 All right now YouTube to see it. There we are morning. Good day. Good evening to YouTube All right, welcome. I believe this is the is this the third or the fourth hybrid fourth hybrid live coding interfaces online workshop Once again this year. It's Organized by my colleagues Hope your duo Melody loveless and myself Kate Sikiyo We are all in Eastern Standard Time, but I know everyone out there is in all the time zones the welcome welcome this year our scene is Boundless live coding I Don't know if Kofi or Melody you wanted to say anything about the food. Yeah Since I'm on my unmuted So this came about because We always been thinking that when people think of live coding sometimes they just think of algorithm sometimes they think live coding It's a genre But the more you go to things like ICLC or you see actual people practices We started realizing that life-coding is not a genre. It is boundless So being this the hybrid live coding interface We're like what if we made a call out and put together what live coding could be Will be has been or even never be and try to have those explorations ideologies and Philosophies all merged together for this Conference and that's what you have you have live coding that's many different formats Great. Well Do you have anything to add Melody? I Guess something that I would also add is that it was also the this year's needs also kind of a response to all of the Really interesting topics that have been emerging over the years so when we were like contemplating like You know comparing to last year's event that we also organized together. It was really focused on like dance or voice Things that are really really resonate with us, but this one again It's just kind of like the just kind of echoing what Kofi just said It's more about investigating like this boundless nature because of like all these interesting other performances that I got to happen at each ICLC right like some pieces involving like theater and whatnot So this is as much as us thinking about where it could be so but it's also like a response to all of your great work out there Great. So with that, let's get started. So what first we have code drift from the streets to sound scapes And while they're coming on just a little bit about the format everyone has five minutes To share whether that's a talk or performance and then at the end of The session will have time for questions with everyone So do submit questions via the YouTube chat. We'll be checking it All right, so like code drift take it away Thank you, Kate. And thank you for having us here y'all So we are Nanditi and computational mama from Ajay Abghur and Ajay Abghur is a creative technology studio in India We've been exploring this Very new workshop format and creative coding format called code drift Which is based on the values of collaboration and community and Our love for bringing culture and tech together in our studio in our other works as well And also bringing the tangible and intangible together. So essentially we're trying to bring aspects of the city City exploration code and music and art together for a beginner friendly workshop format and performance format So I'll just share my screen and we'll talk through what it's all about Okay, so here we are So it all started with a very ad hoc Performance that I was called for which was a theatrical production on the women folk musicians of Rajasthan And it was very impromptu and I was called in for the sound design for the theater production And which basically led to discovering that live coding in sound design can easily translate to live coding soundscapes So I'll just share a glimpse of what Theater production looked like and then we'll move on to code drift So this is what it see it was set up as and this led to exploring some Soundscapes artists some pioneers in the field like Luke Ferrari and current contemporary Electronic artists like Forte who use a lot of bio music and soundscapes in their production And then of course we also present works of these people into our workshops as well So this was the origin story and then let's move on to how code drift came out of this exploration So yeah code drift became like a combination of both our strengths and it's on a pie and P5.js through P5 live and I think Nandini and I have a Real rootedness in understanding and finding spaces for combining tech with with our culture So this kind of became a 4d Workshop which has done in two parts The first bit is we drift through the city Which is basically we've currently done it in two cities with a poor and therefore which are in Rajasthan as I mentioned in the west of India and these are both fairly well known for the heritage are very touristy, but also representative of what it means to be in a smaller town in India So the idea is to be able to explore the city as well as creative coding Don't go down. Yeah So the way we've planned it is that you go through the city, but also the the space within which you have the workshop is specifically The furniture specifically laid out in in a you know, kind of non non structured way We ensure that people come in from various cities across the country You know, even if it's happening in the west of India people are coming in all the way from the south You know people are taking trains buses flights So the idea is that a diverse bunch of people come together and they must himself in this chosen city And then they work with that idea both as a starting point for their coding a greater coding and like putting journeys Yeah, so the vibe is pretty informal as as you can see and The venue and the city play a big part in in the atmosphere that we want for the workshop It's always a venue which is any way a community space The people who are running