 All right How are we introducing today? Okay, maybe He's not here to jump in You might show in the next two minutes though, that's kind of his style Bring in that burst energy But I can do it if not We're going first I'd appreciate that. Yes I need to bring up the actual I can get Questions I'm just gonna tidy up my studio for a bit while people are arriving because it's a bit of a mess Those are great plants though. That's big and sterile Use some plants for this office. I suppose when I move out of my other office, I'll bring the plants here One of the few people who has like two sets of windows in this building I've got a corner Where is everybody calling in from I'm in Richmond, Virginia Are you in Brooklyn, Jess? I am in Brooklyn. Yeah. Yeah, this is my house. My house in Brooklyn right next to the Lorimer Elm You should come over. I'm planning on putting more plants in my house this week. That's actually one of my goals So There's buying more plans for my house. Um, so yeah I'm in Sheffield I'm in the haze As in see you in the haze Well, it's now gone nine. Should we get started? Right Yeah, welcome today to of hybrid interfaces live coding We're gonna start with a Smaller group this morning that is just titled voice And I believe melody you're gonna start I'll let you Take it away Okay, sure. Thank you. Hello. Good morning My name is melody I'm broadcasting here from Brooklyn, New York It is 9 a.m. And this is gonna be as lightning as a talk as I can do So this is our second day of HLC I And when I was thinking about what I wanted to share or talk about for today I just thought a lot about how much I was enjoying myself and all how all the various topics That were being presented inspired me Late last night when I should have been sleeping I found myself thinking about what people had saying and we're discussing like the subjects revolving around identity and Education in the future and whatnot and so that's kind of like a starting point for what I'm gonna just talk about today This is like a very I consider this a small glimpse into my multi-media brain someone who spends too much time on their phone This is also part stream of consciousness diary thinking about this. This might be a form of public thought This is also part list. I'm a millennial. I love lists and this would be a rose color clad glasses addition right because I don't I'm usually a little bit more critical right now and feeling a lot of love and positivity and that's what we're gonna stick at for a bit Which isn't to say you can't be critical with love But moving on I'm just gonna focus on voice for this bit, you know the first presentation The first section of presentations today is about voice and so thinking about what that means to me Voice is an important part of my artistic practice. I have lots of personal beginnings related to voice I was an acquirer as a kid. So X amount of years ago, I would be singing in Christmas carols and costume for money And this was my pre-computer days And so thinking about electronics and voice before still before live coding. I think about Carl Stone In this performance, I saw an issue project room where I watched him remix a vocalist and woodwind instruments live Carl Stone's like a heavy Maximus P user And so something that I found later was this article where he discusses live coding like someone asks him Like what do you think about people who like who do live coding like algorithm type things and you know He says it's an interesting idea But he doesn't consider himself like a live coder, which I also think is interesting Anyway, I recommend checking out that article in his music Something that I like is his life of sampling shows a lot about like Is a huge to me is a huge representation of process music watching that original source and watching it being transformed and hearing it being transformed and I think I'll add a lot about that a lot when When I'm thinking about live coding. So that's something that draws to me And so at this point, I'm recommending you check Carl Stone out if you haven't and so moving on thinking about another personal point A person who's inspired me Laurie Anderson. So, you know, oh Superman for forever So when I'm doing what I'm doing, I think a lot about her work and her, you know, how badass she is an Invasive and so if you haven't heard her work, I recommend checking her out. And so now at this point We're actually going to talk about like live coding So here's a shout out to other live coding artists voice voice artists I want to shout out to messica arson someone that I saw live coding and sonic pie When I first started live coding I watched them do live vocal looping by using audacity So dragging and dropping audio recording From audacity into sonic pie and I found that super inspiring I would try to imitate that by recording the audio and sonic pie Outputting it and then dragging it dropping in from the finder into my own application And so I want to shout out to them and they're probably going to talk about their album later in their presentation So I'm going to stop talking about their work. So they have more to talk about but they're great I want to shout out to me Chung of Scorpion mouse. This is an article from top lap That they wrote the burgeoning live code scene in New York City When I think about them, I just think about someone who's been really supportive. I think about You know, they no longer live in the city, you know, they moved away and they're starting a family with their partner And so I think a lot also about, you know Changes in adulthood and being a mother When I think about them and I admire them a lot for maintaining