The concepts of process and data, inherent in the technology of contemporary music, are contributing to a new musical practice and aesthetic. The role of technology in musical production has cast music into data (a tangible entity, commodity or product) and thus made data a kind of cultural object itself in certain contexts (LPs, CDs, MP3 files). This condition suggests that a rethinking/transformation of contemporary audio arts based on process is taking place. Increasingly, sound may be only one of several simultaneous and expressive components constituting a cultural experience. Here process can suggest and define a set of possibilities as an artistic statement irrespective of whether something or anything is manifest by any artist. With the environment saturated with music, the creative design of musical processes might become an art in itself.
Social music-making systems offer the possibility of accessible and engaging group experiences. In this paper we explore questions concerning the notion of 'engagement' in social music-making. In a recent user study of Viscotheque, an iPhone-based environment for group musical creativity, three different types of engagement were observed: individual, unilateral and bilateral. These results indicate that network-based approaches may be useful in analysing engagement relationships amongst participants in group music-making.
The ten-year anniversary of TOPLAP presents a unique opportunity for reflection and introspection. In this essay we ask the question, what is the meaning of live coding? Our goal is not to answer this question, in absolute terms, but rather to attempt to unpack some of live coding's many meanings. Our hope is that by exploring some of the formal, embodied, and cultural meanings surrounding live-coding practice, we may help to stimulate a conversation that will resonate within the live-coding community for the next ten years.
He came to Britain in the 1930s, his career spanning several different activities. Firstly, he was a senior lecturer in physiology at Charing Cross Hospital Medical School, moving subsequently to the United States. In 1970 he returned to Britain as manager of biological research at Imperial Chemical Industries, at an important time for the development of their cardiovascular portfolio. Retiring in 1980, he volunteered to help the then small cardiac department at Oxford, "fathering" many young British and overseas research fellows. He was particularly interested in hypertension and in developing ambulatory blood pressure measurement, publishing extensively on these topics. He received awards from the Ciba Foundation and the European Society of Hypertension. He leaves a wife, Betty, and five children.
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