it they are like-minded and they want to support creative formats and Collaboration and friendliness. So it could be like co-working spaces or hostels or, you know, work cafes That that do match the atmosphere that we're looking for code drip And also a small city is important as a setting for a code drip to happen because it is welcoming and it is easy to get around and the whole Being able to preserve Traditions as well as moving into modernity is done very well in a well-balanced form in the cities that we've been doing code Drifting and this very unhurriedness of a living and creating is what we were looking for Which is which we do find in the in the smaller cities So, yeah, these are some snapshots of what it's like Yeah, and and so so as we said that collaboration is one of the main values Collaboration and community are the main values behind the idea of code drift and creative coding that we want to put across We always encourage a paired performance at the end on the fourth day. It's an open jam where Audio and video is like combined together and two or more people are performing together This really helps to bring about the collaborative spirit in in your creative journeys Which is what we want to push forward And there's no competition. We're all helping each other out debugging together And even if there are glitches or anything that goes wrong, we all embrace it and try to work with it and encourage each other through that So in that way, we're also imbibing the philosophies of live coding That is totally judgment-free and totally improvised So That's that and these are some images of the jam day and performances and we're trying different formats for Even for the jam day sometimes it is an open open house where we had about like 40 50 people come in And it was audience-facing but still very informal But at times it is also not audience-facing. That's not the primary idea But it's just everybody around around table and the projections are happening in Different places either on the ceiling on the floor or anywhere just explore different formats Which the jam itself becomes like a community thing and you're all just you know Passing the HDMI from one to the other on a table So we're exploring all these different formats around that a Few we can share a few videos This one's from the first one which happened in Udaipur and I So just some glimpses of the different things we've been trying to explore Yeah, and that brings us to finally some insights that we have gathered through a few experiences with cold drift I definitely helped us to bring in culture and heritage into coding For beginners, especially to create a very exciting gateway and which is very accessible to them It's easily understandable and also bringing the tangible intangible together. It's it's it removes the fear of it And using the city to for creative exploration has turned out to be effective for everybody Abhika Yeah, I think we were also kind of looking at spaces of how life coding can be representative of our practices and and How and this idea of water life coding set could mean and sound like and I think these explorations really given us an opportunity to Push that idea forward like where can where can the images be from? What do they look like? What do they represent? What what are the soundscapes all about and what are these cities keeps about and this format of using the city as an anchor to then kind of explore that the idea has been really interesting and also What was really interesting is none of the workshops have had only beginners Sometimes you've had people who are from more experience coding might have sometimes much more than me and I'm with you No, so that's really been nice for them to be able to use their skill set to Look at a creative exploration of what's possible within that idea. So I think yeah, that's about it Yeah, so finally like what we plan in the future for it is of course you want to do it in different cities And we also want to explore cities beyond India And another great idea that we were thinking of was we could do a traveling code drift that goes through multiple cities And people can just join and leave whenever they want or complete the whole circuit with us So that would be quite interesting in terms of the diversity of culture that we can experience through creative coding in one city itself in one country itself it's quite possible and Of course since it's a community driven project We would obviously try to do things to grow the community for which we are wanting to create some collaterals and labs around The workshop period itself where the beginners are in the workshop there. We could have some labs For people who have already been a part of code drift or who are already in other communities of creative coding In which we are part of or we know of or their experience creative code as we want to come in So this creates this sort of an osmosis of ideas between Experience creative orders and people are just starting with code drift and of course everything around the idea of city code and art is That has been working very well for us in code drift So, yeah, that's that's about it. I think that's our time as well and Yeah, this is the Thank you all for having us and we are leaving a little qr code here If you all want to listen to some or see some code drift sets that happened earlier You all can scan this and it'll open a YouTube playlist if you want to have a look Thank you. Thank you Yeah, thank you so much. That was fantastic. Yeah, I love this idea of Not only it being like something you can do as like a methodology from city to city But also bringing together Advanced coders and beginner coders because I think that there's sometimes like a gap there in live