 Mae'r ddod yn bod i'n ddysgu Adam Parkinson, Renwick Bell, i'r arddangos cymdeithasol. Mae'n ddod i'r ddod i'n ddod i'n ddiddordeb llai arwain i'r ddiddor i'r ddiddor i'r awthyrs, dwi'n gwybod, ond yn hyn. Mae'r ddiddor i'r ddiddor i'r awthyr, neu'r ddiddor i'r ddiddor i'r awthyrs, a'r ddiddor i'r awthyr i'r ddiddor i'r ddiddor i'r awthyr i'r ddiddor i'r awthyr. Rennick's jet lag, he's been up since 330 teaching his students in Japan over Skype. He's from Texas, so his English isn't very good, so I'm going to do most of the talking and Rennick will interject when necessary. Anyway, our thesis here is that Derek Bailey and Deadmouse provide us with very polar opposites to live music or to live performance and it's really interesting to examine live coding in between these two, sort of thinking of a continuum from Derek Bailey to Deadmouse and how we place live coding on that continuum and I think that it reveals lots of assumptions that are often built into what we're doing that we don't properly examine about the instrument, about staging, about what it means to experience music. So why Deadmouse and Derek Bailey? Like I said, they're polar opposites and their approach is to repeatability and predictability. Derek Bailey wants, who's an improvising guitarist, I'll talk about them a bit more later on. Every Derek Bailey set is different. Derek Bailey, the last thing he wants is predictability or repeatability. Deadmouse, he wants his set to be the same every time he plays. He was playing to thousands and thousands of people. He needs absolute predictability and repeatability. I'm using Derek Bailey as a figurehead to represent a whole tradition of British free improvisation. There's a lot more people than just Derek Bailey who did free improvisation but I think he is a useful person to use as a figurehead because he was very influential at the beginning and also he wrote about improvising and about thinking about improvising. So in a way I'll be referring to Bailey to refer to the whole of free improvisation. So there's a lot of generalisations but used to make useful points and why are we talking about Deadmouse? Whether you love him or hate him, he's hugely famous and this again might upset people but musically and technologically he's quite close to live coding. He's using similar tools like a laptop. He's using repetitive beats and also he's written a lot of very interesting things in his tumbler about liveness which are worth examining. So I think he's someone who should be on our radar even if you don't like what he does or what he represents and also this is in response partly to criticism of the paper of our proposal. We're not just saying that live coding involves free improvisation although it is worth saying that a lot of live coders will deliberately put themselves in positions where they have to improvise and there's lots of improvisation in live coding but what we're trying to say rather than just that live coders improvise is that the way that live coders use the laptop has a lot in common with the way in which many free improvisers approach their instrument and that's the idea of it being this a sound source a very material sound source with very specific affordances that they're exploring through extended techniques and through different ways and yeah I think that a lot of improvisers and a lot of live coders are taking a tool and using it in very unconventional ways and exploring a certain idea of instrumentality and virtuosity and also I think that we want the paper to be useful for people outside of live coding and you know to try and put live coding in a context of the dance music culture of Dead Mouse and the free improv culture of Derek Bailey. So anyway Dead Mouse I'm not going to play any Dead Mouse assume that most people are vaguely aware of him he's very famous he does shows he wears a big mouse head but he's not actually a mouse and and he recently he published a tumbler called We All Hit Play and yeah and I think that what he does he's got a very public assault on this rockest idea that live performance should be a guy on stage actually doing something you know hitting strings on a guitar but Dead Mouse that's not what he's about and he wrote this long tumbler which we're going to show some excerpts from saying We All Hit Play and I think it was very braverym to admit it so anyway it begins with this it's no secret when it comes to live performance of EDM and the the slightly darker bit is our annotation or whatever the light of it is what he's actually saying when it comes to live performance of IDM that's about the most it seems you can do anyway it's not about performance art it's not about talent either really it's not in fact let me do you and the rest of the EDM world button pushes you fucking hate me for telling you how it is a favour and let you all know how it is yeah we all hit play and Dead Mouse shows are a spectacle and importantly importantly it's a reliable spectacle so I'm not going to read out completely but he's saying here he's got a computer it's spewing out loads of stuff of Ableton it's triggering lots of lights and it's playing lots of stems of his original productions that he's created in the studio and he says it's redundant but the important thing for him is it's reliable it works when he's playing to you know like you know thousands I don't know big crowds bigger than I play to it's reliable it doesn't break unlike my system and and then this is when it starts to get really interesting Dead Mouse in this tumbler post he starts to say how he really doesn't care about this this rockest notion of virtuosity and saying you know with one hour of tuition we're on one hour of instruction anyone with minimal knowledge of Ableton could do what he's doing there's a good chunk of midi data spitting out which he tweaks but he doesn't give him a lot of in his phrases look at me I'm Jimmy Hendricks check out this solo stuff and you know he's putting it very crudely but he's you know he's against this kind of showing off virtuosic thing and he's saying I'm sick of hearing this no I'm not just doing this I've six tables up there and I do