughtering them to get the best audio/visual/aromatic effects.<br />
<br />
Note the above contains bold use of metaphor, TOPLAP do not condone any such activities on real life-forms (computer processes are not known to experience pain, and don't have faces).</div>84.9.37.205https://toplap.org/wiki/index.php?title=FrequentlyAskedQuestions&diff=10FrequentlyAskedQuestions2005-07-31T22:35:07Z<p>84.9.37.205: /* Where's the music? I want to hear! */</p>
<hr />
<div>== Where's all the FAQs? ==<br />
<br />
Here, but there's not many yet; for now, you're best off in the ToplapPapers section.<br />
<br />
However, if there's a particular question you'd like answered, please add it here and someone will add the answer shortly<br />
<br />
== Where's the music? I want to hear! ==<br />
<br />
See the [[HistoricalPerformances]] section for some archived performances including recent TOPLAP in Aarhus this summer and the ChucK projected duet.<br />
<br />
There's a live coding session I ([[DaveGriffiths]]) did here: [here http://www.archive.org/audio/audio-details-db.php?collection=opensource_audio&collectionid=spider-lure] which was a rehersal for [this] gig. Both are quite long (20 mins) so there is a shorter track: [here]. They are composed by programming the rules for melody generating lsystems live. I'll document this process more clearly soon, as its being developed quite a lot - but the current spec for the score language can be found [here]<br />
<br />
There's another few performances coding from scratch using ChucK, complete with video and scores: [here]<br />
What's the difference between generative music and live coding?<br />
<br />
DEFN 1 Generative music is created from some algorithm, usually running autonomously. There may be controls (parameters/arguments) to this process but the algorithm itself is fixed. Live coding is a way to substantially modify the actual nature of that algorithm, even as it calculates, in a realtime performance or interactive composition setting.<br />
<br />
DEFN 2 They are kind of opposites.<br />
<br />
Generative music is about sowing seeds, comparable with genetic modification; altering DNA, putting the DNA in eggs, and watching it grow to see/hear the effects. In contrast, live coding is more about piecing animals together from scratch in the womb, splicing different live animals together, modifying their DNA while they're still growing, then experimenting with different ways of slaughtering them to get the best audio/visual/aromatic effects.<br />
<br />
Note the above contains bold use of metaphor, TOPLAP do not condone any such activities on real life-forms (computer processes are not known to experience pain, and don't have faces).</div>84.9.37.205https://toplap.org/wiki/index.php?title=FrequentlyAskedQuestions&diff=9FrequentlyAskedQuestions2005-07-31T22:34:24Z<p>84.9.37.205: </p>
<hr />
<div>== Where's all the FAQs? ==<br />
<br />
Here, but there's not many yet; for now, you're best off in the ToplapPapers section.<br />
<br />
However, if there's a particular question you'd like answered, please add it here and someone will add the answer shortly<br />
<br />
== Where's the music? I want to hear! ==<br />
<br />
See the HistoricalPerformances section for some archived performances including recent TOPLAP in Aarhus this summer and the ChucK projected duet.<br />
<br />
There's a live coding session I (DaveGriffiths) did here: [here] which was a rehersal for [this] gig. Both are quite long (20 mins) so there is a shorter track: [here]. They are composed by programming the rules for melody generating lsystems live. I'll document this process more clearly soon, as its being developed quite a lot - but the current spec for the score language can be found [here]<br />
<br />
There's another few performances coding from scratch using ChucK, complete with video and scores: [here]<br />
What's the difference between generative music and live coding?<br />
<br />
DEFN 1 Generative music is created from some algorithm, usually running autonomously. There may be controls (parameters/arguments) to this process but the algorithm itself is fixed. Live coding is a way to substantially modify the actual nature of that algorithm, even as it calculates, in a realtime performance or interactive composition setting.<br />
