In this writing, instead of answering the question, “What is Live Coding?” with a fixed definition, the author explains it as making software live by interacting with each other, with software, and with the act of coding itself. What I like about this writing is how the author looks at live coding as “thinking in public” and as communication between the performers and the crowd. In live coding, the performers openly share their mental process through codes, while the audience gets to question and reflect on it as they follow the journey. Live coding differs from traditional computing, where we only focus on refined code rather than the process of coding itself.

The most interesting part for me was the following: “Live coding asks questions about liveness, inviting us to reflect on what it means to be live—to have bodies, to communicate, to act.” It made me think of live coding as a collective and performative ritual where everyone in the room is connected through the code-as-interface. I think live coding is an interesting and relevant way of performance that makes coding more accessible and visible, especially now when software is deeply entangled with our everyday lives.

The reading from “Live Coding: A User’s Manual” by Alan F. Blackwell and others presents live coding not just as a technical practice, but as a profound cultural and philosophical phenomenon. This perspective invites a deeper exploration of live coding beyond its surface-level description. The reluctance to strictly define live coding, as expressed by David Ogborn, suggests that its essence lies in its fluidity and resistance to rigid categorization. This resistance is not merely a characteristic of live coding; it is a statement about the nature of creativity and interaction in the digital age.

Live coding challenges conventional notions of software development, which is typically seen as a methodical, behind-the-scenes process. By bringing the act of coding into the public sphere, live coding transforms programming into a performative art. This transformation raises questions about the relationship between the coder and the audience, the nature of software as a creative medium, and the role of improvisation in technological practices. The act of coding in real-time, in front of an audience, demystifies the process, making technology more accessible and understandable. It bridges the gap between the enigmatic world of code and the tangible human experience.

Furthermore, the concept of “thinking in public” as a form of live coding is intriguing. It suggests a vulnerability and openness in the creative process, where the coder exposes their thought process, errors, and revisions in real-time. This transparency is a stark contrast to the often opaque nature of software development. It invites the audience to engage with the process of creation, blurring the lines between creator and spectator. The text also touches upon the idea of live coding as a way to “unthink” conventional engineering practices. This notion aligns with Viktor Shklovsky’s concept of defamiliarization, where familiar objects or practices are made strange to enhance perception. In the context of live coding, this means viewing code not just as a tool for building software, but as a medium for artistic expression and exploration. It encourages a reevaluation of the roles of creator and audience, the nature of software as an artistic medium, and the potential for improvisation and spontaneity in technological practices. Live coding is not just about making software live; it’s about bringing life to the process of software creation.

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.

How different would the live coding experience be without the act of coding itself being projected onto the screen? I think with the invention of speakers and video recordings, a lot of experiences are diminished if it’s not performed in real-time as the audience would feel that they can get the same experience at home by watching a video. There have been incidents of concert-goers booing at the performers when they find out that the singer was lip-syncing the whole time. Does it really matter if they were lip-syncing or not? Either way, the same sound comes out of the speakers, but yet it matters a lot to an audience to know that the sound waves coming out of the speakers was produced right here, right now, and not recorded in a studio a few months ago, even if the recorded performance can be edited and rerecorded to be a much superior version to any live performance.

It is the act of a performance being performed in real-time, knowing the possibility of the performers messing up, and yet delivering beyond expectation to woo the crowd. An orchestra occupied by a speaker for each instrument. An algorave performance that’s just a prerecorded video. Though functionally they are the same, the feeling is not,, and the act of showing the code in live coding elevates it from a video to a performance.

The reading highlights the common nature between Live Coding and other art forms citing structure, rhythmic patterns, and sequence as key aspects. Initially, I held the assumption that music created through live coding might be overly repetitive or adhere to a rigid, machine-like formula. However, I’ve come to realize that the randomness introduced by computers can open up new possibilities and territories, particularly when used deliberately by the performer. Given that both repetition and chaos are essential elements in composition, Live Coding could serve as an ideal medium for achieving a harmonious balance between these two aspects.

The author also explores Live Coding as a practice resistant to hierarchical control, suggesting that it cannot be easily owned by established practitioners or institutions. Reflecting on this, I wonder if the independent nature of this movement could lead to excessive decentralization, making it challenging to keep track of its development. The proliferation of many similar live coding tools, each developing independently, may result in a situation where artists might not unify their power but instead fragment into individual parts. I believe a centralized platform offers advantages, providing a concise and focused space for artists and consumers to connect easily.

I’m particularly drawn to the part where the author talks about the “pluriversal capacity of live coding” to resist any kind of strict classification or explanation. I find creative coding to be this vast and ever-changing realm that keeps reinventing itself with new software and open tools. Defining it becomes a puzzle because it doesn’t have a fixed identity or purpose – it can be everything one wants it to be. The absence of a set functionality is what makes it so thrilling.

The concept of liveliness in live coding strongly resonates with me. There’s a captivating communal nature to it as individuals interact with each other in real-time through code, and this dynamic connection extends beyond the online realm, manifesting in physical spaces. It’s truly fascinating to witness this transition from the virtual to the tangible world.

While coding communities, in general, are bustling and lively, the interaction is often relegated to users with nicknames utilizing servers and Discord channels. The physical aspect seems to be missing, and there’s a prevalent notion of coding in isolation. The idea of people coming together and meeting face-to-face adds another layer to the concepts of authorship and visibility. Live Coding thus challenges the conventional narrative of coding as an inherently solitary and digital pursuit.

