Live coding - Revision history

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2025-04-10T01:30:21Z

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	It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|date=24 May 2011 \|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.		It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|date=24 May 2011 \|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.

	The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>		The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|work=British Science Association \|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>

	Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by [[Mark Guzdial]].<ref>{{cite web\|last=Guzdial\|first=Mark\|title=What students get wrong when building computational physics models in Python: Cabellero thesis part 2\|url=http://computinged.wordpress.com/2011/08/01/what-students-get-wrong-when-building-computational-physics-models-in-python-cabellero-thesis-part-2/\|accessdate=5 February 2013\|date=August 2011}}</ref>		Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by [[Mark Guzdial]].<ref>{{cite web\|last=Guzdial\|first=Mark\|title=What students get wrong when building computational physics models in Python: Cabellero thesis part 2\|url=http://computinged.wordpress.com/2011/08/01/what-students-get-wrong-when-building-computational-physics-models-in-python-cabellero-thesis-part-2/\|accessdate=5 February 2013\|date=August 2011}}</ref>

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← Previous revision		Revision as of 12:42, 25 February 2025
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	'''Live coding''',<ref>Collins, N., McLean, A., Rohrhuber, J. & Ward, A. (2003), "[http://akustik.hfbk.net/publications/LiveCodingInLaptopPerformance.pdf Live Coding in Laptop Performance]", ''Organised Sound'' 8(3): 321–30. {{doi\|10.1017/S135577180300030X}}</ref> sometimes referred to as '''on-the-fly programming''',<ref name="auto">Wang G. & Cook P. (2004) [http://soundlab.cs.princeton.edu/publications/on-the-fly_nime2004.pdf "On-the-fly Programming: Using Code as an Expressive Musical Instrument"], In ''Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)'' (New York: NIME, 2004).</ref> '''just in time programming''' and '''conversational programming''', makes programming an integral part of the running program.<ref>Alan Blackwell, Alex McLean, James Noble, Jochen Otto, and Julian Rohrhuber, "Collaboration and learning through live coding (Dagstuhl Seminar 13382)", Dagstuhl Reports 3 (2014), no. 9, 130–168.</ref>		'''Live coding''',<ref>Collins, N., McLean, A., Rohrhuber, J. & Ward, A. (2003), "[http://akustik.hfbk.net/publications/LiveCodingInLaptopPerformance.pdf Live Coding in Laptop Performance]", ''Organised Sound'' 8(3): 321–30. {{doi\|10.1017/S135577180300030X}}</ref> sometimes referred to as '''on-the-fly programming''',<ref name="auto">Wang G. & Cook P. (2004) [http://soundlab.cs.princeton.edu/publications/on-the-fly_nime2004.pdf "On-the-fly Programming: Using Code as an Expressive Musical Instrument"], In ''Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)'' (New York: NIME, 2004).</ref> '''just in time programming''' and '''conversational programming''', makes programming an integral part of the running program.<ref>Alan Blackwell, Alex McLean, James Noble, Jochen Otto, and Julian Rohrhuber, "Collaboration and learning through live coding (Dagstuhl Seminar 13382)", Dagstuhl Reports 3 (2014), no. 9, 130–168.</ref>

	It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.		It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|date=24 May 2011 \|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.

	The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>		The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>
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	"Temporal recursion" was a term initially coined in relation to the [[Impromptu (programming environment)\|Impromptu]] programming environment. Technical elements within a programming environment continue to locate compressors and recursion solutions, but timing had been a major issue. While the general form of a temporal recursion, being any asynchronous function recursion through time, is available to any event driven system, Impromptu has placed a special emphasis on this particular design pattern,<ref>Sorensen, A & Gardner, H (2010) "[http://eprints.qut.edu.au/55712/1/sorensen_ow_2010.pdf Programming With Time: Cyberphysical Programming In Impromptu, In proceedings of the ACM Splash Conference 2010]"</ref> making it the centre piece of the concurrency architecture on that platform. Temporal recursion had repeatedly been used in [[SuperCollider]] and has since been implemented in the [[Fluxus (programming environment)\|Fluxus]] environment.		"Temporal recursion" was a term initially coined in relation to the [[Impromptu (programming environment)\|Impromptu]] programming environment. Technical elements within a programming environment continue to locate compressors and recursion solutions, but timing had been a major issue. While the general form of a temporal recursion, being any asynchronous function recursion through time, is available to any event driven system, Impromptu has placed a special emphasis on this particular design pattern,<ref>Sorensen, A & Gardner, H (2010) "[http://eprints.qut.edu.au/55712/1/sorensen_ow_2010.pdf Programming With Time: Cyberphysical Programming In Impromptu, In proceedings of the ACM Splash Conference 2010]"</ref> making it the centre piece of the concurrency architecture on that platform. Temporal recursion had repeatedly been used in [[SuperCollider]] and has since been implemented in the [[Fluxus (programming environment)\|Fluxus]] environment.