<br />
DEFN 2 They are kind of opposites.<br />
<br />
Generative music is about sowing seeds, comparable with genetic modification; altering DNA, putting the DNA in eggs, and watching it grow to see/hear the effects. In contrast, live coding is more about piecing animals together from scratch in the womb, splicing different live animals together, modifying their DNA while they're still growing, then experimenting with different ways of slaughtering them to get the best audio/visual/aromatic effects.<br />
<br />
Note the above contains bold use of metaphor, TOPLAP do not condone any such activities on real life-forms (computer processes are not known to experience pain, and don't have faces).</div>84.9.37.205https://toplap.org/wiki/index.php?title=Main_Page&diff=35Main Page2005-07-31T22:31:59Z<p>84.9.37.205: </p>
<hr />
<div>http://static.toplap.org/logo.gif<br />
<br />
'''(Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming'''<br />
<br />
* [[ ToplapLogo ]]<br />
* [[ ManifestoDraft ]]<br />
* [[ MailingList ]]<br />
* [[ FrequentlyAskedQuestions ]]<br />
* [[ ToplapPeople ]]<br />
* [[ ToplapEvents ]]<br />
* [[ ToplapSystems ]]<br />
* [[ ToplapPapers ]]<br />
* [[ LivecodingGrades ]]<br />
* [[ ToplapSlogans ]]<br />
* [[ HistoricalPerformances ]]<br />
* [[ GenericSubmission ]]<br />
* [[ Ars Electronica Documentation ]]<br />
* [[ Resources ]]<br />
<br />
[http://thebot.org/video/toplap.ram Check out TOPLAP's Documentary Video! (RealVideo format.)]<br />
<br />
See [http://meta.wikipedia.org/wiki/MediaWiki_i18n documentation on customizing the interface]<br />
and the [http://meta.wikipedia.org/wiki/MediaWiki_User%27s_Guide User's Guide] for usage and configuration help.</div>84.9.37.205https://toplap.org/wiki/index.php?title=Resources&diff=398Resources2005-07-31T22:31:36Z<p>84.9.37.205: </p>
<hr />
<div>* [http://www.cfcl.com/vlb/h/fontmono.html fixed width fonts] - make your code look good on stage</div>84.9.37.205https://toplap.org/wiki/index.php?title=GenericSubmission&diff=835GenericSubmission2005-07-31T22:30:30Z<p>84.9.37.205: </p>
<hr />
<div>Note to jury: If you do not like this application, please edit to your tastes.<br />
<br />
Recommended accompaniment: Please listen to Elgar's Pomp and Circumstance (or any other locally pertinent heart swelling jingoism) whilst reading this application gumpf.<br />
<br />
<br />
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. <br />
<br />
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. <br />
<br />
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. <br />
<br />
Further information on TOPLAP artists, events and theory is available at:<br />
<br />
http://www.toplap.org<br />
<br />
The site contains links to archived performances, papers on live coding practise and history as identified by the group.<br />
<br />
For any possible award TOPLAP submits itself. In particular, we would like to highlight the L&amp;Uuml;BECK04 Manifesto for Live Coding Performance, as linked:<br />
<br />
* [[ManifestoDraft]]<br />
<br />
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. <br />
<br />
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. <br />
<br />
For any performance component of a submission 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.<br />
<br />
Attendance of particular TOPLAP members would be negotiated, but the organisation is happy to also talk about its work in an appropriate forum. <br />
<br />
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.</div>84.9.37.205https://toplap.org/wiki/index.php?title=HistoricalPerformances&diff=14HistoricalPerformances2005-07-31T22:29:44Z<p>84.9.37.205: </p>
<hr />
<div>Some notable historical performances are mentioned here with archive footage links where available. Feel free to contact us to tell us of any missing ones- we&#39;d especially like documentation.<br />
<br />
== Projection era ==<br />
The languages have proliferated...<br />
<br />
7th February 2005 - Ten members of TOPLAP jam together at Club Transmediale, Club Maria, Berlin. Represented environments and languages include Chuck, JITLIB, Pure Events, Musique Literale, SuperCollider, feedback.pl, Perl, The Thingee and<br />
Lingo.<br />
<br />
26th August 2004 = TOPLAP live coding jam of audio and visuals (Perl, SC3, MAX/MSP, PD, fluxus, The Thingee), Aarhus, Denmark<br />
