Uploaded June 2020 | Updated September 2026, 1 week ago
Alice Eldridge discusses the function of creative coding as a tool for tackling the wider ecosystemic issues of the 21st century
profiles.sussex.ac.uk/p127749-alice-eldridge
electricspring.co.uk
https://research.hud.ac.uk/institutes...
Presented at the Creative Coding Symposium at Electric Spring 2019
Recorded and edited by Sam Gillies
/// ABSTRACT
Creative coding is often defined as expressive, in contrast to the functional end products of classical computer programming. This makes sense if we compare the aims of a live coder at an algorave and that of a linux network admin professional, but in the wider context of tackling practical and existential issues of 21st century, I'd like to suggest that expressive, experimentation plays a core functional role in making sense of the world as it is, and also making a world in which we can all thrive. In this talk I'll share a range of projects from ecosystemic inspired generative art, through hybrid feedback luthiary to contemporary ecoacoustics to illustrate the role of creative coding in thinking through and addressing some of the key challenges of our time.
/// BIOGRAPHY
Alice Eldridge is a musician and researcher who carries out creative and empirical research in sonic (complex) systems at the interstices of music, technology and ecology. This includes making experimental instruments and art inspired by ecosystems and developing ecosystem monitoring tools inspired in part by computer music. She has appeared on BBC TV's Spring Watch and BBC radio 4's Costing the Earth as a soundscape ecologist; on BBC radio 3's Late Junction and Jazz on 3 as a free jazz cellist; on BBC radio 6's Freak Zone as a chamber pop composer; and on BBC radio 1's John Peel show as a pop bassist. She is a Lecturer in Music and Music Technology and holds a PhD in Computer Science and AI and a Masters in Evolutionary and Adaptive Systems from the University of Sussex.
Alice Eldridge discusses the function of creative coding as a tool for tackling the wider ecosystemic issues of the 21st century
profiles.sussex.ac.uk/p127749-alice-eldridge
electricspring.co.uk
https://research.hud.ac.uk/institutes...
Presented at the Creative Coding Symposium at Electric Spring 2019
Recorded and edited by Sam Gillies
/// ABSTRACT
Creative coding is often defined as expressive, in contrast to the functional end products of classical computer programming. This makes sense if we compare the aims of a live coder at an algorave and that of a linux network admin professional, but in the wider context of tackling practical and existential issues of 21st century, I'd like to suggest that expressive, experimentation plays a core functional role in making sense of the world as it is, and also making a world in which we can all thrive. In this talk I'll share a range of projects from ecosystemic inspired generative art, through hybrid feedback luthiary to contemporary ecoacoustics to illustrate the role of creative coding in thinking through and addressing some of the key challenges of our time.
/// BIOGRAPHY
Alice Eldridge is a musician and researcher who carries out creative and empirical research in sonic (complex) systems at the interstices of music, technology and ecology. This includes making experimental instruments and art inspired by ecosystems and developing ecosystem monitoring tools inspired in part by computer music. She has appeared on BBC TV's Spring Watch and BBC radio 4's Costing the Earth as a soundscape ecologist; on BBC radio 3's Late Junction and Jazz on 3 as a free jazz cellist; on BBC radio 6's Freak Zone as a chamber pop composer; and on BBC radio 1's John Peel show as a pop bassist. She is a Lecturer in Music and Music Technology and holds a PhD in Computer Science and AI and a Masters in Evolutionary and Adaptive Systems from the University of Sussex.
![Tim Rutherford-Johnson: Modern Composition and Culture since 1989 [24.11.2017]](https://i.ytimg.com/vi/hU0C1K96mv8/mqdefault.jpg "Tim Rutherford-Johnson: Modern Composition and Culture since 1989 [24.11.2017]
Music journalist and critic Tim Rutherford-Johnson discusses his acclaimed book Music After The Fall: Modern Composition and Culture Since 1989. Music after the Fall is the first book to survey contemporary Western art music within the transformed political, cultural, and technological environment of the post–Cold War era. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall.
Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback. Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss.
Presented as part of hcmf// 2017.
https://johnsonsrambler.wordpress.com/
https://www.ucpress.edu/book.php?isbn=9780520283152
http://www.cerenem.org/")
![Miller Puckette: Designing electronic music instruments [28.03.2017]](https://i.ytimg.com/vi/jzSDCwfeC2E/mqdefault.jpg "Miller Puckette: Designing electronic music instruments [28.03.2017]
Visiting Researcher Miller Puckette discusses his approach to designing electronic music instruments, and modelling instrumental behaviour, in Pure Data at CeReNeMs Creative Coding Lab.
http://msp.ucsd.edu/
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
http://www.cerenem.org/
Of the many roles that computer and electronic technology can play in music making (production tool, composers assistant, improvising partner, and so on), the one that I think is giving rise to the most interesting new music today is that of the musical instrument. This could encompass both the use of electronics to enhance the sonic or other possibilities afforded by an existing instrument or developing a new musical interface (and starting from scratch learning to play the thing). Its instrumental behaviour could take the form of directly mapping performance gestures into parameters of sound generation or, alternatively, affect the fate of an existing sound stream. Using two recent instrument designs of my own as examples, in this talk Ill try to shed light on where I see new possibilities to explore and what design principles Ive arrived at in my own attempts.")
