Live Coding in MaxMSP

Laurence Counihan clicking a heart shaped glyph today triggered a notification to me that brought one of my video recordings form 2010 to my attention… I couldn’t remember what
happens in ‘live code Max MSP 20100220‘, so I watched it again.

live code Max MSP 20100220 from Samuel Freeman on Vimeo.

I saw that Counihan had also clicked ‘like’ on Max/MSP Live Coding #2 from Kingsley Ash, of which I had been aware when recording in 2010:

Max/MSP Live Coding #2 from Kingsley Ash on Vimeo.

Using a buffer with variable speed record (poke~) and playback (index~) to generate sounds. Some really interesting noises using a very small number of objects, but the controls are unpredictable and sometimes slip out of range.

The subject of live coding is trending in my mind at the moment as I prepare for a number of things that happen or start in the next few weeks… rambling on that and those to follow (perhaps).

I don’t think I had seen this one before today, I’ve both clicked the ‘like button’ and added it to improvithing :

MaxMSP Live Coding nr.2 from Edo Paulus on Vimeo.

A realtime performance of creating a Max-patch, starting from zero.

The Rules:
– You have 6 minutes to build a Max-patch and do a performance with it.
– Start with an empty patch.
– Only use the standard objects that are part of Max/MSP/Jitter.
– Don't use externals, pre-build external datafiles, help files, or anything of that kind.

Personal interest here extends to the following observations:

The date 20100220 (used as title) is significant to me because it is the day before 20100221 which has been discussed in my thesis in connection the work that began in live code practice and later was given the name sub synth amp map… The video from Paulus above fits the same pattern of construction as sub synth amp map because it begins with the building of a soundmaking algorithm, a visual representation of data generated in that algorithm is then added, and then the algorithm is edited to control the (now audiovisual) output.

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77 of 250

77 of 250 videos that were found by searching vimeo for ‘improvised’:

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continued, complete, and to be continued

Continuing, and completing, looking back at the collection of ‘improvised’ video offerings that have accumulated on vimeo in the past few weeks (not including the past few days – I’ll have to get to that tomorrow!), and contemplating possible destinations for this research…

This CreativePact would have ended today-ish, but because I did not get even close to a post a day in the past 30 days, I’m planning to continue through to the end of September. What started out as a vague intention to re-engage with the inclusive improv thing from a different perspective seems to have become some sort of exercise in analysis of contemporary praxis as viewed through a very narrow slice of the internet.

That narrow slice is represented by this url:

That data is then filtered by the changing and evolving subjective parameters of what I consider to be found examples of improvised content in the videos returned by that search, and thus has become a neural entanglement of thought patterns within my skull. As the effort of not ignoring ‘those 250 videos’ (see previous posts) comes to a close, I wonder how best to externalise some the observations being made…

In the meantime, the promised list of listed video links is the next step…

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a process

never mind why, here’s what:   each page shows ten links to videos as image and title pairs, they don’t all fit on screen so one must scroll down to see them all;   whilst scrolling, some of the linked video pages are clicked in such a way that they load in new tabs;   at the end of the ten there are navigational links for loading the next ten, but before doing that, the opened tabs are visited one at a time;   (I have attempted to play multiple videos at once, but vimeo is programmed to suppress such behaviour)   the description under the video player is looked at, translated if necessary, and then maybe the video is played;   usually the video is watched attentively, headphones on for audio, and usually the session is over when attention is spent, but of late i have pushed to sometimes skipping ahead in time within the video;   when starting these 250 I decided to use the ‘watch later’ feature of the medium to save the ones that I’d like to see on the inclusive improv list;   (it would be cool by me if they were added, but I’m unlikely to add them;   maybe when i get back far enough in time to have looked over these 250 I’ll go back to page one and two (and maybe three by then) and maybe add something from there;   as those that made it to the watch later list… i’ll create a text file of their numbers and process that somehow for sharing)   the open tabs are closed in the browser until only the search results remain, where the ‘next page’ link is ready to load another ten…

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Return of the Pact

September is here – it’s the traditional month for CreativePact – and in the two weeks or so since I last posted there have been about 250 videos uploaded to vimeo that are returned by a search for ‘improvised’, sorted by date.

On the CreativePact side of things, it’s clear that I’m just not focussed enough to keep up a daily routine; I did it in 2010 – see – and maybe next year I’ll choose a more proper project with less ambiguity and more creative incentive. This year’s CreativePact project by Adam Jansch has been a joy to drop in on as a reader/listener from time to time; this one in particular:

Adam has also been the driving force behind the continuation of CreativePact for the past four years.

a muffin
a google image search for “return of the pact” returns many pictures, including this one of a muffin.

I recently posted on this blog (but not as part of CreativePact) link to a video excerpt from a lecture by Kim Cascone, and that took me to thinking about what is the message of the medium of vimeo? . . . as with so many things, one is able to connect with, and through it in multiple ways . . .

But what of those 250 search results? I skipped ahead and found the last video I recognised at the top of page 26; there are ten video links per page, which is where the number 250 came from… I am today scanning through each page, and watching some of the videos… it is still a mystery to me just what criteria for selection are being acted upon, but the process is both intellectually stimulating and (in its own way) rewarding: I am becoming more conscious of the analytical frameworks by which I attempt to objectify the subjectivity of experience . . . but there are far more interesting things to talk about to…

dot dot dot the trouble now is that I am, perhaps, over stimulated: so many parallel ideas germinating; a blathering stream of consciousness being written – post ends.

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