Visualisation of live code

McLean, Alex; Griffiths, David J.; Collins, Nick; Wiggins, Geraínt A.

doi:10.14236/ewic/eva2010.6

Cited by 27 publications

(12 citation statements)

References 9 publications

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“…Eventually, the human factors (human elements in teaching and learning) as well as the elements of educational environment and associated learning processes have not been extensively explored. Similarly, the psychology of the visualisation of live code in programming is also underinvestigated, thus learning processes in the simulation environment and the role of lecturers as facilitators are not well-explained (Aleksic & Ivanovic, 2016;McLean, Griffiths, Collins, & Wiggins, 2010. Therefore, exploring effective teaching principles and their application guidelines in programming simulation may add value to this particular area of computing education.…”

Section: The Starting Pointmentioning

confidence: 99%

Teaching technology with technology: approaches to bridging learning and teaching gaps in simulation-based programming education

Jamil

Isiaq

2019

Int J Educ Technol High Educ

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The learning of programming using simulation involves unique educational environments and human factors. However, research in this field has been mainly centred on the efficacy of the simulation tool whereas there is a lack of comparative studies between the associated teaching and learning procedures. To address the gap, this study facilitates an evidence-driven discussion on learning and teaching, as well as their relationship, in simulation-based programming education. Investigation areas include virtual and physical environments of simulation sessions, relevant learning enablers and impediments, and roles of students and faculty members in the process. The study followed qualitative methodology using focus groups and semi-structured interviews. Thirty-seven students and four lecturers on a computing course at a British university shared experiences and perceptions on simulation-based programming sessions. The data were analysed thematically and through cross-evaluation. The findings have provided fresh insights on several enabling and challenging aspects of simulation-based programming education. On the one hand, visualisation, consistency of learning procedures, and student engagement emerged as empowering factors. On the other, the negative implications of collaborative tasks, students' attention diversion while shifting between virtual and physical environments of learning, and lecturers' over-emphasis on technology in teaching preparation, appeared as challenges. The paper contributes to understanding the advantages and challenges of using simulation in programming education. It suggests essential teaching principles and their application procedures, which add value to the overall computing education at tertiary level. The learning is transferrable among other engineering programmes and academic disciplines that use simulation for educational purposes.

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Section: The Starting Pointmentioning

confidence: 99%

Teaching technology with technology: approaches to bridging learning and teaching gaps in simulation-based programming education

Jamil

Isiaq

2019

Int J Educ Technol High Educ

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“…Facilitating networked collaboration and communication is reported as essential for CMLC [3]. As a followup of Section 1.1.1, music live coding environments that support communication tools include Overtone [1], Gibber [24], Betablocker [25], the Republic quark [15] in Super-Collider, and Fluxus [25]. In Overtone, there is a text chat panel that lets the members of a session send messages separated from the code.…”

Section: Communication Tools In Cscw and Cmlcmentioning

confidence: 99%

Turn-taking and Online Chatting in Remote and Co-located Collaborative Music Live Coding

et al. 2018

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Collaborative music live coding (CMLC) approaches the music improvisation practice of live coding in collaboration. In network music, co-located and remote interactions are possible, and communication is typically supported by the use of a chat window. However, paying attention to simultaneous multiuser actions, such as chat texts and code, can be demanding to follow. In this paper, we explore co-located and remote CMLC using the live coding environment and pedagogical tool EarSketch. In particular, we examine the mechanism of turn-taking and the use of a small set of semantic hashtags in online chatting by using an autoethnographic approach of duo and trio live coding. This approach is inspired by (1) the practice of pair programming, a team-based strategy to efficiently solving computational problems; (2) the language used in short messaging service (SMS) texting and social media. The results from an online survey with six practitioners in live coding and collaboration complements the autoethnographic findings and point to education as the most suitable domain for this approach to CMLC. We conclude discussing the challenges and opportunities of turn-taking and the use of semantic hashtags focusing on educational settings.

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“…One consequence of this emphasis on code sharing is a departure from the idea that live coding should begin from a blank screen. Live-coding pioneer Alex McLean writes, ‘The development of software becomes part of the art in a very real sense; at the beginning of a typical live coded performance there is no code and no audiovisual output, but the output grows in complexity with the code’ (McLean, Griffiths, Collins and Wiggins 2010). In the practice of the Cybernetic Orchestra we have often done exactly the opposite, starting from screens full of code, upon which orchestra members then begin to operate, transforming it in various ways and with various intentions (some specific models of operating on given code are discussed below).…”

Section: Live Codingmentioning

confidence: 99%

Composing for a Networked, Pulse-Based, Laptop Orchestra

Ogborn

2012

Org. Sound

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Guided by the idea of participatory culture, networked pulse synchronisation and live coding have been core approaches in the activity of the Cybernetic Orchestra, an electronic performance ensemble at McMaster University in Hamilton, Canada. Following general discussion of the way in which networked pulse-based music and live coding work within this orchestra, there is specific discussion of a number of compositional models and practices that have been found effective, including code-sharing, instruction-scores, code as material, and physical performance.

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Visualisation of live code

Cited by 27 publications

References 9 publications

Teaching technology with technology: approaches to bridging learning and teaching gaps in simulation-based programming education

Teaching technology with technology: approaches to bridging learning and teaching gaps in simulation-based programming education

Turn-taking and Online Chatting in Remote and Co-located Collaborative Music Live Coding

Composing for a Networked, Pulse-Based, Laptop Orchestra

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