a practice I Think about dearful I want to shout out to them something that I thought was interesting is Spotify Suggested them to me before I started live coding So I was already listening to them and then one day I went to YouTube and realized they were live coding this entire time So shout out to them. I want to shout out to Abigail I really enjoy their work. They presented yesterday and discussed their work involving shamanism in live coding and Also expressed trying to figure out the middle point of their work of spirituality Identity and their electronic arts practice. I highly recommend checking out that talk. If you didn't get to see them speak I appreciated their vulnerability and sharing that part of them And then lastly another live coding vocal artist. I want to shout out a shout out to Kofi And so Actually, did I accidentally show? Oh, no I accidentally showed Kofi's work when I was talking about her to Abigail because the page was a loading Okay, I'm sorry about that. That's not as lice as I like I'm gonna move on. This is live. So Kofi shout out to Kofi for incorporating poetry and to their work via typing via speaking I find their work really refreshing And so again, this ended up becoming more of a rose colored glasses shout out addition stream of consciousness than a formal clock Maybe this is a listicle. I am not sure I want to thank you all for your time and being here And I'm also looking forward to hearing the other people speak. So thanks And I am also the moderator. Hello. Okay. Okay. Okay. Um, so All right, I would like to pass it on to jonathan um, so take it away Hey, everybody, uh, thanks melody. Um Yeah, so I'm gonna talk a little bit about some work. I've been doing with artificial voice over the last year or so and then kind of ask some open questions about how vocal performance can sort of mix and and intertangle with live coding So forgive me if there's not a whole lot of live coding at the beginning. I promise there will be some live coding eventually So, uh, yeah, hopefully everybody can see my slides. I've got kind of a weird obs uh, frankenstein set up going on today. So If if stuff is just not showing up just like kind of give me a uh, yeah a warning or something um, yeah, so My name is jonathan. I'm the freelance artist musician performer and a recently phd student at the university of sussex um, I also work with the intelligent instruments lab in uh, Reykjavik in iceland. It's a really really cool place A lot of live coding people um, yeah, so, uh, first thing I would I would ask is, um How do how do we think about artificial voice as a kind of form of embodiment because we always talk about, uh with with Especially the musical side of live coding, you know, like what is the embodiment going on? Are we just like kind of floating brains or are we part of bodies and I think um voice makes that even more kind of interesting, uh, especially, uh, nowadays when you can Work, uh, with very hyper realistic voices that are that are trained via machine learning models or even with your own voice So I would uh encourage everybody to just briefly um, indulge me and uh, yeah, close your eyes and just listen to my voice And um, my question is, uh To what kind of voice does this belong? so close your eyes Listen to me voice Imagine this voice Belongs to a body one that is not mine Imagine if this voice belongs to our body One that is not mine Oh, there's this How tall is this body and what shape is it? What shape is it? What is this body? Look like How tall is this body? And how do you know Your voice belongs to you This year I've been working on a year long broadcast Using artificial voices Supported by ctm festival Deutschland Funko tour and ORF one In this broadcast I created a kind of real time voice instrument that Can synthesize text but also transform voices into Other voices maybe even non Cuban voices There's a snippet We are not dying We are not dying We are not dead dying Yeah, we are not dead dying So this is the transformation of The synthetic voice into an animal voice This is all done using machine learning on the huge datasets of voice So this is very interesting because we're using Other voices for our own performance So to try to challenge this a bit Throughout the year we've done a number of workshops collectively making beta sets Where people voluntarily give their voices For performance You put the shot in shutters you put the pain in Spain You put the shot in shatter Of the pain in Spain But sometimes the models forget how to speak English So my main question is how to bring these vocal techniques into my coding practice Can my coding open up different kinds of vocal expressivities For Artificial voices and body language And identities And body language Listen Those are the questions I have And just one last thing before I go There's a really incredible performance art space in Kumasi that's very much struggling right now And they're trying to raise funds in order to keep their activities going So if you by any chance can donate anything Please visit this website at pr.support P-I-A-R.support And yeah, please give some support to them. Thanks Great Thank you Thank you for that presentation, Jonathan. That was great. It's really It's really fascinated watching that that work. We have about one minute left right now for Questions, so I'm going to pop into the youtube chat To see if there are any In the meantime something that I was like wondering is if there Was any if you all had a chance to make any artworks using this technology or any pieces or or sketches Or you know what part? Yeah, like has anyone started Making I'm sorry, Jonathan. Can