 and there's um melody can you send cosmos has an email can you send him the link the zoom link real quick kind of sort out the you're definitely live here is the proper youtube link for anyone who needs it yes we are very live yes very live yeah and this is our last session of our our little workshop for two days it went so fast that's the nature of this five minute presentations everything's lightning lightning speed indeed i'll just wait one more minute and then we'll get started with this session oh i need to also put the link let me put the link on the workshop page and then we'll start i was saying earlier i can update the website nice and fast because i'm a live coder that's why i can do this and well i can make it i can live code the website it might not have flowers like daniel suggested earlier but that is now updated and i think we're ready to start this session so welcome back everyone um yeah this is the last session of our of our workshop this one is called live coding as life um so i'm kate sickio i'll be sharing it um this whole hybrid interfaces for live coding has been co-organized with melody loveless who's also presenting this session and kofi aduro who hopefully will be joining us momentarily um but we're just going to jump in and get started um so first up um is going to be um jessica um garson with a poorly sized uroak module thank you and for those of us in this session who aren't presenting if you just turn off your cameras when you're not speaking that would be awesome thank you hey how's it going i'm my my name is jess and i am a kind of frequent member of this community um i will first start sharing my screen so hold on one second okay cool you probably just saw a bunch of stuff um great um love giving live talks um so this talk is about my evolving approach to live coding and how it's changed over the years um and kind of where i've kind of gone in terms of my own setup and things like that so um i do see okay um so now i know exactly how much time to have i'm going to close that out so for those who don't know me i make noise music with code my name is jessica garson i go by mesca arson i often have weird distorted sounds samples of my screams lots of fun stuff um and for a long time i would play shows and i would just have my laptop just like most of us and people used to say that my sound was dry and i actually didn't know what that meant even i had to google it which um and while googling it it just meant that like my sound didn't have a lot of space it didn't have a lot of it was just very kind of like i used a lot of like i would try to make myself peak um and peaking in audio terms is known as like hitting the maximum amount of volume to get that like distorted effect and because of that my sound just like it didn't have a lot of space it didn't have a lot of reverb and so i immediately was like okay well the original conception of mesca arson was that i was going to scream with an ms 20 and i bought an ms 20 for that purpose and i never used it and i was like what if i had my ms 20 going alongside my laptop sounds coming from super collider or um fox dot that i was using a lot of the time or sonic pie and i was like what if i did that what if that was how we did this um and that was really good i didn't have them connected to each other they were not talking in any way shape or form um it was just kind of like just there to kind of like be an accessory and to make my sound sound a little bit more less dry and more i have more reverb and then the more and then i still kept on getting that feedback people were like your sound still sounds dry and i was like okay wait i have an ms 20 maybe i need a reverb pedal that's like obviously what i need um so i bought online i looked up um death by audio effects just because um the person from death by audio um was involved with like kind of the new york diy scene and i always thought they were really cool so i bought a reverb pedal and i would send my sounds to a reverb pedal and it did it created more space um and it was great and then i was like because i used to play you know other instruments and i play guitar and things like that um i was like oh i could add all of the effects pedals and so that was kind of how my last album was kind of created corners of disorder it released it about a year ago it was recorded with an ms 20 um and sounds from my synthesizer um and sounds from the computer and um it was into this crazy pedal chain and as you can see here this is me swimming in a massive um cables um which is really kind of cool but like you know very messy but i tried to bring it live because i was like i was like all right like i could you know make this happen and i played at a i'll go rave in 2021 um it was i'll go wave i'll go rave um and i was like taking up like a lot of space and i had a really awkward soundtrack because of like just how much like stuff i had on the table and it was really weak and you know i got the sound i wanted but i i kind of just took up too much space so to put this in perspective a standard live code noise table is just like your standard folding table um that we use in new york city um and they're and you share it so there's space for a visualist and space for a musician now this is how much space i was taking because i had my my microphone going into an audio interface that was going into my computer that was going into my reverb pedal that was going into um i had a julia that i would use to make my sound sound more sharp um i had a metal zone pedal and i don't like pedal boards because you know who likes this um i had my metal zone that was used um to kind of give it like that kind of like extra edge it kind of takes everything and like takes it down to the um just the midpoint of the sound um and it was also famously used by daft punk but also by all the metal bands i know and love and so it was like yeah i want the metal zone pedal of course and then obviously i want more distortion because you know that's my musical style is very distorted very noise influenced and then i had all of that into a mixer and that was like kind of and this is a lighter um this would be a stripped down version of my pedal chain um which is like and these are real pedals i used um and that was a problem um so i started to kind of think about like maybe i maybe i should just get a modular synth but i don't know what i'm going to do with that and we were talking about modular synths on the live code nyc discord and glenn prime said something that i still think about to this day all the time which is what is a laptop if not a poorly sized uro mac mac module and this is something i still think about every single day so this was able so with that i was able to kind of take my setup and really kind of make it more compact so it is just my microphone into my audio interface into my um modular which is pretty cool and it's a lot more compact um and so when i first started doing this um some of you were at my iclc performance um this past year and for that performance i was actually just taking everything from um foxtop for the performance sending it into my modular synthesizers mixer and then from there i was taking it and i was um just basically creating other sounds in tandem around it now what i do is that i actually have been starting to use it more as like a way to kind of create synthesis and make it more robust so how i transmit my sounds from my module from my computer to my modular these days i use i have two modules that help me in this process one is called the ears module and it's an open source module by mutable music things um and i just use it to kind of get my