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Figure 6. The Threnoscope’s code interface on the right. The system is here in a scale-mode, with scale degrees rather than harmonics. A machine is running in the middle, affecting a selection of the running drones. Figure 5. The Threnoscope in 8-channel resolution. The straight cross- ing lines are speakers. The circles are harmonics, and the colored wedg- es are (moving) drones.

Figure 6 The Threnoscope’s code interface on the right. The system is here in a scale-mode, with scale degrees rather than harmonics. A machine is running in the middle, affecting a selection of the running drones. Figure 5. The Threnoscope in 8-channel resolution. The straight cross- ing lines are speakers. The circles are harmonics, and the colored wedg- es are (moving) drones.

Related Figures (6)

design, and novel visual representation. Figure 1 : A screen shot of Tidal. We see the score written in the quota- tion marks, with functions applied.
design, and novel visual representation. Figure 1 : A screen shot of Tidal. We see the score written in the quota- tion marks, with functions applied.
Figure 2 : Scheme Bricks. In simple terms, what we see is the bracket syntax of Scheme represented as blocks. giving an additional representational aspect to the code. Dave Griffiths’ Scheme Bricks is a graphical coding system of a functional paradigm, and, like Tidal, it offers a way of creating recursive patterns. Inspired by the MIT Scratch [9] programming system, a graphical visualiza- tion is built on top o f the functional Scheme program- ming language. The user can move blocks around and redefine programs through visual and textual interactions that are clear to the audience. The colored code blocks are highlighted when the particular location of the code runs, giving an additional re presentational aspect to the code. Scheme Bricks are fruitful for live musical performance
Figure 2 : Scheme Bricks. In simple terms, what we see is the bracket syntax of Scheme represented as blocks. giving an additional representational aspect to the code. Dave Griffiths’ Scheme Bricks is a graphical coding system of a functional paradigm, and, like Tidal, it offers a way of creating recursive patterns. Inspired by the MIT Scratch [9] programming system, a graphical visualiza- tion is built on top o f the functional Scheme program- ming language. The user can move blocks around and redefine programs through visual and textual interactions that are clear to the audience. The colored code blocks are highlighted when the particular location of the code runs, giving an additional re presentational aspect to the code. Scheme Bricks are fruitful for live musical performance
Figure 4: Gibber. Here textual code can change size, color or font responding to the music. All user-defined. In ixi lang the user creates agents that are assigned per- cussive, melodic, or concrete scores. The agents can be controlled from other locations in the code and during that process the textual document is automatically rewrit- ten to reflect what is happening to the agents. This makes it possible for the coder and the audience to follow how the code is changing itself and the resulting music. As code can be rewritten by the system, it also offers the possibility of storing the state of the code at any given time in the performance. This is done by writing a snap- shot with a name: the snapshot can then be recalled at any time, where running new code is subsequently muted (and changes color), and agents whose score has changed return to their state when the snapshot was taken.
Figure 4: Gibber. Here textual code can change size, color or font responding to the music. All user-defined. In ixi lang the user creates agents that are assigned per- cussive, melodic, or concrete scores. The agents can be controlled from other locations in the code and during that process the textual document is automatically rewrit- ten to reflect what is happening to the agents. This makes it possible for the coder and the audience to follow how the code is changing itself and the resulting music. As code can be rewritten by the system, it also offers the possibility of storing the state of the code at any given time in the performance. This is done by writing a snap- shot with a name: the snapshot can then be recalled at any time, where running new code is subsequently muted (and changes color), and agents whose score has changed return to their state when the snapshot was taken.
Figure 3 : ixi Jang Agents are given scores that can be manipulated, and changed from other code.
Figure 3 : ixi Jang Agents are given scores that can be manipulated, and changed from other code.
Figure 7. A graphical visualization of the code score. When a vertically lined drone is clicked on, a page with its code appears above the circular interface. manipulated in real-time, much like we are used to with MIDI sequencers or digital audio workstations. Most timelines in music software run horizontally from left to right, but in the Threnoscope the score verti- cal and runs from top down. This is for various reasons: firstly, the available screen space left on most display resolutions when the circular score has taken up the main space on the left is a rectangular shape with the length on the vertical axis; secondly, when a user clicks on the visual representation of the drone, its score pops up in the textual form of code, and this text runs from top to bot- tom. It would be difficult to design a system where code relates to events on a horizontal timeline. Most timelines in music software run horizontally
Figure 7. A graphical visualization of the code score. When a vertically lined drone is clicked on, a page with its code appears above the circular interface. manipulated in real-time, much like we are used to with MIDI sequencers or digital audio workstations. Most timelines in music software run horizontally from left to right, but in the Threnoscope the score verti- cal and runs from top down. This is for various reasons: firstly, the available screen space left on most display resolutions when the circular score has taken up the main space on the left is a rectangular shape with the length on the vertical axis; secondly, when a user clicks on the visual representation of the drone, its score pops up in the textual form of code, and this text runs from top to bot- tom. It would be difficult to design a system where code relates to events on a horizontal timeline. Most timelines in music software run horizontally
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