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--- hse-02 [2021/11/13 07:02] – renick
+++ hse-02 [2021/11/20 05:49] (current) – renick
@@ Line 60: / Line 60: @@
   - mark fell
   - shelly knotts
-  - alo alik
+  - alo allik: https://www.youtube.com/channel/UC0mRyo7NQYtuY2dZJn5bLiQ
   - kindohm (mike hodnick)
   - live coding scene
@@ Line 181: / Line 181: @@
     - lsystem
     - euclidean
+      - euclidean patterns in supercollider https://github.com/supercollider-quarks/Bjorklund
     - cropped/looped euclidian
@@ Line 283: / Line 284: @@
 katya:
-so we need more control to construct “interesting something” which actually maybe not organic (not familiar for our audible nature and perception? In this case, in my oppinion, this approach can be comparable with the process of competition, where a man (musician, creatore,  power holder, human) is trying to outdo himself (kinda sport or capitalist race). And i also think about super control (profession control) over the sound that is to be heard by the audience. Another question is about the responsibility on “programming” of the recipient perception.       it would be interesting to analyze what was happening with perception and what were the consequences at the time of the introduction of harmonic music as a norm with what the music constructed by the algorithm now offers. Where does it shift our perception of reality?
+so we need more control to construct “interesting something” which actually maybe not organic (not familiar for our audible nature and perception? In this case, in my oppinion, this approach can be comparable with the process of competition, where a man (musician, creatore,  power holder, human) is trying to outdo himself (kinda sport or capitalist race).
+And i also think about super control (profession control) over the sound that is to be heard by the audience. Another question is about the responsibility on “programming” of the recipient perception.
+it would be interesting to analyze what was happening with perception and what were the consequences at the time of the introduction of harmonic music as a norm with what the music constructed by the algorithm now offers. Where does it shift our perception of reality?
 Maybe you know examples of inclusive work with algorithmic music? for example, artists who  are creating algoromitric compositions for hard-of-hearing persons or deaf people?
+>> regarding deaf people, anny is a deaf live coder! https://www.leftlion.co.uk/read/2017/january/talking-algorave-with-notts-based-electronic-music-maker-anny/
+which frequency:
+Renick, I have a question about how you organise the whole live set. Is it more like different "tracks" with their own samples and algorithms, which are then mixed in generative way. Or is it more like a head algorithm that has its own structural path and that picks certain samples or code pieces, where they are needed.