The paper takes its point of departure from the research project The Contemporary Condition, to discuss the ways in which our conception of time relates to computer experimentation in art and music. Live coding is clearly a practice of time, and it seems commonsensical to say that live coding operates in, and expresses, the present but we might seek more detail on how live coding enacts a particular sense of the present in the coming together of different temporal registers. Live coding might offer some insights into our disjunctive experience of time where humans and machines run in — and out of — synchronous time, and where temporal complexity is actualized. A better (diffractive) understanding of how the present is rendered might then allow us to challenge and extend our understanding of change and action in ways that would have implications for computer experimentation and its effects.
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contents
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- Magno Caliman: squareFuck
- Geoff Cox: The Now of Computer Experimentation
- Michele Del Prete: The Supplement of Simulation
- Iain Emsley: Distant Sonification
- Kiyoshi Furukawa, Haruyuki Fujii, Takajuki Hamano: The Architecture Dreams Music Project
- Bjarni Gunnarson: Synthetic Environments and Compositional Context
- Olaf Hochherz: Hiller and Isaacson's Misleading Representations of their Experiments
- Robert Lisek: Meta Learning in Music
- Eric Maestri: Simulation as Intimate Transformation of the Existential Experience
- Tom Mudd: Algorithms Playing Algorithms
- Juan Parra, Fernando Rosas: On Timbre Networks
- Mark Pilkington: Current 9 - Graphical Notation in Music
- David Pirrò, Luc Döbereiner: Contingency and Synchronisation
- Jari Rinne: Sound Art as Simulation
- Hanns Holger Rutz: Computing at Intrinsic Speed within a Culture of Real-Time
- Dolores A. Steinman, Peter Coppin, David A. Steinman: Re-imagining Blood Flow at the Blurry Border between Simulation and Simulacrum
- Rebekah Wilson: Beyond Isomorphism
- Hanns Holger Rutz, David Pirrò, Jonathan Impett, Daniele Pozzi
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abstract
'Simulation and Computer Experimentation in Music and Sound Art' was the title of an artistic research seminar conducted through a collaboration between Algorithms that Matter and Orpheus Instituut Ghent, taking place at Orpheus from March 21, 2019 until March 22, 2019. The seminar brought together practitioners and scholars to discuss the wide-reaching implications of the ‘agential cut’ (Barad) or ‘ontic cut’ (Rheinberger) – the separation between operationalised model or abstract theory and perceived or experimentally verified ‘reality’, the fissure already indicated by Husserl and realised in experimental computational systems. Computational models afford a way to test theoretical constructs or observe the consequences of non-physical or even imaginary hypotheses. One arrives at a critical conception of computation, situating it beyond the dualism of a deductive, representational approach and an inductive, empirical approach, acknowledging a speculative quality of algorithms that ‘are not simply the computational version of mathematical axioms, but are to be conceived as actualities, self-constituting composites of data’ and ‘equipped with their own procedure for prehending data.’ (Parisi) The very activity of experimentation and augmenting the language of artistic creation is exposed through the use of algorithms.
- Hanns Holger Rutz, David Pirrò, Jonathan Impett, Daniele Pozzi - ALMAT @ Orpheus - Simulation and Computer Experimentation in Music and Sound Art - 2021
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