you hear me? Sorry, what did you say something? I couldn't No worries. Um, I a question that I had Was, you know, you if anyone started creating artwork or sketches using the technologies you demonstrated and if you could talk about them Oh, yeah, sure. Um Well, I these are all kind of like tools that I've been frankensteining together as part of this radio broadcast project Um, so I'm just kind of now starting to experiment with how to Yeah, use them and kind of more live situations um so Yeah, not not really. I think I'm just starting to kind of play with this stuff and I'm Occasionally doing some workshops where I slowly like kind of introduce a lot of this stuff to people I love the idea of a radio Broadcast um using that for radio broadcasting. Um, have you tried doing anything with theater? That was like it reminded me of a radio drama. Who said that? Yeah. Yeah, absolutely That's uh next year. I'm going to be working on a big theater project With artificial voice and and probably robot masks, but like that's let's see what happened Oh Yes, if you do that, please come again next year and Keep us posted with everything Thank you. So thank you again, Jonathan. That was wonderful. Um, so At this point, I think we're going to move on to our next presenter And so next up we have alex mclean when you're ready. Take it away, please Thanks melody. Um And thanks for the presentation so far. Um, I'm going to be live coding without anything apart from my voice, um, which is way out of my comfort zone, um And I won't actually be sharing the code because it'd be in my head But um, I'd really like it if you could see if you can Um, imagine the code yourself and work out what it is. I'm doing just by listening Um, okay, I'm going to be using the numbers one to five um In patterns So let's try Um Well, I'll just set a timer one two three four one two three four one two three four one two three four one two three four one two three four one two three four one two three four one two three four, one, two, three, four, one, two, three, four, one, two, three four one two three four two three four one three four one two four one two three one two three four two three four one three four one two four one two three one two three four five one two three four two three four five one two three four five one two three four one two three one two three four five one two three four one two three one two 1, 2, 3, 4, 5, 1, 2, 3, 4, 1, 2, 3, 1, 2, 1, 1, 2, 3, 4, 5, 1, 2, 3, 4, 1, 2, 3, 1, 2, 1, 1, 2, 3, 4, 5, 4, 1, 2, 3, 1, 2, 1, 2, 1, 1, 2, 3, 4, 5, 4, 1, 2, 3, 1, 2, 1, 2, 1, 2, 3, 4, 5, 1, 2, 3, 4, 1, 2, 3, 1, 2, 1, 2, 1, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2 One, two, three. One, two, three. One, two, three. One, two, three. One, two, three. One, two, three. Four. One, two, three. Four. One, two, three. Four. One, two, three. Four. One, two, three. three four one two three four one two three four one two three one two three One, Two, Three. One, Two, One, Two. One, Two, Three. two, three, four, five, one, two, three, four, five, one, two, three, four, five, one, 3, 4, 5, 1, 2, 3, 4, 5, 1, 2, 2, 3, 4, 5, 4, 3, 2, 1, 1, 2, 3, 4, 5, 1, 2, 3, 4, 5, OK. I think that's enough. Yeah, I'm interested to know what you thought I did. Interesting. So at this point, I should be asking you questions. But you just asked us a question. Yeah, sorry about that. I would, you know, I started getting distracted honestly because I started philosophizing about what you were doing, if I'm really honest. There are lots of things that, like the beginning felt, you know, especially clear to me with the one, two, three, fours. But since I didn't really follow the process, I think I would rather just talk about what everything that this reminded me of, it reminded me of like classical contemporary percussion. So that for reference, that's like my background where that's like what I studied in undergrad. So this reminded me of some of the more theatrical body percussion pieces or playing drum set where you're separating, you know, different limbs or parts of your body to keep track of time. And that's what I got for moments when you were clapping and then started to syncopate from yourself. So that's something that struck to me. I thought about process music like Steve Reich and like how this was simple music where the, it was simple meaning in the way that we could clearly hear the layers and it was easy to keep track of what was happening sonically and the transformations that was happening. So when you would speed up or slow down or syncopate. And then I also thought a bit about Indian tallas which I'm not quite as like familiar with but some of the hand motions you were doing. And again, you were changing time between your voice and your hands. That's something that struck out to me that, and so I guess that's, if I was going to ask a question I was wondering if any of those references were in what you were doing. And also Kofi has some stuff and has seems to have added a thought. Oh yeah, just remind me of a January prompt generative art without a computer and shows the process of making patterns in a human thing. Yeah, I guess January must be something that happens in January, so look forward to that next month. But yeah, totally I've been really interested in South Indian rhythms and conical and been trying to get into that. And so I guess this was sort of an exploration of that kind of thing as a total novice but kind of introducing some pattern transformations that I enjoy exploring in the title. But it's interesting kind of connecting fairly contemporary practice like tidal with practice which is thousands