For all the live coding fans, today is the launch event for the new AHRC Live Coding Research Network led by Alex and Thor Magnusson. More about upcoming events here: http://www.livecodenetwork.org
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> On 20 Mar 2014, at 20:58, Paul Catanese <[log in to unmask]> wrote:
>
> Love the conversation; delurking now.
>
> I'm fascinated w/Live Code as a practice, and how there are requirements
> for virtuosity; legibility of virtuosity; potential for failure; reception
> of structure; interlacing of venue value systems; material rupture. Poorly
> done live code, like other performances poorly done is quite exasperating;
> though very bad theatre is a very specific real-time
> cringe. Well done, viewers/audience can feel aloft; they may even be
> aloft. Toplap is a fantastic resource - though I'd be curious to hear
> about what specific artists/performers/performances that each of you
> return to again and again / the exemplary works that you reference when
> wanting to share this practice with others.
>
> Barbara, I am intrigued by the notion of "performance" emerging from code
> palimpsests; do you have specific examples of works to point us to that
> speak to this? I ask because the palimpsest is extremely evocative - the
> description you give seems more of a look-up-table / a fusion of
> maps/territories - though I suspect you mean it more broadly.
>
> -paul
>
>
>
>
>
>
>
>> On 3/20/14 9:48 AM, "Paul Brown" <[log in to unmask]> wrote:
>>
>> See: http://en.wikipedia.org/wiki/Heterarchy
>>
>>
>>
>>
>>> On 20 March 2014 14:55, Victoria Bradbury <[log in to unmask]> wrote:
>>>
>>> Hi Barbara and list,
>>>
>>> So a diagram of this, then, would be a line made up of points, with no
>>> hierarchy of parts or actions, so that each point can cross-reference
>>> any
>>> other.
>>>
>>>
>>>
>>> .........................................................................
>>> .............
>>>
>>> Victoria
>>>
>>>
>>> On Tue, Mar 18, 2014 at 3:44 PM, Barbara Lattanzi <[log in to unmask]
>>>> wrote:
>>>
>>>> Hi Victoria.
>>>>
>>>> First of all, I should not leave an impression of hierarchy.
>>>>
>>>> When you say
>>>>
>>>> "the possibility of interaction that creates another layer of
>>>> representationof the code."
>>>>
>>>> This is actually opposite what I meant.
>>>>
>>>> n other words, the goal is absolutely not the "representation of the
>>>> code".
>>>>
>>>> Code is just one more representation among many. And that is the
>>> point.
>>>>
>>>> A loose analogy might be the Table of Elements, where new chemical
>>>> elements are being continually added, either by discovery or creation
>>> in
>>> a
>>>> lab somewhere. In art, too, there is a continual adding of
>>> newly-available
>>>> forms of representation. Code is one of these.
>>>>
>>>> The key concept, absolutely central (and where the chemistry analogy
>>>> breaks down), is that there is no fundamental representation in any
>>>> artwork. Code is not fundamental. Pictures are not fundamental.
>>> Actions
>>>> are not fundamental, etc.
>>>>
>>>> What is the "true" representation? The TopLap artists, I believe,
>>> would
>>>> say all of them and none of them.
>>>>
>>>> Where is the "true" representation? It exist as - or among - a set of
>>>> representations. So, the only way to apprehend the representation is
>>> to
>>>> cross-reference one's experience of the set of them.
>>>>
>>>> What do you do when you cross-reference something? Is it like
>>>> cross-dressing???
>>>>
>>>> Sure!
>>>>
>>>> You inhabit and internalize different areas of the representation's
>>> set
>>> of
>>>> external actualizations. You navigate the internalized
>>> representation.
>>> In
>>>> one territory of actualization you see mountains and streams. In
>>> another
>>>> territory of the set, you see text that resembles English but is meant
>>> for
>>>> a machine. In another territory you see a diagram of socio-political
>>>> protocols that constrain the viewer.....etc.
>>>>
>>>> It is still one representation, but it is invisible. But you can only
>>>> perceive it as a palimpsest of its specific set of actualizations.
>>> Your
>>>> effort, as its audience, is to perceive it, i.e., to internalize the
>>> set
>>> of
>>>> actualizations as a coherent entity. Palimpsest is a metaphorical
>>> way of
>>>> describing the very material activity of cross-reference.
>>>>
>>>> You need perceptual know-how gained with experience. Lesser
>>> experience
>>>> does not exclude anyone. But there are rewards for the
>>>> culturally-developed activity of cross-referencing those perceptions
>>> and
>>>> other forms of awareness (e.g., textual, institutional,
>>> diagrammatic,etc).
>>>>
>>>> P.S.
