[Fluxus] CFP: Computer Music Journal special issue on Live Coding

[alex]

Dear all,

This is the second and final call for full length papers for a special
issue of Computer Music Journal, with a deadline of 21st January 2013,
for publication in Spring of the following year. The issue will be
guest edited by Alex McLean, Julian Rohrhuber and Nick Collins, and
will address themes surrounding live coding practice.

Live coding focuses on a computer musician’s relationship with their
computer. It includes programming a computer as an explicit onstage
act, as a musical prototyping tool with immediate feedback, and also
as a method of collaborative programming. Live coding’s tension
between immediacy and indirectness brings about a mediating role for
computer language within musical interaction. At the same time, it
implies the rewriting of algorithms, as descriptions which concern the
future; live coding may well be the missing link between composition
and improvisation. The proliferation of interpreted and just-in-time
compiled languages for music and the increasing computer literacy of
artists has made such programming interactions a new hotbed of musical
practice and theory. Many musicians have begun to design their own
particular representational extensions to existing general-purpose
languages, or even to design their own live coding languages from
scratch. They have also brought fresh energy to visual programming
language design, and new insights to interactive computation, pushing
at the boundaries through practice-based research. Live coding also
extends out beyond pure music and sound to the general digital arts,
including audiovisual systems, linked by shared abstractions.

2014 happens to be the ten-year anniversary of the live coding
organisation TOPLAP (http://toplap.org/). However, we do not wish to
restrict the remit of the issue to this, and we encourage submissions
across a sweep of emerging practices in computer music performance,
creation, and theory. Live coding research is more broadly about
grounding computation at the verge of human experience, so that work
from computer system design to exposition of live coding concert work
is equally eligible.

Topic suggestions include, but are not limited by:

* Programming as a new form of musical exploration
* Embodiment and linguistic abstraction
* Symbology in music interaction
* Uniting liveness and abstraction in live music
* Bricolage programming in music composition
* Human-Computer Interaction study of live coding
* The psychology of computer music programming
* Measuring live coding and metrics for live performance
* The live coding audience, or live coding without audience
* Visual programming environments for music
* Alternative models of computation in music
* Representing time in interactive programming
* Representing and manipulating history in live performance
* Freedoms, constraints and affordances in live coding environments

Authors should follow all CMJ author guidelines
http://www.mitpressjournals.org/page/sub/comj), paying particular
attention to the maximum length of 25 double-spaced pages. Submissions
which meet an initial quality threshold and address the theme will be
subject to in-depth, double-blind peer review. We are very happy to
discuss your work and its relevance to the theme prior to submission.

Timetable:

* Paper deadline: 21st January 2013
* Notification of acceptance: 1st April 2013
* Submission of revised papers: 1st July 2013
* Publication: Spring 2014

All submissions and queries should be addressed to Alex McLean
<alex.mclean at icsrim.org.uk>