Llegó el día

Terminamos la construcción de la impresora 3D e hicimos las primeras impresiones. Ahora a dar forma a las ideas.

Comparto un video del trabajo de Atalaya Sur en todo el 2015: https://goo.gl/NqiYPe y el link al blog del Taller de Robótica aplicada http://goo.gl/QtZJIa

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En construcción ;)

Los sábados nos juntamos un grupo de entusiastas optimistas a construir una impresora 3D 😉

Los avances acá: http://robotica-aplicada.lbarrios.com.ar/

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I Conferencia Internacional de Live Coding

La I Conferencia Internacional de Live Coding (ICLC 2015) reunió a artistas e investigadores en torno a la música algorítmica, en lo que fue un gran evento interdisciplinario.

Casi la totalidad de la conferencia fue filmada, así que podemos acceder, desde el siguiente link, a las interesantes presentaciones y performances que allí se desarrollaron:

ICLC 2015

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To practice slowness

As I mentioned in my presentation at International Live Coding Conference (ICLC 2015), the proposal of an approach to the collective activity of live coding as an artistic configuration constituted in a creative practice from improvisation, openness and constant exploration, the ICLC was certainly a great example of collective creativity in that sense.

In live coding activity, there is a core intention to explore the capabilities to skillfully improvise with code, in a challenging way, but, there is also an intention of further developing a kind of participatory community, in which everyone can participate without being required programming mastery. My participation in the conference is a little proof that openness (my field is, far from music, the anthropology): I presented a short paper in the conference, and I also took part in a workshop. The Slowness workshop was a really satisfying experience of tasting each moment, step by step through different drills to open our senses: from doing origami to collective live coding. In that workshop I was asked registering some of my thoughts from that experience, in situ. Here a fragment of that perceptions:

There is a time and a sound in the movement of the hand carrying

the glass of water to the mouth. The movement of water passing

from outside to inside has sounds and time.

The sound of a score vibes inside the body. This internal vibe is a

continuum and a neverending internal movement.

Ingold and Hallam say the difference between improvisation and innovation is that the first characterizes creativity by way of their processes (movements), while the second does so by way of their products (results) (Ingold and Hallam 2007), in this sense the proposal of Slowness workshop allowed me to reflect about some of the process of different movements, and really experience them, “on the fly”. In this regard I think live coding is expression and movement, which, in any case raises an end in the process itself.

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ICLC 2015, 13-15th July 2015, University of Leeds, UK

Sólo falta un mes para la primer Conferencia Internacional de live coding!

Aquí va la invitación:

Estamos felices de anunciar que la inscripción para ICLC 2015 ya está abierta.

El Live coding convierte lenguajes de programación en interfaces en vivo, permitiendo manipularlos directamente a través de su notación. Su gran potencial se utiliza por ejemplo para crear música e imagen, improvisando, y así los desarrolladores colaboran con nuevas maneras de entender los modelos computacionales. Al realizar cambios fundamentales sobre la marcha es posible encontrar nuevas formas de aprender y enseñar programación.

Desde su comienzo con el movimiento TOPLAP en 2003 (sobre la base de una amplia, pero oculta prehistoria), el live coding ha crecido rápidamente, atrayendo el interés de muchas personas de diversos campos: artístico, creativo, científico, educativo, empresarial, y contextos mixtos. Después de un buen
número de eventos internacionales, es el momento adecuado para una conferencia académica, para el intercambio de ideas y técnicas y para disfrutar de docenas de artículos revisados ​​por pares y actuaciones. En la conferencia también se abrirá el campo para la gente nueva en el live coding que puede desarrollar y aportar sus propias perspectivas en este campo emergente. Los esperamos!

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Live coding and the body symposium – Sussex University

The Live Coding and the Body Symposium was held at the University of Sussex on the weekend of July 5th and 6th, 2014. As an anthropologist I’m very interested in the ways of sociability and subjectivity of new digital cultures and, why not, in the case of Live coding, the ways of manifest new forms of artistic expression in music. So, this symposium was another form to approach the live coding activity. One point to highlight is the questioning spirit of the activity and over different ways of live coding expressions. And, the questions at this symposium had to do with the body, and several works that explored the topic from several perspectives.

The presentations were from the more philosophical / artistic, as the one of Hester Reeve, with the body (which we do not own) as an irreducible problematic with impact on the world, through the concrete wish of erasing the body at the same moment of the performance (Renick Bell), the pleasure of feeling and touch the musical objects (Andrew Duff), to the ways of experiencing the body on the performance, accepting his inexorable and unavoidable presence: by an acousmatic sound system (David Ogborn) and wearing music (like one can wear a pair of comfortable socks) during the experience of the special environment of the performance, as Alex McLean suggested in his analogy. All these proposals, research and trials were developing in an atmosphere of openness, suitable for the emergence of new questions.
  
Just to briefly go into a small fragment of Georgina Born’s book, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the musical avant-garde (1995), were she found a tendency in the musicians and engineers of IRCAM to “move from the general to the musically particular, (and) they were also temped in the opposite direction, beyond music toward even broader and more universal uses of the program” (Born; 1995: 319) in a kind of rationalizing process, part of an ideological strategy. I found it couldn’t be more different in the case of Live coding, because it seems that one of the stand point here is to explore, share and open the language programs. The conceptual questioning is an example of this, but is just a part of it big project that is expanding in more and more directions, with no universalizing intention, in Born’s terms, but adding interesting perspectives to the explorative purposes, that overcome the digital / analog positions / orders / technologies.

In Live coding, openness seems to be the key.

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