http://projects.dorkbot.org/rd04/wiki/MediaFiles?action=AttachFile<br />
<br />
17 July 2004 - London Placard Headphone festival. Live perl coding and drumming<br />
duet with Table, and some live lsystem grammar coding by nebogeo.<br />
http://state51.org/placard/<br />
<br />
14th February 2004 - Betalounge, Hamburg. JITLIB based live coding network jam over laptop speakers as part of the changing grammars symposium. TOPLAP is born that evening in a smoky downtown bar (Zoe)<br />
<br />
14th November 2003 ChucK double projection duet, premiere at Princeton<br />
http://on-the-fly.cs.princeton.edu/listen/<br />
<br />
Friday 20th June 2003 Royal College of Art, London. Live coding duet ([[SuperCollider]] 2), Nick Collins and Fabrice Mogini.<br />
<br />
June 14th 2003 University Of Communication, Sarajevo: code as a cinematic experience, Julian Rohrhuber<br />
<br />
Oct 2002 Kule Club, Berlin: Elevator Music, Julian Rohrhuber<br />
<br />
<br />
7th September 2001 Julian Rohrhuber jitlib live in NY: &quot;west nile&quot; in polar bear club, subtonic<br />
<br />
Feb. 2000 &quot;remote control lounge&quot; network installation by J.Rohrhuber - James Mc Cartney sends open sound control code from Austin to Hamburg and changes Pattern parameters together with local participants. http://telenautik.hfbk-hamburg.de/remote.htm<br />
<br />
17th June 2000 [[slub]] premiere hoxton foundry, london - antispod<br />
<br />
<br />
== 80s FORTH era ==<br />
<br />
George Lewis claimed that live programming was a frequent activity in this period; though not an audience focus. I don&#39;t know of any projection of live code pre [[slub]]...Documentation is scarce. Please tell us if you have any archived sources!<br />
<br />
The Hub were using FORTH and the audience could wander around their computers.<br />
<br />
A [http://developers.slashdot.org/comments.pl?sid=120335&amp;cid=10139642 slashdot comment] by an anonymous poster talks about a project called &quot;masked men&quot; which involved coding lisp live on stage in 1987.<br />
<br />
The earliest documented performance of live coding we know of right now:<br />
1985 Ron Kuivila STEIM Amsterdam<br />
<br />
[http://www.softsynth.com/hmsl/ HMSL], the Hierarchical Music Specification Language, was widely used for composition and live performance. It was a Forth-based object-oriented music language with time-stamped MIDI input and output. DSP 56000 tools were added around 1990. HMSL also had cross-platform GUI tools similar<br />
to Java&#39;s AWT, but more primitive. Coding was often done while the audience<br />
was taking their seats and during intermissions. Live coding was common during informal presentations.<br />
<br />
== Earlier still (before interpreted languages) ==<br />
<br />
Text pieces, happenings in the 60s? Some might fit but we need a specific case<br />
<br />
Renaissance maths tournaments<br />
Fior vs Tartaglia on the cubic equation (not actually peformative unfortunately, this public competition took 40-50 days!)<br />
<br />
Greek philosophers debating...</div>84.9.37.205https://toplap.org/wiki/index.php?title=ToplapSlogans&diff=487ToplapSlogans2005-07-31T22:29:15Z<p>84.9.37.205: </p>
<hr />
<div>Add your suggested Toplap slogans, please. The marketing department reserves the right to use any entries submitted in publicity materials.<br />
<br />
* "putting the rhythm into algorithms"<br />
* "to parse despite all chance to fail"<br />
* "putting the funk into functions"<br />
* "taking the routine out of subroutines"<br />
* "type a personality"<br />
* "taking the artificial out of artificial intelligence"<br />
* "stealing the intelligence from artificial intelligence"<br />
* "TOPLAP TOPLAP TOPLAP TOPLAP TOPLAP."<br />
* After three days without livecoding, life becomes meaningless.<br />
(stolen & modified from the tao of programming: http://www.canonical.org/~kragen/tao-of-programming.html )</div>84.9.37.205https://toplap.org/wiki/index.php?title=LivecodingGrades&diff=349LivecodingGrades2005-07-31T22:27:48Z<p>84.9.37.205: </p>
<hr />
<div>Authors: <i>AdrianWard, AlexMcLean, NickCollins</i><br />
<br />
