Visual+Representations+in+Live+Coding

Programming Language variations Project/Reveal the code Descriptive names for variables and functions Format implies function Visual Syntax for code interpreters Liveness (information feedback of the program) Scores Live coding visuals Dance GUI Other (References can be in multiple categories)
 * Function visualization (program state representation)


 * Programming Language variations**

Magnusson, T. (2011). Confessions of a live coder. In //Proceedings of the International Computer Music Conference//. ICMA. Retrieved from http://sro.sussex.ac.uk/46862/

Stowell, D., & McLean, A. (2013). Live music-making: A rich open task requires a rich open interface. In //Music and human-computer interaction// (pp. 139–152). Springer. Retrieved from http://link.springer.com/chapter/10.1007/978-1-4471-2990-5_8

Wang, G., Cook, P. R., & others. (2003). ChucK: A concurrent, on-the-fly audio programming language. In //Proceedings of the International Computer Music Conference// (pp. 219–226). Singapore: International Computer Music Association (ICMA). Retrieved from http://www.cs.princeton.edu/sound/publications/chuck_icmc2003.pdf


 * Project/Reveal the code**

Brown, A. R., & Sorensen, A. C. (2007). aa-cell in practice: An approach to musical live coding. In //Proceedings of the International Computer Music Conference// (pp. 292–299). International Computer Music Association. Retrieved from http://eprints.qut.edu.au/39768

Freeman, J., & Van Troyer, A. (2011). Collaborative textual improvisation in a laptop ensemble. //Computer Music Journal//, //35//(2), 8–21.

McLean, A., Griffiths, D., Collins, N., & Wiggins, G. (2010). Visualisation of live code. //Proceedings of Electronic Visualisation and the Arts 2010//, 26–30.

Ogborn, D. (2012). Composing for a Networked, Pulse-Based, Laptop Orchestra. //Organised Sound//, //17//(01), 56–61. doi:10.1017/S1355771811000513

Smallwood, S., Trueman, D., Cook, P. R., & Wang, G. (2008). Composing for laptop orchestra. //Computer Music Journal//, //32//(1), 9–25.

WARD, A., ROHRHUBER, J., OLOFSSON, F., MCLEAN, A., GRIFFITHS, D., COLLINS, N., & ALEXANDER, A. (n.d.). Live Algorithm Programming and a Temporary Organisation for its Promotion. Retrieved from http://art.runme.org/1107861145-2780-0/livecoding.pdf


 * Descriptive names for variables and functions**

Brown, A. R., & Sorensen, A. C. (2007). aa-cell in practice: An approach to musical live coding. In //Proceedings of the International Computer Music Conference// (pp. 292–299). International Computer Music Association. Retrieved from http://eprints.qut.edu.au/39768


 * Format implies function**

Magnusson, T. (2010a). Designing constraints: Composing and performing with digital musical systems. //Computer Music Journal//, //34//(4), 62–73.

Magnusson, T. (2010b). ixi lang: A Constraint System for Live Coding. //ISEA2010 RUHR//. Retrieved from http://www.isea2010ruhr.org/files/redaktion/pdf/isea2010_proceedings_p18.pdf

Magnusson, T. (2011a). Confessions of a live coder. In //Proceedings of the International Computer Music Conference//. ICMA. Retrieved from http://sro.sussex.ac.uk/46862/

Magnusson, T. (2011b). ixi lang: a SuperCollider parasite for live coding. In //Proceedings of International Computer Music Conference// (pp. 503–506). University of Huddersfield. Retrieved from http://sro.sussex.ac.uk/46869/

Magnusson, T. (2011c). THE MUSICAL SCORE: THE SYSTEM AND THE INTERPRETER. Retrieved from http://isea2011.sabanciuniv.edu/category/keywords/performance?page=1

McLean, A., Griffiths, D., Collins, N., & Wiggins, G. (2010). Visualisation of live code. //Proceedings of Electronic Visualisation and the Arts 2010//, 26–30.