this and this and this you know who cares what does it matter what you're doing the important thing for him is producing this spectacular live show that's reliable and he identifies his skills as existing in producing studio compositions and in that way he's you know very close to the whole tape music electroacoustic composition you know it's a tired old question but you know in you know for centuries no one ever tried to make composers themselves produce their work live it's just it's only nowadays that people have a laptop that we imagine there might be this all in one genius who can do these studio productions and then create it all live and and dead mouse he's saying you know his skills lie in doing it in the studio the live show is something set but to that and uh yeah and continuing he values the spectacle and the light showing the atmosphere and uh I think you can probably get what he's saying from there and uh and also he says I'm not going to let it go thinking that people assume there's a guy in his laptop up there producing new original tracks on the fly because none of the top DJs in the world to my knowledge have so you know I think obviously he's not been to an algorithm because algorithm is all about the top DJs in the world producing um tracks on the fly and and and it's um uh in the arguments that came after this argument he did link to a create digital musical argument acknowledging lots of people who were doing stuff on the fly but um I think it doesn't take away from the the main point that most people on dead mouses kind of pay grade and with his audiences aren't doing stuff live but a lot of them maybe they're pretending and here's a quite famous photo of the band justice who were um sweating away like um with yes the unplugged npd so perhaps a revestive justice just said look we've got good denim we make good music we press play what's the problem um and anyway now so to try and move on quickly to Derek Bailey so again for people who don't know Derek Bailey he was a cheffield musician who in the 60s was responsible for creating what I think he called non idiomatic music or free improvisation which drew on the um the sort of free jazz of our net Coleman and a lot of kind of european avant-garde stuff and stockhouse and and tried to produce music that was outside of history the idea of picking up an instrument and interacting with other other musicians but not relying on any of the props of of style or you know chord structures or harmony or rhythm doing something completely new every time you played and this was very much what Derek Bailey was about and he wrote a book called improvisation which didn't just talk about a free improvisation but traced this whole history of people um uh improvising basically um and uh I think that for Derek Bailey has a lot in common with live coders in that he sees improvisation um as this uh exploring the musical affordances of different materials for Derek Bailey it was a guitar um but for live coders it's um it's a computer and it's code and it's looking at what is this this what can this machine do um uh she thinks we should move on to the next one um yeah and live coding yeah have you heard of this I'm not going to tell you what it is um but yeah um but live coding has a lot in common with free improvisation because it's we believe and I guess in a way this is the point of the paper that live coding treats the computer like an instrument very specifically in terms of projecting on a screen what you're doing um and uh and building unpredictability into your sets um and uh trying to let the audience see what you're doing and just very very briefly and this is we're going to this point of paper just to say that live coding isn't the only people to be improvising with computers there's a whole history um in particular people like George Lewis and groups like The Hub who have improvised with computers and you could look at our paper and look at the references in that and I'm sure that you could all find out more about that but just to say live coding wasn't the first but anyway live coders realise that the um I think that yeah in projecting the screen there's almost something of showing the guitarist fingers on the fretboard within live coding um that live coders realise that the interesting gestures and things that happen on a computer it's often not kind of sensors and things like that but it's these interactions between uh human beings and code um and uh in a way that allows for kind of manifestations of virtuosity which actually put live coding far more in line with a kind of rockist tradition of guitar soloist so here we have um guitar soloist Renic Bell next to some live coder or something um and um and I think there was a very interesting essay written by Francisco Lopez called Against the Stage and Francisco Lopez is very interested in trying to get beyond this kind of uh maybe 19th century um I get them confused tradition of putting musicians on a stage and expecting them to do something and he has these things where he blindfolds people and plays sounds them and does things like that whereas I think that within um live coding it's quite traditional at least compared to Francisco Lopez in that they put a musician on a stage but they've just figured out a way of you know we know that we know they're not checking their email it's a way of exposing the instrumentality of the laptop and presenting the laptop as an instrument to the audience um and it allows for a kind of focus on spectacle um and uh again just just to um draw more parallels between live coding and free improvisation I think that there's um uh there's a lot of ways in which the live coder um well a free improvisator free improvisator will often use extended technique to explore the very limits of their what they're playing where it's the kind of circular breathing of a sax player like Evan Parker or people you know putting Keith Rowling his guitar down flat sticking things under the strings live coders you know putting together their own coding libraries and things like that I think there's there's again there's kind of more parallels um uh in basically