coding Like we have people who are very much starting and people have been doing it for a long time. So this bridge is really nice So, yeah, we'll talk about this work more at the end. Thank you so much. Thank you. And we're gonna have Eric set up and This presentation is live coding humans. I love live coding humans the making of a cyborg choir Okay, great. Can you hear me? I just wanted to check is my audio working? Oh good. Yeah Sorry Well, hi, I'm really excited to be here Thanks to Kate Melody and I'm gonna be for having me. I wanted to share with you today project that I've been working on And that's been performed in public and still in development for future performances It's called human machine interface and in it I live code humans. That is a human choir So my name is Eric Lee And my artist name is Easterner. I'm based in New York. I'm active member of the live code and by C community I perform and and curate and Co-organize live coding and audio visual shows It's part of my practice. I'm typically technology agnostic and experimental at heart I like both old and new technologies from vintage synths CRT TVs and 8 bit video game consoles to code based music XR and AI based tools and I really like to glitch and circuit bend things and overall push technologies To do things they're not intended to do for public fact and or to critique or subvert their role in politics as society So typically I invite live coding. I like to use p5.js shaders touch designer for visuals and orca for MIDI sequencing Playing instruments that might be software instruments or built in pure data As well as playing outboard hardware synths and drum machines So at some point I wanted to myself what if I could live code humans instead How would I do that? What kind of emotional impact could such performances have what are the artistic and poetic possibilities? So I was really imagining singers wearing VR headsets wired up to a central computer and in their headsets They would see a live-scorning score and they would sight sing this live So I'm unabashedly influenced by classic Side punk like the anime film Ghost in the Shell as well as other media works think as an artist in here And so that informed a lot of the aesthetics and musical choices of the performance And it also occurred to me that humans reacting live to a scrolling real-time scores also related to rhythm games So the most famous example is probably Gonna be the floor pad dance based rhythm game dance starts revolution So the first challenge was how to render MIDI in real time one path that came to mind was to render scores in European classical musical notation and five classical singers that have been trained to sight sing well When I explored this I found That there were no existing tools In the public domain that I could find at least for real-time generation of a scrolling score So it had to build my own And it could be interesting. I thought what other life code is eventually if I could make one to use such a tool as well I did find some interesting individual projects where people are doing something like this, but those tools weren't widely available One was John E cop from the UK shown here in the left two images Who convert the title water data from the River Thames into musical scores in real time To be performed by live orchestra As well as US-based composer Jacob Jopinski Who had a project called blind ear? I think in the 2000s Which was very much like an extension of Earlier generative music without computers like Terry Riley and see where he provided 53 musical phrases They can kind of see in the left that musicians could choose the play from and repeat and they would interlock and phase So to make a scrolling score, I initially looked at Vexplo an open-source JavaScript library for rendering musical notation European musical notation, but I ended up going with faster prototyping of more stylized scores in touch designer So I first built a touch designer sketch to render one scrolling score from one channel of incoming MIDI notes and then Replicated this to render four separate channels of incoming MIDI Which would then go to the foot headsets of the four singers? And so in this upcoming video, you'll see one laptop on the left with orca Generating the live-goat music and then the second laptop that receives the MIDI information into touch designer and renders This into four scrolling spores that then go to the four singers in one of the rehearsal sections And so some final comments Before I sort of show a little montage of the final performance This was never intended to be just a technical demonstration But I really wanted to do something that was more like performance art or even theater So behind all of this was this sense of the broader anxiety that I think we're all feeling today About algorithms and how they're affecting our lives So in this performance, we're live coding algorithms that tell the four singers what to do This holds promise I think is a theatrical canvas for exploring the relationships between algorithms The people that design and run them And the people that are controlled and affected by them So when you hear about Amazon workers whose workload is optimized So much that they did not have time for bathroom breaks, for instance That's you know hitting the limit of the literal physical baseline needs of a human body In this project, this is mirrored by writing algorithms that generate music That's at times so fast and intricate that it provides no space for breathing And of course breathing is a basic physical baseline need for human singers An additional thing in this performance near the end The singers are tired and they're barely able to keep up with the scrolling score And they finally decide that they've