Performing with the other: The relationship of musician and machine in live coding
Author(s)
Brown, AR
Griffith University Author(s)
Year published
2016
Metadata
Show full item recordAbstract
When used for live coding, a computer is more than an instrument; it becomes a musical partner. Coding enables automated behaviours that take on a life of their own. In this article, I take live coding as a starting point from which to explore human–machine relations in creative practices. After a brief scan of music technology history, I describe some of my contemporary algorithmic music-making practices, including live coding, and explore differences between them with particular attention to musician–machine relationships. From a phenomenological perspective, similarities between these practices are the basis for a discussion ...
View more >When used for live coding, a computer is more than an instrument; it becomes a musical partner. Coding enables automated behaviours that take on a life of their own. In this article, I take live coding as a starting point from which to explore human–machine relations in creative practices. After a brief scan of music technology history, I describe some of my contemporary algorithmic music-making practices, including live coding, and explore differences between them with particular attention to musician–machine relationships. From a phenomenological perspective, similarities between these practices are the basis for a discussion of ontological conditions that surround live coding and other generative music practices.
View less >
View more >When used for live coding, a computer is more than an instrument; it becomes a musical partner. Coding enables automated behaviours that take on a life of their own. In this article, I take live coding as a starting point from which to explore human–machine relations in creative practices. After a brief scan of music technology history, I describe some of my contemporary algorithmic music-making practices, including live coding, and explore differences between them with particular attention to musician–machine relationships. From a phenomenological perspective, similarities between these practices are the basis for a discussion of ontological conditions that surround live coding and other generative music practices.
View less >
Journal Title
International Journal of Performance Arts and Digital Media
Volume
12
Issue
2
Subject
Screen and digital media
Interactive media
Creative and professional writing
Musicology and ethnomusicology