contact: me@jonharrison.com

living sound - Dragica Kahlina

The performance is a combination between live coding and instrumental music. The sound journey is improvised, layered and has a strong focus on the timbral aspect of music. Live coding works within a prepared, but dynamic framework that gives the performer the freedom to change all aspects of the music spontaneously. The instrument used is an Eigenharp Alpha an electronic controller with 132 buttons that act as 3-axes joysticks, a breath controller and 2 pressure stripes.

ICLC International Conference on Live Coding 2015

14 July 2015 Stage One, University of Leeds

BEER - Birmingham Ensemble for Electroacoustic Research

Two live-coded works, Swarm 1, by Norah Lorway, and SwitchBlade, by Scott Wilson + BEER. The former piece involves improvising through a loosely pre-determined structure using supplied templates and materials, which are then modified and extended by the ensemble. In the latter each musician live codes 3 layers of different types, which are chosen and combined using a central control algorithm, itself live-coded.

ICLC International Conference on Live Coding 2015

13 July 2015 CCCH, University of Leeds

Wezen - Gewording - Marije Baalman

Wezen - translation:be, character, creature, essence, gist, nature, being, intelligence, also orphans (2012-4; work in progress)

Wezen is a solo music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world.

Gewording (Becoming) is the first performance version where the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.

ICLC International Conference on Live Coding 2015

14 July 2015 Stage One, University of Leeds

To code a dadaist poem - Sean Cotterill

This performance is an evolution of a concept Sean Cotterill explored for Rodrigo Velasco's event 'on-the-fly codepoetry' held in January 2015 (http://cargocollective.com/onfcopoe/otfCp00). For the performance Cotterill uses live coding techniques to create cut-up poetry and sound on the fly, reminiscent of the process described by Tristan Tzara in his work 'To make a dadaist poem'.

ICLC International Conference on Live Coding 2015

14 July 2015 Stage One, University of Leeds

End of buffer - Repl Electric

This performance by Joseph Wilk as Repl Electric, is a mix of improvisation and composed music and visuals. The primary programming language used is Clojure a LISP based language running on the JVM. The visuals are written with the OpenGL Shading Language and the music with Overtone a client to the SuperCollider sound engine and finally a library I created myself called MUD optimizing immediacy of expression. All of this is bound together using the Emacs editor, taking a common tool used widely for programming and emphasizing its power and feedback in coding live.

ICLC International Conference on Live Coding 2015

14 July 2015 Stage One, University of Leeds

HTB2.0 - Kate Sicchio

This dance piece is an exploration of live coded electronics and improvisational movement. A dancer wears a custom garment of haptic actuators. These actuators are programmed real-time via OSC to 'buzz' on the right and left sides of the dancer to indicate which side of the body the dancer will move. The score is being live coded by choreographer while the dancer is responding to the haptic feedback. This piece explores live coding of bodies and movement as output rather than a sonic or visual output as found in many live coding performances.

ICLC International Conference on Live Coding 2015

14 July 2015 Stage One, University of Leeds

Slamming Street 01100110 - Afrodita Nikolova, Sam Aaron and Alan Blackwell

"An experimental performance collaboration involving poetry and live coding. Our goal is to explore the borderlands between computation and human experience; between media and algorithms; and between structures and interpretations as a creative intercultural encounter. Using Linton Kwesi Johnson's dub poem 'Street 66' as a shared starting point, Sam Aaron, Afrodita Nikolova and Alan Blackwell have worked together to understand their experiences as improvisers and boundary-crossers."

ICLC International Conference on Live Coding 2015

15 July 2015 CCCH, University of Leeds

Mind Your Own Business - Birmingham Laptop Ensemble

Mind Your Own Business (2013, MYOB) is a piece which entangles different elements and roles in an electronic sound performance amongst a group. Noone can play any sound without anyone else‘s activity. Each performer only has partial control over the resulting music: rhythm, pitch, timbre and manipulative effects are the different roles. Adding to the confusion the ensemble then rotates the designated roles throughout the duration of the piece. Everything is livecoded which poses yet another challenge in view of differing keyboard layouts. The music is improvised based on a starting set of three synthesized sounds but everything can be changed at anytime.

ICLC International Conference on Live Coding 2015

15 July 2015 CCCH, University of Leeds

vida breve - tristeTren

vida breve' is an audiovisual feedback dialog between the Ollinca's guitar processed by SuperCollider and drawings processed by Processing then live coded in Tidal, also Ollinca use her voice to establish an algorithmic - analog dialogue, the approach is to generate a live coded guitar feedback loop, playing and improvising analog sounds in real time to turn and cut these processes and loudly redirected by writing algorithms in real time.

ICLC International Conference on Live Coding 2015

15 July 2015 CCCH, University of Leeds

Improvisation - very long cat (Shawn Mativetsky and David Ogborn)

very long cat are a new network music ensemble combining tabla (Shawn Mativetsky) and live coding (David Ogborn), rehearsing and performing via the Internet and employing an eclectic range of techniques and technologies. For the inaugural International Conference on Live Coding we will improvise a combination of two formats or “genres” that are complementary features of the ensemble’s work: live coding signal graphs that transform the live sound of the tabla sound (live coding “live electronics”), and live coding patterns and grooves that provide a rhythmic frame for tabla improvisation.

ICLC International Conference on Live Coding 2015

15 July 2015 CCCH, University of Leeds