Bio: Emma Cocker is an academic researcher from Nottingham Trent University. The author has contributed to research in topics: Live coding & Kairos. The author has an hindex of 6, co-authored 32 publications receiving 109 citations.
TL;DR: In this article, live coding is conceived as a meletē, an Ancient Greek term used to describe a meditative thought experiment or exercise in thought, especially understood as a preparatory practice supporting other forms of critical, even ethical, action.
Abstract: Within this article, live coding is conceived as a meletē, an Ancient Greek term used to describe a meditative thought experiment or exercise in thought, especially understood as a preparatory practice supporting other forms of critical — even ethical — action. Underpinned by the principle of performing its thinking through 'showing the screen', live coding involves 'making visible' the process of its own unfolding through the public sharing of live decision-making within improvisatory performance practice. Live coding can also be conceived as the performing of 'thinking-in-action', a live and embodied navigation of various critical thresholds, affordances and restraints, where its thinking-knowing cannot be easily transmitted nor is it strictly a latent knowledge or 'know how' activated through action. Live coding involves the live negotiation between receptivity and spontaneity, between the embodied and intuitive, between an immersive flow experience and split-attention, between human and machine, the known and not yet known. Moreover, in performing 'thinking-in-action', live coding emerges as an experimental site for reflecting on different perceptions and possibilities of temporal experience within live performance: for attending to the threshold between the live and mediated, between present and future-present, proposing even a quality of atemporality or aliveness.
01 Jan 2009
TL;DR: The Live Notation Unit (LNU) as mentioned in this paper is a research collective that was established in order to examine the shared vocabularies that may unite two radical performance practices: live art and live coding.
Abstract: (Scene I: 10.07 a.m.) Open public space; a makeshift stage for action. A lone woman reads philosophy, tapping notations along the limits of her own body with the tooth of a single piano key, cut off from the crowds that mill behind her, immersed in her appointed task. The unseen thinking within the event of reading is materialized as a system of beats and strokes. (Scene II: 11.36 a.m.) Somewhat embarrassed, the tutor apologizes for the missing life model before returning naked to resume his class, simultaneously exposing and breaking the rules in this seemingly innocuous move. The latent power relations of the life class are forced to the surface; the coded rules that tacitly underpin the event of looking are brought into sharp relief. (Scene III: 12.00 noon) A dancer’s body submits to the demands of a live score; her audience is invited to modify the rules. Both parties test the body according to the logic of instructive code; scored operative and scoring operator are implicated within the performance, the line of separation between them increasingly blurred. (Scene IV: 2.21 p.m.) Speaking and coding unfurl within a shared time–space; theory is performed as a choreography of consonants and vowels enunciated in the mouth, while coded phrases animate in the cursor’s flashing beat, the rhythm of the one everinterrupting the logic of the other. (Scene V: 2.50 p.m.) The artist speaks in tongues, which to the novice may appear to be as garbled as encrypted code or a lover’s babble. To practise garbling returns an archaic sense to the term; it becomes a process for sifting choice fragments that is akin to the process of sieving of spice from sand. (Scene VI: 3.33 p.m.) Performance on paper: The page’s surface is like the body’s skin. The drawn mark navigates the live(d) line between seeing and thinking, between exterior and interior worlds. (Scene VII: 4.03 p.m.) Darkness. Images are projected onto the back of her hand. Intimacy is taken as substance for a solo performance. The constructed nature of the encounter affords surprising depth of connection, the tense togetherness of shared time. (Scene VIII: 7.38 p.m.) Code manifests in dense veils of colour and sound; individual threads of data are woven and made to collide. Deep, vibrating drones – the dissonant pulse of improvised, overlapping rhythm. (Scene IX: 8.12 p.m.) One system is transformed into the language of another – layered sound waves are replaced by thin, The Live Notation Unit (LNU) is a research collective that was established in order to examine the shared vocabularies that may unite two radical performance practices: live art and live coding. It was initiated by live artist Hester Reeve and live coder Alex McLean, working in dialogue with an international network of artists, coders and theorists, including Sam Aaron, Geoff Cox, Yuen Fong Ling, Dave Griffiths, Thor Magnusson, Brigid McLeer, Kate Sicchio, Andre Stitt, Wrongheaded and Maria X. On 27 July 2012, the Live Notation Unit staged a symposium and series of performances at Arnolfini (an international arts centre and gallery) in Bristol to test and question what the phrase ‘live notation’ may signify. I was invited to participate in the Live Notation Event as critical interlocutor or witness. I am an art-writer engaged in various performative modes of writing about, in parallel to and as art practice, but perhaps importantly without specialist expertise in either live art or live coding. This article operates both as a response and a proposition, for elaborating (tentatively) on some of the shared vocabularies and emergent tactics encountered within the event.