of years old and actually much more developed. And yeah, seeing how something like South Indian kinetic rhythms can actually really take life going to the next level I think if we really managed to bridge these different worlds, there's a lot to learn. Be super interested in your background and percussion and the kinds of things that you've been doing and learning that but yeah, maybe that's enough time for me and we can talk about that another time. But yeah, thanks for that response. That was really nice and informative. All right, I mean, thank you. Before we completely let you go, so my timer technically has one minute. I wanna double check in the chat to make sure to see if anyone else has like anything to add or questions. And so I do see some things in the chat. So I see something from High Harmonics. They said, I was thinking about how this would be done in tidal. I could imagine the LC methods, how you were doing the changes. Algarave Club at UTC Sheffield said this, I could tell it was a pattern but what was changing is all, was difficult to tell what each transformation was but well done. And High Harmonics, another one. I enjoy the polyrhythms, how you evolve them. Yeah, nice. Yeah, I guess there has been a project by, I can't remember his name. But yeah, sort of looking at Indian classical rhythms and how to represent them in tidal. I'll say Aravind Mahandas did a summer Google of code project this year. And the ultimate aim is to build that kind of stuff into tidal. So at the moment, the kind of things I was doing would actually be how to do in tidal, adding and subtracting beats because it's so cycle-based without sort of messing with the tempo it's quite hard to do. So yeah, at the moment, working on this whole extra bit of tidal to try and make that kind of thing possible. And yeah, nice. Interesting. Thank you so much, Alex, that was wonderful. So moving on to our last presenter before our group Q&A section. I want to invite Jessica Garson. Hi, how's it going? Thank you so much for having me. Yeah, thank you everybody for having me here. I'm going to talk a little bit about my practice. Mostly this is going to be a demo. So I got started with live coding about five years ago. Pretty much exactly five years ago to the date, which is pretty exciting. And I started just making traditional dance music. And that's not what I like. That's not what I listened to. And I was like, this doesn't feel like me. And so I met Kate, who's actually on this call. And we were talking about me playing a show for live code NYC. And I was like, I wonder if I can make this sound more like me. And so the way that I found out to do it was that I would just sample myself screaming. And I knew nothing about sampling. I was in punk bands previously. And as I mentioned earlier, I used to just like drag and drop files from audacity into Sonic Pi. And actually the funny thing about that is I actually ended up going pretty much in that same direction. I used a looping pedal. I would do saving to a buffer in Sonic Pi. And then none of them were perfect. And I actually wrote a Python script that basically mimics that audacity process. And that's actually what I've been using today. But I was just going to basically give a brief demo of what my process looks like with scream samples and how I use it to kind of create this like dystopian beautiful world that I can like entrap you in for a few minutes. So yeah, I'm going to share my screen. All right, cool. And this is actually the scream.py script that I use typically if I'm doing live screams. But a lot of times, not every situation I want to scream, especially at 9 30 in the morning in a New York City apartment. So yeah, let's actually just make some music. I'm using Fox dot today, but I use everything from title to Sonic Pi. And but mostly Fox dot these days just because it's easy to just you to drop in screen samples. I use these days. I've tried a lot of things for live sampling screams. I also like to like layer presave screen samples on top of live samples. And yeah, I'm happy to answer any questions about my process. Also, Melody did mention that I have a album, which I hate promoting, but Melody mentioned it. So I guess I'll promote it and it's available. Anywhere that you listen to music, it's on Spotify and Bandcamp and lots of other places. So, and I can also mail you a tape if that's something that you're interested in as well. Thanks. Wonderful. Thank you. Thank you, Jess. That was great. I something that I would like to ask you about talked a lot about how you develop this aesthetic. You know, you wanted to try to sound more like you and I'm curious how screaming sounds like you. Yeah. So I used to be in punk bands and the feedback that I would always get is that my vocals weren't quote unquote strong enough. They were always like very squeaky. They sound like oscillators. And I think that that sounds awesome. And so I kind of got that feedback from a band that I was in once and they were like, oh, we can make this work, but it's like really squeaky your vocals. And I was like, that is awesome. I love my squeaky vocals. It doesn't work for every band, but like, you know, when I scream, it sounds like oscillators and I could get to a really high-pitched places. And I wanted a project that I could just kind of like explore that. I've always listened to noise music. I kind of love that world. I really like kind of changing what live code could be. It doesn't have to be one genre. Algorithm isn't just a genre. It's a medium that ties us together. And so I just wanted to make something different. I wanted to make something that you've never