sounds in there and then i also have because i i like redundancy because i'm a programmer um i also have a dope for a 119 um that does like the exact same thing and i switch off between which one i like better i think these days i like the ears one better because it's open source but you know i go back and forth all the time um cool uh so you would be wondering like how do i convert my sounds from my laptop into control voltage and these days i actually will use that to like do a lot of fun things so um control voltage cv is using electricity to control synthesizer parameters and it's basically very similar to like if you would you if you would turn a knob to make a sound louder or less loud you can actually use signal to do the same thing instead of your hand which is really fun um i'm actually not going to do a demo because i'm a little bit short on time but this is a patch i use all the time that basically will take my sounds from um sonic pi or raw super collider and i basically have it running into my laptop from my laptop into my system and then it basically will use the sounds from um from the computer to make my sounds either less loud or more loud or kind of change the parameters of it and i do this all the time and i kind of think about it as a way to make my live coding more full so let's break this down what i have is i have an envelope follower and then from there i have sort of a function that converts it into the amplitude um into the audio signal and then i have the oscillator that kind of generates continuous audio signal and then from there i can have a follow that signal to kind of change the dynamics of the sound which i do that all the time also because this is a talk about modular you might be wondering what's in my rack um that's a link to that um and a similar method works for visuals and since i have a minute i will show you i'm remixing in this sarah from codie's um work using her analog gear so there's definitely a lot of room to do this for visuals as well um and this and this is a picture of sarah's hand from a recent show that we played together um and for me live coding in this manner enables me to craft my own instrument that's yet to be conceived um and it really kind of gives me kind of a more physical and performative way of working with code um and i'm still using live coding i am very much still consider myself a live coder i just work with um a hybrid interface which is my modular synthesizer um and let's keep in touch that's my kitty um her name's aya um and yeah um that's my email um if you want to book me there's a separate email um i'm still kind of on twitter i used to be on twitter a lot less so these days instagram um all the things cool thanks so much yeah thank you so much jess i think um one of the things that was really nice about that was just like breaking down yeah this is exactly what i do this is exactly my setup another thing though that struck me was like i want you to take up space i want you to have your own take up space um yeah don't i did buy a table to you by the way just in case just um we'll play yeah excellent great thank you so much for that um we're gonna move right along um so next up is alex alex mclean um who will be presenting some hand drawn live notation for us so i'll let alex take it away thanks k um and to melody and both the the um hybrid live coding interfaces superheroes i hope you can hear me all right um i'm gonna just try and show you something i've been doing lately with my friend luke ianini using the real talk system that he makes as part of dynamic brand uh one second seemed to get my pen right so um yeah so the idea is a kind of hybrid live coding interface involving drawing things so um i've got some samples here so kicks snares and high hats um and i'm just gonna like draw some shapes like for the kicks i'll do some circles for the high hats i'll do some stars uh sorry that's it's not very good to start um right and for the snares line up some spirals um that's really not a good spiral either uh okay um strangely nervous okay so uh i'll just need to sign those two each sound so hopefully this will be yeah so i've got this tool um so this kick here i'll assign that to that um so you can maybe see that there's like a circle that's appeared um that same for this kick slightly different circle the idea being that um similar sounds would have similar shapes assigned to them so i'll just go down signing each shape to the high hats um wake up um need to do there we go right there's the third high hat and spirals and snares okay um that hasn't quite come out as a spiral hopefully it'll be okay let's see um yeah maybe it'll work so you can see here it's put them in a kind of two dimensional space um so uh in one dimension there's like um what's this this is like the roundness of the shapes and then the other dimension is like the um uh these this roundness and wonkiness so this is wonky uh this is um um actually i need to i've managed to assign the shape to okay that seems to sound yeah so this is um wonky uh and not very round whereas this is not wonky uh not where i am this is really round uh anyway so i'll arrange them into the space um so i don't need them here anymore um so let's try and make a sequence so kick snare maybe this will work um draw around them to group them together um and then sequence them uh uh let's see if that works um hopefully you can hear kick snare high hat um if the sound's not coming through let me know um so just like in the mini notation entitled if you use that if you add more things it'll just speed them up to fit them in hey alex the sound is very quiet it's very quiet yeah all right i'll just it's probably is that any louder now it's only a midge but we i mean we can hear it but we want volume okay uh that's better yeah okay hey so i better hurry up now um so i can do another sequence oh what i can do is like sequence from the other side so it goes backwards um let's try it there so it's doing it relative to where the sequencer is um but yeah let's do a bit more um like this one so you can group have subgroups and let's just this will work okay so you get the idea um oh it's a lot of fun basically um see what that does okay we might be slightly lucky if this works let's see interesting yeah i can also i can find um oh i would be able to like have another sequence of going but i can't find oh there it is let's try one there as well oh that's something interesting um i can also do things like add a number so this is what three looks like uh and then i can like put an arrow to say make it go backwards that's like saying make it go backwards every third repetition yeah you get the idea okay i think that's definitely my time so thank you great thanks for that alex have actually one minute um for a question um um but maybe thinking about um jess's euro rack um being like um uh an awkward laptop how does how would you describe this interface in terms of um computing like how does this feel to be so tactile um what's it feel uh uh i think it's something nice about the ambiguity of it like if you have draw a star a few a few times um that's kind of similar and then you draw another star to trigger a sound you don't know which is going to trigger um and if the lighting changes it might um so there's kind of like a real chaos or unpredictability in how it's sort of uh interpreted that just comes from its physical nature which is really nice um nothing uh another nice thing is just the fact that it's not confined within a rectangle that has a certain orientation like you because you're in this sort of two-dimensional space you can look at something from a different