Author: Jannah Mokhtar

Max is a visual programing language for music and multimedia. It is used by composers, perfomers, software designers, researchers, and artists to create recordings, perfomances, and installations.

Max MSP’s origin can be traced back to the work of Max Mathews, who is often referred to as the father of computer music. In the 1960s, Mathews developed the Music-N series of programming languages. These early languages provided the foundation for digital sound synthesis and influenced many future music programming environments, including Max MSP. Mathews’ contributions laid the groundwork for interactive computer music by demonstrating that computers could generate and manipulate sound in real-time, an idea that continues to drive Max MSP’s development today.

At its core, Max MSP operates through a visual patching system, where users connect objects that perform specific functions, such as generating sound, processing video, or managing data flow. Each object has inputs and outputs that allow users to design complex behaviors by linking them together in an intuitive graphical interface. This modular approach makes it accessible to both beginners and experienced programmers, as it eliminates the need for traditional text-based coding while still offering deep customization and extensibility. Additionally, Max supports JavaScript, Java, and C++ integration, enabling users to create custom objects and extend the software’s capabilities beyond its built-in tools. Another key strength of Max MSP is its seamless integration with hardware and external devices. It supports MIDI and OSC (Open Sound Control), making it compatible with a wide range of musical instruments, synthesizers, and external controllers. Additionally, it can interface with Arduino, Raspberry Pi, and other microcontrollers, allowing users to build interactive installations.

Max MSP is considered a live coding platform due to its real-time interaction capabilities. Unlike traditional programming languages, where code must be compiled before execution, Max allows users to modify patches on the go, adjusting parameters, adding new elements, and altering behavior without stopping the performance. This flexibility makes it particularly valuable in live music, audiovisual performances, and interactive installations.

My demo:

Music’s ability to evoke emotions is deeply influenced by the context and culture in which it is experienced, as explored in Microstructures of Feel, Macrostructures of Experience. In the paper, The author discusses groove-based music and historical lineage, emphasizing the role of rhythmic structures and expressive timing in shaping expectations and emotional responses. This implies that emotional reactions to music don’t necessarily come from the inherent qualities of the music or specific notes but are shaped by the cultural and media contexts to which we are exposed as consumers. This idea reminded me of classical pieces that are commonly associated with particular emotions, often without much thought. For instance, Beethoven’s Symphony No. 7, Second Movement and John Williams’ Jaws theme are both iconic and placed in specific cultural contexts.

The paper argues that music functions as a communicative process, harmonizing individuals through shared experiences rather than conveying fixed meanings. Exposure and prior contexts lead us to internalize patterns and associate particular musical elements with emotions. Beethoven’s Symphony No. 7, Second Movement exemplifies this, as it’s often featured in tragic or dramatic settings, reinforcing its melancholic association. If it were placed in a different context, its emotional reception might shift significantly. Another example is the Jaws theme, which illustrates how repeated exposure to a rhythm within a suspenseful context has conditioned audiences to associate it with fear. The paper’s discussion on microtiming and expressive timing in groove-based music helped me understand how musicians manipulate rhythmic delivery to evoke distinct emotions. The accelerating motif in the Jaws theme has conditioned us to connect this rhythm with fear and thrill. Beyond its cinematic origin, this rhythmic pattern has been widely referenced and parodied, which only reinforces its emotional connotation in popular culture.

The study of expressive timing and groove-based traditions shows how music’s emotional power lies in learned associations. Whether through embodiment, memory, or repetition in media, our musical biases shape how we perceive and react to sound, demonstrating that our emotional engagement with music is as much a product of cultural exposure as it is of musical structure.

Live coding challenges conventional views of coding and technology by making the process transparent, participatory, and creative. Live coding is a real-time creative and performative coding practice. It involves writing, modifying, and displaying code as it runs, blending improvisation, transparency, and audience participation.

What I find really interesting and revolutionary about live coding is that it breaks down the stigma of coding as a difficult and ‘elite’ skill by showcasing every line of code and its immediate impact, making it accessible and understandable. This openness makes live coding a welcoming platform where the process is as important as the outcome, inviting people to see coding as a more approachable and less intimidating practice.

By making coding visible in real time, live coding deconstructs the complexity often associated with it, proving that it’s not as hard or impossible as it may seem at first glance. This can also can dismantle barriers for people who feel alienated by traditional programming. It’s not just a performance art—it’s an act of empowerment, inviting people of all backgrounds to participate and experiment without fear of failure. In this way, live coding not only challenges conventional views of coding but also reimagines it as a deeply human and inclusive practice. Furthermore, the emphasis on process over product challenges traditional notions of technological perfectionism, where polished outcomes often obscure the creative messiness behind them. Instead, live coding celebrates imperfection, failure, and experimentation.