International Conference on Live Coding 2016

We’re happy to announce that the second International Conference on Live Coding 2016 (ICLC 2016), will take place at McMaster University in Hamilton, Ontario, Canada from October 12th to October 15th, 2016.

ICLC 2016 will be the second edition of this interdisciplinary conference, following the inaugural ICLC 2015 held last year at the University of Leeds, UK ( http://iclc.livecodenetwork.org/ ), under the auspices of the Live Coding Research Network ( http://www.livecodenetwork.org/ ). The overall schedule of deadlines appears below, and a more detailed call for peer-reviewed submissions will be issued at the end of January.

We are currently preparing an application to Canada’s Social Sciences and Humanities Research Council (SSHRC), for additional funding to support the conference. If you have ideas for special events or thematic areas within the conference (for example, panel sessions with invited contributions), you are invited to contact me immediately with those ideas as we may be able to include them in the application to SSHRC.

Please don’t hesitate to get in touch if you have any ideas or questions about the conference. Thanks for your interest – and I hope to be seeing as many of you as possible in Hamilton at ICLC 2016!

The cal for proposals is now up at http://iclc.livecodenetwork.org/2016/

Yours truly,
David Ogborn

ICLC 2016 schedule:

  • 22nd February 2016 – online peer review system opens
  • 4th April 2016* – deadline for submissions
  • 29th April 2016 – notification of acceptance
  • 30th June 2016 – camera-ready deadline for proceedings
  • 12-15th October 2016 – conference

Open calls – round up

There are quite a few live coding network open calls, so here is a round up:

Call for expressions of interest in hosting ICLC (by 1st May 2015)
If you are interested in hosting ICLC in years to come, please fill out the following short form:
https://docs.google.com/forms/d/1P_wmCL5PfEBNyVM8Vp7OEXyhbdwi6KPx1tVSKkUU9KY/viewform

Live Coding Alternatives at Aarhus 2015 (by 20nd May 2015)
Call for abstracts for this workshop to be held on the 18th August 2015, and organised by Alan Blackwell, Emma Cocker and Geoff Cox, is now closed.
http://www.livecodenetwork.org/live-coding-alternatives/

IJPADM special issue: Live Coding in Performance Arts (abstracts by 15th
September 2015)
The call for 500 word abstracts for this special issue is now open. We anticipate that ICLC attendees will take this opportunity to expand upon the work presented and explored at the conference.
http://explore.tandfonline.com/cfp/ah/international-journal-of-performance-arts-and-digital-media-call-for-papers

ICLC Call for Stickers (end May 2015)
All ICLC 2015 delegates will get a sheet of kiss-cut stickers. If you’d like to include your logo please send it to us, following the instructions here:
http://www.livecodenetwork.org/iclc-call-for-stickers/

ICLC call for stickers!

All ICLC 2015 delegates will get a sheet of kiss-cut stickers. If your live coding-related project has a nice logo, please send it to us (livecodenet@gmail.com) in the following form:

  • an SVG file
  • the cutline should be in magenta (‪#‎ff00ff‬), with 3mm bleed
  • your sticker should fit within a rectangle no bigger than about 4cm2
  • before the end of May 2015.

For inspiration, you can see a previous live coding sticker sheet.

We will try to include as many stickers as we can. Thanks!

ICLC and JPADM

The call for papers and performances for the International Conference for Live Coding has been published on our ICLC Website. We are pleased to announce a the call for papers for the International Journal of Performance Art and Digital Media (issue 12.2) to be published in 2016. If the theme fits the JPADM call, we hope that ICLC authors will consider turning their papers into journal articles for this publication. In terms of timing, this fits well: the ICLC conference is in July 2015, and the 500 abstracts for the JPADM are due in before September 15th.

Live Coding in Education Symposium – Report

The third symposium in our research network series took place in Cambridge on January 9th. Hosted by Pam Burnard, an education specialist, the event had the theme of “Live Coding in Education.” This was our smallest symposium, designed to be a dialogue between secondary school teachers and live coders, exploring how to respond to new IT curriculum.