01 Jan 2013
12 May 2017
TL;DR: In this paper, Cocker explores the human qualities of attention, cognitive agility and tactical intelligence activated within live coding and ancient weaving with reference to the Ancient Greek concepts of technē, kairos and metis.
Abstract: Drawing on her experience as “critical interlocutor” within the research project Weaving Codes/Coding Weaves, in this article Emma Cocker reflects on the human qualities of attention, cognitive agility and tactical intelligence activated within live coding and ancient weaving with reference to the Ancient Greek concepts of technē, kairos and metis. The article explores how the specificity of “thinking-in-action” cultivated within improvisatory live coding relates to the embodied “thought-in-motion” activated whilst working on the loom. Echoing the wider concerns of Weaving Codes/Coding Weaves, an attempt is made to redefine the relation between weave and code by dislodging the dominant utilitarian histories that connect computer and the loom, instead placing emphasis on the potentially resistant and subversive forms of live thinking-and-knowing cultivated within live coding and ancient weaving. Cocker addresses the Penelopean poetics of both practices, proposing how the combination of kairotic tim...
01 Jan 2016
TL;DR: The the practice of everyday life is universally compatible with any devices to read and is available in the digital library an online access to it is set as public so you can download it instantly.
Abstract: Thank you very much for downloading the practice of everyday life. Maybe you have knowledge that, people have look hundreds times for their chosen novels like this the practice of everyday life, but end up in harmful downloads. Rather than reading a good book with a cup of coffee in the afternoon, instead they are facing with some malicious bugs inside their desktop computer. the practice of everyday life is available in our digital library an online access to it is set as public so you can download it instantly. Our books collection spans in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Kindly say, the the practice of everyday life is universally compatible with any devices to read.
TL;DR: Polanyi is at pains to expunge what he believes to be the false notion contained in the contemporary view of science which treats it as an object and basically impersonal discipline.
Abstract: The Study of Man. By Michael Polanyi. Price, $1.75. Pp. 102. University of Chicago Press, 5750 Ellis Ave., Chicago 37, 1959. One subtitle to Polanyi's challenging and fascinating book might be The Evolution and Natural History of Error , for Polanyi is at pains to expunge what he believes to be the false notion contained in the contemporary view of science which treats it as an object and basically impersonal discipline. According to Polanyi not only is this a radical and important error, but it is harmful to the objectives of science itself. Another subtitle could be Farewell to Detachment , for in place of cold objectivity he develops the idea that science is necessarily intensely personal. It is a human endeavor and human point of view which cannot be divorced from nor uprooted out of the human matrix from which it arises and in which it works. For a good while
TL;DR: In some religious traditions, the myth of the ‘Fall from the Garden of Eden’ symbolizes the loss of the primordial state through the veiling of higher consciousness.
Abstract: Human beings are described by many spiritual traditions as ‘blind’ or ‘asleep’ or ‘in a dream.’ These terms refers to the limited attenuated state of consciousness of most human beings caught up in patterns of conditioned thought, feeling and perception, which prevent the development of our latent, higher spiritual possibilities. In the words of Idries Shah: “Man, like a sleepwalker who suddenly ‘comes to’ on some lonely road has in general no correct idea as to his origins or his destiny.” In some religious traditions, such as Christianity and Islam, the myth of the ‘Fall from the Garden of Eden’ symbolizes the loss of the primordial state through the veiling of higher consciousness. Other traditions use similar metaphors to describe the spiritual condition of humanity:
01 Jan 2016
TL;DR: The the senses considered as perceptual systems is universally compatible with any devices to read, and is available in the book collection an online access to it is set as public so you can get it instantly.
Abstract: Thank you for downloading the senses considered as perceptual systems. Maybe you have knowledge that, people have search hundreds times for their favorite novels like this the senses considered as perceptual systems, but end up in infectious downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they juggled with some malicious bugs inside their desktop computer. the senses considered as perceptual systems is available in our book collection an online access to it is set as public so you can get it instantly. Our books collection hosts in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Kindly say, the the senses considered as perceptual systems is universally compatible with any devices to read.
TL;DR: Phelan as mentioned in this paper, The Politics of Performance, Peggy Phelan. London: Routtedge, 1993. xi + 207 pp., figures, notes, bibliography, index.
Abstract: Unmarked: The Politics of Performance, Peggy Phelan. London: Routtedge, 1993. xi + 207 pp., figures, notes, bibliography, index.