Posts tagged ‘live coding’
Pleased to see that my colleagues are getting recognition for their cool work.
On my recent trip to Germany, I got to connect to live coding again. At the Dagstuhl Seminar I attended, I visited with Alan Blackwell who organized the live coding Dagstuhl Seminar I attended and has been doing live coding with Sam Aaron (of SonicPI fame). When I got back to Oldenburg, I visited with Graham Coleman, a Georgia Tech alum who is completing a PhD in computer music and who was an active live coder in Atlanta. Great to see the first international conference happening soon!
First International Conference on Live Coding
ICSRiM, School of Music, University of Leeds
13th-15th July 2015
We are happy to announce that registration for ICLC2015 is now open. Live coding turns programming languages into live interfaces, allowing us to directly manipulate computation via its notation. Live coding has great potential, being used for example to create improvised music and visuals, to allow developers to collaborate in new ways, to better understand computational models by making fundamental changes to them on-the-fly, and to find new ways to learn and teach programming.
Since the beginning of the TOPLAP movement in 2003 (building on an extensive but hidden pre-history), live coding has grown fast, attracting interest from many people in artistic, creative, scientific, educational, business and mixed contexts. After a good number of international events, the time is right to bring these people together for an academic conference, exchanging ideas and techniques, and enjoying dozens of peer reviewed papers and performances. The conference will also open up the field for people new to live coding, so they may develop and contribute their own perspectives on this emerging field. Join us!
Registration is £80 (£50 concessions) for the three day conference
including lunches, evening events, and more.
See the website for details of the developing programme:
And register here, completing both the on-line payment and registration forms.
ICLC is organised by the Live Coding Research Network, which is funded by the Arts and Humanities Research Council.
In the Preface to the new 4th ed book, I wrote a bit about what we know about how to teach computer science using Media Computation. These are probably useful in most CS classes, even without Media Computation:
Over the last 10 years, we have learned some of the approaches that work best for teaching Media Computation.
- Let the students be creative. The most successful Media Computation classes use open-ended assignments that let the students choose what media they use. For example, a collage assignment might specify the use of particular filters and com- positions, but allow for the student to choose exactly what pictures are used. These assignments often lead to the students putting in a lot more time to get just the look that they wanted, and that extra time can lead to improved learning.
- Let the students share what they produce. Students can produce some beautiful pictures, sounds, and movies using Media Computation. Those products are more motivating for the students when they get to share them with others. Some schools provide online spaces where students can post and share their products. Other schools have even printed student work and held an art gallery.
- Code live in front of the class. The best part of the teacher actually typing in code in front of the class is that nobody can code for long in front of an audience and not make a mistake. When the teacher makes a mistake and fixes it, the students see (a) that errors are expected and (b) there is a process for fixing them. Coding live when you are producing images and sounds is fun, and can lead to unexpected results and the opportunity to explore, “How did that happen?”
- Pair programming leads to better learning and retention. The research results on pair programming are tremendous. Classes that use pair programming have better retention results, and the students learn more.
- Peer instruction is great. Not only does peer instruction lead to better learning and retention outcomes, but it also gives the teacher better feedback on what the students are learning and what they are struggling with. We strongly encourage the use of peer instruction in computing classes.
- Worked examples help with learning creativity. Most computer science classes do not provide anywhere near enough worked-out examples for students to learn from. Students like to learn from examples. One of the benefits of Media Computation is that we provide a lot of examples (we’ve never tried to count the number of for and if statements in the book!), and it’s easy to produce more of them. In class, we do an activity where we hand out example programs, then show a particular effect. We ask pairs or groups of students to figure out which program generated that effect. The students talk about code, and study a bunch of examples.
First International Conference on Live Coding
13-15th July 2015, University of Leeds, UK
With pleasure we announce the initial call for papers and performances for the
first International Conference on Live Coding, hosted by ICSRiM in the School
of Music, University of Leeds, UK.
