LONDON -- Some DJs spin vinyl or twiddle fader knobs. Others write subroutines in C++.

Anew brand of music maestro is turning programming intoperformance,eschewing turntables for a compiler and a mind for syntaxstructure. "Livecoding"practitioners improvise usingPerl or homemade programmingarchitectures to build compositions fromthe ground up, replacinginstruments and samples with raw code authoringbefore a live audience.

Alex Maclean,a U.K. livecoder andart student, said he traded in his guitar when hefound he could bemore creative with code than with strings. He touch-types using Perl atraves and dance clubs, creating a unique visual and musical experience. Sessions with drummers, MCs and other livecoders can be reminiscent of traditional free-jazz improvisation.
- 턴테이블을 돌리는 DJ에서 Perl이나 손수만든 프로그램을 이용하여 실시간 코딩을 통해 음악을 연주하고 그 즉흥성과 interaction성으로 Free-jazz와 비슷한 느낌을 제공 "Itendto fall back on pre-prepared scripts if it's 3 o'clock in themorningand I've been drinking a lot," he said. "If I manage to staysober, Iwill be much more daring and start from no code at all."Maclean, whoplays up-tempo dance music with a trumpet-playing friendunder themoniker Slub, performed and spoke on a panel at the Cybersonica festival in London in May.

He wrote his own custom text editor called Feedback.pl,whichrecompiles his programs continuously throughout a set. Everykeystrokebuilds an evolving melody as his darting cursor adds andreplacesfunctions and tempo variables. The live composition process isdisplayedto patrons on large projector screens.

Livecoders have formed an international consortium called TOPLAP,whichstands for "temporary organization for the proliferation of liveaudioprogramming" and has 200 members. For them, livecoding is a philosophical challenge.
- '라이브 오디오 프로그래밍 확산을 위한 국제 컨소시엄'을 만듬, 관심있는 사람들은 그들의 위키페이지를 방문해 볼 것

"Bydescribing a musical idea in code, we're describing it at ahigher levelthan if we're entering notes into a sequencer," Macleansaid. "I'vetried sequencers and found it a slow, difficult, maddeningway of doingmusic. There's an atmosphere of musicians beingsubservient to software.It really limits the kind of music that can bemade."
- 소프트웨어에 의존하면 느리고 창의력을 표현하기엔 한계가 있다.

While some rely on popular languages like Perl, others write their own programming architectures. Open-source platforms like SuperCollider and ChucK, written at Princeton University's Sound Lab,havequickly gained Fender status with artists. Allied with animationandvideo libraries, the platforms give gig-goers a richer multimediatripthan code alone.

-프린스턴 대학교 Sound Lab에서 만들어진 Open-source platforms인 SuperCollider와 ChucK등은애니메이션과 + 비디오 라이브러리가 결합된 이 플랫폼은 gig-goers들에게 코드 자체를 넘어서는 풍부한 멀티미디어 경험 제공.

For example, livecoder Amy Alexander,anassistant professor in visual arts at the University of CaliforniaatSan Diego, wrote her own commands in Macromedia Director'sLingoscripting language to create a custom suite she calls Thingee.Itproduces an explosion of graphical color married with the outputofperformance commands like "bigify."

"Electronic music tends toremove the kinetic aspects ofperformance, the idea of seeing aperformer perform a visible actionthat has an audible reaction,"Alexander said. "Think Pete Townshendmaking windmill swipes at hisguitar -- how do you do that inelectronic performance?"

Alexander'sshows involve frantic keyboard bashing and dancelikeflourishes --evidence that typing is becoming a performance medium.

- 자판을 치는 퍼포먼스, 타이핑(typing)이 기타리스트의 라이브 연주 같은 매력적인 공연거리가 된다.

At LiveCodainMelbourne, Australia, in May, crowds gathered at a trendy local bartowatch teams of computer science graduates compete todebugimage-compression algorithms on a wall-size screen, accompanied by a cappella beatboxers and DJs.

"Liveprogramming where the code is projected for the audience isstill veryrare," said organizer Robert Shelton. "It exposes the meansby which aperformer shapes or controls sound."

For Maclean, who plays raves as well as programmer gatherings, the process is just as much about scripting as good vibe.

"Iprefer it when the audience is dancing and doesn't care how we'remakingthe music," he said. "Livecoding places the human right back inthecreative process so you can't really call it 'computer-generated'anymore. If we don't see programming music software as musicalactivity,we're missing an opportunity."

- "프로그래밍을 새로운 음악 행위로 보지 않는다면, 우리는 기회를 놓치는 것이다."

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+ CT의 가능성은 있다. 그러나 미래는 모든 가능성중에 현실로 이루어 지는 것들로 구성된다.

+ 동영상 파일로 보고 싶네.