Live+Coding+bibliography

See also: Articles by Rohrhuber, de Campo and Wieser on the laptop orchestra research map under Powerbooks Unplugged.


 * Key Reading**


 * Collins, N., McLean, A., Rohrhuber, J., Ward, A. (2003) "Live Coding in Laptop Performance." //Organised Sound//, 8(3): 321-330.
 * Blackwell, A. and Collins, N. (2005) "[|The Programming Language as a Musical Instrument]." In //Proceedings of PPIG0//5 (Psychology of Programming Interest Group).


 * Further Sources**

Roads, Curtis (1986) "[|The Second STEIM Symposium on Interactive Composition in Live Electronic Music]." //Computer Music Journal//, 10(2).

Cox, G., McLean, A., and Ward, A. (2000). [|The Aesthetics of Generative Code.] In //International Conference on Generative Art//.

Eacott, John (2000) "[|Form and transience - generative music composition in practice]." In //Proceedings of Generative Art 2000// (Milan, Italy).

Cox, G., McLean, A. and Ward, A. (2001) "[|The Aesthetics of Generative Code]." In //Proceedings of Generative Art.//

Collins, Nicolas (2003) "Generative Music and Laptop Performance." //Contemporary Music Review//, 22(4): 67-79.

Shulgin, A. (2003) [|Listen to the tools, interview with Alex McLean and Adrian Ward]. In //Read_Me 2.3 Reader// (Goriunova, O. and Shulgin, A., eds.).

Alexander, A., Cramer, F., Fuller, M., Kaulmann, T., McLean, A., Schultz, P., and Men, T. Y. (2003). [|Quickview on Software Art]. In //Read_Me 2.3 Reader (//Goriunova, O. and Shulgin, A., eds.).

Cox, G., McLean, A., and Ward, A. (2004). "[|Coding praxis: Reconsidering the aesthetics of code]". In //Read_Me Software Art and Cultures// (Goriunova, O. and Shulgin, A., eds.), pp. 161-174.

Wang, G. and Cook, P. R. (2004) "[|On-the-fly programming: Using Code as an Expressive Musical Instrument.]" In //Proceedings of the International Conference on New Interfaces for Musical Expression// NIME'04, (Hamamatsu, Japan).

McLean, A. (2004). [|Hacking Perl in nightclubs]. //Perl.com//

Ward et al (2004) "Live Algorithm Programming and a Temporary Organisation for its Promotion." In //Proceedings of the README software art conference// (Aarhus, Denmark).

Brown, A. R. (2006) "[|Code Jamming]." //M/C Journal// [A Journal of Media and Culture].

Collins, N. and Olofsson, F. (2006) "klipp av: Live Algorithmic Splicing and Audiovisual Event Capture." //Computer Music Journal//, 30(2).

Collins, Nicolas (2007) "[|Analysis of Generative Music]." //Electroacoustic Music Studies Network Proceedings// (Leicester, UK).

Nilson, Click (aka. Nicolas Collins). (2007) "[|Live Coding Practice]." In //Proceedings of the International Conference on New Interfaces for Musical Expression// (New York University, NY).

Sorensen, A and Brown, A. (2007) "[|aa-cell in Practice: An Approach to Musical Live Coding]." In //Proceedings of the ICMC//, (Copenhagen, Denmark).

Zmölnig, I. and Eckel, G. (2007) "[|Live Coding: An Overview]." In //Proceedings of the ICMC// (Copenhagen, Denmark).

Griffiths, D. (2007). "[|Game Pad Live Coding Performance]." //Die Welt als virtuelles Environment// (Birringer, J., Dumke, T. and Nicolai, K., eds.). Dresden, Germany: Trans-Media-Akademie (TMA) Hellerau.

Collins, Nicolas (2008) "The analysis of generative music programs." //Organised Sound//, 13(3).

McLean, A. (2008) "Live coding for free." //Floss+Art//. London: Mute Publishing Ltd.