heard before. I wanted to make you be like, whoa, like what is that? And I also like my favorite thing about writing code is that you get to create the world that you want to live in. And so I want it to be this like beautiful dystopian place where you can like create whatever you want to create. And that's kind of like all of my work tends to like play with the tension between creating something beautiful and wanting to destroy it. And so I like will literally do that. Like I'll make a really pretty riff for you. And then I'll just like destroy it with my own screams and then like reveal that that like really pretty layer is still there at the end of the day. And that like it didn't go anywhere. It's just, you know, part of another thing that kind of like will slowly. Thank you. Thank you for sharing that. I can definitely get a sense of world, world building, the world building that you're describing from like your sound choices to like how you even, how you develop like visuals with your aesthetic. It's like a very cohesive world. Like I know this is you. Like, I'm not sure if I should, if it pops up on my Spotify or band camp without looking. So that's really great. Thank you for sharing that. I'm looking in the chat right now to see if there are other questions. We still have a bit of time for conversation. If people wanted to ask anything. Also you mentioned visuals and that's actually something that like is like a new thing for me. I think you were at the first show that I actually ever did using Hydra. I actually just was gifted a analog video since so I'm really trying to like develop it out a little bit more but like I tend to be more on the audio side but I am playing like my first two shows where I'm doing both I did visuals one set in an algorithm and that was really fun but I'm really trying to like explore that and like build my skills so I could create that same sort of like world building with that. Nice. I look forward to checking out checking those out that sounds really fun. I do see I do see a question actually related to your gear but I think we you kind of just answered it now. It was a it was a question about that editor setup and visualization. Yeah, I use the atom plug-in for Hydra. I just find that like I don't really use atom for anything other than live coding but I really like all the plugins that exist for title cycles and for Fox. And so I'm using the atom plug-in for Hydra is what I'm using and then it kind of like will continue to show the visuals even though it's in a different half which is pretty awesome and I remember the first time that I realized like how easy it was to make visuals and just have like my editor look awesome and I was like whoa I could just do that that's awesome so yeah that's a great question. I know that like I've seen people use like transparency and other things and I've played with that especially with Sonic Pi. I'll use like I have a different set that I recorded recently where I like just set the transparency on Sonic Pi to be nothing and then I have like my editor underneath. So there's different things that you can do. Thanks for that. Thank you for that tip. I would like we have one last question. One last question because it has no time. So this one is from Oh to clarify actually you know I'm sorry I misread the question and so we're going to pivot. You're still going to be asked the question but I would like to ask this question for everyone and so at this point in the schedule I would like to open this up to our group Q&A so if the other participants could also turn on their cameras and join us. I'd like to ask this question in the chat and so thank you thank you. So thank you Jess. So bringing it back to everyone. Someone asked Kofi more specifically when it comes to using your voice and your code you think of the computer as an extension of your voice or do you consider your voice an extension of the code? Does anyone want to answer this? I can say something. Yeah for me it's neither nor. I think I feel like I'm in a kind of like cycle with the code and where I'm like constantly consuming and producing at the same time and the artificial voices I'm working with are kind of doing the same thing. Yeah I don't feel like I have a tool that's like extending me. I feel like I'm kind of more in some sort of weird relationship with the tools. Well I love the idea of a weird relationship. I got like something romantic came to mind. It became really funny when you said that. It's definitely very intimate. Intimate sometimes turmoil sometimes big feelings. Is anyone else have any wanted to answer this question? Yeah I think I agree with that. I think I see the code as something that is someone just made a noise for me. But yeah I see the code as something distant from me. And the voice is something very close and intrinsic. And I think that's sort of the trade off with code is that it's far away from you. But that means that you can look at it you can point at it and talk about it. It's explainable whereas the voice I think is very close and tacit and inexplicable. But then as Jonathan says sort of having it in this sort of feedback between this code which is external but explicit language. And something like your voice it's yeah it's this weird relationship. It's hard to talk about but it's like the movement between the voice and the code is what is so generative and interesting. It feels almost impossible to jump between these two different worlds but somehow somehow it works. Yeah I'm also like there's also so much possibility like Jonathan your work was really inspiring to me around like how you can process voice and like