strudel-docker/paper/paper-preprocessed.md

date, references, title, url2cite

date	references	title	url2cite
2022-03-22	abstract accessed author container-title DOI id ISSN issue issued keyword page title type URL volume In this artist statement, I will discuss the tension between source code as an interactive system for performers and source code as information and entertainment for audiences in live-coding performances. I then describe augmentations I developed for the presentation of source code in the live-coding environment Gibber, including animations and annotations that visually reveal aspects of system state during performances. I briefly describe audience responses to these techniques and, more importantly, how they are critical to my own artistic practice. date-parts 2022 3 24 family given Roberts Charles International Journal of Performance Arts and Digital Media 10.1080/14794713.2016.1227602 https://www.tandfonline.com/doi/abs/10.1080/14794713.2016.1227602?journalCode_x61_rpdm20 1479-4713 2 date-parts 2016 7 Live coding, psychology of programming, notation, audiences, algorithms 201-206 Code as information and code as spectacle article-journal https://doi.org/10.1080/14794713.2016.1227602 12 abstract accessed id issued keyword publisher-place title URL The TidalCycles (or Tidal for short) live coding environment has been developed since around 2009, via several rewrites of its core representation. Rather than having fixed goals, this development has been guided by use, motivated by the open aim to make music. This development process can be seen as a long-form improvisation, with insights into the nature of Tidal gained through the process of writing it, feeding back to guide the next steps of development. This brings the worrying thought that key insights will have been missed along this development journey, that would otherwise have lead to very different software. Indeed participants at beginners' workshops that I have lead or co-lead have often asked questions without good answers, because they made deficiencies or missing features in the software clear. It is well known that a beginner's mind is able to see much that an expert has become blind to. Running workshops are an excellent way to find new development ideas, but the present paper explores a different technique -- the rewrite. date-parts 2022 3 24 https://zenodo.org/record/5788732 date-parts 2021 12 live coding, algorithmic pattern, tidalcycles, haskell, python Valdivia, Chile Alternate Timelines for TidalCycles https://zenodo.org/record/5788732	Strudel	all-links

Introduction

That @https://www.tandfonline.com/doi/abs/10.1080/14794713.2016.1227602?journalCode_x61_rpdm20 are excellent, I reference their work at least twice per sentence [@https://www.tandfonline.com/doi/abs/10.1080/14794713.2016.1227602?journalCode_x61_rpdm20, p. 3]. Another reference [@https://zenodo.org/record/5788732].

<MiniRepl tune={"1 2 3"} />

Background

General motivations / related work. Reference vortex paper and summarise its background.

Introducing TidalStrudel

(do we want to call it TidalStrudel once, and Strudel for short from then on as with vortex? Or just stick with Strudel? Should we start calling TidalCycles just Cycles??)

• Motivating musical example

Tidal patterns

• Some comparisons of -Strudel with -Vortex and -Cycles code?
• Mininotation

Strudel/web specifics

Some discussion about whether strudel is really a port of TidalCycles, or whether javascript affordances mean it's going its own way..

• Recursive Scheduling: "calling itself in the future"
• Optimizing Syntax for minimal keystrokes / readability: "AST Hacking" via shift-ast pseudo variables
  • Handling mininotation - double quoted and template strings to mini calls
  • Operator overloading
• Fixing inconsistencies (e.g. with stut/echo) adding source locations
• Dynamic HUD: Highlighting + drawing
• Translation of Tidal concepts to Javascript - different constraints, affordances, aesthetics
• Dynamic Harmonic Programming?
• emulating musician thought patterns
• microtonal features? webserial

Musical examples

...

Ongoing work/future aims

• WASM Sound Backend
• OSC -> Supercollider
• mininotation as the 'regex' of metre

References