 * Visual Syntax for code interpreters**

Magnusson, T. (2011a). Confessions of a live coder. In //Proceedings of the International Computer Music Conference//. ICMA. Retrieved from http://sro.sussex.ac.uk/46862/

Magnusson, T. (2011b). THE MUSICAL SCORE: THE SYSTEM AND THE INTERPRETER. Retrieved from http://isea2011.sabanciuniv.edu/category/keywords/performance?page=1

McLean, A., & Wiggins, G. (2010). Tidal—pattern language for the live coding of music. In //Proceedings of the 7th Sound and Music Computing conference// (Vol. 2010). Retrieved from http://server.smcnetwork.org/files/proceedings/2010/39.pdf


 * Liveness (information feedback of the program)**

Aghaee, S., & Pautasso, C. (2013). Live mashup tools: Challenges and opportunities. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 1–4). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617338

Fischer, A. (2013). Introducing circa: A dataflow-based language for live coding. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 5–8). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617339

Lemma, R., & Lanza, M. (2013). Co-evolution as the key for live programming. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 9–10). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617340

Schachman, T. (2012). Alternative Programming Interfaces for Alternative Programmers. In //Proceedings of the ACM International Symposium on New Ideas, New Paradigms, and Reflections on Programming and Software// (pp. 1–10). New York, NY, USA: ACM. doi:10.1145/2384592.2384594

Tanimoto, S. L. (2013). A perspective on the evolution of live programming. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 31–34). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617346

Bovermann, T., & Griffiths, D. (2014). Computation as Material in Live Coding. //Computer Music Journal//, //38//(1), 40–53. Davidson, G. W. A. M. P., & Cook, P. R. (n.d.). CO-AUDICLE: A COLLABORATIVE AUDIO PROGRAMMING SPACE. Retrieved from http://www.cs.princeton.edu/sound/publications/audicle_icmc2005.pdf
 * Function visualization (program state representation)**

Downie, M. (2008). Field—a new environment for making digital art. //Computers in Entertainment//, //6//(4), 1. doi:10.1145/1461999.1462006

Kaila, E., Rajala, T., Laakso, M.-J., & Salakoski, T. (2010). Effects of Course-long Use of a Program Visualization Tool. In //Proceedings of the Twelfth Australasian Conference on Computing Education - Volume 103// (pp. 97–106). Darlinghurst, Australia, Australia: Australian Computer Society, Inc. Retrieved from http://dl.acm.org.libaccess.lib.mcmaster.ca/citation.cfm?id=1862219.1862234

Lemma, R., & Lanza, M. (2013). Co-evolution as the key for live programming. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 9–10). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617340

Magnusson, T. (2013). The threnoscope: A musical work for live coding performance. In //ICSE//. Live 2013. Retrieved from http://sro.sussex.ac.uk/46859/

Magnusson, T. (2014). Herding Cats: Observing Live Coding in the Wild. //Computer Music Journal//, //38//(1), 8–16. McLean, A., Griffiths, D., Collins, N., & Wiggins, G. (2010). Visualisation of live code. //Proceedings of Electronic Visualisation and the Arts 2010//, 26–30.

Swift, B., Sorensen, A. C., Gardner, H., & Hosking, J. (2013). Visual code annotations for cyberphysical programming. In //1st International Workshop on Live Programming (LIVE)//. IEEE. Retrieved from http://eprints.qut.edu.au/61525/

Magnusson, T. (2011a). Algorithms as scores: Coding live music. //Leonardo Music Journal//, //21//, 19–23.
 * Scores**

Magnusson, T. (2011b). THE MUSICAL SCORE: THE SYSTEM AND THE INTERPRETER. Retrieved from http://isea2011.sabanciuniv.edu/category/keywords/performance?page=1

Magnusson, T. (2013). The threnoscope: A musical work for live coding performance. In //ICSE//. Live 2013. Retrieved from http://sro.sussex.ac.uk/46859/


 * Dance**

Magnusson, T. (2011a). Algorithms as scores: Coding live music. //Leonardo Music Journal//, //21//, 19–23.

