Uploaded February 2016 | Updated September 2026, 2 weeks ago
michaelyoung.info
electricspring.co.uk
research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab
Presented as part of the Electric Spring, Max/MSP Power Users Symposium 2014
Michael Young - 'Computer as Partner: live algorithms in performance' - a talk given as part of the Max Power Users Symposium at the 2014 Electric Spring festival of electronic music, held at the University of Huddersfield.
Live algorithms are computational systems able to collaborate with human improvisers proactively, on an equal basis. This is an ideal that raises questions about creativity and group interaction, how these might be computationally modelled. Can musicians and computers relate to one another, just as human musicians do? Can an audience recognize and appraise this relationship? Live algorithms might offer a new understanding of real-time creativity that differs from other paradigms e.g. the 'computer as instrument'. Michael will discuss his "_prothesis" series (2007 onwards) for solo player and wannabe computer improviser.
michaelyoung.info
electricspring.co.uk
research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab
Presented as part of the Electric Spring, Max/MSP Power Users Symposium 2014
Michael Young - 'Computer as Partner: live algorithms in performance' - a talk given as part of the Max Power Users Symposium at the 2014 Electric Spring festival of electronic music, held at the University of Huddersfield.
Live algorithms are computational systems able to collaborate with human improvisers proactively, on an equal basis. This is an ideal that raises questions about creativity and group interaction, how these might be computationally modelled. Can musicians and computers relate to one another, just as human musicians do? Can an audience recognize and appraise this relationship? Live algorithms might offer a new understanding of real-time creativity that differs from other paradigms e.g. the 'computer as instrument'. Michael will discuss his "_prothesis" series (2007 onwards) for solo player and wannabe computer improviser.
![Sam Pluta: Information as beauty in musical software design [25.11.2016]](https://i.ytimg.com/vi/tweKuk6HZVg/mqdefault.jpg "Sam Pluta: Information as beauty in musical software design [25.11.2016]
Dr Sam Pluta discusses the design of his live electronics performance environment in SuperCollider, in his lecture Information as beauty in musical software design at CeReNeMs Creative Coding Lab
http://www.sampluta.com/
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
http://www.cerenem.org/")
![Miller Puckette: Roles for scores for electronic music [31.03.2017]](https://i.ytimg.com/vi/uxXhqKfdB7o/mqdefault.jpg "Miller Puckette: Roles for scores for electronic music [31.03.2017]
Visiting Researcher Miller Puckette discusses contemporary approaches to scores for electronic music at to show the musical structure of a piece in a way that a composer can use to organize musical ideas, and also as a data structure that can be transformed by the computer into musical sound, possibly incorporating live, real-time inputs from musicians.
http://msp.ucsd.edu/
https://research.hud.ac.uk/institutes-centres/cerenem/projects/creativecodinglab/
http://www.cerenem.org/
Electronic music over the past century has developed at a rate that far outpaces our ability to develop suitable notation systems for it. At least since the early 1950s, composers have tried to find ways of organizing electronic sounds using marks on paper, and since the 1970s researchers have been trying to design a flexible way to represent electronic scores graphically using a computer. (The Pure Data software system that I currently develop started out as one such attempt). In this talk, Ill try to show why the problem has proved so difficult. One central reason is that any such score system must simultaneously serve two purposes: to show the musical structure of a piece in a way that a composer can use to organize musical ideas, and also as a data structure that can be transformed by the computer into musical sound, possibly incorporating live, real-time inputs from musicians. These considerations often come into tension with each other, and with limitations imposed by the physical interface that a computer presents to a user, and by the inability of an image to accurately represent a sound. Ill assess the current situation and make some suggestions for future work in this area.")
![Jamie Currie: Kill yourself/musical life [13.02.2018]](https://i.ytimg.com/vi/wxI1g_5PuK0/mqdefault.jpg "Jamie Currie: Kill yourself/musical life [13.02.2018]
Jamie Currie (University of Buffalo) presents his lecture Kill yourself/musical life: performance as research and professional death at the CeReNeM colloquium. In it, he discusses his experience in creating and realising his musical/theatrical work Examples of Excess (2006), originally premiered by the Open Music Ensemble.
https://arts-sciences.buffalo.edu/music/faculty/faculty-directory/james-currie.html
http://www.hallwalls.org/music/5818.html
http://www.cerenem.org/")