>>>>
>>>> We cross-reference when we travel. For example, I look at a map. I
>>>> remember an address. I phone a friend of a friend to give me
>>> landmarks
>>> to
>>>> look for. I hold a ticket and identification. I try some unfamiliar
>>> food.
>>>> I snap a picture with a new friend, etc. My internal representation
>>> of a
>>>> place of travel is a cross-reference of all these things at once.
>>>>
>>>> Barbara
>>>>
>>>>
>>>>
>>>> On Mar 18, 2014, at 10:42 AM, Victoria Bradbury <[log in to unmask]>
>>>> wrote:
>>>>
>>>>> Hi Barbara.
>>>>>
>>>>> You talk here about layers of code as experience, from the code you
>>> write
>>>>> to the visual output that is interpreted through the eyes of a
>>> viewer,
>>> to
>>>>>
>>>>>
>>>>> In this model, the participants' actions in the presence of the
>>> coded
>>>> piece
>>>>> are just another abstraction of top-level code, above the high-level
>>>>> programming language you are writing and above the imagery that
>>>> "abstracts"
>>>>> the written code from the viewer/participant.
>>>>>
>>>>> I like this leveling that you are creating between and among these
>>>> layers -
>>>>> with no need to stop at saying that the highest level of written
>>> code
>>> is
>>>>> the end of the "code". Code now continues to be code (albeit in a
>>>>> different form) as it becomes image or as it becomes visitor
>>> engagement.
>>>>> It is still code when it becomes action, just at a higher and higher
>>>> level
>>>>> (I'm also itching to make a diagram of this to see it visually!).
>>>>>
>>>>> I am now stuck on your use of the term cross-referencing. Can you
>>>> explain
>>>>> this further, maybe with an example of one of your works?
>>>>>
>>>>> And the audience's perceptual know-how - does this require a special
>>>>> audience, or any person with the ability to perceive (ie: is
>>> perceptual
>>>>> know-how simply the use of the senses, or does it require other
>>> skills?)
>>>>>
>>>>> Thanks for your thoughts.
>>>>> Victoria
>>>>>
>>>>>
>>>>> On Tue, Mar 18, 2014 at 12:22 PM, Barbara Lattanzi <
>>> [log in to unmask]
>>>>> wrote:
>>>>>
>>>>>> Hi Laura.
>>>>>>
>>>>>> It is a pleasure to have this impressive list of references.
>>>>>>
>>>>>> Here is a thought most closely related, maybe, to Roger Malina's
>>> idea
>>>> you
>>>>>> cite...that live coding facilitating interconnections among art,
>>>> science,
>>>>>> and technology.
>>>>>>
>>>>>> As an artist teaching myself, mid-1990s, how to code, it occurred
>>> to
>>> me
>>>>>> some very obvious things (in retrospect)
>>>>>>
>>>>>> 1. that coding was a representation.
>>>>>> 2. that the processes being encoded were representations
>>>>>> too...."registrations" at the level of the machine, plus objects in
>>> the
>>>>>> RAM-space of the computer constituting an invisibly communicating
>>>> network.
>>>>>> 3. that layered "on top" of these were the bitmapped
>>> representations
>>> of
>>>>>> what the viewer would see.
>>>>>> 4. that opening up the viewer to interactions could be an embodied
>>>>>> different form of represention.
>>>>>>
>>>>>> Which was the "real", intended representation?
>>>>>>
>>>>>> The final insight for me, in my struggle to just wrap my head
>>> around
>>>>>> coding, was the realization that a representation could be a
>>> matter of
>>>>>> cross-referencing.
>>>>>>
>>>>>> In other words, in a situation of ever-proliferating, multiple
>>>>>> representations of the "same thing" ((a singularity?)), forms of
>>> human
>>>>>> reception are reconfigured as processes of cross-referencing.
>>>>>>
>>>>>> A set of cross-references is my understanding of what a "real"
>>>>>> representation is.
>>>>>>
>>>>>> That is why I was so excited to see the emergence of code
>>> performance,
>>>>>> such as TopLap collective's code performances in the early 2000s.
>>> Their
>>>>>> performances gave the audience a clear passage to the act of
>>>>>> cross-referencing as perceptual know-how.
>>>>>>
>>>>>> Representation emerges through process of cross-reference.
>>>>>> Cross-reference is a process dependent on perceptual know-how of
>>> the
>>>>>> audience.
