Live coding: Difference between revisions

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[[File:Study in keith.ogv|thumb|200px|alt=Example live coding performance|''A Study in Keith'' is a musical live coding performance in [[Impromptu (programming environment)|Impromptu]] by Andrew Sorensen.]]

'''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>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.