In the months since ICLC I have been reconfiguring the way in which I perform my live coding sets, and as Live Coding forms an integral part of the research and work I am doing for my MA I have chosen to improve on my skills of improvising from a greater pool of musical materials during performance, as well as incorporating a more cohesive and considered visual element to my performances.
I have recently played for OXJAM Newcastle/Gateshead takeover, NARC. Magazine Presents… and Manchester Algorave, and I am due to perform at Jam Jah Minifest, London Algorave and others.
I am currently developing a program in openFrameworks to create a visual backdrop to my live coding sets. The impetus for this development was for the NARC Magazine night which was focused around audiovisual performance (featuring analogue film collective Filmbee). This program currently displays a number of sound-responsive elements, and can be sequenced easily using tasks within SuperCollider. As I have recently switched to using Ubuntu as my main system I can display the visuals behind my sets using the transparency option on Compiz.
I will be uploading a full sound and screen capture of a live coding set to my Vimeo account soon.
I have also been re-developing the sounds I use when performing. I am experimenting with tonal ideas based on the harmonic series, synthesis using Nicholas Collins’s chaos theory UGens and generally having a more flexible approach to tempo and rhythm, inspired by Drum and Bass and Hip-Hop, rather than the rigid techno tempos I have been using in my music for the past few years. A couple of my most recent sets are uploaded to Bandcamp here. Check co34pt.bandcamp.com for a rolling archive of recorded live sets.
I have also been using Live Coding as a tool for improvising with other musicians, including techno duo Motmot with Tim Shaw, as well as using Tidal in a number of free improvisation sessions featuring Elvin Brandhi, John Bowers and Charlie Bramley