um direction and then it sounds different um that's nice but it's really early uh i haven't this is closest thing i've done you like to like a performance for it so far um so i'm still kind of exploring it and i haven't done what i really want to do next is sort of working with luke sort of turn it into a sort of workshop where we explore what kind of how it does feel and how it can be used how it could be developed um so it's just really early days yeah great yeah thank you so much for sharing and we'll have more time for more questions and discussion at the end so we're going to move right along um i'm sorry i'm going to mispronounce your name again um Deco if you could come up and be ready to share your screen yes yeah and you will be presenting on live coding in C sound and the utopian tragedy of crafting a method okay so i will share my audio okay i think everything is fine so thank you for this opportunity and discussion and for your amazing organization and presentations i'm a composer and tonight today i want to share with you a live coding language i created it's called Cordelia and more i'd like to more deeply delve into how it becomes almost a method for composition and an environment for musical composition so Cordelia is a live coding system language we are based making made in python and based on the c sound c sound is the engine of the language and it became this is the this was the original project but it was it became extended with some linear time composition in reaper and also notation in with lily pond so this is the basic same syntax i don't have time to to deeply dig into all the details but it is inherited by the c sound language and everything is almost every parameter of sound is always explicit and so we have the instrument name the duration the dynamic the envelope and the frequency and optional the space and this is an example of a function arithmic function of Cordelia as you can see everything is written and the envelope and the space do be important for for the project i will talk about later so why i started developing my live coding language because these two main reasons i would say is choreography and composition choreography because i work a lot with dance and live coding for me what's the the best method to be quick and reactive and always think about choreographing and composition for the idea of creating my own instrument the control in details what i mean by that and what i want to explore today is really a relationship between the instrument conception and the creative desire so why i live coding system and how the live coding system pushed the composition of some piece so i would call it a method because we're an environment of composition because it will into a lot of a lot of context different contexts of music why a method because for like live coding i will show one example this is Cordelia this is the sound it's open and then i can just simply write instruction as live coding and we start here inside so this is the starting point but the idea was also to as i said to create a linear composition linear time composition so i start creating scripting reaper and now we will hear a voice it's a friend of mine it's french and i created in reaper a connection between my live coding system and reaper so for example now i can analyze this sound and translate into midi it's not midi because midi it's too short too simple and i will i don't have time but it would be interesting to to dig how i made it but now we can hear the production of the sound and in midi note directly into my live coding system so for example now if i change the sound i can change the duration of each so it's interesting because now i can really work with midi i can change a lot of parameters and etc another thing i made always with live coding is directly change the instrument the sound with c sound and for example here i have some c sound that will analyze the the original sound and it makes a synthesis okay this is some some glance of what i can do and what i want to the last parameter i want to show the last thing i i did is to build midi score so what is some example of a score made with lily pond and also spectrogram it's really an attempt for the moment but it's something i am really interested so what i want to go i made some composition with live coding trico was the first one live coding dance video and we can hear a short little passage so we start hearing the algorithm and i was working on the the system and i work a lot to improve it i made another piece with a double to a double flute that again we can really hear two differences i start to really work composed with with the reaper so we can hear more vertical harmony structure and also algorithmic linear in the background so everything is made in cordelia and the last project i want to talk is academy lemia radici it's my last project is a big project it's a 45 minutes project with a dancer with the instrument they created for the piece and here for example i want to stress how this piece really pushed me to improve my live coding system and that's why i add in the live coding space and also envelope and i want just the little extract of the piece because here for example the dancer will will will follow the the envelope of this sound so again there is no time but today there is not an official release of cordelia i'm currently working on improve the documentation and compatibility i will play for the first time in other room in two weeks so if you want to hear more you can check this meeting this is my contact and at the end what i want to say is that yes well when we build an instrument i i can't believe that it is building a really an environment a system that change what we do and what we use it's really important for the music for everything i'm not saying nothing new but if today i would leave something about the ideas of inside cordelia that's just a phrase and that's it thank you for listening thank you so much yeah yeah i think we have like one minute um it was brilliant yeah i'm really interested in the last piece that you showed with the dancer on the platform and um just for clarity so like the dancer is actually creating the sounds through the platform but also reacting to the to the sound score like both are at play right exactly yeah but mostly it's almost the raw sound of the the material the the wood wooden plate wooden platform we made but we also work a lot with it so i extrapolate some some envelope from the the sound she made and then yes we work a lot i like to write the score the electrostatic music because i prefer that we we dig into this kind of hearing and and interpretation be more free uh it'd be kind of a really acoustic instrument on the other side so it was really amazing it's called melisande to know she really understood what we wanted yeah it's brilliant i i love this idea of this yeah as you said like a changing environment but like both are feeding into it exactly like it's not yeah a reactive um yeah and then we work out the answer it's it's constantly evolving and like in both ways i think that's really really brilliant and yeah lovely yeah thank you so much for sharing yeah we'll have more questions at the end so thank you so much and we'll go on to our next presenter um cosmos who if i can get my yes can you hear me jen yes yeah all right let's see me i may have problems with my screen go ahead and try yeah it doesn't work um i have this problem before i don't know if because if i'm using a linux system and i don't know zoom is not compatible can i send you the bdf through email and then can you make uh sell your screen sure i can do that all right melody