Here is a suggested outline for skills required in a formal (graded) assessment of livecoding skills. It is my hope that these requirements eventually be adopted by http://www.abrsm.org/ and the basis of this curriculum be used by music teachers everywhere. Feel free to make suggestions and alter as necessary, adding your name to the list of authors. This document is very much provisional.<br />
<br />
= Grade 1 =<br />
The student should be able to demonstrate<br />
* coherent logic in the choice of a suitable language/livecoding environment<br />
* QWERTY familiarity (or other keyboard layout where appropriate)<br />
* mouse agility (where relevant)<br />
* understanding the key principles of a text editor or graphical patcher<br />
* how to use variables, input and output<br />
<br />
The student must perform one piece of music, using a choice of one of the three following techniques<br />
* the system beeper<br />
* /dev/audio<br />
* MIDI<br />
<br />
= Grade 2 =<br />
The student should be able to demonstrate<br />
* logical and mathematical operations on variables, including<br />
** summing<br />
** modulus<br />
** boolean logic<br />
* modularity in implementation<br />
* the use of functions/procedures/patches/handlers (dependent upon livecoding environment)<br />
<br />
The student must perform two pieces of music. The first must be entirely improvised but the student may choose to bring into the exam no more than three pre-written snippets of code totalling no more than 256 bytes (UTF-8 encoding). The second piece must demonstrate at least two concepts from the following list<br />
* polyrhythm<br />
* recursion<br />
* remapping without the use of lookup tables<br />
* data sonification<br />
<br />
= Grade 3 =<br />
The student should be able to demonstrate<br />
* proficiency to atleast Grade 2 level in atleast two livecoding environments<br />
* a balanced, considered and unbiased critique of both of those environments<br />
* the ability to abuse the facilities of traditional non-livecoding programming languages in order to obtain creative results<br />
<br />
The student must perform three pieces of music, all from scratch and with no prior code. The first piece must reimplement the same pragmatic scheme used in the student's Grade 1 examination, but must be modified to produce a vastly different piece of music. The remaining two pieces must demonstrate collaboration with other livecoders in realtime.<br />
<br />
= Grade 4 =<br />
The student should be able to demonstrate<br />
* the ability to sonify any well known computing algorithm (these will be provided by the examiner at the time of the exam)<br />
* proficiency in adeptly (and unobtrusively) handling atleast two of the following scenarios<br />
** a calculation error/malfunctioning algorithm<br />
** unhandled exception errors/runtime errors/arbitrary garbage input (as appropriate)<br />
** atleast three sticky keys from a spilt beverage<br />
<br />
The student must perform one piece of music from scratch and with no prior code. In addition, the student will be given three routines from unfamiliar languages along with the minimum knowledge necessary to trigger audio events. The student will be expected to modify the routines to generate a performance that lasts atleast 15 minutes. Routines may be overlapped and duplicated, but no additional routines may be used.<br />
<br />
= Grade 5 =<br />
The student should be able to<br />
* keep atleast 100 clubbers dancing for atleast 30 minutes<br />
* smoothly recover from a major system crash/kernel panic/"Application unexpectedly quit" problem<br />
* do all of this whilst drunk<br />
<br />
= Grade 6 =<br />
The student should be able to<br />
* keep atleast 100 electro-acoustic musicians dancing for atleast 30 minutes without the use of intoxicants<br />
* deliberately induce a major system crash/kernel panic/"Application unexpectedly quit" problem<br />
<br />
= Grade 7 =<br />
The student should be able to<br />
* develop, deploy and use in a live performance their own livecoding environment (which may be a subset of an existing language providing sufficient additional flexibility is obtained)<br />
* dance convincingly to a given algorithm without it being sonified<br />
<br />
= Grade 8 =<br />
The student should be able to demonstrate<br />
* the ability to forcefully break their own livecoding environment with the intention of producing music<br />
