[Live Coding: A User’s Manual | Books Gateway | MIT Press](https://direct.mit.edu/books/oa-monograph/5495/Live-CodingA-User-s-Manual)
By: Alan F. Blackwell, Emma Cocker, Geoff Cox, Alex McLean, Thor Magnusson
Publisher: The MIT Press
Published: 2022

>Chappie: ChatGPT 翻譯，大部分段落未校稿。

Instead of attempting to establish a historical canon for live coding, this chapter recog- nizes that live coding is a way to question assumptions of historicism, as well as live- ness and temporality, which are addressed in later chapters.1 We approach the idea of partiality through the concept of Donna Haraway’s situated knowledges: we do not adopt a universal perspective but recognize that knowledge is produced in lived realities and in doing so makes our partiality transparent.2 So in calling this chapter a partial history (or rather, histories in the plural), we draw attention to how histories are created. As such, we urge readers to remain skeptical of how we have pieced together some of the details of the development of live coding and how we have made sense of events after the fact. Going beyond the contingency of any history (given the fallibility of human memory, the instability and partiality of events, and the complexity of emerging dig- ital narrative forms and the forces that shape them), a straightforwardly historicist approach must be questioned in relation to the fundamental liveness of live coding.3

本章不是試圖建立即興編碼的歷史典範，而是承認即興編碼是提問/歷史主義、活力和時間性的方式，這些議題在後面的章節中也會被討論。我們透過唐娜·哈拉威的特定知識的概念，來探索偏見這個想法：我們不採取通用的觀點，而是認識到知識是在生活的現實中產生的，並透過這樣做使我們的偏見透明化。因此，當我們稱這一章為“部分歷史”（或者說是複數的歷史）時，我們注意到歷史是如何創造的。因此，我們敦促讀者對我們如何整合即興編碼發展的細節以及事後我們如何理解事件保持懷疑態度。超越任何歷史的偶然性（由於人類記憶的可靠性不足、事件的不穩定性和偏見性，以及新興數位敘事形式及塑造它們的力量的複雜性），一個簡單的歷史主義方法必須在與即興編碼的基本活力的關係中受到質疑。

The narrative history of live coding that we have assembled in this chapter has there- fore been prepared in a manner that echoes live coding itself, using a process that has been collaborative, experimental, improvised, and reflective.4 Moreover, the text that you are reading now draws on the subjective experiences of key practitioners and their memories—embracing the stories and the falsehoods—and was developed through a series of interviews back in 2016 with those whom we considered to be key figures in the live coding community at the time. They included some of the authors of this book, who were interviewed by other authors.5 Based on these interviews, the individu- als who appear in the following sections (with initials that will be used when referring to our thematic analysis) are AA: Amy Alexander; AC: Alexandra Cardenas; AdC: Alberto de Campo; AM: Alex McLean; AS: Andrew Sorensen; BatMan: Benoit and the Mandelbrots; DG: Dave Griffiths; DO: David Ogborn; GW: Ge Wang; JA: Joanne Armit- age; JR: Julian Rohrhuber; KS: Kate Sicchio; MH: Mike Hodnick; NC: Nick Collins;6 SA: Sam Aaron; SK: Shelly Knotts; TM: Thor Magnusson. Our choice of interviewees takes in perspectives of the genesis of the live coding movement in Europe and the US and subsequent import and development in Mexico and elsewhere. We are alert to ques- tions of diversity in choosing such a sample. Women were engaged in live coding from its inception, although in smaller numbers than men. We note in particular that this list reflects the limited ethnic diversity (at least in Europe) of the early community.7 As live coding techniques have recently found wider adoption, this picture has somewhat changed, as reflected in the variety of expositions shared in the following chapter.