exploring the affordances the musical affordances of certain materials so but the other point here was that so the idea is that the live coder is doing composition some kind of compositional activity live whereas Deadmauce says all of his compositional activity takes place in his fancy modular studio yeah and and Deadmauce in doing so belongs to a tradition that goes back to tape music electroacoustic music George Martin and the Beatles Brian Nino you know non real assembling music in the studio and non real time is a very long tradition and this sudden idea that they should do it live perhaps that's something that we should abandon or at least redress um and uh and here we have a picture of this Alex McLean guy um actually improvising with a drummer Paul Hessian and in the last session we saw I don't know how much was improvised but we saw these kind of blends of live coders working with um uh uh at least live musicians or free improvisers and I think it's interesting that we're getting to this situation where people are really exploring how the computer can be used as an instrument so the the last thing that leaves in is this bit about uh theatricality and uh so if if we say that there's Deadmauce he's all about theatre and then live coders many live coders are about composition maybe in fact there's a lot of live coding that can also be theatre so if it's not a continuum maybe there's even like two parameters a theatrical parameter and compositional parameter something like that in a live coding performance so you have something like Robert Henke doing this uh kind of putting code on a on a screen totally scripted but it's just just theatre yeah and I think Ryogio Cade is almost moving towards that as well maybe and it's um but um so yeah conclusion um Deadmauce and Derek Bailey um um Deadmauce is interested in predictability and he uses a computer as a studio studio tool to create compositions Bailey uses the guitar as something that's going to be different every time and live coding predominantly is like Derek Bailey is using the laptop as this live instrument exploring its affordances um unique musical affordances um uh despite coming from the dance tradition of Deadmauce but in some ways kind of almost drawing on this musicians on a stage uh tradition that's quite old in some ways um that's a kind of ramble through the slides but hopefully that there'll be some questions that that raised we hope anyway but I don't know whether we're going on to them straight away so next bank to see this one question one question yeah all right um so you you're saying the laptop is instrument of a live code but isn't it more software behind the laptop that is the instrument and the laptop is more the interface like the the interface of the piano but it can also be the interface of the synthesizer oh I would say that the definition of where the instrument is is a complex one and it definitely involves and and I think that laptops problematize that like the and create these blurred boundaries of the instrument and they're not really fully investigating that but I like to talk about the laptop instrument and I like to refer to the hardware and the software and I think live coding is interesting because it often just uses the keyboard you know the hardware and then software running on it so it really is just the laptop being an instrument rather than the laptop and some sensors or a MIDI controller in many cases it is just the laptop instrument but have you got something to yeah the laptop is a symbol for all those parts right so yeah I don't I don't disagree with the software part no okay so sorry we just have time for one question for the speaker we'll thank them again and thank you let me immediately introduce Emma Cocker who's going to deliver our next paper okay I feel a bit old school with my piece of paper here but hey um okay so this paper draws on an experience as a critical interlocutor or a writer really within two AHRC digital transformation projects um weaving codes coving weaves which is led as you perhaps know by Alex um in dialogue with Alan Harleysi's Cluck and the previous project called live notation transforming matters of performance which was led by Alex with Hester Reeve who's also here so in this paper what I want to do is propose potential points of connection between ancient weaving and live coding considering both practices through the prism of the ancient Greek concept of technae a species of tactical knowledge combining the principles of metis or cunning intelligence and kairos or opportune timing so making a return to how the term was used in ancient Greek culture I'm interested in technae as a disruptive or even subversive species of knowledge capable of dealing with contingent situations whilst fully harnessing their capricious force a knowledge capable of seizing the potential of chance randomness and indeterminacy whilst at the same time converting this to unexpected direction so this inquiry specifically addresses the human qualities of attention cognitive agility and tactical intelligence activated within both live coding and live weaving arguing that such practices might have the potential for cultivating a more critical mode of human agency and subjectivity so the connections I want to excavate are less directly to do with the shared technology computer and loom nor shared notational systems pattern and code nor mathematical algorithms or even the relationship between the resulting weaves whether digital or textile instead my approach is one of attending to what is inter focusing on the capacities the knowledges and the qualities of attention emerging in between the disciplinary lines through the relation or negotiation between human and machine to the live embodied process of decision making involved in both weaving and coding which I would argue that many notational systems seem arguably unable to fully account for so I ask what knowledges and capacities have become lost or devalued to the privileging of speed productivity economic efficiency in the standardisation that certain technological developments bring and the project in particular looks to the jackard