	Another functional approach to the representation of time is shown in the [[Tidal (livecoding)\|Tidal]] pattern [[Domain-specific language\|DSL]],<ref>{{cite book\|last=McLean\|first=Alex\|chapter=Making programming languages to dance to: Live Coding with Tidal\|url=https://github.com/yaxu/Tidal/blob/master/doc/farm/farm.pdf?raw=true\|title=In proceedings of the 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design\|year=2014\|location=Gothenburg}}</ref> which represents patterns as combinators operating over functions of time, similar to techniques in [[functional reactive programming]].<ref>{{cite web\|last=McLean\|first=Alex\|title=Tidal homepage\|url=https://yaxu.org/tidal/\|date=2013-08-02}}</ref>		Another functional approach to the representation of time is shown in the [[Tidal (livecoding)\|Tidal]] pattern [[Domain-specific language\|DSL]],<ref>{{cite book\|last=McLean\|first=Alex\|chapter=Making programming languages to dance to: Live Coding with Tidal\|url=https://github.com/yaxu/Tidal/blob/master/doc/farm/farm.pdf?raw=true\|title=In proceedings of the 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design\|year=2014\|location=Gothenburg}}</ref> which represents patterns as combinators operating over functions of time, similar to techniques in [[functional reactive programming]].<ref>{{cite web\|last=McLean\|first=Alex\|title=Tidal homepage\|work=Alex McLean \|url=https://yaxu.org/tidal/\|date=2013-08-02}}</ref>

	=== Multi-user programming and shared memory ===		=== Multi-user programming and shared memory ===

Empirends: Changed link's description

2024-03-20T06:43:09Z

Changed link's description

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	== Research ==		== Research ==
	A number of research projects and research groups have been created to explore live coding, often taking interdisciplinary approaches bridging the humanities and sciences. First efforts to both develop live coding systems and embed the emerging field in the broader theoretical context happened in the research project Artistic Interactivity in Hybrid Networks from 2005 to 2008, funded by the [[Deutsche Forschungsgemeinschaft\|German Research Foundation]].<ref>[https://web.archive.org/web/20160303215643/http://www.uni-koeln.de/phil-fak/muwi/c10/index.html] ~~{{dead~~ ~~link\|date=February~~ ~~2021}}~~</ref>		A number of research projects and research groups have been created to explore live coding, often taking interdisciplinary approaches bridging the humanities and sciences. First efforts to both develop live coding systems and embed the emerging field in the broader theoretical context happened in the research project Artistic Interactivity in Hybrid Networks from 2005 to 2008, funded by the [[Deutsche Forschungsgemeinschaft\|German Research Foundation]].<ref>"Artistic Interactivity in Hybrid Networks" (2016) [https://web.archive.org/web/20160303215643/http://www.uni-koeln.de/phil-fak/muwi/c10/index.html] --- Wayback Machine archive</ref>

	Further, the Live Coding Research Network was funded by the UK [[Arts and Humanities Research Council]] for two years from February 2014, supporting a range of activities including symposia, workshops and an annual international conference called International Conference on Live Coding (ICLC).<ref>{{Cite web\|url=https://gtr.ukri.org/projects?ref=AH%2FL007266%2F1\|title=Live Coding Network\|last=\|first=\|date=\|website=Gtr.ukri.org\|archive-url=\|archive-date=\|access-date=}}</ref>		Further, the Live Coding Research Network was funded by the UK [[Arts and Humanities Research Council]] for two years from February 2014, supporting a range of activities including symposia, workshops and an annual international conference called International Conference on Live Coding (ICLC).<ref>{{Cite web\|url=https://gtr.ukri.org/projects?ref=AH%2FL007266%2F1\|title=Live Coding Network\|last=\|first=\|date=\|website=Gtr.ukri.org\|archive-url=\|archive-date=\|access-date=}}</ref>

