Algorithms as Scores: Coding Live Music

Magnusson, Thor

doi:10.1162/lmj_a_00056

Cited by 42 publications

(20 citation statements)

References 2 publications

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“…Visual coding allows for end-user development (EUD; a more flexible approach to software production by people with expertise in other domains, and those working towards goals supported by computation [ 24 ]) of apps through live coding (where coding is designed and implemented on the fly). Live coding is widely used within the arts, for example, in music performance [ 25 , 26 ] and is increasingly used as a tool for teaching introductory programming [ 27 ]. As a programming tool itself, live coding can result in many new, flexible approaches to programming.…”

Section: Critical Design Stepsmentioning

confidence: 99%

A Grassroots Remote Sensing Toolkit Using Live Coding, Smartphones, Kites and Lightweight Drones

et al. 2016

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This manuscript describes the development of an android-based smartphone application for capturing aerial photographs and spatial metadata automatically, for use in grassroots mapping applications. The aim of the project was to exploit the plethora of on-board sensors within modern smartphones (accelerometer, GPS, compass, camera) to generate ready-to-use spatial data from lightweight aerial platforms such as drones or kites. A visual coding ‘scheme blocks’ framework was used to build the application (‘app’), so that users could customise their own data capture tools in the field. The paper reports on the coding framework, then shows the results of test flights from kites and lightweight drones and finally shows how open-source geospatial toolkits were used to generate geographical information system (GIS)-ready GeoTIFF images from the metadata stored by the app. Two Android smartphones were used in testing–a high specification OnePlus One handset and a lower cost Acer Liquid Z3 handset, to test the operational limits of the app on phones with different sensor sets. We demonstrate that best results were obtained when the phone was attached to a stable single line kite or to a gliding drone. Results show that engine or motor vibrations from powered aircraft required dampening to ensure capture of high quality images. We demonstrate how the products generated from the open-source processing workflow are easily used in GIS. The app can be downloaded freely from the Google store by searching for ‘UAV toolkit’ (UAV toolkit 2016), and used wherever an Android smartphone and aerial platform are available to deliver rapid spatial data (e.g. in supporting decision-making in humanitarian disaster-relief zones, in teaching or for grassroots remote sensing and democratic mapping).

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Section: Critical Design Stepsmentioning

confidence: 99%

A Grassroots Remote Sensing Toolkit Using Live Coding, Smartphones, Kites and Lightweight Drones

et al. 2016

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“…Code, like mathematics, has often been described as a form of notation (Aaron et al 2011;Magnusson 2011) and (Blackwell and Green 2003, pp. 103-134).…”

Section: Live Codingmentioning

confidence: 99%

“…This paper will review relevant aspects of music technology and notation, live coding, data projection and the computer interface before considering how joining these techniques and technologies might work as well as suggesting what the fruits of such a union might be. In his 2001 article Algorithms as Scores Thor Magnusson (2011) relates live coding to traditional forms of composing and performing:…”

Section: Introductionmentioning

confidence: 99%

Live Coding, Live Notation, Live Performance

Hoadley

2016

Electronic Workshops in Computing

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This paper/demonstration explores relationships between code, notation including representation, visualisation and performance. Performative aspects of live coding activities are increasingly being investigated as the live coding movement continues to grow and develop. Although live instrumental performance is sometimes included as an accompaniment to live coding, it is often not a fully integrated part of the performance, relying on improvisation and/or basic indicative forms of notation with varying levels of sophistication and universality. Technologies are developing which enable the use of fully explicit music notations as well as more graphic ones, allowing more fully integrated systems of code in and as performance which can also include notations of arbitrary complexity. This itself allows the full skills of instrumental musicians to be utilised and synchronised in the process. This presentation/demonstration presents work and performances already undertaken with these technologies, including technologies for body sensing and data acquisition in the translation of the movements of dancers and musicians into synchronously performable notation, integrated by live and prepared coding. The author together with clarinetist Ian Mitchell present a short live performance utilising these techniques, discuss methods for the dissemination and interpretation of live generated notations and investigate how they take advantage of instrumental musicians' training-related neuroplasticity skills.

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“…visualising complex object/class relationships) rather than the process of programming. In a process-oriented activity such as live coding, different code visualisation techniques are thought to be necessary (Mclean et al, 2010;Magnusson, 2011). However, until now, academic treatments of code visualisations in live coding have adopted theoretical and descriptive approaches, and have not included empirical evaluation of the visualisation techniques.…”

Section: Introductionmentioning

confidence: 99%

Visualising a live coding arts process

Purcell

Gardner

Swift

2014

Proceedings of the 26th Australian Computer-Human Interaction Conference on Designing Futures: The Future of Design

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This paper describes an empirical study of source code visualisation as a means to communicate the programming process in "live coding" computer music performances. Following an exploratory field study of a live-coding performance at an arts festival, two different interaction-driven visualisation techniques were incorporated into a live coding system. We then performed a more controlled laboratory study to evaluate the visualisations' contributions to the audience experience, with emphasis on the (self-reported) experiential dimensions of understanding and enjoyment. Both software visualisation techniques enhanced audience enjoyment, while the effect on audience understanding was more complex. We conclude by suggesting how these visualisation techniques may be used to enhance the audience experience of live coding.

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Algorithms as Scores: Coding Live Music

Cited by 42 publications

References 2 publications

A Grassroots Remote Sensing Toolkit Using Live Coding, Smartphones, Kites and Lightweight Drones

A Grassroots Remote Sensing Toolkit Using Live Coding, Smartphones, Kites and Lightweight Drones

Live Coding, Live Notation, Live Performance

Visualising a live coding arts process

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