International Conference on Live Coding
13-15 July 2015, University of Leeds UK
Call for Papers and Performances
- Templates available and submissions system open: 16th December 2014
- Performance submissions deadline: 16th February 2015
- Paper submissions deadline: 1st March 2015
- Notification of results: 10th April 2015
- Camera ready deadline: 10th May 2015
- Conference: 13-15th July 2015
We are accepting paper submissions for the following categories:
- Long papers (6-12 pages)
- Short papers (4-6 pages)
- Poster/demo papers (2-4 pages)
All submissions must use the conference template and follow the instructions within, available in both Microsoft Word and Markdown formats. Download the latest version here, as a zipfile.
All submissions must be in PDF format, and submitted via Easychair.
ICLC is an interdisciplinary conference, so a wide range of approaches are encouraged and we recognise that the appropriate length of a paper may vary considerably depending on the approach. However, all submissions must propose an original contribution to Live Coding research, cite relevant previous work, and apply appropriate research methods.
The proceedings will be published with ISSN, and there will also be an follow-on opportunity to contribute to a special issue of the Journal on Performance Arts and Digital Media; details will be announced soon.
The following long list of topics, contributed by early career researchers in the field, are indicative of the breadth of research we wish to include:
- Live coding and the body; tangibility, gesture, embodiment
- Creative collaboration through live code
- Live coding in education, teaching and learning
- Live coding terminology and the cognitive dimensions of notation
- Live language and interface design
- CUIs: Code as live user interface
- Domain specific languages, and the live coding ecosystem
- Programming language experience design: visualising live process and state in code interfaces
- Virtuosity, flow, aesthetics and phenomenology of live code
- Live coding: composition, improvisation or something else?
- Time in notation, process, and perception
- Live coding of and inside computer games and virtual reality
- Live programming languages as art: esoteric and idiosyncratic systems
- Bugfixing in/as performance
- Individual expression in shared live coding environments
- Live coding across the senses and algorithmic synaesthesia
- Audience research and ethnographies of live coding
- Live coding without computers
- Live coding before Live Coding; historical perspectives on live programming languages
- Heritage, vintage and nostalgia – bringing the past to life with code
- Live coding in public and in private
- Cultural processes of live programming language design
- General purpose live programming languages and live coding operating systems
- Connecting live coding with ancient arts or crafts practice
- Live coding and the hacker/maker movement: DIY and hacker aesthetics
- Critical reflections; diversity in the live coding community
- The freedom of liveness, and free/open source software
Performance submissions should be in the form of a 1-2 page description of your piece, together with links to supporting audio or video, and a technical rider. The performer should state:
- Preferred venue(s) (concert hall, club night, installation space, etc)
- Preferred duration (we’re unlikely to be able to schedule performances of longer than 20 minutes for day time concerts, and 30 minutes for the club night)
- Preferred stage layout
- Equipment to be provided by artist
- Equipment to be provided by conference
- Audio outputs / channels
- Video outputs
- Lighting requirements
You are welcome to use the above paper templates, but this is not mandatory for performance submissions.
The following performance venues and opportunities are available.
Our daytime performances will take place at the Clothworkers’ Centenary Concert Hall, in the School of Music, University of Leeds. As standard we will make available a stereo system (Genelec 7070A), an 8 channel system (Genelec 1037B), and a Yamaha Disklavier piano (possibly two). For microphone list and other equipment enquiries, please contact the conference organisers.
CePRA session on Instrumental Collaboration
The Centre for Practive-Led Research in The Arts (CePRA), University of Leeds are sponsoring the participation of pianist Anne Veinberg and percussionist Paul Hession, both internationally respected practitioners. You are warmly encouraged to submit proposals to the conference for performance collaborations with one (or possibly both!) of them.
Anne Veinberg is a accomplished pianist and interdisciplinary practitioner with a history of working with live coders, performing at the most recent large European live coding event Live.Code.Fest Karlsruhe 2013, working with composer Marcel Wierckx as well as forming a duo, “Off<>zz”, with Felipe Ignacio Noriega, dedicated to the combination of piano with live coding.
Paul Hession works mostly within the jazz and free improvisation scenes. Paul has played with many of the great free improvisers, including Derek Bailey, Evan Parker, Peter Brotzmann, Joe McPhee and Lol Coxhill as well as musicians from other spheres, such as Paul Woolford, Squarepusher and live coder Alex McLean. His recent work has explored extensions of his drum set with live electronics and live algorithms.
You may contact Anne or Paul directly via their respective website, or via the organisers at firstname.lastname@example.org.
Performances with Anne would take place in the concert hall. Performances with Paul could potentially take place in the algorave or other settings.
You are of course very welcome to submit performance proposals which include other instrumentalists, in which case we are unable to contribute towards related costs, but may be able to help with equipment/instruments.
No academic conference is complete without an algorave, a chance to dance to algorithms with friends new and old.
We will have at least one club night, at the excellent Wharf Chambers co-op. More details to follow.
Installation-based works, headphone works, and ‘other’
We are happy to support alternative approaches to presenting live coded music wherever practical, for example we are able to provide space for installations, and also headphone amplifiers for up to 100 people. Please get in contact if you would like to discuss your proposal prior to submission.