AudiovisualArt: /* Examples of live coding environments */

2024-02-12T11:05:27Z

Examples of live coding environments

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	{{div col\|colwidth=10em}}		{{div col\|colwidth=10em}}
	* [[ChucK]]		* [[ChucK]]
			* [[Csound]]
	* [[Extempore (software)\|Extempore]]		* [[Extempore (software)\|Extempore]]
	* [[Fluxus (programming environment)\|Fluxus]]		* [[Fluxus (programming environment)\|Fluxus]]

JHGS3000: /* Examples of live coding environments */

2023-08-02T21:03:05Z

Examples of live coding environments

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	* [[SuperCollider]]		* [[SuperCollider]]
	* [[Tidal (livecoding)\|TidalCycles]]		* [[Tidal (livecoding)\|TidalCycles]]
			* Sardine [https://sardine.raphaelforment.fr/]
	{{div col end}}		{{div col end}}

BD2412: /* Examples of live coding environments */ remove disambiguation link with no clear solution

2023-07-01T00:50:18Z

Examples of live coding environments: remove disambiguation link with no clear solution

← Previous revision		Revision as of 00:50, 1 July 2023
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	* [[SuperCollider]]		* [[SuperCollider]]
	* [[Tidal (livecoding)\|TidalCycles]]		* [[Tidal (livecoding)\|TidalCycles]]
	* [[Hydra]]{{Disambiguation needed\|date=June 2023}}
	{{div col end}}		{{div col end}}

GoingBatty: v2.05 - Disambiguation help needed for one link - Hydra, 1 to be fixed - Hydra

2023-06-17T21:10:16Z

v2.05 - Disambiguation help needed for one link - Hydra, 1 to be fixed - Hydra

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	* [[SuperCollider]]		* [[SuperCollider]]
	* [[Tidal (livecoding)\|TidalCycles]]		* [[Tidal (livecoding)\|TidalCycles]]
	* [[Hydra]]{{~~div~~ ~~col~~ ~~end~~}}		* [[Hydra]]{{Disambiguation needed\|date=June 2023}}
			{{div col end}}

	== See also ==		== See also ==

Xinniw256: /* Examples of live coding environments */ Including a popular livecoding environment for generating animated visuals in real time.

2023-06-17T20:21:53Z

Examples of live coding environments: Including a popular livecoding environment for generating animated visuals in real time.

← Previous revision		Revision as of 20:21, 17 June 2023
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	* [[SuperCollider]]		* [[SuperCollider]]
	* [[Tidal (livecoding)\|TidalCycles]]		* [[Tidal (livecoding)\|TidalCycles]]
	{{div col end}}		* [[Hydra]]{{div col end}}

	== See also ==		== See also ==

73.4.154.124: /* Examples of live coding environments */ Lua does not support live coding

2022-10-21T16:04:35Z

Examples of live coding environments: Lua does not support live coding

← Previous revision		Revision as of 16:04, 21 October 2022
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	* [[Impromptu (programming environment)\|Impromptu]]		* [[Impromptu (programming environment)\|Impromptu]]
	* [[ixi lang]]		* [[ixi lang]]
	* [[Lua (programming language)\|Lua]]
	* [[Max (software)\|Max]]		* [[Max (software)\|Max]]
	* [[Pharo]]		* [[Pharo]]

← Previous revision		Revision as of 01:30, 10 April 2025
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	* [[Interactive programming]]—programming practice of using live coding in software development		* [[Interactive programming]]—programming practice of using live coding in software development
	* [[NIME]]—academic and artistic conference on advances in music technology, sometimes featuring live coding performances and research presentations		* [[NIME]]—academic and artistic conference on advances in music technology, sometimes featuring live coding performances and research presentations
			* [[Creative coding]]—programming approach to create something expressive

	==References==		==References==

← Previous revision		Revision as of 13:39, 25 February 2025
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	It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|date=24 May 2011 \|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.		It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|date=24 May 2011 \|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.