had enough they stop singing they take off their headsets In an actual resistance and so then there's a question. How can we structure relationships between humans? machines and algorithms in a new healthy way that does not exploit and oppress but lifts and emancipates us So I don't know what the answer to this. Yes. It is yet But I believe it's valuable to open up the space in which to start imagining this And so that's a big part of the motivation behind this project So to close out and here's a short montage of the performance of this on May 27th of this year. Thank you Thank you so much for sharing that. Yeah That was wonderful. I Think we have time for maybe one or two questions Melody if you can give me a time check that would be great One thought I had Watching this because because I work mostly with live coding humans Was this idea of that you touched on at the end of sort of agency and I wonder if If this balance maybe can be found in rather than like the Performers feeling like they have to like interpret this like do the score. There's room for interpretation And I wonder like how that that works into this piece in particular this active and of interpretation as the singer Yeah, totally There's so many different ways to answer this question. So I think the one I want to choose this time is like, you know I think Was was the idea that we'll I was kind of working at two levels. So one level was like I wanted, you know, I think So on one level I wanted to make sure that this was a very clever process with the singers poor singers and one visualist involved and so that was entirely like You know far more than consensual is like enthusiastic collaboration, right? So they knew there would be ahead of time what they would be doing that they would be pushing their bodies to the limits Right. So in that sense, they knew that this is what they were going to do And then there was the sense of what are we trying to perform and convey? To an audience that that that can be understood. So in that sense, it was a very collaborative process because together with the singers we came up with the different types of Creative singing styles Unusual like singing techniques like you heard some of the kind of droopy notes. There was a lot of like very nasal sounds very like Very strained sounds that were after like Consultation of them things that wouldn't like hurt them would be like doable and would be you know usable As part of you know Making that the sound and the performance and then at the same time for the performance, you know The I think the audience was kind of given this and I think had this impression or maybe assumed that they would that the setup was basically The algorithms tell the singers what to do and the singers then reproduce this faithfully that's their job and that's it It's just a performance But then there's this I wanted it to be like, oh wait, it's not a black box The performance itself is part of the performance and that they don't have to do what they say And so there's some break there that they May or that the audience may or may not expect and I'm still trying to figure out, you know What type of performance works well? What am I trying to say? What are we trying to say? Is it helpful to tell the audience what to expect beforehand or to kind of have this be a shock to them? you know and And I think This setup and like going in general really allows you to do both I think this whole the idea that you can choose is I think part of the exciting thing that this is like a as an awful Yeah, exactly. Yeah, fantastic. Thank you so much Eric. Yeah, that was brilliant presentation and yeah We'll have some more discussion at the end Thanks so much. Yeah, thank you and now we'll move on to our next presenter So our next up we have Code and audio dramas a method for bimodal descriptions Yeah, and I'll let you take it away. Yeah Thanks Yeah, so Hello, my name is Georges Diapoulis. I Recently finished my PhD Here at Salmers In Gothenburg and I will be presenting you code and audio dramas a method for bimodal descriptions Now Live coding has been described as the dramatization of a computer algorithm by Nick Collins and Audio dramas as I Use the term here refer to The idea that we have a play without words That's a reference I put under your socks The events it's a Radio so It's a valuable online and they are under socks Creates the play using only sound. So so there is no Speeds or any other meaningful words in the play. That's the basic idea and The thing is that I would like to use this technique or to propose this technique to produce rich descriptions between code and sound so Code is powerful in describing What is is rendered And this is a literal Representation and But many times, I mean we we are kind of Surprised but by how it sounds like etc. So The idea is that to have both the code and the audio with rich descriptions on the audio so that we can train large language models and I Will go to a live coding demo now where it's like a soundscape moving between nature like and synthetic sounds and I use a voice synthesized voice to To narrate like the imageries of the listener. So In reality, I will elaborate at the end But let's start with the demo. Oh, what a beautiful bird song It's somewhat more spacey What is this noise? strange bottle opening Becoming unnatural like flying paper metallic objects Starts Kind of synthetic Sound strange and somewhat nicely synthetic Yeah, that was lovely. Yeah Yeah, so the idea with the voice here is just to To describe like the inner thoughts of a listener and Because of the presentation limitations with five minutes I Thought to put a voice on top but the idea is that we do like a Like a standard like the typical live coding session