本章節中我們收集的即興編碼的敘事歷史，因此是以類似即興編碼的方式製作，使用協作、實驗、即興和反思的過程編纂而成。此外，你現在閱讀的文字是基於重要從業者及其回憶的主觀體驗所編寫的——包括故事和謊言——並通過在2016年與當時被認為是即興編碼社區中關鍵人物的一系列訪談來發展。他們包括本書的一些作者，由其他作者進行了訪問。基於這些訪談，出現在以下部分的個體（在主題分析中提及時會使用縮寫）為AA：Amy Alexander; AC: Alexandra Cardenas; AdC: Alberto de Campo; AM: Alex McLean; AS: Andrew Sorensen; BatMan: Benoit and the Mandelbrots; DG: Dave Griffiths; DO: David Ogborn; GW: Ge Wang; JA: Joanne Armitage; JR: Julian Rohrhuber; KS: Kate Sicchio; MH: Mike Hodnick; NC: Nick Collins; SA: Sam Aaron; SK: Shelly Knotts; TM: Thor Magnusson。我們在選擇訪問對象時考慮到即興編碼運動在歐洲和美國的起源和後來在墨西哥和其他地方的進口和發展的觀點。我們對樣本中的多樣性問題保持警覺。從一開始即興編碼中就有女性參與，但參與人數比男性少。我們特別注意到，至少在歐洲，早期社群的種族多樣性有限。隨著即興編碼技術的普及，這種情況已經有所改變，這反映在以下章節中分享的各種解釋中。

## Live Coding Narratives and Nonlinear Histories 即興編碼敘事與非線性歷史

Before reflecting on the specific histories of live coding, it is worth briefly considering a wider contextual frame for creative coding, specifically in relation to computer music, from which live coding initially emerged. The history of computer music extends back to 1956 when Lejaren Hiller and Leonard Isaacson began working on their Illiac Suite, apply- ing Markov models to generate a musical score. In the following decades, composers and computer scientists wrote bespoke software for score generation and synthesis, but none produced sound in real time, due to the technical limitations of that generation of com- puters. A key trajectory is mapped through the series of languages, known as MUSIC-N, created by Max Mathews, which along with its descendants, such as CSound, provided the theoretical foundations for much of the software described in this book. By the late 1980s when the period covered by our interviews starts, computer music was primar- ily based on sequencing the notes played by hardware synthesizers and samplers rather than real-time software synthesis. Commercial software design was aimed at simulating recording studios and was rarely used in real-time performance. Software enabling musi- cians to write algorithmic music, such as Max and Open Music,8 developed at IRCAM (Institute for Research and Coordination in Acoustics/Music) in Paris, started to emerge from research and academic environments, but it was in the 1990s that mass-produced computers began to be fast enough for real-time audio processing. Programming lan- guages with a focus on real-time audio processing, such as Miller Puckette’s Pure Data and James McCartney’s SuperCollider, were able to directly synthesize sound from algorithms and filter and combine incoming audio streams and/or stored samples.9 Later in this chapter, we focus on the pivotal moment at which these technologies intersected with interactive approaches to programming. While real-time audio processing still required relatively expensive computers, by the mid-1990s, individuals were beginning to be able to do this type of work on high-end laptops. By the late 1990s, a new electronic music scene had emerged where people would bring laptops into clubs and pubs, plac- ing themselves (or being placed, as performers) on the stage with their laptop.10

在反思即興編碼的具體歷史之前，值得簡要考慮一下創意編碼的更廣泛背景，特別是與電腦音樂有關的方面，即即興編碼最初出現的地方。電腦音樂的歷史可以追溯到1956年，當時Lejaren Hiller和Leonard Isaacson開始研究他們的《伊利亞克組曲》（Illiac Suite），使用馬可夫模型生成音樂樂譜。在接下來的幾十年中，作曲家和電腦科學家為樂譜生成和合成寫定制軟體，但由於當時的電腦技術限制，沒有一個軟體可以實時產生聲音。一個重要的軌跡是通過Max　Mathews創建的一系列語言（稱為MUSIC-N），以及其後代，例如CSound，為本書中描述的大多數軟體提供了理論基礎。到1980年代末，當我們採訪開始涵蓋的時期，電腦音樂主要是基於硬件合成器和取樣器播放的音符序列，而不是實時軟體合成。商業軟體的設計旨在模擬錄音室，很少用於實時演出。使音樂家能夠編寫算法音樂的軟體，例如Max和Open Music，是在巴黎音樂和聲研究協調所（IRCAM）中發展出來的，但是到了1990年代，才有大量生產的電腦可以足夠快地進行實時音頻處理。具有實時音頻處理重點的編程語言，例如Miller Puckette的Pure Data和James McCartney的SuperCollider，能夠直接從算法中合成聲音，過濾和結合傳入的音頻流和/或存儲的樣本。本章後面將重點關注這些技術與交互式編程方法相交的關鍵時刻。儘管實時音頻處理仍需要相對昂貴的電腦，但到了1990年代中期，個人開始能夠在筆記本電腦上進行這種工作。到了1990年代末，到了1990年代末，出現了一個新的電子音樂場景，人們會帶著筆記型電腦進入俱樂部和酒吧，做為自己在舞臺上的配置（或作為演出者放置筆記型電腦）。

