View source for All Problems of Notation Will be Solved by the Masses, Simon Yuil

''Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.''

===The Commodification of Collaboration and the Contradiction of Collaboration in Art===

Collaboration in art, as described in ''Nicolas Bourriaud's Relational Aesthetics'', is often commodified and used as a tool for generating revenue or enhancing corporate productivity. While originally intended to foster critical and liberatory relationships, collaboration in art risks being reduced to a commercial strategy, losing its intrinsic value and becoming a means to serve capitalist interests.

===FLOSS and Artistic Practice: From Collaboration to Distribution===

Comparing current FLOSS-related art practices with earlier similar artistic forms clarifies the relationship between symbolic production and distributive practices. <u>FLOSS-related art goes beyond mere collaboration by presenting a new distributive model that decentralizes production and enables self-directed creation by others.</u> This suggests that the code-based production methods of FLOSS can influence artistic practices, promoting more autonomous and decentralized forms of creation. <u>The true potential of FLOSS-linked art lies not just in collaboration or legal frameworks, but in expanding the principles of symbolic production into distributive practices, opening up new possibilities for creation <code>흠..?</code></u>. Reinterpreting the FLOSS model as one of autonomous creation through distribution rather than just collaboration can pave the way for new artistic horizons.

===Live Coding, Hacklab===

If live coding is one of the most emblematic artistic expressions of FLOSS, then the hacklab represents its most iconic social form. While these two forms do not occupy the same trajectory, they overlap and complement each other in many significant ways. At their core is the shared principle of '''"enabling production by others."''' This is not merely an issue of distribution at the level of software as a product, but a matter of practice. '''The practice itself is inherently distributive, integrating the dissemination of knowledge about production into the process of production itself. This opens up the possibility for collaborative production, but it is distinct from collaboration.''' While collaborative practice gathers the efforts of many towards a single goal and directs the distribution of their labor, distributive practice enables others to direct their own labor in their own way. This is realized not only as code that creates products but also as an output that serves as a notation with ongoing vitality beyond its initial implementation.

===Notational Production 기보법적 생산===

'''Livecoding works from within a particular relation between notation and contingency. The specificity of code is opened towards the indeterminism of improvisation.'''
 '''라이브코딩이 기보법(Notation)과 우연성(Contingency) 사이에서 어떻게 작동하나?'''
 * 기보법과 우연성의 관계: 기보법은 전통적으로 음악이나 예술에서 구체적이고 명확한 지시를 제공하는 체계이며, 이는 악보나 코드를 통해 예술가가 의도한 대로 작품을 재현할 수 있게 해준다. 그러나 라이브코딩은 이러한 기보법의 틀을 유지하면서도, 즉흥성이라는 요소를 도입합니다.
 * 코드의 구체성과 즉흥성의 불확정성: 라이브코딩에서 사용되는 컴퓨터 코드는 매우 구체적이고 명확한 지시를 포함한다. 그러나 라이브코딩은 이러한 코드를 실시간으로 작성하고 수정하며, 그 과정에서 우연한 결과가 도출될 가능성이 있다. 이 불확정성은 즉흥적인 요소로 작용하여, 코드가 예상치 못한 방식으로 작동하거나 새로운 소리와 구조를 생성할 수 있게 한다.

 see reference
 ''Free Open Form Performance''
 ''Umberto Eco's 'Poetics of the Open Work''

===Scratch Orchestra===


===Noise Interrupts===

[https://intuitivemusic.dk/iima/sonsn.pdf Nature Study Notes] are all in the form of text-based instructions. However, <u>few of them explain how to produce sound; instead, '''they focus on various social interactions that structure and address power dynamics among the performers'''.</u> Many of the scores set up small scale 'operating systems', simple organisational structures that enable other works to be produced within them.
The notion of the ''performance as an operating system'' is one that ap have taken up in their Life Coding project. <u>Adapting mechanisms from computer systems, the interaction of performers is dictated by '''interrupt signals''' connected to actions defined in look-up tables.</u>

 Edsger Dijkstra, one of the inventors of the interrupt system, noted:
 "...the exact moments of the interrupts were unpredictable and outside our control, the interrupt mechanism turned the computer into a nondeterministic machine with a nonreproducible behaviour..."

 [["Interrupts aren't hidden"]]

  '''인터럽트와 음악적 진화''' <br> see reference <br> [https://hub.xpub.nl/bootleglibrary/search?query=Jacques+Attali  Jacques Attali, ‘Noise: The Political Economy of Music’] <br> Sun Ra의 Arkestra <br><br> The operating system of Ra's Arkestra incorporated such 'noise' and restructured itself in the process. This <u>''''noise'''' is not simply that of unmusical sound, but also in the sense that Jacques Attali adapts from '''information and systems theory, any material that is not recognised by an existing system, and is therefore opposed to 'information' which is material that has value or significance in a given system'''.</u>

===Schooltime Compositions===
[https://cyberneticzoo.com/cyberneticanimals/1969-the-logo-turtle-seymour-papert-marvin-minsky-et-al-american/ 1969-THE LOGO TURTLE–Seymour Papert et al (Sth African/American) ]

'''…In so far as LOGO expresses of potential actions out of which a drawing emerges it has an analogy to the notations of the Scratch Orchestra, which often did not express sound directly but rather actions from which sound could arise.''' <br>

As Cardew wrote in his notes to Treatise: 
 ‘Notation is a way of making people move.’

Like the Scratch Orchestra, the LOGO Labs grew out of a conscious pedagogical interest directed towards developing forms of collective, self-directed practical research. '''These were realised through semi-structured 'improvisational' activities and used self-developed notational systems as a means of constructing, communicating and reflecting upon these.'''<br>

Papert believed that '''programming was a skill that should be available to everyone not as a 'technology' – a mechanism for manufacture abstracted from human labour – but as a means of conceptual exploration. '''

 See also
 Ivan Illich - ''Deschooling Society, Tools for Conviviality'' (and others!)

For both Papert and Cardew, pedagogy was a two way thing. <u>The lab and the orchestra broke down distinctions between pupil and tutor, and placed learning in the context of self- directed production. In these ways they were forms of distributive practice.</u>