Ludovico, A. (2008) [|Alex McLean, Live Coding interview]. In //neural magazine,// issue 27.

Brown, A. (2009) "[|Interacting with Generative Music Through Live Coding]." //Contemporary Music Review//, 28(1).

McLean, A., Wiggins, G. (2009) "[|Patterns of movement in live languages]." //25th CHArt// [Computers and the History of Art] //Conference// (University of London, Birbeck).

Armitage, T. (2009). [|Slub: Making music with live computer code]. //Wired.//

McLean, A. and Wiggins, G. (2010). [|Bricolage Programming in the Creative Arts]. In //Proceedings of// //22nd Psychology of Programming Interest Group//.

McLean, A. and Wiggins, G. (2010).[| Tidal – Pattern Language for the Live Coding of Music]. In //Proceedings of the 7th Sound and Music Computing conference//.

McLean, A., Griffiths, D., Collins, N., Wiggins, G. (2010). "[|Visualisation of Live Code]." //Electronic Visualization and the Arts EVA 201//0 (London, UK).

McLean, A. and Wiggins, G. (2010). "Live Coding Towards Computational Creativity". In //Proceedings of ICCC-X//. [[|preprint]]

Collins, Nicolas. (2011) "[|Live Coding of Consequence]." //Leonardo Journal//, 44(3): 207-211.

McLean, A., Magnusson, T. and Collins, N. (2011) [|Curator's statement for the Computer Music Journal] 35(4): 119-137. DVD live coding compilation

McLean, A. (2011). [|Artist-Programmers and Programming Languages for the Arts]. PhD thesis, Department of Computing, Goldsmiths, University of London.

McLean, A. and Wiggins, G. (2011). [|Texture: Visual notation for the live coding of pattern.] In //Proceedings of the International Computer Music Conference// (University of Huddersfield, UK).

Stowell, D. and McLean, A. (2011). [|Live music-making: a rich open task requires a rich open interface]. In //Proceedings of BCS HCI 2011 Workshop – When Words Fail: What can Music Interaction tell us about HCI?//

Cox, G. and McLean, A. (in press). //Speaking Code: Coding as Aesthetic and Political Expression//. MIT Press. (November 23, 2012).

McLean, A. and Wiggins, G. (in press). "Computer programming in the creative arts." In //Computers and Creativity (//McCormack, J. and d’Inverno, M., eds.). Springer. (November 23, 2012).


 * Technical**

McCartney, J. (1998). "[|Continued evolution of the SuperCollider real-time synthesis environment.]" In //Proceedings of the ICMC// (Ann Arbor, Michigan).

McCartney, J. (2002) "Rethinking the Computer Music Programming Language: SuperCollider." //Computer Music Journal//, 26(4): 61-68.

Wang, G. and Cook, P. R. (2003) "[|ChucK: A Concurrent, On-the-fly Audio Programming Language]." In //Proceedings of the ICMC// (Singapore), p. 219-226.

Wang, G. and Cook, P. R. (2004) "[|The Audicle: A Context-sensitive, On-the-fly Audio Programming Environ/mentality]." In //Proceedings of the ICMC// (Miami, USA).

Wang, G., Misra, A., Kapur, A., and Cook, P. (2005) "[|Yeah, ChucK It! => Dynamic, Controllable Interface Mapping]." In //Proceedings of NIME 05//.

Wang, G., Misra, A., Davidson, P. and Cook, P. (2005) "[|Co-Audicle: A Collaborative and Audio Programming Space]." In //Proceedings of NIME 05//.

Weinberg, G. (2005) "[|Interconnected Musical Networks: Toward a Theoretical Framework]." //Computer Music Journal//, 29(2): 23-29.

Wang, G., Misra, A., Kapur, A., Cook, P. (2006) "[|Building Collaborative Graphical Interfaces in the Audicle]." In //Proceedings of NIME 06//.