	The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>		The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|work=British Science Association \|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>

	Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by [[Mark Guzdial]].<ref>{{cite web\|last=Guzdial\|first=Mark\|title=What students get wrong when building computational physics models in Python: Cabellero thesis part 2\|url=http://computinged.wordpress.com/2011/08/01/what-students-get-wrong-when-building-computational-physics-models-in-python-cabellero-thesis-part-2/\|accessdate=5 February 2013\|date=August 2011}}</ref>		Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by [[Mark Guzdial]].<ref>{{cite web\|last=Guzdial\|first=Mark\|title=What students get wrong when building computational physics models in Python: Cabellero thesis part 2\|url=http://computinged.wordpress.com/2011/08/01/what-students-get-wrong-when-building-computational-physics-models-in-python-cabellero-thesis-part-2/\|accessdate=5 February 2013\|date=August 2011}}</ref>

← Previous revision		Revision as of 12:42, 25 February 2025
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	'''Live coding''',<ref>Collins, N., McLean, A., Rohrhuber, J. & Ward, A. (2003), "[http://akustik.hfbk.net/publications/LiveCodingInLaptopPerformance.pdf Live Coding in Laptop Performance]", ''Organised Sound'' 8(3): 321–30. {{doi\|10.1017/S135577180300030X}}</ref> sometimes referred to as '''on-the-fly programming''',<ref name="auto">Wang G. & Cook P. (2004) [http://soundlab.cs.princeton.edu/publications/on-the-fly_nime2004.pdf "On-the-fly Programming: Using Code as an Expressive Musical Instrument"], In ''Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)'' (New York: NIME, 2004).</ref> '''just in time programming''' and '''conversational programming''', makes programming an integral part of the running program.<ref>Alan Blackwell, Alex McLean, James Noble, Jochen Otto, and Julian Rohrhuber, "Collaboration and learning through live coding (Dagstuhl Seminar 13382)", Dagstuhl Reports 3 (2014), no. 9, 130–168.</ref>		'''Live coding''',<ref>Collins, N., McLean, A., Rohrhuber, J. & Ward, A. (2003), "[http://akustik.hfbk.net/publications/LiveCodingInLaptopPerformance.pdf Live Coding in Laptop Performance]", ''Organised Sound'' 8(3): 321–30. {{doi\|10.1017/S135577180300030X}}</ref> sometimes referred to as '''on-the-fly programming''',<ref name="auto">Wang G. & Cook P. (2004) [http://soundlab.cs.princeton.edu/publications/on-the-fly_nime2004.pdf "On-the-fly Programming: Using Code as an Expressive Musical Instrument"], In ''Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)'' (New York: NIME, 2004).</ref> '''just in time programming''' and '''conversational programming''', makes programming an integral part of the running program.<ref>Alan Blackwell, Alex McLean, James Noble, Jochen Otto, and Julian Rohrhuber, "Collaboration and learning through live coding (Dagstuhl Seminar 13382)", Dagstuhl Reports 3 (2014), no. 9, 130–168.</ref>

	It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.		It is most prominent as a [[performing arts]] form and a [[creativity technique]] centred upon the writing of [[source code]] and the use of [[interactive programming]] in an [[improvisation\|improvised]] way. Live coding is often used to create sound and image based [[digital media]], as well as light systems, improvised [[dance]] and poetry,<ref>Magnusson, T. (2013). [https://liveprogramming.github.io/2013/papers/thor.pdf The Threnoscope. A Musical Work for Live Coding Performance]. In Live 2013. First International Workshop on Live Programming.</ref><ref>{{cite news\|url=http://news.bbc.co.uk/1/hi/technology/8221235.stm\|title= Tech Know: Programming, meet music \|publisher=BBC News\|accessdate=2010-03-25 \| date=2009-08-28}}</ref> though is particularly prevalent in [[computer music]] usually as improvisation, although it could be combined with [[algorithmic composition]].<ref>Collins, N. (2003) "[https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf Generative Music and Laptop Performance] {{webarchive\|url=https://web.archive.org/web/20140514102233/https://wiki.brown.edu/confluence/download/attachments/74258672/Collins,+Generative+Music.pdf \|date=2014-05-14 }}", ''Contemporary Music Review'' 22(4):67–79.</ref> Typically, the process of writing source code is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research.<ref>McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). [http://yaxu.org/visualisation-of-live-code/ Visualisation of live code]. In Electronic Visualisation and the Arts London 2010.</ref> Live coding techniques are also employed outside of performance, such as in producing sound for film<ref>{{cite book\|last=Rohrhuber\|first=Julian\|title=Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen\|year=2008\|publisher=Springer Berlin Heidelberg\|pages=60–70\|url=http://akustik.hfbk.net/publications/rohrhuber_artificial_natural_historical.pdf}}</ref> or audiovisual work for interactive art installations.<ref>{{cite web\|title=Communion by Universal Everything and Field.io: interview\|date=24 May 2011 \|url=http://www.creativeapplications.net/scripts/communion-cinder-scripts-events-special/\|accessdate=5 February 2013}}</ref> Also, the interconnection between computers makes possible to realize this practice networked in group.