would you be ready to go if um while we're setting that up up is that too much putting you on the spot let's do it rock and roll all right rock and roll we gotta we're improvisers that's what we do all right so melody will go next while um while we set up uh cosmos's presentation and i will set a timer for you all right whenever you're ready i will disappear okay my presentation is a series of reflections of drumming at protests and so those of you who don't know me my name is melody loveless i am not only a live coder but i have a past history of being a percussionist my undergrad is in percussion performance since the recent bombings of gaza i've been going to protests and i've been drumming my experiences participating in these actions have prompted lots of deep thinking some of which are connected to this year's themes right and so for context we are in the live coding as life or like live life coding right and so the first thing i want to kind of discuss is just the algorithmic nature of call and response or connecting chanting at protests to live coding so like lauren's english says protest has by default always been aligned with sound it is an action concerned with the amplification of a message wanting to make sure that it is heard call and response chants comment history activism are thought to have their origins in work songs and so work songs are songs that probably belong to like two categories um they are songs that are used as rhythmic accompaniment to a task one example is halloween joe which is a short treats drag sea shanty and so people would use this to coordinate pulling a rope which is like very rigorous work on a boat and so thinking about the call and response nature the call would be some something said by like a typically a solo voice or a leader and so this would be said by the individual and then the response would be respond a response by a group right and so again the group does this in rhythm and the exchange keeps people working together in the case of halloween joe the togetherness is pulling the ropes um work songs could also be served as entertainment work can get boring so sing a song to make the work go by faster um and the another broad category of work songs um are usually about statements of or reflections about work so these vary from like traditional folk songs like i've been working on the railroad and then examples of more popular pop tunes like nine to five and things in between right like deo the banana boat song which is a traditional song made popular by harry balafonte um and so again these second broader category of work songs are often tied to resistance or discussing unfair working conditions and so coming back to chance protests thinking about call and response here are examples of chance for palestinian resistance and anti-us imperialism and so every two lines are their own chance in my experience the first lines of these chance are the call said by a human microphone or the leader and the second lines are the responses from the group and so participating in these actions again has just i was able to draw connections to live coding and so thinking about you know live coding using algorithms to change an ongoing system as part of a performance artistic per expression we have a performer who gives instructions the instructions are algorithms or code the ongoing system is a computer running software and so in the case of like musician like myself i'm using synthesizers and sonic pie and this is what i'm manipulating connecting to chanting and protests um if you squint your eyes and shuffle the words a bit you can start to connect the act of chanting and call and response to live coding so using instructions to change an ongoing system as part of a artistic expressions and so in this system right we have a leader or a chanter or human microphone giving instructions um the group of protestors respond if we continue this metaphor similarly right um we can start connecting to things that we discuss in live coding culture all the time like feedback loops and so if the volume of the protesters are not loud enough the human microphone might say i can't hear you as a way to like prompt a louder response and so more connections or similes right if the functions of a library are the instructions right then the collection of chance that circulate um are maybe it's parallel um thinking about it how it is up to the live code or to select what functions to execute it is up to the chanter to select what chant to lead and so all of this has led me to reflect on the general nature of sound as a tool in protest and war in live coding we often talk about tools that create work and so for myself i'm usually discussing tools to make music or sound participating in recent actions underscored for me how sound itself is also a tool it brought me less back to lessons i learned in music school as well as to newer lessons and connections and research and so again my background is in drumming so participating in these events i couldn't help but think about the history of drums and ancient drumming some of the earliest instruments are drums with roots in the middle east in africa there are records of military drums all the way back to ancient history and so on this slide we see examples of some of this and so drumming had a purpose it kept people together in time so whether that was marching in a group or military or dancing in a ritual there's also a emotional psychological element like using drums to intimidate enemies in the distance and so thinking about the psychological effects of sound especially in music i just i found myself going back to my experience as a percussionist and musician i'm very cognizant and aware of the positive effects of keeping people together in time with each other and how it feels good and satisfying and that human bond and it's how human it is to want to play together and so coming into these events where there's lots of confusion and dissonance there's lots of echoing it can be difficult to hear i found myself bringing percussion to these actions i'm because again i felt like i could feel like anxieties when people were confused and as we were like moving on together before going further and talking about what i've been doing i want to take a moment to focus again on the psychological aspect of sound and how people have used sound as a psychological tool so away from drums we have examples of the haka which is a traditional moray dance performed by a group its characteristics include vigorous movement stamping of feet and rhythms and shouted accompaniment war haka in particular was a way for a group to proclaim strength in order to intimidate an opposition um and so haka though was not only found in battlefield like war haka you could find haka at funerals and weddings it's a way of displaying a tribe's pride strength and humanity more thoughts about thinking about psychological use of sound um or sound as a tool or weapon um operation wandering sold is something that has been coming to my mind lately which was a um psychological war effort executed by the u.s forces during the vietnam war um and so what they did is they hijacked a popular belief in vietnamese culture um which is proper burial of the dead and obviously in this war many people were not getting proper burials and so what the u.s did was took creative recordings um using actors both american and vietnamese um and played terrible sounds into the night of people moaning um so wandering souls and it was a way to intimidate and demoralize their um their opponents and so was this effective in the end people say the results were mixed but still this is