Special issue: Live Coding in Performance Arts
Issue Editors: Thor Magnusson (University of Sussex), Kate Sicchio (Independent Scholar), and Alex McLean (University of Leeds)
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 (firstname.lastname@example.org) 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.