This conference follows a long line of international events on liveness in
computer programming; the Changing Grammars live audio programming symposium in
Hamburg 2004, the LOSS Livecode festival in Sheffield 2007, the annual Vivo
festivals in Mexico City from 2012, the live.code.festival in Karlsruhe, the
LIVE workshop at ICSE on live programming, and Dagstuhl Seminar 13382 on
Collaboration and Learning through Live Coding in 2013, as well as numerous
workshops, concerts, algoraves and conference special sessions. It also follows
a series of Live Coding Research Network symposia on diverse topics, and the
activities of the TOPLAP community since 2004. We hope that this conference
will act as a confluence for all this work, helping establish live coding as an
interdisciplinary field, exploring liveness in symbolic abstractions, and
understanding the perceptual, creative, productive, philosophical and cultural
The proceedings will be published with ISSN, and there will also be an
follow-on opportunity to contribute to a special issue of the Journal on
Performance Arts and Digital Media; details will be announced soon.
* Templates available and submissions system open: 8th December 2014
* Performance submissions deadline: 16th February 2015
* Paper submissions deadline: 1st March 2015
* Notification of results: 10th April 2015
* Camera ready deadline: 10th May 2015
* Conference: 13-15th July 2015
* Long papers (6-12 pages)
* Short papers (4-6 pages)
* Poster/demo papers (2-4 pages)
* Performances (1 page abstract and technical rider)
ICLC is an interdisciplinary conference, so a wide range of approaches are
encouraged and we recognise that the appropriate length of a paper may vary
considerably depending on the approach. However, all submissions must propose
an original contribution to Live Coding research, cite relevant previous work,
and apply appropriate research methods.
The following long list of topics, contributed by early career researchers in
the field, are indicative of the breadth of research we wish to include:
* Live coding and the body; tangibility, gesture, embodiment
* Creative collaboration through live code
* Live coding in education, teaching and learning
* Live coding terminology and the cognitive dimensions of notation
* Live language and interface design
* CUIs: Code as live user interface
* Domain specific languages, and the live coding ecosystem
* Programming language experience design: visualising live process and state in
* Virtuosity, flow, aesthetics and phenomenology of live code
* Live coding: composition, improvisation or something else?
* Time in notation, process, and perception
* Live coding of and inside computer games and virtual reality
* Live programming languages as art: esoteric and idiosyncratic systems
* Bugfixing in/as performance
* Individual expression in shared live coding environments
* Live coding across the senses and algorithmic synaesthesia
* Audience research and ethnographies of live coding
* Live coding without computers
* Live coding before Live Coding; historical perspectives on live programming
* Heritage, vintage and nostalgia – bringing the past to life with code
* Live coding in public and in private
* Cultural processes of live programming language design
* General purpose live programming languages and live coding operating systems
* Connecting live coding with ancient arts or crafts practice
* Live coding and the hacker/maker movement: DIY and hacker aesthetics
* Critical reflections; diversity in the live coding community
* The freedom of liveness, and free/open source software
Submissions which work beyond the above are encouraged, but all should have
live coding research or practice at their core. Please contact us if you have
any questions about remit.
Please email feedback and/or questions to email@example.com
Post to SIGCSE-members, re-posted here with Steve’s permission.
It’s a common lament that CS education is an isolated practice. You teach in your own classroom, a colleague drops by once a year for performance review, and otherwise only your students know what you do.
We know what you’re thinking:
I wish there were a place where CS educators were kept on 24-hour public display (locked securely behind iron bars, of course).
Well, now there is!
Announcing the CS Education Zoo http://webyrd.net/zoo.html, a bi-weekly-very-ish interview series where CS educators (and people with animal-themed last names) Will Byrd and Steve Wolfman interview interesting people involved in CS education (even if they lack animal-themed last names).