loom which is often the connection between weaving and coding and asks what if there was a different history what if a relation between ancient weaving and live coding could be struck so indeed there are certain technologies that actively create the conditions of ignorance or alienation where as I demonstrate a technology has the capacity to be used or operated in the in the absence of any knowledge of underpinning process principles or structures so really I suppose what I'm interested in is this question can the questioning of standards and templates which I think live coding particularly epitomizers alongside an increased awareness of underpinning structures and causes within one context facilitate the same in other aspects of life so this revelation and live reworking of digital code through performance in live coding involves showing and sharing the unfolding logic of a language so instrumental to contemporary life but in which so few are fluent and we're sort of familiar with the idea of code or be coded write or be written weave or be woven the live coding and ancient weaving practices that I've encountered within the weaving codes coding weaves projects invites a much more complex nuanced or even entangled human machine relation where technology is not so much put to use as worked with the process unfolding through attending to even collaborating with the resistance exerted by the technology or apparatus rather than simply conceiving it as a tool that needs to be brought into control or mastered so as we've heard a process of improvisatory working emerges through creating the right tension cultivating an understanding of tolerance how far something can be pushed or pressured before it breaks indeed went to instill breaks or rests both live coding and ancient weaving foreground understanding of process and structure understanding is cultivated through use and experiment through trial and error by doing something as a way of knowing how it is done moreover for knowing how it might be changed swerved or taken in a different direction or rather understanding is cultivated through an oscillation or even shuttling between discontinuous systems of abstract notation and the continuous experience of the lived process or actually I think today one of the things I was interested in is a kind of shuttling between the present and the future present which the live coder seems to be doing and so this kind of shuttling between two different experiences feels quite pivotal so I ask what are the cognitive and bodily intelligences operating in the live space between the continuous and the discontinuous between the abstract and the lived or perhaps even between the present and the future present knowledge gained through experiment might take the form of doing and undoing the repeated labour of trying something out over and over a kind of tacit knowledge cultivated through the accumulation of tests and attempts here repetition might be undertaken less towards the perfection of a given move or manoeuvre but rather towards the building of confidence and capacity a working knowledge of process or material such that it becomes ingrained in mind and muscle activated at the fingertips and in the process of thinking on act live and in live and emergent to the situation rather than pre-planned in advance or else here perhaps less a tacit kind of knowledge or of a know-how but rather a form of knowing closer to the imminent intensification of thinking that philosopher alembaddu following Nietzsche asserts is not affected anywhere else than when it is given thought is effective in situ it is what is it is what is intensified upon itself or again it is the movement of its own intensity not a knowledge then that is easily banked and transferable but rather acquired through practice moreover activated only in and through practice a tactical knowledge performed through receptivity to the possibilities of the unfolding situation so for the ancient greeks the term metis described a form of widely intelligence capable of seizing the opportunities or kairos made momentarily visible as the prevailing logic within a given structure or system yields metis is the art of preparing for what not for what could not have been planned for in advance and it's the same skill that's used as in catching the force of the wind or the turn of the tide and elsewhere I've been trying to conceptualise this as something that I call helmsman's knowledge or the knowledge of sailing. Marcel Dettian and Jean-Pierre Venant note that this is as prompt as the opportunity that it must seize on the wing not allowing it to pass reflecting on its role in ancient greek rhetoric Dettian and Venant describe metis as a type of intelligence and of thought a way of knowing it implies a complex but very coherent body of mental attitudes and intellectual behaviour which combine flare wisdom forethought subtlety of mind deception resourcefulness vigilance and opportunism it is applied to situations which are transient shifting disconcerting and ambiguous so they're talking about kind of an ancient greek knowledge but my application would be that this describes it would seem very well the idea of live coding practice so to improvise within a shifting situation requires skillfulness and attention a capacity for biding one's time and knowing when to act within many live coding practices the audience encounters projected code as a running command line whilst it is being modified or rewritten by the programmer and even in some instances by the code or interpreting system itself here then rules are instructions rules are instructions are not to be diligently followed but rather have the capacity to be modified or adapted even as they are being executed the tension of an unfolding thread or code varied as it is being woven or written or else undone and rewoven enabling the possibility of a change of tack the live running code makes manifest a developing logic based on the principles of what if to the testing of the possibility of this or this or this or this what then is the specificity of this thinking and action activated whilst improvising within the live