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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