So far, we’ve posted six episodes:
+ Mark Guzdial extols the power and potential of live coding (and MUCH more): https://www.youtube.com/watch?v=z1oTtPECHZI
+ David Nolen ponders the impact of a programmer’s first language on their learning (and MUCH more): https://www.youtube.com/watch?v=WxR-AjRZUrQ
+ Becky Bates shares how to craft a large, heterogeneous project course (and MUCH more): https://www.youtube.com/watch?v=8QSOHDo4pVA
+ Jeff Forbes explains why “rapid feedback is better than good feedback” (and MUCH more): https://www.youtube.com/watch?v=mJVoPE7IeaI
+ Rob Simmons discusses the subtleties of teaching formal reasoning about programming in intro courses (and MUCH more): http://www.youtube.com/watch?v=b2xd5Bc_-Os
+ Kim Voll tells us what to tell our students interested in gaming careers (and MUCH more): https://www.youtube.com/watch?v=4JcNHHSPMzE
And in the works: a chat with some of the people behind Hacker School.
P.S. Drop us a line (firstname.lastname@example.org or tweet like the cool kids apparently do to @steve_wolfman and @webyrd) if there’s some person, group, or other amorphous-but-audible entity you think we should invite!
My eldest child graduated from college this last year, and I’m feeling my first half-century these days. That may be why I was particularly struck by the themes in Jason Freeman’s beautiful new work. I recommend visiting and reading the page, and you’ll get why this is so cool, even before you listen to the music. It’s not live coding — it’s kind of the opposite. It’s another great example of using music to motivate the learning of computing.
Why can’t my music grow old with me?
Why does a recording sound exactly the same every time I listen to it? That makes sense when recordings are frozen in time on wax cylinders or vinyl or compact discs. But most of the music I listen to these days comes from a cloud-based streaming music service, and those digital 1s and 0s are streamed pretty much the same way every time.
In this world of infinitely malleable, movable bits, why must the music always stay the same? From day to day and year to year, I change. I bring new perspectives and experiences to the music I hear. Can my music change with me?
This streaming EP is my attempt to answer these questions. Once a day, a simple computer program recreates each track. From one day to the next, the changes in each track are usually quite subtle, and you may not even notice a difference. But over longer periods of time — weeks, months, or years — the changes become more substantial. So when you return to this music after a hiatus, then it, like you, will have changed.
Interesting announcement from Thor Magnusson and Alex McLean — more energy going into livecoding. Check out the doctoral consortium around livecoding, too.
AHRC Live Coding Research Network
We are happy to announce the launch of the Live Coding Research
Network (LCRN), hosting a diverse series of events and activities over
the next two years, funded by the UK Arts and Humanities Research
Council (AHRC). In addition the TOPLAP organisation will run a
year-long programme of performance events around the country,
supported by the Sound and Music national agency for new music.
If you are unfamiliar with the practice of live coding, for now we
refer you to the website of our sister organisation TOPLAP:
Following a successful launch symposium last month, we have three more
symposia, an international conference as well as a range of associated
events already planned.
4th-6th July 2014, University of Sussex, Brighton – “Live coding and the body”
Our second symposium will be preceded by an “algorave” night of
performances at The Loft on the 4th July, with the symposium proper
running on the 5th and 6th of July. This symposium will follow after
the NIME conference in London (http://www.nime2014.org/), which will
itself include a good number of live coding performances and papers.
Please see our website for more information:
25th-28th September 2014, Birmingham – “Live coding in collaboration
and network music”
Our third symposium will run from the 25th-26th September 2014, with
the first day focussed on doctoral research. It will lead into the
well established Network Music Festival
(http://networkmusicfestival.org/), running over the weekend, which
will itself showcase network-based live coding music amongst its
programme. Watch our website for details.
UPCOMING ASSOCIATED EVENTS
* 26th April 2014, Gateshead from 10pm – An algorave celebrating great
Northern live coders Holger Ballweg, Hellocatfood, Shelly Knotts, Sick
Lincoln, Norah Lorway, Section_9, Yaxu + more. Organised by the
Audacious Art Experiment.
More info: https://www.facebook.com/events/291980540962097/291989147627903/
* 13th May 2014, London – Sonic Pattern and the Textility of Code, a
daytime symposium in collaboration with the Craft Council. More
details on our website next week.
We have much more in the pipeline, please watch our website and social
media feeds for more information:
Or get in contact with network co-ordinators Thor Magnusson <Thor
Magnusson <T.Magnusson@sussex.ac.uk> and Alex McLean