Author: Ronit Singh

I opted for the live coding platform Improviz. The setup was quite straightforward. It required me to download the necessary files from GitHub onto my computer, launch Improviz via the command terminal, and then proceed to code within Improviz’s web-based editor. As I dived into the documentation, it became clear that the platform is primarily designed with beginner users in mind. The syntax/language it uses is similar to that of Processing or p5.js, focusing primarily on the creation of simple 3D shapes. A function that particularly stood out to me was the ability to use personal images and GIF animations as textures for the shapes, which adds the ability for unique customizations and visual appeals. Improviz also comes with a selection of pre-installed textures and materials that are both visually appealing and add to the creative possibilities. The syntax of Improviz is straightforward and intuitive, making it accessible for beginners, yet it offers enough functions to create amazing live arts.

Here’s a simple live art I made using Improviz. My idea was to have some geometric shapes with textures and materials changing colors dynamically, and make them move a little. I did this by using move, rotate and the sine function, which changes with time. The full code is on the left.

Laurie Spiegel, in her exploration of music through the lens of information theory, introduces an intriguing idea: using “random noise in place of information to increase entropy, to counteract redundancy.” It’s like adding unexpected twists to a story to make it more interesting. Likewise in music, by introducing random noise, she suggests that we can make music more interesting and unpredictable. Imagine you’re listening to a song that has a very repetitive pattern or melody. After a while, it starts to feel boring because your brain knows exactly what’s coming next. But, if the musician introduces some unexpected sounds or changes in the music, suddenly the listener’s attention is recaptured. The music becomes more interesting because it’s less predictable. This approach of adding randomness helps to break the monotony, and makes the music more dynamic and lively. Hence, by incorporating random noise to increase entropy, Spiegel’s model reminds us that innovation in art often comes from breaking rules and experimenting. It encourages musicians and artists to think outside the box using technology.

The reading dives into the concept and definition of live coding, emphasizing its lack of a fixed, universally accepted definition. The authors intentionally avoids rigid definitions, preferring a more diverse or “heterogeneous” definition. In simpler terms, live coding cannot be pinned down to a single explanation. It represents an evolving interaction between humans and computers, similar to a relationship one might have with plant life, as the reading mentions. Just as the health and growth of a plant is dependent on the caregiver’s attentiveness, the audiovisual outputs generated by a computer are a direct response to the user’s level of attentiveness or engagement (input). I like to think of it as coding that is alive, vibrant and responsive, far removed from a static set of instructions or algorithms programmed to produce predetermined outputs. Instead, each interaction with the code leads to unique “creative” outcomes. This idea is clearly expressed in the statement, “Live coding is about people interacting with the world, and each other, in real time, via code.” It emphasizes the dynamic and interactive nature of live coding, where the code becomes a medium for real-time communication and creation, reflecting the unique inputs of each user.