	The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>		The figure of '''live coder''' is who performs the act of live coding, usually "artists who want to learn to code, and coders who want to express themselves"<ref>{{cite web\|last=Bell\|first=Sarah\|title=Live coding brings programming to life - an interview with Alex McLean\|url=http://www.britishscienceassociation.org/blog/live-coding-brings-programming-to-life-an-interview-with-alex-mac\|accessdate=2 March 2016}}</ref> or in terms of Wang & Cook the "programmer/performer/composer".<ref name="auto"/>
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	"Temporal recursion" was a term initially coined in relation to the [[Impromptu (programming environment)\|Impromptu]] programming environment. Technical elements within a programming environment continue to locate compressors and recursion solutions, but timing had been a major issue. While the general form of a temporal recursion, being any asynchronous function recursion through time, is available to any event driven system, Impromptu has placed a special emphasis on this particular design pattern,<ref>Sorensen, A & Gardner, H (2010) "[http://eprints.qut.edu.au/55712/1/sorensen_ow_2010.pdf Programming With Time: Cyberphysical Programming In Impromptu, In proceedings of the ACM Splash Conference 2010]"</ref> making it the centre piece of the concurrency architecture on that platform. Temporal recursion had repeatedly been used in [[SuperCollider]] and has since been implemented in the [[Fluxus (programming environment)\|Fluxus]] environment.		"Temporal recursion" was a term initially coined in relation to the [[Impromptu (programming environment)\|Impromptu]] programming environment. Technical elements within a programming environment continue to locate compressors and recursion solutions, but timing had been a major issue. While the general form of a temporal recursion, being any asynchronous function recursion through time, is available to any event driven system, Impromptu has placed a special emphasis on this particular design pattern,<ref>Sorensen, A & Gardner, H (2010) "[http://eprints.qut.edu.au/55712/1/sorensen_ow_2010.pdf Programming With Time: Cyberphysical Programming In Impromptu, In proceedings of the ACM Splash Conference 2010]"</ref> making it the centre piece of the concurrency architecture on that platform. Temporal recursion had repeatedly been used in [[SuperCollider]] and has since been implemented in the [[Fluxus (programming environment)\|Fluxus]] environment.

	Another functional approach to the representation of time is shown in the [[Tidal (livecoding)\|Tidal]] pattern [[Domain-specific language\|DSL]],<ref>{{cite book\|last=McLean\|first=Alex\|chapter=Making programming languages to dance to: Live Coding with Tidal\|url=https://github.com/yaxu/Tidal/blob/master/doc/farm/farm.pdf?raw=true\|title=In proceedings of the 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design\|year=2014\|location=Gothenburg}}</ref> which represents patterns as combinators operating over functions of time, similar to techniques in [[functional reactive programming]].<ref>{{cite web\|last=McLean\|first=Alex\|title=Tidal homepage\|url=https://yaxu.org/tidal/\|date=2013-08-02}}</ref>		Another functional approach to the representation of time is shown in the [[Tidal (livecoding)\|Tidal]] pattern [[Domain-specific language\|DSL]],<ref>{{cite book\|last=McLean\|first=Alex\|chapter=Making programming languages to dance to: Live Coding with Tidal\|url=https://github.com/yaxu/Tidal/blob/master/doc/farm/farm.pdf?raw=true\|title=In proceedings of the 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design\|year=2014\|location=Gothenburg}}</ref> which represents patterns as combinators operating over functions of time, similar to techniques in [[functional reactive programming]].<ref>{{cite web\|last=McLean\|first=Alex\|title=Tidal homepage\|work=Alex McLean \|url=https://yaxu.org/tidal/\|date=2013-08-02}}</ref>

	=== Multi-user programming and shared memory ===		=== Multi-user programming and shared memory ===