Fiebrink, R., Wang, G. and Cook, P. (2008) "[|Foundations for on-the-fly learning in the ChucK programming language]." In //Proceedings of the ICMC// (SARC, Belfast, N. Ireland).

Burns, C. and Surges, G. (2008) "[|NRCI: Software Tools for Laptop Ensemble]." In //Proceedings of the ICMC// (SARC, Belfast, N. Ireland).

Sorensen, A. (2010) "[|A Distributed Memory for Networked Livecoding Performance]." In //Proceedings of the ICMC// (New York, NY).

Magnusson, Thor (2010) "[|ixi lang: A SuperCollider Parasite for Live Coding]." //SuperCollider Symposium//, Berlin.

Magnusson, Thor (2010) "[|ixi lang: A Constraint System for Live Coding]." ISEA 2010 RUHR.

Baalman, M. A. J. et al. (2010) "[|Sense/Stage — low cost, open source wireless sensor and data sharing infrastructure for live performance and interactive realtime environments]." In //Proceedings of the ICMC// (New York, NY).

Baalman, M. A. J. (2010) "[|5 years of using SuperCollider in real-time interactive performances and installations – retrospective analysis of Schwelle, Chronotopia and Semblance]." //Linux Audio Conference// (LAC) 2010 (Utrecht, The Netherlands).


 * Discography**

McLean, A. (2001) //Hacking sound in context//. CD-ROM of //Music without Walls//, De Montfort University.

//[|A prehistory of live coding]//. (2007) TOPLAP Orchestra.


 * Of Possible Interest**

Forth, J., Wiggins, G., and McLean, A. (2010). [|Unifying Conceptual Spaces: Concept Formation in Musical Creative Systems]. //Minds and Machines//, 20(4): 503-532.

Ames, C. (1987) "Automated composition in retrospect: 1956-86." //Leonardo Music Journal// 20(2).

Eno, Brian. (1996) "[|Generative Music]." Transcript of talk from //Imagination Conference//, San Francisco.

Loublet, E. (2000) "Laptop performers, compact disc designers, and no-beat techno artists in Japan: music from nowhere." //Computer Music Journal//, 24(4).

Harland, K. (2000) "Composing for Interactive Music." Gamasutra.

McCormack, J. and Donin, A. (2001) "Art, emergence and the computational sublime." In //Proceedings of Second Iteration: Emergence// (Melbourne, Australia).

Rowe, R. (2001) [|Machine Musicianship]. Cambridge, MA: MIT Press.

Noble, J. and Biddle, R. (2002) "[|Notes on postmodern programming]". In //Proceedings of the ACM Conference on Object-Oriented Programming, Systems, Languages and Applications// (OOPSLA).

Ulyate, R. and Biancardi, D. (2002) "[|The interactive dance club: avoiding chaos in a multi-participant environment]." //Computer Music Journal//, 26(3).

Collins, N. (2002b) "[|Relating superhuman virtuosity to human performance]." In //Proceedings of MAXIS// (Sheffield, UK).

Schloss, A. (2003) "[|Using Contemporary Technology in Live Performance: The Dilemma of the Performer]." //Journal of New Music Research//, 32(2).

Zadel, M. and Scavone, G. (2006) "[|Laptop performance: Techniques, Tools and New Interface Design]." In //Proceedings of the ICMC// (New Orleans, USA).

Young, M. (2007) "[|Au(or)a: Exploring Attributes of a Live Algorithm]." In //Electroacoustic Music Network Proceedings//.

Caceres, J., Hamilton, R., Iyer, D., Chafe, C. and Wang, G. (2008) "[|To the Edge with China: Explorations in Network-based Performance]." In //Proceedings of the International Conference on Digital Arts// ARTECH, (Porto, Portugal).

McCourt, Steve (2010) "[|Aesthetics of Multimedia and Visual Concepts in Electroacoustic Music]." In //Electroacoustic Music Network Proceedings//.

[|Marije Baalman's publications]