Live coding (sometimes referred to as 'on-the-fly programming', 'just in time programming' and related term 'live programming') is a programming practice centred upon the use of improvised interactive programming. Live coding is often used to create sound and image based digital media, as well as light systems, dance and poetry, though is particularly prevalent in computer music, combining algorithmic composition with improvisation. Typically, the process of writing is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research. There are also approaches to human live coding in improvised dance. Live coding techniques are also employed outside of performance, such as in producing sound for film or audio/visual work for interactive art installations. Also, the interconnection through a network makes possible to realize this practice networked in group. The figure of live coder is who performs the act of live coding.
Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by Mark Guzdial.
Live coding techniques
A range of techniques have been developed and appropriated for the purposes of live coding.
Representation and manipulation of time
The pressures on time-based media and live interaction with code has led to a number of novel developments and uses in programming language design. The ChucK language introduced an approach to "strongly timed" programming in 2002, embedding precision timing into control flow, via straightforward syntax.
"Temporal recursion" was a term initially coined in relation to the Impromptu programming environment. Technical elements within a programming environment continue to locate compressors and recursion solutions, but timing had been a major issue. While the general form of a temporal recursion, being any asynchronous function recursion through time, is available to any event driven system, Impromptu has placed a special emphasis on this particular design pattern, making it the centre piece of the concurrency architecture on that platform. Temporal recursion has since been implemented in the Fluxus environment, Overtone and the Extempore programming language.
Another functional approach to the representation of time is shown in the Tidal pattern DSL, which represents patterns as combinators operating over functions of time, similar to techniques in functional reactive programming.
Multi-user programming has developed in the context of group music-making, through the long development of the Republic system developed and employed by members of the network band PowerBooks Unplugged. Republic is built into the SuperCollider language, and allows participants to collaboratively write live code that is distributed across the network of computers. There are similar efforts in other languages, such as the distributed tuple space used in the Impromptu language. Additionally Overtone, Impromptu and Extempore support multi-user sessions, in which any number of programmers can intervene across the network in a given runtime process. The practice of writing code in group can be done in the same room through a local network or from remote places accessing a common server, terms like laptop band, laptop orchestra or collaborative live coding are used to frame a networked live coding practice both in a local or remote way.
TOPLAP (The (Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming) is an informal organization formed in February 2004 to bring together the various communities that had formed around live coding environments. The TOPLAP manifesto asserts several requirements for a TOPLAP compliant performance, in particular that performers' screens should be projected and not hidden. TOPLAP has had a number of international meetings, including the LOSS Livecode festival at Access Space in 2007, and in 2009 received organisational funding from the PRS Foundation for its UK activities.
A number of research projects and research groups have been created to explore live coding, often taking interdisciplinary approachers bridging the humanities and sciences. First efforts to both develop live coding systems and embed the emerging field in the broader theoretical context happened in the research project Artistic Interactivity in Hybrid Networks from 2005 to 2008, funded by the German Research Foundation. Further, the Live Coding Research Network was funded by the UK Arts and Humanities Research Council for two years from February 2014, supporting a range of activities including symposia, workshops and an international conference called ICLC.
Notable live coders
Notable live coding environments
- Pure Data
- Sonic Pi
- Collins, N., McLean, A., Rohrhuber, J. & Ward, A. (2003), "Live Coding in Laptop Performance", Organised Sound 8(3): 321–30. doi:10.1017/S135577180300030X
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- Andrews, Robert. “Real DJs Code Live.” Wired (online), 7 March 2006.
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- Magnusson, Thor. "Herding Cats: Observing Live Coding in the Wild." "Computer Music Journal" Spring 2014, Vol. 38, No. 1, pp. 8–16.
- Ramsay, Stephen. “Algorithms are Thoughts, Chainsaws are Tools.” Critical Code Studies Workshop, March 2010. A short film on live coding and the TOPLAP manifesto.
- Sorensen, Andrew and Henry Gardner. “Programming With Time: Cyber-physical programming with Impromptu.” 22 September 2010.
- Di Próspero, Carolina. "Live coding. Arte computacional en proceso." Contenido. Arte, Cultura y Ciencias Sociales 2015, Vol. 5, pp. 5-19.