you know how like you know I don't know maybe you want to like work with more generative voice aspects in my own work and like kind of sample in some of that and like I don't know I think that there's like a lot of possibility and being able to kind of like move between something that is still regimented to something that doesn't have to be is really kind of like I think there's a lot of opportunity in the space and I think like I'm really interested in seeing what other artists do you within that kind of like center of that pen diagram? Just see if there's any other questions right now. Okay, we'll wait to see more come up. I do have some questions. I guess something that I'm thinking about is like tips for people who are interested in trying to incorporate voice into their practice or maybe like an insight something surprising that you've all like learned along the way like an unexpected lesson. I'm wondering if anyone has something they'd like to share? I think in terms of like unexpected lessons I think I expected the tools to be really easy for like oh like I could just sample my voice and that'll be really easy and like you know it's gonna like take five minutes and I could probably do it in an afternoon and figure it out and like I'm still learning how to do that um you know for a set that I'm playing I have a like a analog looping pedal that like my code will also be getting through like my audio interface with like a delay chain and then being able to kind of like capture both has kind of been like where I've been thinking but like I'm still like learning how to do it and so I think one of the things that has been really unexpected to me is just like how it's not necessarily shake out and I know that not melody you have your own practice to you record into a buffer I've tried doing that and it's fun that it's not like 100% like couldn't get it to like save as long as I wanted and other things like that and so I think there's just a lot of ways that you can do it but it's also like I expected it to be really simple and easy to do and it's still something that like five years later I'm still learning how to do it and I'm still like mimicking the first thing that I did which is like using audacity and like dropping my file in like I don't know and you know I haven't quite found like you know I know that like some programs you have the sound in function and you could sing along with your code and there's other things melody you definitely do that all the time um but I think that there's different ways that you can kind of like go about doing it but also there's like a lot of like room for improvement and I've been thinking about like creating tools in that space to make it just easier I could I could jump on that um yeah I I have the exact same feeling as as Jessica was saying um and I think it's it's more fundamental than voice it's more uh about working with live instruments and like especially live sampling is really difficult for some reason with live coding languages uh it's like super easy with so many other softwares but for some reason you know I mean I've had to rebuild a live sampler so many times in supercollider and I still don't have one that works well uh and I and I find this is like kind of the first thing I wanted to do with voice was just live sample myself and then like play with my voice in real time um so yeah it it's really interesting to that we don't have like that that isn't more developed for some reason or that isn't there aren't more sophisticated tools for doing that or like a best practice approach or something like that yet but maybe we come up with one I don't know or we start sharing sharing our tools with the with each other and try to figure out what the best way of doing it is yes exciting when there's a untapped area um I have worked with um something called the tidal looper which is um a supercollider add-on by a guy whose name I can't remember but his hand or his mysteries and um and that's really fun to kind of granulate live sounds um and use tidal to um manipulate that live so it's like playing with samples but the samples are continually changing so you can have a pattern as a rhythmic structure based on the order that's coming in and then offset that with um an effect and um it can get really wild really quickly so it's and something like uh looping I think is um I really like actually and it's it has a similar structure I suppose to a lot of live coding in that you have these this building up of layers and then dissipating um but I think when you bring together looping and live coding you have so much sort of high level compositional control over what's happening that it can you can get into a very different place I think um closer to granular synthesis but where you're live chopping at these patterns things um I had a project with during lockdown with my friend EMA um sponsored by Eclectic in London you can probably find the video somewhere um and we were just at the start of that exploration but there's yeah lots of lots to explore I think yeah exciting area thank you for thank you for those answers it was great um so looking I'm looking in the chat and I said there are a few more questions and so um see a question for Alex does vocalizing the patterns change the pattern in your head or doesn't match what are you think what you are thinking about yes so in terms of that performance I did um it was based on a practice called conical um based on I forgot to mention this earlier so um normally you do it with the syllables of the rindangam drum um and I'm just learning like the basics of rhythmic patterns but look up conical if you're