Live Notation: – Reflections on a Kairotic Practice

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Notes

¹ The fragments refer to: I. ‘Virtuoso (dismembered sonata for Hannah Arendt)’, a performance to camera by Hester Reeve; II. Yuen Fong Ling's ‘Delete/Copy/Paste’ workshop, a ‘reconfigured life class using live mark making as the conduit to question authorship, ownership and originality … by switching roles, hierarchies and the nature of production between the artist, model and tutor’; III. ‘Drawing/ Hacking’ by Kate Sicchio, a workshop performance that ‘explores live coding as a floor pattern for choreography’; IV. ‘Speaking Code’ by Geoff Cox and Alex McLean, a ‘performance lecture … combining human and machine voices … to undermine the distinctions between critical writing and coding practices to push the analogy of speech and code to its limits’; V. ‘Double Agent’ by Hester Reeve, exploring the term ‘live notation’ in relation to ‘un-institutionalised forms of creative labour and to the “un-economic” of the “extended body”’; VI. ‘Live Notation &“Live” Drawing’, Andre Stitt's exploration of drawing and painting as live notation; VII. ‘Notations of Intimacy’, a one-to-one performance lecture by Maria X; VIII. ‘Live-coding the Drone Machines: The system as a musical piece’ by Thor Magnusson, a live coding performance using ixi lang, a bespoke live-coding system ‘that exists at the border of being a score, a musical piece, and a system for musical expression’; IX. ‘The Triumph of Crowds: A score for decapitation, rotation, two trumpets and organza (after Poussin)’, where Brigid McLeer's translation of Nicholas Poussin's painting The Triumph of David (1631–3) as a series of drawings and instructions was confronted, interpreted and performed live by Kate Sicchio; X. Sam Aaron's ‘Isomorphic Algorhythms’, a live coding performance weaving synthesis, structure and symbolism through abstract and hand-crafted visual form; XI. ‘The Gospel According to Wrongheaded’ where Nick Collins and Matthew Yee-King collided the ‘medium of worship’ with the ‘pure act of live coding’ and, finally, XII. ‘The Hair of the Horse’, a collaboration between Dave Griffiths, Alex McLean and Hester Reeve, for bringing live art and living coding into close proximity.

² See http://livenotation.org, accessed 10 February 2014.

³ For definitions of live coding see http://toplap.org, accessed 10 February 2014. See also: Collins et al. 2003; Collins 2011; Cox and McLean 2013.

⁴ The relation to weaving is especially pertinent given that the jacquard loom is considered to be a precursor to the computer.