running code and how might it relate to working on the loom to a kind of loom thinking indeed the means to which the same result is arrived at can create quite different kinds of knowledge quite different kinds of human capacities so rather than through the unfolding of trial or error the generative testing of this or this or this or this knowledge might also be acquired through an inversion of a given process here undoing comes first a reverse engineering of a weave or code necessary for seeing its underpinning structure not only the surface pattern an active undoing then for knowing how something works or is structured for seeing beyond the surface of things acts of appropriation of hacking and backtracking as a means of taking back control or no rather resisting control for reasserting the potential for creative improvisation within a seemingly standardised process for recuperating human agency within systems whose options seem increasingly closed or prohibitive or prohibitive form of creative consumption to follow michelle deserto or the cultivation of a minor language or practice to draw on delays or gotari where the prescribed codes and patterns of the dominant culture are appropriated or hacked modified or inverted creatively reverse engineered and then redirected towards other often yes often less utilitarian ends here then existing patterns rules or codes are not to be taken as a given as fixed or unchangeable but rather appropriated as a found material within which to work or rework the process of coding or weaving in these terms is not conceived as an algorithmic operation whose logic is simply imported and set in motion allowed to run its course rather both of the capacity to be unraveled and rewritten as events unfold I'm reminded of Penelope Wiley weaver of ancient myth wife of Odysseus in Homer's Odyssey weaving by day and unweaving by night willfully unraveling the weave such that by morning the task might begin again hers is an act of unweaving and re-weaving to avoid the completion of the task for refusing the teleology of outcome or of commodity the production of a project a product and its consequences for the contemporary live coder might not the Penelopean logic of doing and undoing or even undoing and redoing also be harnessed as a kind of active resistance conceived as an attempt to thwart or subvert they capture by capital refusing the terms of easy assimilation the undoing of the logic of a given accepted model or concept might be performed in order for it to be reworked or modified or else code is woven only to be unraveled for making tangible the process of decision making doing and undoing undoing and redoing performed as a mode of deviation awesome version of purposefully nonproductive labour weaving and unweaving of both code and thread operators and open ended process not so much concerned with the not so much concerned with the production of product as experience yet what other meanings and capacities if not products might be produced there I think of Lucy a rigure when she says one must listen differently in order to hear another meaning which is constantly in the process of weaving itself at the same time ceaselessly embracing words and yet casting them off in order to be in order to avoid becoming fixed or immobilised what kinds of performativity what politics what philosophies what poetics emerge therein repetition of a process is training or as exercise or as a schesis even a schesis a preparatory training or reflexive exercise connected to the cultivation of technique could live coding and live weaving be conceived as a schesis for practicing or testing the art of timing or of timeliness a capacity for responding to a new situation as it unfolds attending to the gaps and deciding how to act in one sense both live coding and weaving can be considered as chirotic practices based on the principles of invention and intervention in the middle kairos is an ancient Greek term that means an opportun or fleeting moment whose potential must be grasped before it passes describes a qualitatively different mode of time to that of linear or chronological time it is not an abstract measure of time passing but of time ready to be seized an expression of timeliness a critical junction or right time when something could happen as eric charles white states chiros stands for a radical principle of occasionality which implies a conception of the production of meaning and language as a process of continuous adjustment to and creation of the present moment white states chiros is a will to have a will to invent a form of improvisation an adaptation to an always mutating situation understood as a principle of invention chiros councils thought to act always as it were on the spur of the moment or perhaps in live coding terms through a process of coding on the fly as nick collins and colleagues argue live coders work with programming languages building their own custom software tweaking or writing the programs themselves as they perform code is written as it is performed a practice often referred to as coding on the fly or just in time coding or what I would provisionally call chirotic coding so I'm just going to skim a bit um the twin so basically the twin principles of metis and chiros is what I'm trying to investigate in relation to live coding using the prism of this ancient knowledge or technique is a different kind of epistemological framework for addressing key questions of liveness dexterity and decision making within live coding as a practice I think the key thing to say is that what I'm interested is in these practices that require a specific quality of alertness or attentiveness to the live circumstances or occasionality of their own production and what I'm trying to do in my research to suggest that these actually might be related to the productions of certain kinds of subjectivity and in that sense this work connects with the late worker Michelle Foucault especially around his notions of care of the self and the concept of making life into a work of art in short time pressing perhaps I leave on this question how might weaving and coding be practiced as