interested in that um in what the real but conical musicians do is absolutely incredible um but yeah in terms of vocalizing the patterns changing the patterns in my head um I guess it feels like yeah something it's the first time I've tried it but um yeah it feels like it's all part of the same yeah but it doesn't seem feel as distant as it does like with code um it feels much more like intuitive um and I find sometimes I lose control I'll just start repeating numbers without knowing without any order but somehow it all comes out in some kind of structure um so it's almost like my voice takes over um does the patterns change the patterns yeah I think having the voice continually speaking um has a strong influence on the pattern in my head but I I suppose there isn't really a difference like the pattern in my head is is what I'm vocalizing um and I'm trying to imagine what to do next but it just kind of happens really um yeah I think that's quite a vague way of answering that um but there's a more of an open question for everyone how does sampling the voice change the voice in your head so I'll offer that to Jessica and Jonathan yeah for me it's definitely something that like I don't know one of the things I just did in the performance that I gave for y'all was that I changed the rate and I could make my voice way deeper I can make it sound like an elephant I can like um I'm like I never thought of myself as like sounding like an elephant um particularly so like there's just a lot of possibilities like especially when you start adding on effects if you start like layering it more you can make it sound like a car alarm which is like one of my favorite um parts to get to um you know there's just like a lot that you can do and just like every so often like I actually in my car yesterday I was listening to my own album because I hadn't done it like in full since I put it out there into the world and I was like oh I haven't like listened to this as like a piece of music in a long time like I should just like make sure that it sounds and there were a couple moments where I was like that's me like I don't sound anything like that what like that's my voice what is that um and I think like that's one of the beautiful things about code is that you can make it sound however you want it to make it sound um and then you know like so I don't know I think that that's interesting Jonathan I'm interested in hearing from you because I think your work's so interesting in the fact that like it kind of takes voices and literally turns them into something else um yeah I it's an interesting question also the does the voice change the voice in your head I I just think about you know what is the voice in my head and I don't know if it really has like a tonality or a or a character it's somehow somehow like a bodyless voice and I feel like with the voice transformations and doing a lot of it has to do with kind of changing my own experience of my body uh at least for me that's that's what's exciting about it is that I feel like I have a new part of my body or a new body almost um because I enter in this kind of relationship with like a different sound that's coming out of my mouth and sometimes that yeah I guess it does have like a kind of a theater sort of quality to it like you're putting on a mask and becoming a different person or a different something could it could even be like a non-human um and I think that's kind of what I what I what I try to do like I would I would when I get really excited about what I'm doing is when I feel like I'm something else um and that can be really empowering and and yeah like this kind of shift between controlling kind of these vocal models with patterns versus controlling them with my own voice it's a very weird feeling and I feel like there's some kind of very strange friction between vocalizing and and writing code um and I think Alex may be touched on a bit with this uh code being like kind of an external thing and voice being kind of an internalized thing um but that's kind of like sort of sort of the challenge I'm facing or maybe not challenge but just like the kind of question that's why I was asking about like you know do we do even have like the bandwidth to juggle all of these different kind of flows and borrowing words from Kofi but I really like the idea of thinking about this in terms of flows um how do you how do you like manage all of these different different things in a like the situation of live coding um because I think that's also why there's not a lot of very good live sampling stuff going on in tools in live coding because you want to be able to just do it very intuitively with another part of your body not you know usually your fingers are busy or your or your brain is somewhere else and and there's a there's a quite a quite a sort of focused energy that I think is required to sort of detour and go to writing some code so yeah I think like trying to create this kind of flow where where the coding and the performativity can kind of dance with each other in a more fluid way I would I think that's kind of what I'm like trying to figure out now I don't know if I answered your question sorry I'm happy to talk talk with you later about about stuff that I didn't didn't answer properly that was wonderful this has been a wonderful conversation um and session at this point I think we need to wrap up um so but I want to thank you all again for presenting big thanks to our presenters for your insightful talks and so we're going to conclude this session next up our next session is on embodiment and movement go to the next youtube stream okay thank you all again goodbye