Magnusson, T. (2011b). THE MUSICAL SCORE: THE SYSTEM AND THE INTERPRETER. Retrieved from http://isea2011.sabanciuniv.edu/category/keywords/performance?page=1

Magnusson, T. (2013). The threnoscope: A musical work for live coding performance. In //ICSE//. Live 2013. Retrieved from http://sro.sussex.ac.uk/46859/


 * Live Coding Visuals**


 * GUI**

Davidson, G. W. A. M. P., & Cook, P. R. (n.d.). CO-AUDICLE: A COLLABORATIVE AUDIO PROGRAMMING SPACE. Retrieved from http://www.cs.princeton.edu/sound/publications/audicle_icmc2005.pdf

Magnusson, T. (2005). ixi software: Open Controllers for Open Source Audio Software. Retrieved from http://www.ixi-software.net/thor/ixi_software2.pdf

Magnusson, T. (2006). Affordances and constraints in screen-based musical instruments. In //Proceedings of the 4th Nordic conference on Human-computer interaction: changing roles// (pp. 441–444). ACM. Retrieved from http://dl.acm.org/citation.cfm?id=1182532

Magnusson, T. (2010). Designing constraints: Composing and performing with digital musical systems. //Computer Music Journal//, //34//(4), 62–73.

Magnusson, T. (2011). THE MUSICAL SCORE: THE SYSTEM AND THE INTERPRETER. Retrieved from http://isea2011.sabanciuniv.edu/category/keywords/performance?page=1

Smallwood, S., Trueman, D., Cook, P. R., & Wang, G. (2008). Composing for laptop orchestra. //Computer Music Journal//, //32//(1), 9–25.

Wang, G., Misra, A., & Cook, P. R. (2006). Building collaborative graphical interfaces in the audicle. In //Proceedings of the 2006 conference on New interfaces for musical expression// (pp. 49–52). IRCAM—Centre Pompidou. Retrieved from http://dl.acm.org/citation.cfm?id=1142225

Aghaee, S., & Pautasso, C. (2013). Live mashup tools: Challenges and opportunities. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 1–4). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617338
 * Other**

Blackwell, A., & Collins, N. (2005). The programming language as a musical instrument. //Proceedings of PPIG05 (Psychology of Programming Interest Group)//. Retrieved from http://www.sussex.ac.uk/Users/nc81/research/proglangasmusicinstr.pdf

Bovermann, T., & Griffiths, D. (2014). Computation as Material in Live Coding. //Computer Music Journal//, //38//(1), 40–53.

Brown, A. R., & Sorensen, A. (2007). Dynamic Media Arts Programming in Impromptu. In //Proceedings of the 6th ACM SIGCHI Conference on Creativity &Amp; Cognition// (pp. 245–246). New York, NY, USA: ACM. doi:10.1145/1254960.1254995

Cocker, E. (2013). Live Notation: – Reflections on a Kairotic Practice, //18//(5), 69–76.

Collins, N. (2003). Generative Music and Laptop Performance. //Contemporary Music Review//, //22//(4), 67–79. doi:10.1080/0749446032000156919

Collins, N. (2011). Live coding of Consequence. //Leonardo//, //44//(3), 207–211.

Cox, G., McLean, A., & Ward, A. (n.d.). Coding praxis: Recondisering the aesthetics of code. In O. Goriunova & A. Shulgin (Eds.), //Read_Me Software Art and Cultures//. Retrieved from http://art.runme.org/1107862958-4046-0/cox.pdf

Freeman, J., Lee, S. W., Yao, S., & Albin, A. (2011). LOLC for Laptop Music Ensemble. In //Proceedings of the 8th ACM Conference on Creativity and Cognition// (pp. 433–434). New York, NY, USA: ACM. doi:10.1145/2069618.2069735

Gallardo, D., Julià, C. F., & Jordà, S. (2013). Using MTCF for Live Prototyping on Tablet and Tangible Tabletop Devices. In //Proceedings of the 7th International Conference on Tangible, Embedded and Embodied Interaction// (pp. 443–446). New York, NY, USA: ACM. doi:10.1145/2460625.2460724