where we write code and then we Produce sound and then on the sound we can go and Have the scripts and so I would love to hear any thoughts or questions from that Yeah, absolutely. Yeah, I think my my initial thought was like, yeah, it is like very theatrical Like I think both the interplay of like The birds becoming space spacey and spatialized and then also like also, you know More and more. Yeah, sort of synthesized and then and then the voice slaying the top of it and like yeah That also doing the same thing, but the interplay of it did feel very like yeah There was this like dramatic tension, right between these natural things versus the machine things Which I thought really did feel like, yeah Feel like um a drama. Yeah, it was really well crafted in that way Yeah Yeah, uh, no, I'm not sure how much time we have maybe two minutes, but Yeah, uh I have I have in my mind like that for instance, you can practice like long term and do that And then when you go and listen after the practice your live coding sessions and only the sound Then you can write like a Not a diary particular but like A description of what you hear if if that's Interpretable as a play I mean that I guess it It can be done also On a musical live coding Here musicologists you can also kind of describe the moves there So that's my interest there to to combine the Great, uh descriptions on the sound with the code and then train some large language models Great fantastic. Yeah Any other questions? I'm not sure if there is anything on the stream, but I don't see anything on the stream Yeah But at the end we'll we'll do a larger question. Okay, then Maybe I'll leave you to continue. All right. Thank you so much. That was wonderful. Yeah, really well done. Yeah Thanks Up next we have we have a performance by Carla guzman um So immigration and fluorescent, uh magenta I'm matrices and this is accompanied by ocean and Morella guzman's sound I've said that right. Apologies All right, and I'll let you take it away. Thank you so much. I'm gonna go ahead and just share my screen and sound Just start with me um Yeah, so there's just there's just me with the title and what I'm doing is I'm going to be using a hydra visualizer uh taking some visuals from my own art practice and Some community musicians. I hope you enjoy the performance. I'll get right into it This evening Catch myself because I know I'm not falling apart Something else pulls me back to the days when I knew myself Then it's good and I'm running and But I think how long it's better catch myself. All right, uh, that Includes the performance part of the presentation So over the last year or so, um, I've been Doing this kind of interesting thing where I'm collaborating with Musicians in their area and I use my own art practice to um Include visuals so basically vj for these artists and it becomes this um lead collaboration um The code is um a bit minimal. Um, mainly including Images for my own final practice and using the uh The knowledge that I learned over time to uh really expand upon this idea and here is my um Contact if you want to get in touch with me and just a bit of my background as well Um, so the title immigration and fluorescent magenta. Uh, these are actual matrices uh for my own art practice and But the first track you heard was from ocn and the second track was from maria clueless music You can find them on youtube if you're interested Yeah, that was beautiful. Thank you so much Yeah, I hope y'all enjoyed that Yeah, I think we might have like a two minute question. Um, so my question is like what um in these um when you're working with um a musician or when you're working with these tracks what in it Inspires you to make it to like pull from your visual art like what what kind of um, yeah Internal mappings. Yeah. Yeah Great question. And um, I'm glad you You mentioned this um because I was uh pretty intentional about choosing these two tracks the first artist I actually uh worked with her over the course of uh several months and we created um visuals for her Uh music from start to finish Um, we she essentially created an album and I was alongside with her creating the the visuals for her And then we concluded it with a gallery exhibition as well as the live performance is really beautiful. Um, and then uh, maria clueless The second track. Um, I'm hoping to do the same Uh next year Um, so I very much um my own art practice is very much abstract expression is um I pull from emotions. So I try to just you know, vibe with whatever the the mood of the the music is at the timing the visuals using um Yeah hydro, which is very like user friendly. Uh, in my opinion, so um, yeah just kind of uh Jamming in in real time That's fantastic. Yeah, thank you so much. Thank you for performing and sharing. Yeah, it was really beautiful. Yeah Yeah, thank you until you have a visual arts practice because it becomes so painterly. Yeah Yeah, yeah painter printmaker It's in there. Yeah, thank you. Thank you. Yeah All right, and this um brings us to Our last individual presenter of the morning Um, so leon, I believe you're here um So this um presentation is called inferno inferno a live coding odyssey through noise and narration So if you're here and want to share Yes, we can. Yeah I can't share my video Because the host is not allowing it but I can try to share my screen. Let's try that Let's start um Um Yeah, can you see that? Yes, we can. Yeah Okay So, yeah, um, yeah How do you do it? And I'm working as a Programmer and my three time I myself to live coding since over here And what I find out about this workshop, uh, that's all the topics um That was really interesting. Um in the topic lie But I was wondering how the connection between lie and coding um Could be made or which