a project that i've been thinking about as i've been thinking a lot about sound in these events um i can't also help think about modern technologies like how um like how um the police in the u.s have been using long-range acoustic devices also known as sound cannons at protests um and if you're not familiar with these devices there's a component that allows them to be a megaphone but there's also a deterrent tone which is allows the some device to play frequencies that are painful for the human to hear um and here we see in a picture of one of these and so thinking about again just general soundscape the tall buildings inhibiting sounds um the echoing in for me in new york city walking down the streets like this effect this disorientation is very real we know the city is already noisy to begin with um and so experiencing this again going back to the emotional con um aspect and wanting to help people stay together i started bringing percussion to these actions as a way to share a beat um and to help group morale my instrument of choice has been an old ikea pot i don't have a picture of it um but i've been bringing a pot and a drumstick to these events to these actions and with this i've been doing a lot of deep listening trying to find human microphones to follow and trying to support their beat or their chance um and so something that's been interesting thinking about bringing a pot to these actions you know i'm familiar with playing with pots and pans um and one and because i'm a contemporary classical percussionist percussionist you know i played works by john cage where using found percussion is encouraged um however the image of playing with a pot has something that i realized upon deeper reflection i've realized like how it's like a cultural artifact like something that felt like intuitive and embedded um so i have a picture of this tom and jerry but i'm not even sure if i saw this as a kid right but i i can't help but imagine cartoons doing something like this and knowing that pots and pans have like a um it could be used in this fashion and so upon further research right i started reading more about the casserole azo which is a popular form of protest um that has a long history um and records coming all the way to 1830 france and to recent 1970s in chili i've been thinking a lot and connecting this recollection to stephanie dinkins quote about how stories are our algorithms and how there are like multiple layers of stories influencing my decision to even bring a pot and a stick um and so with this i've also been just thinking about the contentious nature of occupy wall streets from circles um and doing more research about this and so um at this point i'm about at time i could easily go on more about this i would like to end on like a moment for hope um is that by you know maybe the biggest difference between live coding and pro joining these events at protest is um how for me is how this my expressions lately have been like affecting a purely physical system i mean sure there are conceptual layers right but i'm not on a computer um and i feel like by participating in this and not only feels more genuine as a way for me to express my descent or make change um right but it just feels more real and here are resources um if you're interested in learning more about pro-palestinian actions um and p-groups this is my name um thank you thank you so much melody yeah we are actually a little bit over so we're gonna scoot right along to cosmos and we'll save questions for after so yeah um let me share my screen and you're muted all right please let me know when it's time to um change slides yes yes i'll let you know and hold on a second what just happened let me try that again great all right all right thank you so much hi everyone and cosmos young otakis uh i'll begin with a little word about myself uh i'm a classical friend musicians pianist composer and computer musicians currently i'm living in united states and upstate new york where i'm doing phc in electronic arts and translator polytechnic institute uh with life code i mean i'm doing computer and electro acoustic music for more than 10 years with life coding i started yeah around two years ago and i develop a practice that i call it trans-individual for laboratory life coding i will explain later but it means more precisely and yeah i want to present my practice how i develop my practice because yeah and uh yeah in the end i will say how i would like i envision this practice to be further developed uh yeah can we go to the next slide and yeah so i my process of life coding it's i would say the fundamental um how you say um how i can see my cross-section life coding is i i don't i'm not based on samples i'm not using any recording material i'm uh utilizing a kind of remix the technique uh which is based on the supercollider tweets the supercollider tweets it's a um in practice that began in 2009 by dan stowell uh which was um tweeting in the tweet event twitter platform a small block of code we had a limit of 140 characters which you could copy from the twitter paste it in your native supercollider environment and then it will create a variety of composition some of them very complex some of them a bit simpler but it was an opportunity and challenge for these composers to use all the kind of syntactic sugars and shortcuts to pack very complex functionality that uh results to complex sounds um so this tradition began in 2009 so it is almost the 15 years from then uh there's so many a lot of tweets have been published uh by many other composers and but as i said the the original practice was just copy and paste uh and i was interested in using that in life coding constant context so this tweets needs to be appropriated and my approach to reappropriation is that this is for uh the points first of all i assign a title to a tweet and this is more like where my personal interpretation of the sonic features that the tweet have uh sometimes the composers they provide comments or even a title so in that case i use this title but most of them they are just plain code so i just interpret them the way i do and i sign my title then i encapsulate in a node proxy definition like an end of test is a more like a supercollider thing using the just-in-time library which is for uh yeah real-time code evaluation and update of parameters uh yeah which can be done in a live code real-time setting and another change that i do is that originally the code uh supercoded tweets was very dense so in order to make it more readable i was i applied the kind of indentation so that you can the different parts of the code could be easily readable and accessible and also i i insert a comment about the author and so and the links to social and websites yeah but we can see the next slide the next example of how this looks like so yeah the first three lines is like the original tweets by uh by the handbook and then the next you see how it sees in my environment so first comes the comment with the title and yeah encapsulate in the end of definition and yeah there is the end of course they have the parameters of fading time fading and fade out this case is zero and yeah in this uh configuration it's more easily to be played with in the next slide we can see and yeah that i'm using i have appropriate also the library by James Harkins so DDW snippets which was originally developed a library to just for anyone to save its own his their own snippets and use it in in live coding context so i forked this library and make very i mean very tiny changes so that it's able to load uh the tweets so in this screenshot we can see how it looks like when you load this