* a healthy disdain for the classical didactic techniques deployed in traditional music tutorship</div>84.9.37.205https://toplap.org/wiki/index.php?title=Videos,_Articles_and_Papers&diff=237Videos, Articles and Papers2005-07-31T22:27:22Z<p>84.9.37.205: </p>
<hr />
<div>* [[read_me paper]]<br />
* [[some thoughts]]<br />
* [[live coding of graphics]]<br />
* [[hacking perl in nightclubs]]<br />
* [http://on-the-fly.cs.princeton.edu on-the-fly programming papers + videos]<br />
* [[LivecodingIsNotSynaesthesia]]</div>84.9.37.205https://toplap.org/wiki/index.php?title=ToplapSystems&diff=91ToplapSystems2005-07-31T22:26:53Z<p>84.9.37.205: </p>
<hr />
<div>Systems For Live Coding<br />
<br />
(some may be pending TOPLAP approval)<br />
<br />
* [[ChucK]] | [[Audicle]]<br />
* [[feedback.pl]]<br />
* [[fluxus]]<br />
* [[JITLib]] | [[SuperCollider]] | ([[GraphicsSpace]])<br />
* redFrik<br />
* [http://deprogramming.us/perfs#thingee The Thingee] + [[ThingeeLanguage]]<br />
* noisepattern (part of http://www.pawfal.org/Software/livenoisetools/ )<br />
* packet forth http://attacksyour.net/piki/PacketForth<br />
* squeak http://squeak.org/<br />
* [http://www.pure-events.com/ Signwave Pure Events]<br />
* http://www.fexia.com/livecode.html</div>84.9.37.205https://toplap.org/wiki/index.php?title=ToplapEvents&diff=65ToplapEvents2005-07-31T22:26:29Z<p>84.9.37.205: </p>
<hr />
<div>* 2005 June - TOPLAP sets from slub, nebogeo and Paul Webb at Sonar, Barcelona, Spain<br />
* 2005/05/21 - Alex 'yaxu' McLean vs Nick 'nil' Collins. Live coding bout for the WPFF belt. dorkbot Ghent. <br />
* 2005/02/06-07 - TOPLAP events at [http://transmediale.de transmediale] - [[Transmediale2005]] Some [[evidences]] exist.<br />
* 2004/11/26 - TOPLAP presentation at the [http://ultrasound.ws/ ultrasound festival] in huddersfield, with a performance by [http://klippav.org klippav] the same day, and [http://tablex.org tablex] the following day<br />
* 2004/11/25 - TOPLAP sets from NeboGeo, Klippav and Tablex at the [http://www.no-signal.net/xtns4/ state51 extension #4]<br />
* 2004/11/02 - Perry and Ge present The Audicle at ICMC2004 - http://audicle.cs.princeton.edu/<br />
* 2004/10/17 - Phil and Ge live coding at ChucK workshop and performance, New York - http://share.dj/<br />
* 2004/10/13 - Ge presenting ChucK/on-the-fly programming at ACM Multimedia, New York<br />
* 2004/10/12 - Perry and Ge live coding from scratch at ffmup - http://ffmup.org/ + http://on-the-fly.cs.princeton.edu/listen/<br />
* 2004/06/05 - Perry and Ge live coding from scratch at NIME2004 - http://on-the-fly.cs.princeton.edu/<br />
* 2004/06/29 - Alex and Nick talking and playing at blip in Brighton - http://www.cogs.susx.ac.uk/users/samw/blip/<br />
* 2004/08/25 &#39;til 2004/08/27 - runme-dorkbot citycamp - http://readme.runme.org/camp.php<br />
<br />
(not all live events are listed here, see [[ToplapPeople]] to find out what all the TOPLAP members are up to)</div>84.9.37.205https://toplap.org/wiki/index.php?title=AlexMcLean&diff=271AlexMcLean2005-07-31T22:25:46Z<p>84.9.37.205: </p>
<hr />
<div><pre><br />
<br />
sub bang {#<br />
my $self = shift;<br />
##<br />
$self-&gt;code-&gt;[9] .= &quot;#&quot;;##<br />
$self-&gt;code-&gt;[4] =~ s/[\d\.]+/int(rand(@{$self-&gt;code}))/e;#<br />
<br />
$self-&gt;code-&gt;[14] =~ s/\#\#.*//;#<br />
$self-&gt;code-&gt;[7] =~ s/[\d\.]+/int(rand(@{$self-&gt;code}))/e;<br />
##<br />
$self-&gt;modified;#<br />
}#<br />
##<br />
####<br />
</pre><br />
http://yaxu.org/</div>84.9.37.205https://toplap.org/wiki/index.php?title=AlexMcLean&diff=6AlexMcLean2005-07-31T22:25:32Z<p>84.9.37.205: </p>
<hr />
<div>sub bang {#<br />
my $self = shift;<br />
##<br />
$self-&gt;code-&gt;[9] .= &quot;#&quot;;##<br />
$self-&gt;code-&gt;[4] =~ s/[\d\.]+/int(rand(@{$self-&gt;code}))/e;#<br />
<br />
$self-&gt;code-&gt;[14] =~ s/\#\#.*//;#<br />
$self-&gt;code-&gt;[7] =~ s/[\d\.]+/int(rand(@{$self-&gt;code}))/e;<br />
##<br />
$self-&gt;modified;#<br />
}#<br />
##<br />
####<br />
<br />
http://yaxu.org/</div>84.9.37.205https://toplap.org/wiki/index.php?title=ToplapPeople&diff=32ToplapPeople2005-07-31T22:23:36Z<p>84.9.37.205: </p>
<hr />
<div>- put yourself here! -<br />
<br />
* [[AlexMcLean]]<br />
* [[NickCollins]]<br />
* [[AdrianWard]]<br />
* [[JulianRohrhuber]]<br />