topics are like kind of like intertwining um, these two So I was asking myself What the content um of lie and the first thing that came into my mind was um the whole area of using information because The other participants Can't read the spell of laden germany. I have a lot of movements and lost trust in the old types of information on news So that was like obviously the thoughts around sort of like fake news Since And misinformation so that Yeah And Me Are connected And um, this is basically how I arrived to solve like news information topic but on top of This connection, I was also thinking about that like we are To digital media to digital age That go face the enormous challenge of processing all these new information to um digital analog social media and if we actually are capable to To check what kind of information in the news to be consuming and at least formations and Are I correct or fake news? So I wanted to put myself Into the situation how it would feel to be but Really, I'd I just have to One second because the audio is very glitchy. We're not hearing what you're saying Oh It's still pretty pretty echoey No I think that well, um continue talking so we can hear if it Um, okay, uh, I'll try It's not good Yeah, it's definitely better Okay, maybe it's the problem with sharing the screen, but let's give it another Sure Yeah, to give it a shot. So what I wanted to do was connect the topic of news Um and overwhelm being overwhelmed by the amount of data and news we are Um exposed to every region wanted to pop myself into this situation to uh Give us through that experience. Um So I decided to Make a life Body session in p5 and tiger and Can show you a little bit from it So yes, go a little bit in the Product part of it. Well, what we have is like a constant displacement, um by our Which is a modulate noise function and the noise value Has to get regulated by a midi knob. So I have to control with one hand basically the knob the noise s At the value of zero something is displaced And what I do at the old time is I try to get So it's from the side of the textures that get randomly picked every age 20 brands and try to get parts of it to get some information out of the input of the information that I get The right because you can probably most very generated that that's doing the spacemen and also the um the limits in the analyze and skates the Textures Yeah, that's basically thank you for listening and sorry for much Yeah, thank you so much. That was very cool very cool work. Um Great. Um, yeah great demo Um at this point, I'm going to invite all of our sessions presenters back And we'll open it up for a more um general discussion So maybe actually one Sort of big broader question I had after watching everyone's was um The relationship between in a performance between a live coder and a non-live coder or um Or maybe even not like maybe it isn't even like when I say non-live coder as a performer Maybe it's not even like a human performer. Maybe it's a location Or something else Because I think all of these sort of spoke to um that idea in a different way, right? Like this idea like someone is the live coder and then there's this other Thing that they're sort of dealing with Um within the work. So, um, yeah, I guess that's my question. What's the relationship between the live coder and the non-live coder Um within within what you've been discussing this morning. I don't know if anyone wants to go first I Could uh, I Uh, yeah, I'll be I'll be quick. Um, yeah in my mother. I guess I was explicitly, you know about live coding Humans, um, and as I mentioned like the kind of configuration of the setup itself was the kind of a canvas So the initial starting point was me as live coder Writing an algorithm that controls for other humans But then part of opening a space for well, what could other configurations look like? you know one that kind of came to mind for future performances was Uh, after the kind of resistance where they say no, we don't want to do this anymore Is to change around where we would swap places for instance That that's sort of a very sort of straightforward one where someone else would come up stop live coding and I would put on the headset and start singing Um, but then yet other things to think about we're like, well, there's so many possibilities with this setup like Well, maybe It's not as simple as that. Maybe they everyone is a live coder and also singing or maybe You know when someone starts flagging Can they redistribute their work load to someone else? I mean, there are lots of just things that open up these kind of political Questions. So that was one talk from What related to my project? I just wanted to say Just as a former non coder I really appreciate these like friendlier softwares For us that are really like interested in tech, but you know Haven't quite hit that like learning curve And I think um, it gives a lot of like good insight for like the people that I've collaborated with I have like enough understanding to kind of just be like, hey, this is like what this does Let's do something together. Um, it definitely You know, although I'm coding, um At the end of the day, it does require like human interaction. I have to make sure like, you know We can communicate what is our goal at the end of the collaboration and that we're we're vibing like I like the music they like my visuals. Um, so In the end it becomes this like Very beautiful thing so, um You know in terms of the city because for us We're we are looking at the life coder as the human and the machine and the city as the non life coder part uh, it really It feeds in as the creative material that you work with So we're really using aspects of the city whether it's The sounds that we are hearing and