Writing with shaky hands
Writing with shaky hands
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写字时双手颤抖
DOI：
10.1080/14794713.2016.1234689
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发表时间：
2016
影响因子：
--
通讯作者：
Magnusson T
中科院分区：
文献类型：
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作者：
Magnusson T
我不是唯一一个为了没有面子而写作的人。不要问我是谁，也不要要求我保持不变：让我们的官僚和我们的警察来确保我们的文件井然有序。至少我们写的时候别写他们的道德观（福柯，1972年，17）在他的介绍知识考古学，福柯反对被定义为一个作家的一个坚实的身份，以便能够移动，改变，探索未知的地下通道和地下通道-承认这样的写作有时是用“颤抖的手”完成的。这本杂志探讨了现场编码，一种表现实践，以类似的写作精神作为冒险和探索，故意拒绝定义，本质上是异质的，并通过写作和重写的实践不断挑战其自我理解-定义和重新定义-作为公共表演。虽然现场编码试图逃避定义，但有一些传统上描述其活动的指示性声明，例如：实时编写软件;在运行时更改程序;投影屏幕供观众参与;作为即兴练习进行写作;使用文本标记进行现场创作;在遵循规则时更改规则;用自己的母语与计算机交谈;公开思考;创建和使用为即时性能定制的定制系统。现场编码是一种即兴表演方法，已应用于各种艺术形式，但从历史上看，它在音乐中非常突出，也许是由于乐谱，计算机音乐和音乐实践的技术基础的重要性（如乐器的历史所证明的）。现场编码可以在没有观众的工作室中作为一种作曲技术，但在这一期中，我们专注于现场编码作为一种表演方法，其中代码通常被投射在墙上，供观众参与观察思维过程和创作过程，以及参与解释（理解声音，视觉效果或动作如何从符号中衍生出来）。
I am no doubt not the only one who writes in order to have no face. Do not ask who I am and do not ask me to remain the same: leave it to our bureaucrats and our police to see that our papers are in order. At least spare us their morality when we write.(Foucault, 1972, 17)In his introduction to the Archaeology of Knowledge, Foucault objects to be defined as a writer of a solid identity in order to be able to move, change, and explore the unknown–labyrinths and underground passages–admitting that such writing is at times done with a ‘shaky hand’. This journal issue explores live coding, a performance practice that operates in a similar spirit of writing as an adventure and exploration, of deliberately rejecting definitions, of being heterogeneous in nature, and continually challenging its self-understanding through the practice of writing and rewriting–of defining and redefining–as a public performance. Although live coding attempts to escape definition, there are denoting statements that have traditionally described its activities, such as: writing software in real-time; changing a programme whilst it’s running; projecting the screen for the audience to participate in; writing as an improvisatory practice; composing live using textual notation; changing rules whilst following them; conversing with the computer in its own native language; thinking in public; creating and using bespoke systems tailored for on-the-fly performance. Live coding is an improvisatory performance method that has been applied in the diverse art forms, but historically it has been very prominent in music, perhaps due to the importance of the musical score, computer music, and the technological foundations of musical practice in general (as demonstrated by the history of musical instruments). Live coding can be used as a compositional technique in the studio without an audience, but in this issue we focus on live coding as a performance method where code is typically projected on the wall for the audience to engage with–observing the thought process and the composition as it happens, as well as partaking in interpretation (understanding how sounds, visuals, or movements derive from the notation).