* [[FredrikOlofsson]]<br />
* [[AmyAlexander]]<br />
* [[GeWang]]<br />
* [[ManuelaFramer]]<br />
* [[CraigLatta]]<br />
* [[DaveGriffiths]]<br />
* [[FabriceMogini]]<br />
* [[TomBetts]]<br />
* [[Ekko]]<br />
* [[AndySzybalski]]<br />
* [[MarcusWrango]]<br />
* [[J.C.W.]]<br />
* [[JamieForth]]<br />
* [[TillBovermann]]<br />
* [[AlexGaracotche]]<br />
* [[MxHz]]<br />
* [[AkihiroKubota]]<br />
* [[MogensJacobsen]]<br />
* [[PaulWebb]]<br />
* [[Phasic]]<br />
* [[U-Sun]]<br />
* [[MarkHill]]</div>84.9.37.205https://toplap.org/wiki/index.php?title=MailingList&diff=748MailingList2005-07-31T22:16:41Z<p>84.9.37.205: </p>
<hr />
<div>* To join our discussion list, please send an email to: livecode-sub(at)toplap.org<br />
* To leave it again, please send an email (from the same address) to: livecode-unsub(at)toplap.org</div>84.9.37.205https://toplap.org/wiki/index.php?title=ManifestoDraft&diff=27ManifestoDraft2005-07-31T22:16:07Z<p>84.9.37.205: </p>
<hr />
<div>We demand:<br />
<br />
* Give us access to the performer's mind, to the whole human instrument.<br />
<br />
* Obscurantism is dangerous. Show us your screens.<br />
<br />
* Programs are instruments that can change themselves<br />
<br />
* The program is to be transcended - Artificial language is the way.<br />
<br />
* Code should be seen as well as heard, underlying algorithms viewed as well as their visual outcome.<br />
<br />
* Live coding is not about tools. Algorithms are thoughts. Chainsaws are tools. That's why algorithms are sometimes harder to notice than chainsaws.<br />
<br />
We recognise continuums of interaction and profundity, but prefer:<br />
<br />
* Insight into algorithms<br />
<br />
* The skillful extemporisation of algorithm as an expressive/impressive display of mental dexterity<br />
<br />
* No backup (minidisc, DVD, safety net computer)<br />
<br />
We acknowledge that:<br />
<br />
* It is not necessary for a lay audience to understand the code to appreciate it, much as it is not necessary to know how to play guitar in order to appreciate watching a guitar performance.<br />
<br />
* Live coding may be accompanied by an impressive display of manual dexterity and the glorification of the typing interface.<br />
<br />
* Performance involves continuums of interaction, covering perhaps the scope of controls with respect to the parameter space of the artwork, or gestural content, particularly directness of expressive detail. Whilst the traditional haptic rate timing deviations of expressivity in instrumental music are not approximated in code, why repeat the past? No doubt the writing of code and expression of thought will develop its own nuances and customs.<br />
<br />
Performances and events closely meeting these manifesto conditions may apply for TOPLAP approval and seal.</div>84.9.37.205https://toplap.org/wiki/index.php?title=ToplapLogo&diff=15ToplapLogo2005-07-31T22:14:59Z<p>84.9.37.205: </p>
<hr />
<div>Back in Hamburg, Nick asked if I ([[AdrianWard]]) could contribute a logo to TOPLAP. I've been thinking about this ever since. Yes, it's taken me three months to come up with something.<br />
<br />
http://www.signwave.co.uk/files/toplap.gif<br />
<br />
Hopefully it's fairly obvious. It's supposed to be a LAPTOP with some CODE facing an AUDIENCE. Please offer your feedback below so that it can be improved. Thanks!<br />
<br />
----<br />
<br />
Hey it looks cool! But I ([[AmyAlexander]]) don't see how it's facing an audience? Is that the audience appearing on the left and right of the screen? But, then it looks like the audience is behind the computer, i.e. the code is facing away from the audience. Hmm, I am not sure how to solve this problem within a flat 2D logo - perhaps some faux perspective stuff would make it easier? Like maybe a 3/4 view, and a cone of light emitting from where the code is and engulfing the audience? Could also have #'s and ;'s and stuff emitting from the cone - or not.... Just some of my wild and wacky thoughts (I'm a very wild and wacky thinker, as you can tell.)<br />
<br />
----<br />
<br />
