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.
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.