User:Riviera/PMoMM/6-1: Difference between revisions
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* The Structural Transformation of the Public Sphere by Habermas | * The Structural Transformation of the Public Sphere by Habermas | ||
* The theory of Communicative Action by Habermas | * The theory of Communicative Action by Habermas | ||
SOUZA, L.; FREIRE, S. Towards an Interactive Tool for Music and Dance: Gestures, Laban Movement Analysis and SpectromorphologyRevista Música Hodie, Goiânia, V.18 - n.1, 2018, p. 117-131. | |||
deLahunta, S. (2002). software for dancers: coding forms. Performance Research, 7(2), 97–102. https://doi.org/10.1080/13528165.2002.10871858 | |||
<span id="other"></span> | <span id="other"></span> | ||
== Other == | == Other == | ||
Latest revision as of 14:19, 15 May 2024
What is it?
A performance involving FLOSS/H, Free / Libre / Open Source Software / Hardware. I imagine a designed circuit board with several components attached to it. These components can be operated via a microcontoller using live coding software (e.g. Tidal Cycles) and Open Sound Control. The performance involves playing (with) the device for 20 minutes.
Why make it?
Live coding is an emblem of the meeting point of code and performance. Live coding performances tend to employ a similar aesthetic: code appears in a text editor and is projected onto a surface, perhaps there are visuals, perhaps people are dancing. The repetitive aesthetics of live coding can become boring/predictable for audiences. Therefore, to bend and repurpose some of the underlying technology in order to produce non-digital sounds, light or movement is interesting. In the process, I would like to gain a deeper understanding of circuit board design, custom hardware and the software / code which brings it all together.
Workflow
Timetable
| Performance Admin | Reading and Research | Preparations |
|---|---|---|
| Risk Assessment | Researching examples of performative artworks blending OSC and hardware | Identifying components to use in the hardware |
| Budgeting | Reading The Public and It’s Problems | Map OSC addresses + variables in Tidal and Arduino code |
| Tech Rider | Reading The Theory of Communicative Action | Improving at Haskell because it’s practical to work with Tidal Cycles |
| Designing the circuit board(s) | ||
| Ordering the Circuit Board(s) online well in advance of the performance | ||
| Rehearsing the performance |
Rapid Prototypes
Previous Practice
- Breadboarding
- Puzzling Printers Camp (Printer Jam)
- Live coding performances
Relation to wider context
Places, Events, Communities
- Gulaschprogrammiernacht, Karlsruhe
- Creative Coding Utrecht
- Varia + Extratonal
Texts
- The public and it’s problems by John Dewey
- The Structural Transformation of the Public Sphere by Habermas
- The theory of Communicative Action by Habermas
SOUZA, L.; FREIRE, S. Towards an Interactive Tool for Music and Dance: Gestures, Laban Movement Analysis and SpectromorphologyRevista Música Hodie, Goiânia, V.18 - n.1, 2018, p. 117-131.
deLahunta, S. (2002). software for dancers: coding forms. Performance Research, 7(2), 97–102. https://doi.org/10.1080/13528165.2002.10871858
Other
- Arduino Ecosystem