I, [[AlexMcLean]] like it too. I like the simplicity of the lines of code, I think with #'s and ;'s it may be getting too complex for its purpose as a logo. I share Amy's perception of the audience behind the screen, as though the viewer has the perspective of the programmer, looking at both screen and audience. I can't suggest a way of improving that however, and it is distinctive and eye-catching as it is. It's not a huge problem that the audience can't see the screen - presumably there is a projection for them to see out of shot. :)<br />
<br />
----<br />
<br />
Ah! Yes, you're right. The laptop isn't really facing the audience. I ([[AdrianWard]]) was aware of this subtle problem and had actually come up with this design initially:<br />
<br />
http://www.signwave.co.uk/files/toplap2.gif<br />
<br />
Ofcourse, the abstraction of code represented by dots is more confusing however, but I like the fact that it played with the idea of CODE XOR AUDIENCE, which I guess is what is happening here. Is the laptop infront or behind the audience? Maybe the audience is part of the code....<br />
<br />
----<br />
<br />
This is splendid, I ([[NickCollins]]) like both forms but I have a soft spot for the former- the audience could be seen as being around the laptop, make dots increase in size outwards to get diagonals? Actually, that would spoil the simplicity...I like it anyway. dots as people or as soundwaves or as elipsis or as intelligent radiation...<br />
<br />
----<br />
<br />
I don't think it's important that it looks like the code is facing away from the audience; I think most people can abstract around that. I would try giving the people shoulders :-)</div>84.9.37.205https://toplap.org/wiki/index.php?title=ToplapLogo&diff=5ToplapLogo2005-07-31T22:14:30Z<p>84.9.37.205: </p>
<hr />
<div>Back in Hamburg, Nick asked if I ([[AdrianWard]]) could contribute a logo to TOPLAP. I've been thinking about this ever since. Yes, it's taken me three months to come up with something.<br />
<br />
<img src="http://www.signwave.co.uk/files/toplap.gif" /><br />
<br />
Hopefully it's fairly obvious. It's supposed to be a LAPTOP with some CODE facing an AUDIENCE. Please offer your feedback below so that it can be improved. Thanks!<br />
<br />
----<br />
<br />
Hey it looks cool! But I ([[AmyAlexander]]) don't see how it's facing an audience? Is that the audience appearing on the left and right of the screen? But, then it looks like the audience is behind the computer, i.e. the code is facing away from the audience. Hmm, I am not sure how to solve this problem within a flat 2D logo - perhaps some faux perspective stuff would make it easier? Like maybe a 3/4 view, and a cone of light emitting from where the code is and engulfing the audience? Could also have #'s and ;'s and stuff emitting from the cone - or not.... Just some of my wild and wacky thoughts (I'm a very wild and wacky thinker, as you can tell.)<br />
<br />
----<br />
<br />
I, [[AlexMcLean]] like it too. I like the simplicity of the lines of code, I think with #'s and ;'s it may be getting too complex for its purpose as a logo. I share Amy's perception of the audience behind the screen, as though the viewer has the perspective of the programmer, looking at both screen and audience. I can't suggest a way of improving that however, and it is distinctive and eye-catching as it is. It's not a huge problem that the audience can't see the screen - presumably there is a projection for them to see out of shot. :)<br />
<br />
----<br />
<br />
Ah! Yes, you're right. The laptop isn't really facing the audience. I ([[AdrianWard]]) was aware of this subtle problem and had actually come up with this design initially:<br />
<br />
<img src="http://www.signwave.co.uk/files/toplap2.gif" /><br />
<br />
Ofcourse, the abstraction of code represented by dots is more confusing however, but I like the fact that it played with the idea of CODE XOR AUDIENCE, which I guess is what is happening here. Is the laptop infront or behind the audience? Maybe the audience is part of the code....<br />
<br />
----<br />
<br />
This is splendid, I ([[NickCollins]]) like both forms but I have a soft spot for the former- the audience could be seen as being around the laptop, make dots increase in size outwards to get diagonals? Actually, that would spoil the simplicity...I like it anyway. dots as people or as soundwaves or as elipsis or as intelligent radiation...<br />
<br />
----<br />
<br />