library and then you will press control and tick then appears this screen where you can navigate different tweets so the first thing is the name of the different tweets i gave them and then there is this uh then comes the name of the composer let's go to the next slide yeah i mean now it's very rudimentary the functionality this library provides what i working on is that the the tweets can be browsed by various categories by composers sonic characteristics which have to be analyzed first and do some work there and also about regions so if for example you can say i want all the tweets that they use a seamless or yeah a sign oscillator or a pulse oscillator then you will have it will get the field all the tweets filtered by this parameter and i will also like to implement a kind of flagging so that we can load tweets and they have also some functionality already embedded like have like feedback paths inside the tweet to have some MIDI controller parameters to be able to have multi-channel expansion that can be yeah this is more like a modular approach that can be used in different contexts and and also uh i would like to be able to track the users of super collided tweets for a session or in overall for my all all the performance i have done to see to get some statistic which composers i like more which tweets i play more etc so take some metrics out of the performances so in the next slide um yeah i described the live manipulation techniques i have developed yeah the first three are more like standard live coding techniques hard coding new parameters uh inserting new ujens that modulate the parameters assign knobs and slider of a MIDI controller to manually adjust the parameters and then uh the next techniques are more advanced um but i mean i'm sure they are being used also by a lot other uh live coders and composers i think jess mentioned previously was using something similar so in my case i'm extracting audio features from the same super collider tweet and mapping uh yeah these features into its own parameters and i call this like a self modulation uh it's also quite i mean the super collider is a very versatile environmental allows all these things to be done yeah efficiently and in a convenient way i can also extract audio features from another super collider tweets and map these features to the parameters of another super collider tweets and i call this a heteromodulation and coupling is when we have that one tweet modulate the other in a reciprocated way and in this case the tweets become um uh like a non-linear systems they exhibit their own behavior and it's a kind of uh yeah very precarious and very risky live coding practice because there is nothing you can that you can expect and a lot of things go wrong the server can cross a lot of the times but this is part of the uh performance in this practice which i embrace it and um yeah this has happened a lot of times also in live settings uh the next slide uh yeah for for doing all these say mappings i have developed another library i call it adaptive matting mappings which is a real-time feature extraction and mapping for live coding this is all the parameters i can extract from a signal yeah this is a kid cup uh yeah i haven't uh documented all this library um i was hoping i will do a live demo today but i don't think there is time but anyway you can email me if you want to use the library and i can explain how can work and let's go to the next slide um yeah and in general i would like to talk a bit about the aesthetics of this practice i'm practicing um i'm more i'm coming from background of yeah classical music contemporary music i'm a god music and then computer music like acoustic music soundscape and noise music so yeah i'm not uh involved in the dance or electronic dance music scene so my live coding doesn't sound uh it doesn't have any beat it doesn't have any rhythm everything it's a bit chaotic and noisy i i like to use the term liquid noise for the sounds that emerge out of these couplings and these assemblages i put and mix in all these uh tweets uh in live coding settings and in the end i think i'm explaining what i'm using the term trans individual so we can go to the next slide and yeah what does it mean i'm basing this idea from the philosophy friends the philosophy of Gilbert Simondon it is the it's an intermediate state in the individuation process represents the dynamic relational dimension where individuals are interconnected and inter interdependent within a collective or social context it characterizes a phase where individuals are not yet fully separated but are actively evolving and becoming so what uh i um pursue so to say uh yeah this i i conceive this super collective tweets is like streams that they they keep evolving indefinitely and it's it's how i approach them also ontologically they are not i mean if you compare that to a recording which is like a fixed file it has a beginning and an end and it has a duration and a size so i consider this super collective tweets as like an endless streams which i manipulate live i cut them i i i mix them live i do all these kinds of transformations i consider this as fluxes as streams and uh yeah this is the uh yeah my approach to live coding i think that's it the last slide is just mentioning the ah yeah yeah of course i forgot about that yeah i want to mention that i perform regularly with aron juarez who is doing uh aron juarez who is doing live coding visuals we are performing with the name seredipitous liquidators i felt i have also done a remote live coding session with nixit and clio and i'm yeah i want to announce that i'm looking for new codilists to play with and also co-performers for online and noise jamming uh so this is my youtube channel if you want to listen and see exactly how am i using all these uh techniques and how my life going practice sounds and yeah if you want to play with me just hit me up we can do a jamming and stream it in multiple platforms and yeah that's it the the last slide is just mentioning demo right yeah so no live demo you can visit my youtube channel and thank you very much yeah thank you so much for sharing that yeah um at this point i'd like to invite all the presenters back um so we can have a little bit of a discussion um let me try to get my youtube window back so i can see if there's any questions in the chat as well yeah um so actually i really want to start with this definition that you gave us cosmos of trans individual because i feel like this um has almost become a theme for this this um last two days um but i love this idea of being interdependent and interconnected um as something that we kind of automatically do in live coding um because we're part of a system i guess um so maybe for everyone um how do you see yourself um as a trans individual within live coding where do you sit in your system where does your system sit in a bigger collective i think i i guess i'll go um and um i i've kind of gone through different waves of this but as somebody who makes noise in live coding as well i felt very alienated of points um i felt like there might not be space for me and i've considered stopping live coding um or just i don't think i would stop live coding but i wouldn't perform with like different collectives in places and it's been really nice lately like cosmos um i've i heard that you were looking for new collaborators and i was like yes awesome like i love the collaborate um i've looked up to your work a lot i found a bunch of people especially in the past year who've been one super accepting and welcoming from just the traditional live code community playing iclc was really fun and everybody