>>>>>>
>>>>>>
>>>>>> Barbara
>>>>>>
>>>>>>
>>>>>> vimeo.com/idiomorphics/videos
>>>>>> wildernesspuppets.net
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>> On Mar 18, 2014, at 6:41 AM, Laura Plana Gracia <
>>>>>> [log in to unmask]> wrote:
>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> hello list. here some notes about live coding and research about
>>> live
>>>>>> coding facilitating interconnections among
>>>>>>>
>>>>>>>
>>>>>>> thomas dreher - conceptual art and software art
>>>>>>> http://iasl.uni-muenchen.de/links/NAKSe.html
>>>>>>>
>>>>>>> conceptual art - is a reference for live coding because operates
>>> using
>>>>>> instructions. art&language.
>>>>>>>
>>>>>>> inke arns - code as executable text
>>> http://www.medienkunstnetz.de/themes/generative-tools/read_me/print/
>>>>>>>
>>>>>>>
>>>>>>> wittgenstein - was professor on philoshy and maths. among his
>>> student
>>>>>> allan turing. i use wittgenstein to underline the relations among
>>>> language
>>>>>> - philosophy - logic - maths - computer science.
>>>>>>> http://www.turing.org.uk/publications/ex4.html
>>>>>>>
>>>>>>> john cage - received influences from orienal philosophy, i-ching,
>>> he
>>>>>> wrote music of changes, and develop first software.art:
>>>>>> http://www.anarchicharmony.org/People/Culver/CagePrograms.html
>>>>>>>
>>>>>>>
>>>>>>> live.coding performance:
>>>>>>> - innovation tool for change, implying movement, non-objecthood
>>>>>>> - indispensable for media literacy, pedagogy of code, or new
>>> learning
>>>>>> methodologies
>>>>>>>
>>>>>>> mcluhan, the medium is the message.
>>>>>>>
>>>>>>> roger malina, SEAD, network of science, engineering, arts and
>>> design,
>>>>>> states how important is to link art, science, technology. live
>>> coding
>>>>>> facilitates this structures.
>>>>>>> http://sead.viz.tamu.edu/projects/research.html
>>>>>>>
>>>>>>>
>>>>>>> steve dietz, in content - form - immaterial, states how curatorial
>>>>>> practice is about translation and how translation is about
>>> decoding /
>>>>>> coding, here is an explanation about performativity of code,
>>>>>> interpretation, dynamics, etc....
>>>>>>> http://cont3xt.net/blog/?p=4750
>>>>>>>
>>>>>>> http://cont3xt.net/blog/?p=4750
>>>>>>>
>>>>>>> claude hallen, artist. explaning the sequence from maths to code
>>>>>>> http://mathr.co.uk/blog/livecode.html
>>>>>>>
>>>>>>> http://mathr.co.uk/blog/2011-12-31_the_sky_cracked_open.html
>>>>>>>
>>>>>>>
>>>>>>> language code text furtherfield
>>>
>>> http://www.furtherfield.org/blog/laure-les-aus/language-code-determinatio
>>> n-indeterminacy-analogue-and-digital-systems
>>>>>>>
>>>>>>> language code exhibition conservas . it develops a structure of a
>>>>>> workshop where suposed audiences where considered actors. roles of
>>>>>> spectatorship change through learning, gaming, playing, or creating
>>>>>>> http://lauraplanagracia.blogspot.co.uk/2011_03_15_archive.html
>>>>>>>
>>>>>>>
>>>>>>> other exhibitions http://rhizome.org/announce/events/60374/view/
>>>>>>> http://apexart.org/exhibitions/buechley.php
>>>>>>>
>>>>>>>
>>>>>>> please share and comment. . . . . .
>>>>>>>
>>>>>>> laura plana gracia
>>>>>>> Artist - Curator - lecturer
>>>>>>> electronic art - sound art
>>>>>
>>>>>
>>>>>
>>>>> --
>>>>> // Victoria Bradbury
>>>>> <PROJECTS> www.victoriabradbury.com
>>>>> Researcher @ www.crumbweb.org
>>>>> New Media Caucus <http://www.newmediacaucus.org> <CommComm>
>>>>> Attaya Projects <http://attayaprojects.com> // Collaborator
>>>
>>>
>>>
>>> --
>>> // Victoria Bradbury
>>> <PROJECTS> www.victoriabradbury.com
>>> Researcher @ www.crumbweb.org
>>> New Media Caucus <http://www.newmediacaucus.org> <CommComm>
>>> Attaya Projects <http://attayaprojects.com> // Collaborator
>>
>>
>>
>> --
>> ====
>> Paul Brown - based in the UK March to May 2014
>> http://www.paul-brown.com == http://www.brown-and-son.com
>> UK Mobile +44 (0)794 104 8228
>> Skype paul-g-brown
>> ====
>> Honorary Visiting Professor - Sussex University
>> http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
>> ====
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