recording or whether it's the sites we're seeing as photographs or videos or Just your experience of the city like the coders experience of the city translating into You know, bringing what's going on in their mind to The performance everyone can look at through their practice of life coding So it's not actually what they have seen and recorded. It's it's like a changed version of their experience through Life coding so guess in my project um, I'm the life coder who is who is suffering this or Exhibits himself towards this um overwhelming situation and the non life coder Can analyze and see? um Maybe learn from his How how life coding can Not help with handling these situations. All right, we do have a question from our audience out in the internet So this is from Katrina Hogar that says um, it was specifically um Not doing but I think anyone can um address this as well How are you influencing participants to live code versus other intersections between creative coding? Or other coding and the event's goals So I guess why live coding and not dead coding Non-live coding Nanditi you should you should answer I don't know. I think uh We've also done, uh, non-life coding workshops Uh, I mean in in creative coding Formats, but I think there is something very exciting about like putting yourself in a space of not just A person who can use a code as a medium But also like doing it live like that performative aspect of it Really encourages people in a very different way. For example, like rather than just Saying hey, I made the sketch and sharing it But like, you know coming together as a group and doing it together and seeing That entire process and like allowing that the faults and and the gaps and the glitches That really helps people and I think we really play with this idea What it means to like build an image of two people Doing things together and feeling and fooling and goofing and you know feeling excited about it and may not necessarily be from a Technical background. What does that mean? And I think there's no better way to do it than equity and I feel like the community all of you have really Helped us to like build it in that way You know, like it's fine. You come to the gig and and it's okay to like falter so that really makes a difference in in in terms of Encouraging especially the non coders to kind of get into the groove of making with code Does anyone else want to address that why live coding and not Another creative coding practice. Yeah, I guess can I Uh, I'll try to combine both your question and this maybe So for me, uh, I guess a human is kind of necessary But uh I mean, I'm thinking of uh Like live coding as a state of mind So I guess you have to to change to Change or to have like a non-humanitarian World view to to see live coding for non-humans, which is It's an interesting approach. I mean, if you know, the if the earth can live code I don't know but But then again, I think my my position there is that maybe we attribute that to the earth or just Uh, it's maybe hard to know. Uh, and uh Yeah, so I I guess in the core of my kind of thinking now is this Live coding as a state of mind To answers both kind of why We develop interfaces on the fly and we modify them, etc. Rather than rather than using, uh Let's say that coding or, you know, kind of rigid interface, etc. That's I think the My view there Fantastic, thank you. Yeah, we have a couple other questions from youtube, um So another one from cat arena For those who made their own interfaces or special programs What was the most challenging aspect of the process? And how did other subjects influence the way you solved your projects? I could um Yeah, I um You know one part of the challenge technical challenge for the project was making of the human machine interface project was to Uh render a live render MIDI like a stream of MIDI information and notes into a real-time score That could be site read. Um, so there were like Two big things one was actually just was actually yeah, it was it's it was supposed to be human centered and so there was kind of a feedback of Trying a way of Making a scrolling score, but then you're like, well how fast should it scroll how And by necessity, it's it's got to be lagged a little bit because You kind of got to generate maybe one measure or two measures of MIDI notes before you Before it's supposed to be site sum and so then where does that go should it scroll should that actually appear on screen and kind of like Uh, kind of slowly like move up the page or move down the page Although those were you know, it was to actually try and have an error with specific singers But then at the same time, of course, they got whatever it was There was a path dependency because they started getting better at whatever it happened to be And then, you know, they started getting familiar with it So I don't know with the new set of singers with other performers I actually also tried it with the string or tep, you know, they were kind of different Ways that different people unsurprisingly Uh respond differently to to different kinds of um Uh different kinds of Notation so is that I think that that was where it's like, yeah, you know, uh Humans are messy and that's part of the great thing about all of this and trying to put humans in standardized units Uh, sometimes is what leads to to inhumane things um The second more trivial one was that uh, it's surprisingly difficult to send lots of hdmi out out of one Uh, you know gpu uh, if I get a kind of Uh initial ceiling at like four It was actually quite a bit harder to start sending out more and then it's like, okay You actually need to think about different way of delivering a lot of scores to a lot of things Which is why something more scalable would probably