exercises or even excuses as potential practices of the self and so it's perhaps important to state that it's a kind of a proposition really and my background is in fine art not coding and not weaving so I kind of come into this as a bit of an interloper in a way and the project's still in its early days and I think the plan is to try and flesh it out with more of the technicalities that come from both the disciplines of weaving and live coding so if anyone is interested in this terrain I'll be very interested in future conversations thank you. Well there are different readings of Penelope I think historically she's often been imagined as a figure of fidelity and fidelity to Odysseus and a kind of a figure of the wife's loyalty and there are a number of feminist re-readings of this myth as you might imagine that suggest a more subversive resistance within her gesture so actually less gesture of loyalty and perhaps one of independence and refusal but I think that idea of there's a very nice book whose title has slipped my mind where the Penelope and logic of doing and undoing is approached very much through the prism of feminist writing particularly french feminist writing by people like Iriga Reine Seeksu and I think there's something about that that actually strangers it may seem to an audience such as this looking at the male faces there's something quite feminist I would say about live coding in the sense that it takes quite a patriarchal vocabulary and undoes it and actually weaves it into different kinds of working syntax so there's something there that I think could be really productively unpicked. Okay so hello everyone in my paper oh sorry I have lost the first page in my paper I present the result of my research at its second year I am a PhD student at the University of Florence this research aims at analysing the live coding experience through the magnifying lens of ethnography let me first introduce briefly what ethnography is and which ethnographical techniques I have been using during the research ethnography is a method with the purpose of analysing various kinds of cultural manifestations through first person perspective many inquiry techniques are employed during the research on the field ethnography has three main assumptions the first one is a direct observation by the researcher the second is because of this direct observation the research perspective is that of the person who conducts it and third this perspective is full of theory or better full of researcher cultural baggage ethnography is a constellation of techniques in my research I choose to employ two of them particularly participative observation and ethnography participative observation consists in both direct and active researcher participation in a particular cultural activity the participation should last for a sufficiently long period where the event or the cultural manifestation in general is taking place the ethnographer interacts directly with participants and the interaction helps to build his or her knowledge of the milieu the researcher should stay as close as possible to the community under investigation although he or she has to maintain an equilibrium between the internal member's perspective and the researcher's one. Nethnography instead is a branch of ethnography developed by a person called Robert Codzi Nets where the research field is the internet ethnography is born in the market research field but is widely used in sociology too uh this kind of research practice helps to collect first hand information from the spontaneous online users chatting then it enables the researcher to observe the field in brackets from an external point of view avoiding uh wanted perturbations uh as a result the researcher is able to collect data that are more objective ethnography is also a process of documentation in fact during their research ethnographers try to catch the deep meaning of cultural manifestation under inquisition and to channel it on the recording support uh this process is never easy nor transparent because uh because of the different constraints and features of every recording support then every context needs particular documenting techniques and to think about the effects of recording technology in my case for example i choose to use a little and handy video recorder with hi-fi stereo microphones i made this decision because i need an affordable and not too visible means of recording i want to avoid that the audience feels under inquisition and to be felt as part of it uh i need that people behave as much as possible in a natural way after this brief introduction i would speak of my research results in more details first i will try to define loosely what live coding is in my opinion live coding in my opinion is a music technique and not a genre a music genre broad this last term is is addresses to a group of music compositions that share some features as form compositional rules architecture instrumentation and so on the term live coding instead refers to a way of producing music it is improvised programming acted mailing during live performances both with the lively present of the performer and not then with live coding it is possible to produce many different music on genre uh the most important aspect of live coding is that it enables the performer to build the music heard by the listener in real time however this term is sometimes used to address also a music on genre that is not very homogeneous however the most important constant aspect inside this genre is the computer screen projection i choose to consider particularly this example of live coding because thanks to these characteristics the cultural and musical processes are more evident and easier to understand and because it groups around it a conspicuous number of artists music is the main cultural domain where live coding is employed but it can be used also in many other cultural practices have the as dance performances is image processing and even weaving this improvising technique in music is characterized by real time processing sound processing sorry this action is conducted through the employment of musical instruction