was warm and welcoming and i wasn't sure that that would be the case um and also just different projects have emerged in the past year there's visceral realist which is a way of it's there's a manifesto and it's kind of weird but it's a way of like performing live coded noise and anybody could be a visceral realist and there's a whole repository and things like that and there's all these new systems that are coming out and you know i think that there's kind of this space where it like instead of live code being of genre it's turning more into a tool and we use the tools in different ways and i feel like i'm pushing my work forward in my own ways but i'm also drawing a lot of inspiration from melody loveless who's on this call like i get to see how her system works i get to see how cosmos the system works um and i was really inspired by a lot of the talks that i've seen today and just you know using some of these tools using title cycles in new ways is really anyone else want to talk to that about being part of a system and what that means in your work yeah melanie sure um so i guess for me i was thinking a lot about how metaphors are a big part of my practice like process using process or process music as a metaphor for ideas i'm just thinking about um so for example i have like a piece where i'm thinking a lot about nature and water and simulation and memory so i have recordings or samples like field recordings of water and then i fade in and out between that and white noise and so that's like my way of expressing that um metaphor and i feel like that's even how this synesthetic tendency of mine is what even allows me to even make my presentation where i'm even connecting protesting or chanting to live coding yeah yeah i guess uh for me live coding um it's most exciting when you don't know what's going to happen in a performance um because you've created an event where you're doing something new um and so you're it's just like you're creating a space for the audience to work out what something means um so it feels like a collaboration um and it becomes less interesting when things are set when it's more like a transmission where you've pre-prepared something um and um it's a conventional event um i mean people can often enjoy those more but there's something something more exciting about events where it just feels like a collaboration where you're just making this strange thing and you don't know what's going to happen um i guess that's could speak to trans individuality i'm not sure about that term but uh i would uh talk about uh uh live coding in an opposite way i mean i come from an academic education uh where uh if we don't talk so much about uh live coding and i discovered live coding during my my research personal research research and i think that uh it's it for me it's interesting to bring also live coding into some kind of those those uh environment because i i suppose that always the the meeting between this kind of uh we talk uh before in the before session the session before uh about live coding as a counterculture and i believe that uh always the counterculture is becoming an academic in a kind of way and so as jessica said also there are some rules that begin to to to born to establish to be established but at the same time i feel that uh the more and more uh we take it as a tool and make it more personal and again we discover and go to the unknown i kind of think that i can all just bring some innovation and i think also personally as as you can really build something that understand something that you you made fantastic thank you yeah yeah i guess um another thought i had was um a lot all of you talked actually about something that was tactile um so whether it was knobs or a pot or um yeah a platform um or a marker right there's like something um beyond the computer in all of these works um so yeah i guess i'm interested in like um um this idea of the hybrid interface and extending out beyond the laptop and what brought you there what brought you beyond the laptop i mean for me it was really like an awkward a bunch of awkward sound checks um so like really kind of like you know like i think part of it was practical for me when like i started kind of mixing instruments one it was that comment that like your sound is dry or like i just felt like something was missing and i wasn't getting to that next level and i will say that like the difference between the shows where everybody was like whoa that's awesome and the shows where people are like cool were like literally having that more space and i think you know i think of myself more of like a band like i produced myself as if i was a band not just a live quarter like i am i'm a one person band and i have the system that i've devised that helps me make this chaotic world that you can be a part of for like the 20 minutes that i'm playing and you know it's really fun in that world building but i also feel like it's i like to be very performative like i've in one of my recent sets i smashed a laptop and that was like the sound that that was making from the contact mic was like part of that performance and i handed people parts of my laptop to also smash and like where's like you know like there's fun things that you could do that's really performative and i think that like sometimes when you're like beyond the computer you can't do that so now i do a lot of stuff like my iclc performance i was like lifting up cables so you could kind of see what was happening i was pulling my cables out of my bag and like there's a lot of like performative elements that you can add in when you have something that's more tactile yeah i guess if you think about conventional um programming it is really um really absorbing like um i guess a lot of us have the experience of being kind of really locked into a programming task um maybe for hours on end i haven't really done that that much recently but um but after a while it does feel like you're uh kind of disregarding quite a large amount of human experience by doing this um i guess it's the same as just getting completely absorbed in a novel um it can be take you to a special place but at the same time you're not actually using your body um and uh so if you compare just typing with something like speech there's so much more communication going on there's just this whole other um channel of communication this sort of analog expression in your voice um and so i i guess that's what's led me to collaborating on this kind of hand-drawn interface um which is something i've been interested in for quite a while um and there's something that i've always sort of meant to add to title is is this kind of more visual expressive spatial representation um it's just like trying to live up to the idea of computer languages being a language really something that you express not just as symbols but in the way you express those symbols there's just something um it just feels like a natural progression towards something as expressive as speech or drawing or something yeah i agree totally because i think for example also the coming of electronic music was the first time when we heard music uh as uh as something without body and when the when you hear something that has not a body for the first time and live coding also are established uh position for as a performer as a composer as a musician as someone that uh it's what i like it's you you kind of always be in your thought in a kind of way but uh you are present and you you are physically present and i think that the ambience you create it involves also your presence even if uh it's not as active as a dancer for example but for me the question