I don't think it's important that it looks like the code is facing away from the audience; I think most people can abstract around that. I would try giving the people shoulders :-)</div>84.9.37.205https://toplap.org/wiki/index.php?title=Main_Page&diff=8Main Page2005-07-31T22:13:42Z<p>84.9.37.205: </p>
<hr />
<div>http://static.toplap.org/logo.gif<br />
<br />
'''(Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming'''<br />
<br />
* [[ ToplapLogo ]]<br />
* [[ ManifestoDraft ]]<br />
* [[ MailingList ]]<br />
* [[ FrequentlyAskedQuestions ]]<br />
* [[ ToplapPeople ]]<br />
* [[ ToplapEvents ]]<br />
* [[ ToplapSystems ]]<br />
* [[ ToplapPapers ]]<br />
* [[ LivecodingGrades ]]<br />
* [[ ToplapSlogans ]]<br />
* [[ HistoricalPerformances ]]<br />
* [[ GenericSubmission ]]<br />
* [[ Ars Electronica Documentation ]]<br />
* [[ Resources ]]<br />
* [[ PressRelease ]]<br />
<br />
[http://thebot.org/video/toplap.ram Check out TOPLAP's Documentary Video! (RealVideo format.)]<br />
<br />
See [http://meta.wikipedia.org/wiki/MediaWiki_i18n documentation on customizing the interface]<br />
and the [http://meta.wikipedia.org/wiki/MediaWiki_User%27s_Guide User's Guide] for usage and configuration help.</div>84.9.37.205https://toplap.org/wiki/index.php?title=Main_Page&diff=4Main Page2005-07-31T22:13:20Z<p>84.9.37.205: </p>
<hr />
<div>http://static.toplap.org/logo.gif<br />
'''(Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming'''<br />
<br />
* [[ ToplapLogo ]]<br />
* [[ ManifestoDraft ]]<br />
* [[ MailingList ]]<br />
* [[ FrequentlyAskedQuestions ]]<br />
* [[ ToplapPeople ]]<br />
* [[ ToplapEvents ]]<br />
* [[ ToplapSystems ]]<br />
* [[ ToplapPapers ]]<br />
* [[ LivecodingGrades ]]<br />
* [[ ToplapSlogans ]]<br />
* [[ HistoricalPerformances ]]<br />
* [[ GenericSubmission ]]<br />
* [[ Ars Electronica Documentation ]]<br />
* [[ Resources ]]<br />
* [[ PressRelease ]]<br />
<br />
[http://thebot.org/video/toplap.ram Check out TOPLAP's Documentary Video! (RealVideo format.)]<br />
<br />
See [http://meta.wikipedia.org/wiki/MediaWiki_i18n documentation on customizing the interface]<br />
and the [http://meta.wikipedia.org/wiki/MediaWiki_User%27s_Guide User's Guide] for usage and configuration help.</div>84.9.37.205https://toplap.org/wiki/index.php?title=Main_Page&diff=3Main Page2005-07-31T22:13:02Z<p>84.9.37.205: </p>
<hr />
<div>http://static.toplap.org/logo.gif<br />
'''(Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming'''<br />
<br />
* [[ ToplapLogo ]]<br />
* [[ ManifestoDraft ]]<br />
* [[ MailingList ]]<br />
* [[ FrequentlyAskedQuestions ]]<br />
* [[ ToplapPeople ]]<br />
* [[ ToplapEvents ]]<br />
* [[ ToplapSystems ]]<br />
* [[ ToplapPapers ]]<br />
* [[ LivecodingGrades ]]<br />
* [[ ToplapSlogans ]]<br />
* [[ HistoricalPerformances ]]<br />
* [[ GenericSubmission ]]<br />
* [[ Ars Electronica Documentation ]]<br />
* [[ Resources ]]<br />
* [[ PressRelease ]]<br />
<br />
[http://thebot.org/video/toplap.ram Check out TOPLAP's Documentary Video! (RealVideo format.)]<br />
<br />
[http://meta.wikipedia.org/wiki/MediaWiki_i18n documentation on customizing the interface]<br />
and the [http://meta.wikipedia.org/wiki/MediaWiki_User%27s_Guide User's Guide] for usage and configuration help.</div>84.9.37.205https://toplap.org/wiki/index.php?title=Main_Page&diff=2Main Page2005-07-31T22:12:25Z<p>84.9.37.205: </p>
<hr />
<div>|| <img src="http://static.toplap.org/logo.gif" /> ||<br />
|| '''(Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming''' ||<br />
<br />
* [[ ToplapLogo ]]<br />
* [[ ManifestoDraft ]]<br />
* [[ MailingList ]]<br />
* [[ FrequentlyAskedQuestions ]]<br />
* [[ ToplapPeople ]]<br />
* [[ ToplapEvents ]]<br />
* [[ ToplapSystems ]]<br />
* [[ ToplapPapers ]]<br />
* [[ LivecodingGrades ]]<br />
* [[ ToplapSlogans ]]<br />
* [[ HistoricalPerformances ]]<br />
* [[ GenericSubmission ]]<br />
* [[ Ars Electronica Documentation ]]<br />
* [[ Resources ]]<br />
* [[ PressRelease ]]<br />
<br />
||<br />
||<br />
<br />
[http://thebot.org/video/toplap.ram Check out TOPLAP's Documentary Video! (RealVideo format.)]<br />
<br />
[http://meta.wikipedia.org/wiki/MediaWiki_i18n documentation on customizing the interface]<br />
and the [http://meta.wikipedia.org/wiki/MediaWiki_User%27s_Guide User's Guide] for usage and configuration help.</div>84.9.37.205