Call for submissions – Live Coding Sonic Creativities - Organised Sound

Apologies for cross-postings

ORGANISED SOUND
Call for Submissions - Volume 28, Number 2
Issue thematic title: Live Coding Sonic Creativities
Date of Publication: August 2023
Publishers: Cambridge University Press

Issue co-ordinators:
Anna Xambó (anna.xambo@dmu.ac.uk)
Gerard Roma (g.roma@leedstrinity.ac.uk)
Thor Magnusson (t.magnusson@sussex.ac.uk)

Deadline for submission: 15 September 2022

Webpage: Call: Live Coding Sonic Creativities

Live coding is an artistic and cultural practice that has matured since its emergence in the early 2000s. Differentiating itself from early laptop music and other computer music, it is a practice that promotes the sharing of the musical process with the audience, emphasising the code itself as a form of musical notation. As musical algorithmic thinking, live coding has been explored and developed by many practitioners and collectives across the world up to the present.

The live coding scene has now turned 20 years old. In this issue, we would like to step back and reflect on what new sonic material is enabled by live coding. Where might live coding head, sonically speaking? How can live coding bring novel ways of organising sounds never experienced before? What new languages, systems and interfaces could enable new sonic and musical ideas? It is time to inspect live coding from a sonic arts perspective as well as a software studies and (digital) humanities perspective, looking at the past, present, and especially the future of live coding. In this issue we seek to critically analyse live coding from a socio-cultural and musicological perspective, as well as enquire how digital culture and cultural heritage have been impacted by this practice. From a sonic arts perspective, we can investigate what are the unique sonic creativities and timbre phenomena that distinguish this practice and its potential impact on future artistic practices. Hence, the core research question of this special issue concerns the idiosyncratic sonic creativities that emerge from the practice of live coding.

Focusing on live coding as a mechanism for the ideation of new and unheard sonic creativities, several topics are of interest, including the following:
sonic and musical roots of live coding (e.g., algorithmic music, computer music, electroacoustic music, electronic music, network music, and so on) that have shaped the present idiosyncratic practice in terms of new formats and sonic spaces combining on-site, online and hybrid settings;
new theories and philosophies in live coding, departing from the seminal TOPLAP manifesto towards new music performance paradigms that have emerged from this practice;
a novel musicology of live coding as a particular study of the performance practice based on sonic creativities and potential new ethnomusicology perspectives;
inspirational approaches to diversity and inclusion in live coding and how different communities express their identities through live coding;
music genres/approaches in/to live coding, such as electronic and pattern-based music, electroacoustic music, non-Western music genres, and many other modalities involving visuals, sound art, and sound interaction design;
contemporary socio-cultural processes embodied by different communities of practice and collaborative music-making constellations;
interdisciplinary live coding related to sound-based creativity, where live coding is part of a larger network of disciplines involving crafts, dance, theatre and computer science, among others;
innovative sound and music composition and the impact of live coding in the production, delivery and experience of composing sonic creativities;
new paradigms and environments that enable new ways of thinking and working with sound, going beyond the musical expression of the current live coding systems;
new applications to solving real-world problems using acoustic ecology, data art, and sonification approaches;
speculative futures and new imaginaries of live coding in which debates about intelligent systems for live coding, hybrid interfaces beyond the screen, decolonising live coding, combining live coding with augmented/virtual reality, and musical robotics can take place.

This is the first special issue on live coding in Organised Sound. We encourage authors to share their experiences and reflections on their live coding practices from a sound- and creativity-based perspective.

This call is open to all, and we wish particularly to encourage submissions from often under-represented groups in these fora, and also creatively, collaboratively and interdisciplinary-produced articles.

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are always welcome.

SUBMISSION DEADLINE: 15 September 2022

SUBMISSION FORMAT:

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.
Hard copy of articles and images and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files), both only when requested, should be submitted to:
Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Accepted articles will be published online via FirstView after copy editing prior to the paper version of the journal’s publication.

Editor: Leigh Landy
Associate Editor: James Andean
Founding Editors: Ross Kirk and Richard Orton†
Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry Truax, Ian Whalley, David Worrall, Lonce Wyse
International Editorial Board: Marc Battier, Manuella Blackburn, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi

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