be So I'd have to do a bit of a redesign Thank you. Anyone else want to talk about their systems and any Any um difficulties and how they overcame them I mean leon, your system is kind of about difficulty System to be That's difficult as possible, no, but then on the other hand It also can't be too difficult because otherwise the visual Wouldn't be visible anymore or just would be distorted Distorted and you wouldn't understand the concept anymore. So you have to obviously find the balance between um Yeah as I all what was interesting for me was I wanted to get as many inputs that are possibly noise random audio visual But also it has to be limited um But not too limited obviously. So there is yeah And what I also wanted to say to the practice of live coding what I really like is that First of all, I like the performance part of it. So while you do the live coding You have to sort your own idea how you're going to continue with the next step. So you have like Or for me, I often have a lot of ideas and I want to go there. I want to go there I want to go there, but at the end I just can go one way So every time it's kind of different And more like educational wise you when I see other people perform And I understand the language is super interesting how they write their code And how they express themselves with certain code, which maybe they couldn't with just I don't know poems or writing or anything. So I think it has a lot of specific Uh features that for certain people give just a really good option to express themselves Absolutely. Thank you. Yeah, we have one last question Um, and then we'll wrap it up and then it says For people who have never performed in any way before what do you think live coding allows that maybe Other performing arts do not Yeah, I guess we could take that because that's what we're dealing with So in our experience code, basically, you know the idea of live coding gives this comfort to first-time Performers that it is improvised making and glitches and mistakes are a part of it So we always keep telling them mistakes are not mistakes. They are just surprises In your performance. So just move with it. Whatever has happened. How can you use that and then, you know, take the next step in the set So it's really comforting that way and creates this whole open judgment free space because everyone is live coding and everyone is dealing with glitches and Nobody really comes fully prepared for it. Like you're half prepared. So it takes off the pressure, you know, from compared to other performing arts that pristine, you know, output is not is not what we are looking for It's more about playfulness Yeah, I just wanted to piggyback off of that. I think In the arts, that's like even my own art practice like Your mistakes you can kind of Drive off of them. So in a similar fashion when you're making these mistakes in your code Like I remember in my first performance I froze up for like the first like four minutes But you know, you just get into it and like once once you're in it you find a flow so it's just very like Especially if you have like an audience like kind of react to the audience as well react to the the musician in this in my case so it just Becomes this like a very like collaborative experience in the end mistakes and all Right anyone else before we close off go for it. I'd one. Um, yeah, I think uh in At least for live coding music One thing that the singers that I collaborated in the project kind of Reflected back to me when I kind of explained what I was trying to do with the live coding was like, oh, you're kind of like Conducting and composing And improvising at the same time and I thought that was an interesting way to put it because You are trying to look at this at the very high level Um, and be like, okay, actually increase the energy here more broadly, right? But then at the same time you might also be like, yes, but also make arpeggios that are like a C major 7 chord, you know or, uh, you know add more sort of drum drum beats here. So there's sort of this, uh There's a lot of things you're doing at many different levels, but it's quite it can go to quite a high level Um, and then the other one is, you know, I started out Uh, when I want to start out making music, I was I learned to play the piano the keyboard And you know sitting at the white and the black keys at the keyboard tuned to, you know, western european scale It's, uh, you know, creates a certain bias. Um, and of course it's a restriction that can create many beautiful things It was really nice to Stop looking at that for a while and just looking at a different kind of keyboard I guess a computer keyboard and to make music without that and I started making music that was different from that And of course, you can then obviously go into other tunings Um from around the world or other kind of just numerical Micro to micro tonal stuff as well, but it was really nice to move away from that those biases, uh, Eurocentric by the wise and Then when I went back to the piano again, I also brought some of that with me and I was like, okay I'm playing things that I wasn't playing before. So it's uh, I enjoy it for the reasons Fantastic. Um, does anyone else have any final comments? Great. In that case, we're gonna conclude this morning's session or this first session. I should say we're not all in the morning Thank you so much to our presenters. It was um, yeah beautiful projects beautiful work. Um Really excited to see where all of this goes Um, hopefully our next session which starts at 10 30 will be on the correct youtube link. This one was not I had to quickly switch a bunch of stuff. Um, so hopefully Um, we'll see you on the next link in about 10 minutes ish Thank you everyone again. Really lovely