For us live coders the event was very interesting and … educational. Topics ranged from discussions of how to teach creativity with code as means, to improvisation, conversation with code, coding as performance, the reversion back to Smalltalk, feminism, sharing of repertoire, and the role of live coding in IT education. It seemed that the biggest hurdle for introducing live coding in schools is the limited scope teachers have for exploring extracurricula topics: they need all the time they can get to get through the most basic things they are supposed to cover.

Call for papers: International Journal of Performance Arts and Digital Media

 Special issue: Live Coding in Performance Arts
Issue Editors: Thor Magnusson (University of Sussex), Kate Sicchio (Independent Scholar), and Alex McLean (University of Leeds)
This is an open call for papers on the topic of Live Coding in Performance Arts, for a special issue of the International Journal of Performance Arts & Digital Media (Issue 12.2, October 2016).
Live coding has grown as a performance method over the past decade, infiltrating diverse art forms, but with strong grounding in musical and audiovisual performance. Following a decade of music releases, festivals, journal issues, symposia, and conference tracks, with online hubs like TOPLAP (www.toplap.org) and the AHRC funded Live Coding Research Network (www.livecodenetwork.org) supporting both artistic and research activities within the field, the first International Conference on Live Coding (iclc.livecodenetwork.org/) will take place at the University of Leeds in July 2015.
This journal issue aims to explore the new possibilities offered to artistic performance by live coding, asking whether the algorithmic approach to dynamic thought and action which underlies live coding practice can shed light on aspects of more traditional approaches in the performing arts. Live coding is essentially the act of creating and modifying symbolic instructions in real-time, encompassing historical and contemporary work that goes beyond computer-based systems to include practices in improvisation, choreography, literature, live/performance art, visual arts, and theatre. The issue will explore pertinent questions of liveness and what rule-based instruction formats, such as live coding, live scoring, or live notation, offer to the diverse performance arts. We encourage submissions that engage with the physicality of performance, embodiment, considerations of space, machines, audience, and perceptions of the flow of time. In particular, we encourage interdisciplinary perspectives, which are well situated within the Journal of Performance Arts and Digital Media, where any focus on artistic, sociocultural, aesthetic and/or technological aspects, may be combined with or grounded in the others.

Contributions can address the following topics, but are not limited to them:

  • Instructions and open form in the performing arts.
  • Programming as a new form of artistic expression.
  • Live writing/scoring of activities in space and place.
  • Embodiment, movement and perception of time in the temporal arts.
  • The psychology of live coding and performance.
  • Audience understanding and participation in live coding performance.
  • Sensory experience and multi-modal expression through code/instruction.
  • Language design for live coding performances.
  • Live coding in visual, auditory, and kinesthetic education.
  • The ontology of open ended art works.
  • Notation in Live Art practice.
  • Live coding and collaboration.

Expressions of interest in the form of a short abstract (up to 500 words) should be sent by email to Thor Magnusson (t.magnusson@sussex.ac.uk) before September 15, 2015. Full articles of 5000–8000 words or artistic position papers of 2000–3000 words will then be submitted for peer review by January 15, 2016.

Live Coding and Collaboration – A Report

The Live Coding and Collaboration symposium we ran in collaboration with the Department of Music in Birmingham went really well. The event started with a doctoral colloquium where researchers presented their work in progress, often challenging and expanding common definitions of live coding. The event involved a planning session for the International Conference for Live Coding which will take place in the University of Leeds in July, 2015. Some great ideas were presented, involving unconventional conference sessions and a good focus on quality food and beer (and let’s not underestimate live coding’s relationship with beer, in particular as we were in Birmingham).aa

The Friday symposium started with a paper session where presentations were given by Tom Hall on live digital notation, Scott Wilson and Norah Lorway on live coding networked music, Alex McLean on collaboration, André Damião on streaming objects, the team behind the Cambridge based Sonic Pi research project (Pam Burnard, Franziska Florack, Alan Blackwell and Sam Aaron), and Sang Won Lee on models of networked live coding. We had live sessions on live coding without computers, and after a fruitful closing discussion, planning the future, the day ended with the first performance of the Network Music Festival, set in Birmingham Music Department’s beautiful circular multichannel dome.