Category Archives: misc

Live coding the Epson LX-80

Here’s my first go at live coding the Epson LX-80, in preparation for the Hugh Davies concert in Leeds on 17th October. I’m just sending characters to print, and changing the print speed.. Already getting some interesting timbres out. It’s in sync with the rest of my Tidal stuff, although gets a bit behind towards the end when I send it too much data.. It catches up in the end.

Reminds me of seeing the awesome Treewave at the runme/dorkbot citycamp in 2004:

Post barrow

Just back from an inspiring few days in Barrow at Digital Media Labs.

Among other things I had a fun couple of improv sessions with Shelly, in order to see whether Gemma could see differences in brain activity (via EEG) between solo and collaborative live coding. Here’s one of them:

When I got back home I did this stream, the start inspired by a strange noise that cropped up halfway through the above..

Daphne Oram award

Daphne Oram on her Oramics machine

I gave the inaugural BSA Award Lecture for Digital Innovation at the British Science Festival in Bradford earlier this week. It’s a special honour because the award is given in the name of Daphne Oram, happily her niece came to the lecture, who told me she painted on the Oramics machine when she visited her Aunt. I was in too much of a pre-talk fluster to write down her name, sadly.

The talk itself was called “Live coding: creating languages for making music”. It wasn’t recorded, but here’s a nice interview which I think captures most of what I was trying to say very well.

The Generative Manifesto, August 2000

generative-manifestoThe Generative Manifesto
Ade Ward and Alex McLean (Slub)
Presented at the Institute for Contemporary Arts, 23rd August 2000

  1. Attention to detail – that only hand made generative music can allow (code allows you to go deeper into creative structures)
  2. Realtime output and compositional control – we hate to wait (it is inconceivable to expect non-realtime systems to exhibit signs of life)
  3. Construct and explore new sonic environments with echoes from our own. (art reflects human narrative, code reflects human activity)
  4. Open process, open minds – we have nothing to hide (code is unambiguous, it can never hide behind obscurity. We seek to abolish obscurity in the arts)
  5. Only use software applications written by ourselves – software dictates output, we dictate software (authorship cannot be granted to those who have not authored!)

Events rhino

I just had a total blast at Sonic Pattern and the Textility of Code. I wrote a little bit about it over on Weaving Codes.

It seems people still aren’t getting tired of the word ‘algorave’, now looking forward to

  • xCoAx 2015, in Glasgow. The third edition of this conference which really plugged a gap in my world.. I went to the first edition in Bergamo which was excellent, the very well conceived call for participation drew a wide range of thinkers and makers together. I couldn’t make the second one but am happy to be presenting a paper about live coding collaboration, and performing at the algorave with some greats.
  • Then much of the live coding field descending on Yorkshire for an Algorave in Sheffield and a three day conference in Leeds that I have the pleasure of organising as part of an excellent team.
  • Then thankfully things slow down for the summer, but looking forward to spending some time in Vancouver and playing the ISEA Algorave there together with fine algorave veterans both human and computational.
  • Then to Tilburg with Yee-King for the huge Incubate festival, which includes a little Algorave. It’ll be good to see Leafcutter do his first ‘official’ algorave, although he’s been bringing algorithms to actual raves for quite some time. Stalwarts Sam and Norah will also be there. It’ll be techno.

I’ve also got a load of collaborative alternative hackathons planned, including one at the ODI summit, as well as a public lecture to be announced very soon..

Beat perception

I’m collaborating with Alex Keegan on audio/visual performances drawing from research into beat perception. We’re starting by deliberately breaking the following rules in turn:

1. Any rhythm that follows a pulse formed of regular (isochronous) rhythms will itself, be regular.
2. Any section that has a regular pulse will progress to a following section which also has a regular pulse.
3. The progression of certain characteristic sections will follow each other in sequence, For example a ‘drop’ will always follow from a ‘build-up’.

The idea is to push against the edges of the perception of rhythm and meter, touching into the hallowed ground of frustration and annoyance, using two drum machines and four projectors controlled by Tidal..

Our first performance is tonight at this event at Theatre Deli in Sheffield, we’ll on be in the basement twice, around 9:40 and 11:40. There’ll also be some proper music upstairs, footwork and grime. Then we’ll try it again next week at Access Space, also in Sheffield, as part of the Sonic Pattern night programme.

Peak cut postcards

Nice to see some photos + videos of peak cut in action crop up from around the world:

#computerclub This Ep is releaaed on microSD. Yaxu – Peak Cut

A photo posted by Der Tausendkünstler (@chriak) on