We add the words ‘more’ (or ‘less’) earlier than the adjective. Let’s use the one-syllable adjectives ‘quiet’ and ‘small’ as our start line. The comparative types of these words are ‘quiet’ and ‘smaller.’ To make the comparative form of Product Operating Model one-syllable adjectives, we simply must add the suffix ‘-er’. The comparative form of adjectives compares two issues or folks. For example, we will use them to compare two pairs of sneakers, two residences or even our two greatest associates.

Why Is ‘-ed’ Generally Pronounced At The End Of A Word?

A synonym, or word with the identical which means less software, is used within the sentence. To make these guidelines a bit extra digestible (since there are quite a few!), we’ll compare Phoenix, Arizona and New York City. An straightforward approach to keep in mind when to make use of nevertheless is to look at the adverb never, which is used to switch time or information.

General Guidelines For Comparative Adjectives

What is an example of LESS

In English there are various ways to explain rules and obligations. Here is a description of tips on how to express obligation and how and when to make use of modal verbs. Cleaning the floor is my least favorite kind of house responsibilities.

  • We’ve additionally dug deep into totally different comparative adjective examples to practice some of these tricky spelling rules.
  • In an analogous way to comparatives, there are two ways to make use of superlatives.
  • Now that you’ve read about how they work, do this enjoyable quiz to follow.

Words From Taylor Swift Songs (merriam’s Version)

Because Less appears just like CSS, learning it’s a breeze. Less only makes a quantity of convenient additions to the CSS language, which is considered one of the reasons it might be learned so quickly. Create a HTML file named “easy.html”, having the following knowledge. Less is used when talking about issues which might be uncountable or have no plural.

With long adjectives (two or more syllables), we add the words ‘more’ or ‘less’ earlier than the adjective. In an identical approach to comparatives, there are two ways to make use of superlatives. When you want to say that one individual or thing is superior to all others in that group, you should use ‘the most’. When you need to say that one particular person or factor is inferior to all others in that group, you should use ‘the least’. With one-syllable adjectives like ‘large’ and secure,’ we only must add the letter ‘r’ to make the comparative type. In this article, we’ll take a deeper have a glance at the utilization of comparative adjectives and more importantly, the spelling rules for various kinds of comparative adjectives.

You can’t merely demand that a company turn into extra inventive, agile, or product-focused overnight. Culture transformation is a fancy journey requiring a more nuanced method. What does a profitable cultural transformation look like? That’s why we wished to create one thing tangible, something that may be implemented somewhat than just mentioned. As with comparatives, if an adjective ends in a vowel and consonant (e.g. sad) you should double the ultimate consonant.

Can we say that traffic in New York is ‘more terrible’ than visitors in Phoenix? This is because horrible is already an excessive adjective, so something can’t be roughly horrible. Less and least are used for singular nouns, whereas fewer and fewest are used for plural nouns. English lecturers and grammarians will say that “may care much less” is mistaken as a outcome of it ought to mean the other of “could not care less.” Logically, if you may care less, it means you do care some. But in informal speech people typically use “might care much less” to mean they don’t care at all.

Nevertheless is a conjunctive adverb and can be utilized to combine two impartial clauses into one sentence. As of Less three.5, you might also use mixins and rulesets as maps of values. It would not be significant typically – a length multiplied by a size gives an space and css doesn’t assist specifying areas. Less will function on numbers as they’re and assign explicitly stated unit sort to the end result.

The adverbs at the beginning of each compound word additionally offer hints. None in nonetheless is used to describe quantities of one thing, and never in nevertheless modifies details or time. The only one difference is that it is saved with “.less” extension. “Less” is the irregular comparative and “least” is the corresponding superlative. We’ll explain what makes them irregular and how to use these words appropriately. Stack Exchange community consists of 183 Q&A communities including Stack Overflow, the most important, most trusted online community for developers to be taught, share their information, and build their careers.

As grawity’s glorious reply signifies, it’s a means of giving an instruction to the much less pager. In this specific case, using the handbook and tutorial of GNU Parallel, it makes studying the examples easy. As you’ll be able to see in the first instance, if an adjective ends in a vowel and consonant (e.g. big) you have to double the final consonant. Now let’s give consideration to the small print of the way to create each of these adjectives.

What is an example of LESS

Here are four examples of tips on how to use nevertheless in a sentence. Here are 4 examples of how to use nonetheless in a sentence. Nonetheless may also be used to check with a sure quantity of something, which is sensible because it starts with the adverb none, which suggests “no amount” of one thing. Here, we’ll provide you with some recommendations on how to bear in mind the difference between nonetheless and nonetheless in your writing. You can import a .less file, and all the variables in it will be available.

The clue could appear inside the identical sentence as the word to which it refers, or it may comply with in a preceding sentence. Because most of your vocabulary is gained through studying, it’s important that you just have the power to recognize and benefit from context clues. Every transformation is a journey fraught with difficulties. We regularly advise shoppers on the necessity to adapt their constructions, mindsets, and cultures, however we understand that they may be skeptical. There’s nothing more irritating than trying to improve and seeing things get worse. It’s typically easier to revert to acquainted, even ineffective, strategies.We understand that organizational change is a gradual process.

Less refers to a relatively smaller amount, quantity, or degree and can be utilized in this sense as an adverb, adjective, or noun. Less has several other senses as an adverb, adjective, noun, and a preposition. Unfortunately, we can’t use comparatives with all adjectives.

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