:::: Wednesday, December 2nd, 1pm, @ Silverstone Building, Room 121 ::::
Code is one of the most powerful, creative and transformative media available. However the potential of code is still largely incomprehensible and out of reach for most of our society. How and why should we address this as a problem? In order to help us unpick and explore these simple yet deep questions we will follow the story of Sonic Pi – a live coding music synth designed for the arts, research and education.
Sonic Pi was originally created as a response to the challenge of finding new ways to teach code in schools. It has since evolved into an extremely powerful and performance-ready live coding instrument suitable for professional artists and DJs. It is also a rich research platform for exploring questions related to liveness, time and concurrency in programming languages. Yet, despite this rapid evolution it has maintained its core mission – to be simple enough for 10 year olds.
Through Sonic Pi as a lens we will be forced to confront some interesting and challenging questions: – How is code creative? How can we communicate through code? Can programming languages be expressive interfaces? Can notation become an instrument? To what extent is performance a form of education and education a kind of performance?
You’ll also leave with a simple, joyful and powerful new musical instrument to start playing with.
Samuel Aaron is a researcher, software architect and computational thinker with a deep fascination surrounding the notion of programming as a form of communication. His research focuses on the design of novel domain specific languages to explore liveness, conceptual efficiency and performance within programming languages. Samuel works as a Research Associate at University of Cambridge Computer Laboratory, where he has created Sonic Pi, a powerful live coding environment for realtime sound synthesis targetted for education. Sonic Pi has been used successfully to teach programming and music within schools but also to live code music for people to dance to in nightclubs.
Sam will give a workshop afterwards between 2-4pm. Sign-up here: http://goo.gl/forms/yp21HIYE4x
We are running a hands-on introduction on live coding music, using open source software, at the Brighton Mini Maker Faire. The software introduced will be ixi lang and Sonic Pi. Participants will get familiar with both environments, and equipped for further explorations of musical composition and performance.
Drop in, write code, and make noise! This is easy! With no prior experience in coding necessary, this workshop will introduce you to live coding and give you the opportunity to experiment and have fun writing programs to make music. With on screen demonstrations and plenty of help provided for you to get stuck in – let the coding and noise commence!
Further information on the live coding systems
ixi lang (example here)
Sonic Pi (example here)
Organised by the Music Informatics and Performance Technologies Lab, University of Sussex.
Sonic Pi: Live & Coding Summer School at Cambridge Junction – (c) Clare Haigh
Screenshot of ixi lang
The 1st International Conference on Live Coding took place in July 2015 in Leeds. The conference was co-organised by the MIPT Lab at Sussex and ICSRIM in Leeds, facilitated by the AHRC-funded Live Coding Research Network.
The MIPT Lab had a strong presence at the conference: Sally Jane Norman gave a keynote on liveness in performance entitled “Live Coding and Embodied Action in Performance Contexts”, Chris Kiefer presented a paper and performed at the Algorave, and Thor Magnusson performed with his new CMN language as well as at the Algorave. The event was well documented thanks to MFM research funds, enabling Paul McConnell to attend armed with recording equipment. Honorary members of the lab, Nick Collins and Matt Yee-King also performed and gave papers.
The ICLC conference will take place in Hamilton, Canada next year, organised by LCRN collaborator David Ogborn.
The Conference Programme can be downloaded here: ICLC Programme.
The Sussex Humanities Lab in collaboration with the School of Media, Film and Music at the University of Sussex wishes to appoint a fixed-term (4-year) fellowship (Research Fellow) in Digital Technologies/Digital Performance. While based in the School of Media, Film and Music, the appointee will work across the Sussex Humanities Lab in collaboration with colleagues in History, Art History & Philosophy, Informatics, and Education and Social Work.
The ideal candidate will have a demonstrable track record of work in performance technologies as a theorist and/or creative practitioner, with clear evidence of technical expertise in all cases. Candidates with knowledge of one or more of the following: creative software (e.g. SuperCollider, Max/MSP or Pure Data), app development, graphic and games programming (e.g. OpenGL, Unity), physical computing, are particularly encouraged.
Further information on Sussex Jobs
A PDF with the job description can be downloaded here: Research Fellow in Digital Humanities/Digital Performance 226
:::: 13-15th July @ University of Leeds, UK ::::
The MIPTL is organising the first International Conference on Live Coding in collaboration with by ICSRiM in the School of Music, University of Leeds. This is part of our two-year AHRC funded Live Coding Research Network.
The ICLC conference will take place over three days and include paper presentations, demos, concerts and algoraves.
:::: Wednesday, Feb 11th, 1-1.50pm, @ Recital Room, Falmer House 120 ::::
Chris Kiefer (Informatics at Sussex) will present his latest research in our third Music Research Event this term.
Experiments with Mutiparametric Musical Instruments
This talk is about designing new digital musical instruments that use large groups of sensors to capture detailed human interaction. These techniques present interesting opportunities to use multiparametric computational processes for creating mappings and synthesising sound. They also present challenges about how this complex and non-linear method of instrument design can be used artistically. I will present case studies of several instruments that use these techniques, including malleable controllers, touch screen applications and interactive sculptures that write code.