and algorithms written in a high level programming language visualized principally by a textual interface however different interfaces may be employed as for example physical devices nevertheless even in these last cases the text plays a central role during the performance because because it represents the sound result all these aspects is clearly perceived by the audience through an original artifice the so-called they just mentioned performer computer screen projection where the concert takes place this feature is central in live coding events aesthetic and purposes it represents the ongoing developing of artists musical totes and demonstrate that that actions are driven by the human performer and not by the computer automatically this trait is crucial because it has transparency in computer music field this case appears to be unique because it enables the listener to experience and confirm a lighter liveness effect this is an important innovation for computer music because for the first time programming becomes performative the audience the audience experience the performativity principally through screen projection another acts another aspects that is worth to mention is the proximity between live coding performers and and theorists and the and the hackers movement i have to confess that i have not analyzed with the right accuracy this aspect yet but it's for a safe fruit fruitful developments and i promise to to develop it in the future because i'm in the second year hackers movement is multifastered but it lays on some common principles principles among the most important there are one the right of every person to modify freely and unlimitedly unlimitedly every piece of software that is that is on his or her computer second the sharing of knowledge between members in a collaborative way these rules seems to be respected in the live coding domain too in fact the most important programmes are released under open source licenses and are very often developed by a group of passionate programmers additionally there seems to be a strong community feeling that is expressed through many online forums websites and social network discussions probably live coders are more close to the raymond side than to the stallman side the two groups that the hacker community is divided because they do not demonize proprietary software and many of them use apple computers windows computers these two hackers represent the two many main groups stallman and raymond represent the two main groups in which the movement is divided stallman is the champion of free software where the hybridisation with the proprietary one is not accepted another important aspect in live coding is the performers role in the haven's dynamic dynamic i have stated that this technique enables the performer to be perceived as a live entity who plays his or her instrument real time however listeners' attention seems to be attracted more by the screen projection than by the musician itself many times i have found myself staring at the light beam watching the evolving code on the screen instead of checking the performer musical actions it seems yeah it seems that the screen projection has become in this case the real musical reference during the performance because it is there that musical actions happen this fact is confirmed by online performances i have attended to our concert held at network music festival last year in Birmingham where three performers met on an online server and interacted to produce the sound heard in the music hall even though the musician were not present flesh and blood the liveness effect remained safe and untouched that is probably due to the screen projection that acts acts at as the performers reference the the performers musical toes is not represented through his or her body and actions but they are dematerialized and transformed in the light beam of the projection the last aspect aspect i have analyzed in my paper is the relationship between live coding and academia i have explained how some live coders perceive a harsh conflict between dance music that can be easily heard in live coding events and academic academic music even though they share some common characteristics on the base of this statement i explained that in my opinion live coding has a technique born in academic context but employed in many different performing fields could become a bridge between dance music and academia this bridge has to be constructed still and the analysis of the shared characteristic or differences between these two repertoires when they are played through live coding can help in doing this ethnography is an important tool to analyze cultural manifestation that are not static and formalized live coding is a young repertoire without strong rules and definitions then an ethnographical approach can help in clarifying many movement internal dynamics to conclude i would state that this kind of approach might raise some important issues to give an identity to his multifaceted technique it enables the researcher to collect important information about the audience performer interaction during concerts and to know and understand better the community internal dynamics with this data it is it is possible to compare live coding and the respective repertoire with the other music with other music experiences this comparison can help to legitimate to legitimate live coding in the computer music field thank you for your attention when you say that in the network's performance with no local performance liveness remain i wonder if i presume you mean you perceive that and i wonder if it might not be fairer to say that you perceive continuing human agency i perceive this liveness effect but also the audience present in the music hall because they react to stimuli given by the performer on the screen for example performance sometimes type messages between them and people laugh to to them and applauded when when they finished for example as in the same way as the performer were in in the music hall so i i i think i i have not interviewed the the audience members but in my opinion they also perceive this liveness effect thank you very much