Hartmann, B., Yu, L., Allison, A., Yang, Y., & Klemmer, S. R. (2008). Design As Exploration: Creating Interface Alternatives Through Parallel Authoring and Runtime Tuning. In //Proceedings of the 21st Annual ACM Symposium on User Interface Software and Technology// (pp. 91–100). New York, NY, USA: ACM. doi:10.1145/1449715.1449732

Lincke, J., & Hirschfeld, R. (2013). User-evolvable Tools in the Web. In //Proceedings of the 9th International Symposium on Open Collaboration// (pp. 19:1–19:8). New York, NY, USA: ACM. doi:10.1145/2491055.2491074 McLean, A. (2008). Live coding for free. In //Floss + art//. Poitiers, France: GOTO 10, in association with OpenMute.

McLean, A., & Wiggins, G. (2010a). Bricolage programming in the creative arts. In //Annual Workshop of the Psychology of Programming Interest Group//. Retrieved from http://www.academia.edu/download/30255078/22nd-eup-2.pdf

McLean, A., & Wiggins, G. (2010b). Tidal—pattern language for the live coding of music. In //Proceedings of the 7th Sound and//

//Music Computing conference// (Vol. 2010). Retrieved from http://server.smcnetwork.org/files/proceedings/2010/39.pdf McLean, C. A. (2011). //Artist-programmers and Programming Languages for the Arts//. Goldsmiths College (University of London). Retrieved from http://core.kmi.open.ac.uk/download/pdf/1447855.pdf

Nasser, R. (2011). The Zajal Programming Language. In //Proceedings of the 8th ACM Conference on Creativity and Cognition// (pp. 413–414). New York, NY, USA: ACM. doi:10.1145/2069618.2069723

Oney, S., Myers, B. A., & Brandt, J. (2013). Euclase: A live development environment with constraints and fsms. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 15–18). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617342

Rugaber, S., Hemel, Z., & Stirewalt, K. (2013). Live logic programming. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 19–22). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617343 Schloss, W. A. (2003). Using contemporary technology in live performance: The dilemma of the performer. //Journal of New Music Research//, //32//(3), 239–242.

Soares, G., Murphy-Hill, E., & Gheyi, R. (2013). Live feedback on behavioral changes. In //Live Programming (LIVE), 2013 1st International Workshop on// (pp. 23–26). IEEE. Retrieved from http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6617344

Stowell, D., & McLean, A. (2013). Live music-making: A rich open task requires a rich open interface. In //Music and human-computer interaction// (pp. 139–152). Springer. Retrieved from http://link.springer.com/chapter/10.1007/978-1-4471-2990-5_8

Swift, B., Sorensen, A., Martin, M., & Gardner, H. (2014). Coding Livecoding. In //Proceedings of the 32Nd Annual ACM Conference on Human Factors in Computing Systems// (pp. 1021–1024). New York, NY, USA: ACM. doi:10.1145/2556288.2557049

Wang, G., Misra, A., Kapur, A., & Cook, P. R. (2005). Yeah, ChucK it!⇒ dynamic, controllable interface mapping. In //Proceedings of the 2005 conference on New interfaces for musical expression// (pp. 196–199). National University of Singapore. Retrieved from http://dl.acm.org/citation.cfm?id=1085994

WARD, A., ROHRHUBER, J., OLOFSSON, F., MCLEAN, A., GRIFFITHS, D., COLLINS, N., & ALEXANDER, A. (n.d.). Live Algorithm Programming and a Temporary Organisation for its Promotion. Retrieved from http://art.runme.org/1107861145-2780-0/livecoding.pdf

Xambó, A., Hornecker, E., Marshall, P., Jordà, S., Dobbyn, C., & Laney, R. (2013). Let’s jam the reactable: Peer learning during musical improvisation with a tabletop tangible interface. //ACM Transactions on Computer-Human Interaction//, //20//(6), 1–34. doi:10.1145/2530541