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1010/ap

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process model (using continuations) with internal code 12:38 (2006.05.25:2 tech_notes#133 alice#12)

eval


code passed by way of the panel.lisp message board


or time-slice and code walking as a better option (see erunticlab modified creatures to become characters)

life coding panel notes cybersonica 20 may 2006 dana centre, london 12:20 (life_coding#4)

Notes for panel.lisp based on code from Peter Norvig (Kodiak.lisp) and Paul Graham (On Lisp - processes and continuations)

Specification of the environment for the ironic panelling modules concerned with representation and process - ie. software.

From the outside in. or bottom up. A free software environment - GNU/Linux, GNU Emacs - exposure as essential for live coding, SLIME and CMUCL Common Lisp implementation.

Representation - a knowledge map/set of relations is expressed using Norvig's Kodial representation language.

Previous experiments to map a network linking Alice in Wonderland by way of author Charles Dodgson to Ripper murders of late 19th century extrapolated/or looking glass switch into contemporary death of Lady Diana.

Representation - categories, individuals, relations and values. Also notation for equivalance and when/if statement

roughly ties into level of process - interacting process with three processes here: Jonni, Martin and the deus ex machina exchange messages and synchronise by way of the panel board. System is readily extended by way of integration into the querying system with answers posted to the board by active agents. code as character. Sadean live coding.

pre-panel codelang notes

multiple titles/ entry points/ code relation the opening credits:

panel as kodiak representation language module.

what could a panelling module be? software as active and expansive descriptive means for process and recursion/expansion - an open field

live coding is dead. long live live coding.

live coding and the interface

interface between expanded software and existent or contemporary software

environmental code towards xxxxx and plenum

world as interface

plenum cutn'paste:

Software is concerned with an interface which operates in two directions - from the realm of speculative or expanded software (aka. the social) to the reduced yet equally effective realm of codified software and (as output, as interference, as noise) the entry of executed results back. A repetitive return trip. A two way street.

The code here is concerned with that which can be exchanged (or mapped over) on this interface. On the machine side that which is knowable for the patch - time, sound as data (amplitude and thus frequency which then opens up to statistical analysis across various domains), and, as we will have 8 microphones distributed in the room, space. Simulation, and code herrings push things further.

On the other side, the human, and within a narrow context the meta, the xxxxx/PLENUM experiment attempts a simultaneous overmapping of both realms using operatic, logical and holographic technique dressed up in the emperor's new clothes; the expanded software script (human) translated into machine and meta-human-machine operation. We would rather view interface in terms of a Gunter Brus incision than a question of design and GUI.

Code leaks both ways across a broken-world interface, a pornographic exchange, the dull promise of the world on a wire (puppet or network), and the entry of simulations theory. Code translates into the intensely operatic with orchestra, libretto, shameful life all on a multiplied plane. No other score or meta score exists. There will always be an outside.

All patches, software encodings, algorithmic elaborations for either space should prove readily extensible (in the codified realm, heavily abstracted and based on message passing, in the social realm driven by baroque protocol) and concerned with an extreme escalating overmapping of expanded and reduced software domains. The problem states itself as that of the practical and the experiment. Substance.

Specifications:

A powerful programming language is more than just a means for instructing a computer to perform tasks. The language also serves as a framework within which we organise our ideas about processes. Thus, when we describe a language, we should pay particular attention to the means that the language provides for combining simple ideas to form more complex ideas. Every powerful language has three mechanisms for accomplishing this:

primitive expressions, which represent the simplest entities the

language is concerned with,

means of combination, by which compound elements are built from

simpler ones, and

means of abstraction, by which compound elements can be named and

manipulated as units.

[Structure and Interpretation of Computer Programs. Harold Abelson and Gerald Jay Sussman with Julie Sussman]

The software environment: Live specification of a language. This is not Pd, this is not SC3, this is not Common Music, this is not Scheme, this is not .....

The protocols: Ported upstream to the social. In order for heterogeneous systems (ourselves) to exchange data they need some sort of protocol agreed upon. Protocols are to be discovered and determined in situ favouring those which stress promiscuity and supreme pluggability.

The hardware: As many code operators/composers and artists as possible. Ten microphones, two mixing desks, cables, beamer.

The five acts, five software modules. Five versions of the same film or software. Five times five.

code AS an/the interface

quote:

This is the natural way of Lisp … you stop thinking in terms of applications at all, because you can play with everything interactively. Any user interface is there to simplify the API for

less sophisticated users.

thus in relation to live coding // live coding as philosophy (GNU Emacs as live coding, free software as live coding,???)

or in relation to live coding as a technique (trivial concern):

pros:

1) exposure is always good. allied with free software.

there was one more but forgot it now. relation also to scripting/theatre could be broached also

The five exposed software acts, verging on the coded operatic as pinned down by PLENUM, explore the interface between the realms of ever hopeful expanded software and reduced contemporary code; an exchange rooted in the heavily textual notion of scripting. Each act is to be rendered in real time (primarily using the audible as our time base) by five demarcated and differing sets of exposed software assemblages

2) code is interface and environment. The commandline. GNU Emacs.

3) playfulness

4) privelege of source over execution (perhaps)

cons:

1) return of the virtuosic: the guitar solo translated

2) emphasis on the algorithmic

3) emphasis on the imperative - the guitar string is plucked

4) a simple answer to the question: what is code? is pd patching live coding? is machine code pokery live coding. an ignorance of abstraction. the blank slate

5) social software?