From sonic Pi to overtone

Aaron, Samuel; Blackwell, Alan F.

doi:10.1145/2505341.2505346

Cited by 50 publications

(16 citation statements)

References 9 publications

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“…. , e n )) -This case is similar to (1), except that the fact that v = mem(m, s) holds by construction, rather than using lemma 4. ii. If F V (e b ) = {x} then v b ⇓ e b x for some e b and v ⇓ λx → e b using (fun-bind).…”

Section: A4 Term Preview Correctnessmentioning

confidence: 97%

“…The nodes representing sub-expressions are then used for lookup into ∆, together with their labels. If a node already exists in ∆ it is reused (1). Alternatively, we create a new node containing a fresh symbol (2).…”

Section: :11mentioning

confidence: 99%

“…Live and exploratory programming. Live programming based on textual programs has been popularised by Victor [57,58] and is actively developed in domains such as live coded music [1,51]. The notions of exploratory and live programming have been extensively studied [50].…”

Section: Related and Future Workmentioning

confidence: 99%

“…In cases (1) and (3), the updated ∆ contains the required key and so the second binding proceeds using the same case. In cases (2) and (4), the second binding reuses the node created by the first binding using case (1) and (3), respectively. Cases (5) and (6) are the same.…”

Section: :32mentioning

confidence: 99%

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Foundations of a live data exploration environment

Petříček

2020

Programming

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A growing amount of code is written to explore and analyze data, often by data analysts who do not have a traditional background in programming, for example by journalists. The way such data anlysts write code is different from the way software engineers do so. They use few abstractions, work interactively and rely heavily on external libraries. We aim to capture this way of working and build a programming environment that makes data exploration easier by providing instant live feedback.We combine theoretical and applied approach. We present the data exploration calculus, a formal language that captures the structure of code written by data analysts. We then implement a data exploration environment that evaluates code instantly during editing and shows previews of the results. We formally describe an algorithm for providing instant previews for the data exploration calculus that allows the user to modify code in an unrestricted way in a text editor. Supporting interactive editing is tricky as any edit can change the structure of code and fully recomputing the output would be too expensive. We prove that our algorithm is correct and that it reuses previous results when updating previews after a number of common code edit operations. We also illustrate the practicality of our approach with an empirical evaluation and a case study.As data analysis becomes an ever more important use of programming, research on programming languages and tools needs to consider new kinds of programming workflows appropriate for those domains and conceive new kinds of tools that can support them. The present paper is one step in this important direction. ACM CCS 2012Human-centered computing → Interactive systems and tools; Information systems → Data mining;Software and its engineering → Compilers;Foundations of a live data exploration environment development and execution. Data analysts write small snippets of code, run them to see results immediately and then revise them.Notebooks are used by users ranging from scientists who implement complex models of physical systems to journalists who perform simple data aggregations and create visualizations. Our focus is on the simplest use cases. Making programmatic data exploration more spreadsheet-like should encourage users to choose programming tools over spreadsheets, resulting in more reproducible and transparent data analyses.Consider the Financial Times analysis of plastic waste [7,25]. It joins datasets from Eurostat, UN Comtrade and more, aggregates the data and builds a visualization comparing waste flows in 2017 and 2018. Figure 1 shows an excerpt from one notebook of the data analysis. The code has a number of important properties:There is no abstraction. The analysis uses lambda functions as arguments to library calls, but it does not define any custom functions. Code is parameterized by having a global variable material set to "plastics" and keeping other possible values in a comment. This lets the analyst run and check results of intermediate steps.The code relies on external lib...

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Section: A4 Term Preview Correctnessmentioning

confidence: 97%

Section: :11mentioning

confidence: 99%

Section: Related and Future Workmentioning

confidence: 99%

Section: :32mentioning

confidence: 99%

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Foundations of a live data exploration environment

Petříček

2020

Programming

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“…Live coding is also a key concern of SuperCollider, which supports on-demand evaluation of blocks of code. Over the past decade, SuperCollider has been used to host other live coding languages such as ixilang (Magnusson 2011), and its synthesis engine (which is separate from its language) has become a popular back-end for live coding languages such as TidalCycles (McLean 2014), whose syntax is based on Haskell, Overtone and Sonic Pi (Aaron and Blackwell 2013), both based on the Clojure Lisp dialect. SuperCollider’s rapid iteration means ‘the experimentation and exploration of a new concept can happen in the same time’ (Baalman 2019).…”

Section: Values Of Computer Music Languagesmentioning

confidence: 99%

Idiomatic Patterns and Aesthetic Influence in Computer Music Languages

McPherson

Tahiroğlu²

2020

Org. Sound

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It is widely accepted that acoustic and digital musical instruments shape the cognitive processes of the performer on both embodied and conceptual levels, ultimately influencing the structure and aesthetics of the resulting performance. In this article we examine the ways in which computer music languages might similarly influence the aesthetic decisions of the digital music practitioner, even when those languages are designed for generality and theoretically capable of implementing any sound-producing process. We examine the basis for querying the non-neutrality of tools with a particular focus on the concept of idiomaticity: patterns of instruments or languages which are particularly easy or natural to execute in comparison to others. We then present correspondence with the developers of several major music programming languages and a survey of digital musical instrument creators examining the relationship between idiomatic patterns of the language and the characteristics of the resulting instruments and pieces. In an open-ended creative domain, asserting causal relationships is difficult and potentially inappropriate, but we find a complex interplay between language, instrument, piece and performance that suggests that the creator of the music programming language should be considered one party to a creative conversation that occurs each time a new instrument is designed.

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