the answer a possible answer for creating new expression was exactly the integration and the the understand of body through dance because dance is always something that it's really sensible sensible in concrete concrete and really as music can do but the conjunction between the two can really create something that is not uh completely seen or heard because we are here also and we see and uh i really was shocked by dance so the first time i i improvised with dancer etc because it was really a good experience and i start going in that in that direction and never stops i would like to say about this issue that personally consider or maybe i'm following more like a materialist philosophers like simon don and deluz where they consider who they don't make a distinction between nature and culture or uh yeah thought and experience so if okay this is maybe too abstract but in more concrete terms our bodies are doing life coding constantly they're performing this kind of functionality they are re-editing their genes they correct errors they make errors they create mutations so uh i think uh exterior is not extending the practice of life coding that it's it become more embodied so that we are using our bodies to our voices or or any kind of data that come from our bodies i think it's uh it's fitting very well because it's i would say the same thing it's not something different it's only being done in a different medium and i think it's important to build uh yeah this interface is this bridges between different domains of code expression either it's a biological code or um yeah like cultural code or computer code i guess one thing i would maybe add i was just thinking about um just thinking about um how when accompanying and drumming like something i didn't really talk too much in the presentation about how i kind of feel like i'm programming a group of people sometimes with the rhythms and choices that i do um and um it's like a really embodied feeling right it would solve these people around me right but but what we'll have like i remember doing tests where i would have a quarter note and then i would like take a break and then i would notice the volume of the people immediately drop there was just something about even giving a quarter note that gave people a lot of confidence um and i think that's part of again what led me to draw connections to live coding this like running system that i could feel test or adjust with me depending if my groove was good or not um it's just been a really thought-provoking time great well i think that actually brings us to time so thank you all so much for your presentations yeah this was wonderful yeah and live coding is everything everything is live coded for sure live coding is life um we have one last um presenter with us today so godfrey if you're there hello welcome thanks for joining hi everyone i'll let you take it away uh yeah um let me share my screen real quick um i'm just here it's not gonna take a very long time um just here to introduce the the call uh for iclc next year to to you um so we finally got our act together and put out the call um it is open till uh January 15 the conference itself will happen um May 30 till June 1st um next year in in Shanghai in China let me quickly go kind of through the uh through the details um so we picked three three themes that we we found were um timely and and relevant um but the call also is open to any type of um topics or issues that were identified in the past um the three things that we picked were positive longitudes um reflecting the fact that this is the first time that iclc will uh take part uh further to the to the east of of central europe um we've also been like already reaching out to uh communities and you know different neighboring countries um and encourage encouraging them to uh to apply um there is one a second a second point here conversational improvisations um that is sort of thinking about like how language model and generative AI are you know influencing the way that we what that we practice um and the tools that get built um and the third part is kind of like uh crafting code this is sort of like um there's something that has been definitely uh with this uh topic for like a longer time um but like what what brought us what made us think about this is sort of like the like in the academic context in the last year the the you know the big question mark um hanging over a lot of pedagogy um code pedagogy algorithmic thinking pedagogy um how to deal with um you know like chat to bt and all these all these new tools um so like a little bit like for us it's again also as a university thinking about what can we learn what can be how can we get inspired or what kind of like answers can life coding practices bring to kind of like a much more reductive um maybe like um thinking about like uh what what coding is for or what coding can be so we're like really really interested in that as well uh the presentation formats are very similar to previous editions um so we have short and long papers um there'll be live performances workshops um there's a category now open submissions which is sort of a little bit like the uh the community reports last time so there's some extended time to submit those and those are also not sure it um we also decide to follow the the great example from from last last uh from last year's edition um to again uh offer a call for satellite events so that those are independently organized events that take part uh elsewhere either ahead or after the after the conference um and will become like collecting and exchanging information about tools here um here here are our dates um the submission submission templates are up very similar to previous edition uh the submission sites uh we were using cmt from from Microsoft this should be hopefully pretty painless and um yeah here here all the the information about this thing uh for live uh for satellite events there is uh an additional month uh to order submit um in order to submit our proposals uh and you can you can get you can in touch here why uh by mail to discuss this uh we also want to point out um that um yeah we're here on the on the discord server um there's a live satellite event um uh channel which has existed previously that we also gonna use um so for people to like discuss or or or float ideas uh that would be a possibility and yeah I mean I think that's just everything from my side um yeah if anyone has any questions about any of this uh please to reach out in in any form uh there's like an email address here here at the bottom and yeah we're looking forward to um to um your your ideas thank you amazing thank you so much yeah iclc 24 in asia for the first time exciting yeah so yeah um honestly any of the presentations we've seen over the last two days could totally be iclc papers as well so yeah if you um yeah if you're thinking about your presentation um from today there's definitely a way to make it into a submission um yeah thank you so much for for coming and sharing the call with us great and that melody that brings us to the end and indeed and yes so um a big big thank you to our co-conspirers sir uh I can't talk to our co-organizer co-fee who couldn't be here for this session um thank you melody for all your work and mainly a big thank you to all our presenters over the last two days this has been fantastic um yeah um love this event love seeing all of you and all your projects and all your responses to our um our our wild calls we we like to go there so yeah um with that I'm gonna sign us off thanks to Kate too big thanks to Kate you know and thank you all of course at going what Kate said um next