Author:
Masu Raul,Dal Rì Francesco Ardan
Abstract
In live coding, the code can be considered as an archetypal form of score that notates formal processes. We aimed at investigating the possibility of using graphic visuals as a complementary form of descriptive score by visualising sound events using different time representations. To this end, we devised two visualisation systems (Time_X and Time_Z). Time_X represents time along thex-axis, while in Time_Z the objects overlap along an imaginaryz-axis. Based on our previous personal experience with the system, such forms of visual scores can help to develop new musicking strategies while live coding. In this article, we wanted to broaden such reflections, and we used them as probes in a study with three live coders. After tailoring the two systems to the usual practice of the three participants, we asked them to use the systems for three weeks and keep a diary. At the end, we interviewed them. Based on their comments, we present some reflections on the use of graphic forms of visualisation in live coding, on how they can support musicking process, and to what extent such visuals can be considered scores.
Publisher
Cambridge University Press (CUP)
Subject
Computer Science Applications,Music
Reference53 articles.
1. Nash, C. and Blackwell, A. F. 2011. Tracking Virtuosity and Flow in Computer Music. Proceedings of the 2011 ICMC, Hudderfield, UK.
2. Parkinson, A. and Bell, R. 2015. Deadmau5, Derek Bailey and the Laptop Instrument–Improvisation, Composition and Liveness in Live Coding. https://research.gold.ac.uk/id/eprint/12838/1/101_Deadmau5_Derek_Bailey_and_the_Laptop.pdf (accessed 14 July 2023).
3. The Embodied Mind
4. McLean, A. and Wiggins, G. 2011. Texture: Visual notation for live coding of pattern. Proceedings of the 2011 ICMC, Hudderfield, UK.
5. Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments