David Ogborn: EspGrid

In Canada, laptop orchestras get tones of gigs.
Naive sync methods: do redundant packet transmission – so send the same value several times in a row. This actually increases the chance of collision, but probably one will get through. Or you can schedule further in advance and schedule larger chunks – so send a measure instead of just sending a beat.
download it from esp.mcmasters.ca. mac only
5 design principles

  • Immediacy – launch it and you’ve got stuff going right away
  • Decentralisation – everything is peer to peer
  • Neutrality – works with chuck, supercollider, whatever
  • Hybridity – they can even use different software on the same computer at the same time
  • Extensibility – it can schedule arbitrary stuff

The grid has public and private parts. EspGrid communicates with other apps via localhost OSC. Your copy of supercollider does not talk to the larger network. EspGrid handles all that.
The “private protocol” is not osc. It’s going to use a binary format for transmission. Interoperability is thus only based on client software, not based on the middleware.
Because the Grid thing runs OSC to clients, it can run on a neighbour’s computer and send the osc messages to linux users or other unsupported OSes.
The program is largely meant to be run in the background. You can turn a beat on or off, and this is shared across the network. You can chat. You can share clipboards. Also, Chuck will dump stuff directly.
Arbitrary osc messages will be echoed out, with a time stamp. you can schedule them for the future.
You can publish papers on this stuff or use it to test shit for papers. Like swap sync methods and test which works best.
Reference Beacon does triangulation to figure out latencies.
He wants to add WAN stuff, but not change the UI, so the users won’t notice.

Question

Have they considered client/server topology for time sync? No. A server is a point of failure.
Security implications? He has not considered the possibility of sending naughty messages or how to stop them.
Licence? Some Open Source one… maybe GPL2. It’s on google code.

Chad McKinney – Lich.js – A Networked Audio / Visual Live Coding Language

They started with SuperCollider and have gone on from there. He’s into updates in browser technologies.
He decided to write a language first as a way to start live coding.
Uses web audio and web gl
This language is GPL2 and is on github
If you’re on Chrome, go mess with http://www.chadmckinneyaudio.com/Lich.js/Lich.html

Battery dying

Alex McLean

He did command line scripts 2001-2004, then started working in perl, the Haskell.
slub – writing code to make music to drink beer to.
Feedback.pl – writing code to write code to make music to drink beer to
He read Laurie Spiegel’s paper on manipulations of musical patterns, so he got into pattern languages (ie HMSL, Common music, SuperCollider)
Tidal is embedded in Haskell for pattern manipulation for music. Complexity through combination of simplicity.
Structures could be trees of structures…
So he moved to functions of time. Time is an integer. Give a Pattern a time and it gives you an integer and the periodicity. This is limited because time is an integer.
Now, he thinks of time as cyclic, with repetition. So make time a floating point instead of an int. But this makes lookups hard.
So the thought of having patterns be a sequence with discrete stuff or a signal, which is indexed by a rational and is non-discrete. However, mixing analog and digital in one data type is a problem.
So he made separate types, but then this caused massive code inflation.
He’s gone back to one type again.
Haskell is intense…..
and REALLY concise

Questions

Does the system have state? No, which means he can’t even have random numbers.
Is time still a loop in the current version? Notionally, yes. But representationally, it’s a number, just in the functions, so its what you make it.

Live Coding as Research

This is new stuff and it combines art and science. Plus you’ve got tons of outcomes including papers, performances, languages, theories, etc.
(thinking about music as research in terms of grant application criteria saps my will to live.)
You can do stuff based on perception – the speaker has used psychology studies as a basis for his work.
Gestalt psychology ideas he uses: grouping,continuation and closure.
He is only working on pitch and time
Pseduo-jazz fusion can be expressed through surprisingly short lisp expressions.
Gaussian probabilities do stuff around proximity, some range constraints and some directions.
Ordering of lists leads to closure.
Iteration is repetition
He wants to interact more with tech communities

Questions

Scott wants all his numbers. He’s about to publish in the CMJ.
Nick wants to know why he picked Gaussian. It’s good enough and it’s succinct. He’s being inspired by processes which are learned from modelling research.

Live coding in Mexico

Centro Multimedia is a space for arts research in new technologies. The have an audio workshop with a special interest in code and FLOSS (“software libre”).
The history of live code:

  • 3 concerts in 2006 by an experimental laptop band called mU.
  • Another concert in 2009
  • A telematic concert in 2009
  • A supercollider course since 2007 in the audio workshop and also Fluxus since 2010 – this grew a code community
  • They had a collective live coding session in 2010 just after the first fluxus course

They had used MAX. Later, SuperCollider changed everything because of the philosophy of Open Source. It was free and legal to share. They felt a sense of ownership and it grew a community.
since 2011, they’ve organised 21 live coding events. They do collaborations with other institutions in Mexico City. This is a local scene.
At the National Autonomous University, they did a blank slate coding sessions where everybody had 9 minutes. This was especially beneficial for coding practice of participants.
There was a Vivo conference in 2012 which had more participation form overseas, with longer time slots and had some non-blank slate code, which also caused an explosion in the community.
Their audiences are very diverse with a lot of new people coming in. They are receptive to new ideas.
They are now doing a series of live coding concerts that also mix practices, so with dance, or with circuit bending, sound art, poetry, etc. There now a website hackpact.mx, which has a philosophy of live coding. These projects grow community. Sharing builds personal relationships and knowledge. People form many backgrounds are involved.

Questions

What else goes on at the centre? Lots and lots of new media stuff. They have artistic residence programs. Once specific to Germany. One for Latin Americans. There is a electronic and video festival this year with an open call.
The centre is free, so anyone can come and learn without paying. This increases diversity.
Does anybody in the US or Canada pay attention to what’s going on in Mexico? Artists from the Canada can come for residences, so there is some collaboration there. There are some collaborations with the US through other institutions, but not this one.
Do they do any teaching of coding or live coding in schools? There is not official school of electronic music in Mexico, so teaching mostly happens through workshops. Mexicans who want to do electronic music degrees go abroad. There is not a strong programme for children or teenagers during school time. They do some workshops in summer. They may expand this, but need to do some work on pedagogy. They have also been running some workshops with indigenous people who have no background at all with computers. Sometimes they learn faster because they don’t know it’s supposed to be difficult.
what’s the future of live coding in Mexico? More people, more groups. The future is bright across Mexico for live coding.

Live blogging Live.Code.Festival: Yiorgos Diapoulis – Live Hardware coding

He’s build some sort of binary adding machine that plays sounds based on the current number, which adds to the total every clock cycle. IT creates patterns based on the total not including overflow. The use rprovides a 3 bit word to the counter. Te counter outputs a serial transmission to a decoder. Both of these things are connected to an Ardunio, which is connected to SuperCollider. The counter outputs 3 bits to the ardunio. the decode does one bit?

Battery dying!

Live blogging Live.Code.Festival: Benoit and the Mandelbrots by Mattias Schneiderbanger

Drop function – executed simultaneously for all 4 players.
They have done blank slate live coding in many environments. They also use live coding as a compositional method, so do some shows where they just use a code interface developed in rehearsals.
Delbrots and the Man also develop code live during rehearsals and use that as an interface for performance. They sync with the drummer via click track and send their chat window to him via a text-to-speech synthesiser.
If they want the audience to dance, they start with prepared stuff. They also try to think of the arc of the whole evening. In rehearsals, they would pick a random genre from Id3 tags.

More General Thoughts on Live Coding

Live code does not represent a score. code consists of algorithms which are specific, but a a score is interpretable in different ways. Also the text document generated by live coding it not an adequate artefact to repeat a performance
Code allows for de-heirarchicalisation of all musical parameters. Traditional composition focusses on pitch and duration, but improv allows focus on other parts. Live coding emphasises this further.
Composition creates a text – an artefact designed to enable people to create sound. It is prepared and worked out. Live coding does not necessarily generate a written composition. However, in the 21st century, improv and composition are not binary oppositions, something which also applied to live coding.

Questions

Did they publish the silent movie with their sound track? Not yet, because they’re not sure about copyright.
what’s next for the Mandelbrots? Will they make a ton of recordings? Recordings do no change their approach. They only record only their rehearsals.
do they program differently when they’re recording? No, they’ve gotten used to just recording all their rehearsals.
Will they edit their recordings? Unsure.
Will an audience expect them to sound like their records? They can’t know yet.
Do they put performances online? They’ve done that twice. Once to Mexico

My Fantasy Holiday

Thoreau decided he’d had enough of things and moved out to the woods to escape from society. However, it turns out that Walden Pond is not a long stroll from the town he fled. He went to see his mum every weekend. With that in mind, this is what I’d like to spend a month doing this summer or in the autumn or sometime…
I want to stay in a cabin in the forest, next to hot spring, which I would go sit in for a bit at night. The nights would be very quiet and free of city lights. The cabin is stocked with a load of fresh veg and has a good library and some very comfy chairs. The bed is big and comfortable. All the rooms have nice windows. One of them has a couple of good monitor speakers a way to record and my synthesiser.
The internet is only connected between 11am – noon.
Every evening, a friend or two come around to visit and we have dinner, talk and jam or play board games or just talk.
I stay there for one month. At the end, I’m expected to have an LP.
So yes, even in my fantasy holidays, I’m still working…
The only thing I can imagine doing without working is a cycle holiday. And If I were planning one now, I’d probably try to arrange gigs along the route, alas. I’m feeling very motivated to be productive lately and also my anxiety is on the upswing and these are probably related. However, getting a lot done has been good for me in the past, but I wouldn’t mind a day or two in a hot spring or even a ot tub.

Why aren’t there More Women Around Here?

Every so often, the topic of diversity comes up in electronic music. Women definitely make up less than 50% of participants – including in the forums where this topic is discussed. Since I’ve moved to the UK, I’ve seen a few email flurries where men argue about whether or not its a problem that there are so few women participating and if so, what they can do about it. These arguments themselves are probably somewhat off-putting, as there are always at least a few vocal men who like being in a boys club and will argue that things are fine. Even if everybody started from a pro-diversity standpoint, I doubt it would be a particularly fun conversation for the few women who were on the list, lurking. This is why I think efforts like MzTech, Flossie, G-Hack and ETC are a good idea, despite all the places where they’re problematic (which is beyond the scope of this post).
Women-only events do seem to be how the UK is best able to cope with the massively huge tech gap. This gap, by the way, gets more pronounced as level of techiness rises. As far as I’ve been able to determine, there are fewer than five women who are regular SuperCollider users in the UK. This is absolutely a social problem. It seems to be the case that in Japan, women users are roughly equal in numbers or possibly greater than men. Thus there is nothing inherently woman-unfriendly in the programme.
Meanwhile, in America, there is still a gap, but it seems less bad. I don’t have solid numbers, but I’ve seen women at American conferences and they make up a fair percentage of presenters. However, sexism is also very clearly apparent. How is it that women are participating in greater numbers in what seems like it’s a more sexist environment?
Well, it might not be more sexist in the States. It might just be a more open form of sexism. Scientific American just ran an article about benevolent sexism. When sexism seems ‘friendly’, women are more likely to accept it. They gave a hypothetical example:

How might this play out in a day-to-day context? Imagine that there’s an anti-female policy being brought to a vote, like a regulation that would make it easier for local businesses to fire pregnant women once they find out that they are expecting. If you are collecting signatures for a petition or trying to gather women to protest this policy and those women were recently exposed to a group of men making comments about the policy in question, it would be significantly easier to gain their support and vote down the policy if the men were commenting that pregnant women should be fired because they were dumb for getting pregnant in the first place. However, if they instead happened to mention that women are much more compassionate than men and make better stay-at-home parents as a result, these remarks might actually lead these women to be less likely to fight an objectively sexist policy.

So it might not be that British culture (and British people) are less sexist than Americans. They’re just more polite. And the result of this politeness is not that women feel more empowered. Quite the contrary, in fact. Because the sexism is less in-your-face, it’s more effective and participation by women is thus lowered.
Indeed, if men who mean well are making a big deal about how rare it is for women to get involved in something, this can accidentally slide into benevolent sexism. Which leaves us in something of a bind. For those of us who are men and do want to increase participation by women, what can we do about it? I would argue that one step is vigilant moderation, where all sexism, benevolent or openly hostile, is banished from online discussion. And we can refuse to participate in all-male events or panels. Some effort should probably also be extended in this direction for collaborations, projects and musical groups . . . there is probably some size at which it becomes problematic if everyone involved is a man. The growing pool of G-Hack alumnae will hopefully become part of the larger scene. And hopefully more women on stage will empower the women in the audience to start producing. And hopefully those of us men who want to make a big deal about it (‘and they’re pretty too!’), will get the message that this is not the way forward.