In most of these early performances, there was little to see: audiences simply watched a performer sitting on stage without visuals or any gestural movement. The initial idea of the practitioners was that—as electroacoustic musicians had claimed three decades earlier—people would get used to the nonevent, or rather the nonvisual event, of the performance. However, the tendency of the audience to keep watching for something, even if just the movement of a mouse, made it obvious that there was space for other things to happen on stage. As video projectors became cheaper, new responses to this opportunity came within reach, including VJing and abstract visualization of the audio signal.11 Most performance venues became equipped with projectors set up to project onto the stage. Although there are precedent cases of live coding in the arts—such as the Hub in music, Larry Cuba in the visual arts, and diverse experiments with live pro- gramming or interactive programming in computer science—it is really the foundation of early 2000s electronic music that becomes the context of live coding’s growth as an artistic form, which now includes music, visual arts, dance, and other creative forms.

在早期的表演中，觀眾們並沒有看到太多，只是看著一位表演者坐在舞台上，沒有任何視覺或手勢的動作。從開始時的理念，從電音樂手們聲稱的三十年前就是，人們會習慣於表演的無事件，或者說是非視覺事件。然而，觀眾習慣了在舞台上等待著發生的事情，即使只是滑鼠的移動，這使得明顯的在舞台上可以發生其他事情的空間。隨著投影儀變得更便宜，新的應對方式如VJing和音頻信號的抽象可視化成為可能。大多數表演場地都配備了設置在舞台上的投影儀。儘管藝術領域中早期已經存在即興編碼的先例，例如音樂領域中的Hub，視覺藝術中的Larry Cuba，以及電腦科學中的即時編程或交互式編程的各種實驗，但真正成為即興編碼藝術形式的成長背景是在2000年代早期的電子音樂。現在，它不僅包括音樂，還包括視覺藝術、舞蹈和其他創意形式。

## The 1980s: A Generation of Geeky Artists
The gradual expansion of computer-based electronic music (since the 1980s) and increased cultural interest in creative coding (since the turn of the millennium) both helped to shape the wider conditions from which live coding evolved. However, the personal histories of prototypical live coders reveal a distinctive pattern, which often combined early exposure to technological development and access to creative contexts within which to experiment. The first generation of live coders were children of the late 1970s and 1980s, for whom the computer was both a promise and an obligation. Where they could afford them, their parents bought home computers, but the potential of these machines was often just out of reach. Time spent with ZX Spectrums, TRS-80s, CP/M microcomputers, and Commodores was often grabbed from an older sibling or shared with an eager parent. There were few computer games, so you had to write your own. But with no internet to turn to for advice, the text laboriously copied out of magazines seldom worked. The opportunities for creative expression were often little more than simple beeps or colored blobs on the screen.12 The “random” [RANDOMIZE, or RND] key word was an essential escape from complete boredom.

電腦音樂自20世紀80年代以來逐漸擴展，而自21世紀初以來，對創意編碼的文化興趣也不斷增加，這兩者共同塑造了即興編碼發展的廣泛條件。然而，最原始的即興編碼個人的歷史展現出一個獨特的模式，他們常常結合了早期接觸技術發展和獲得創意環境進行實驗的機會。最早的即興編碼師是20世紀70年代末和80年代的小孩子，對他們來說，電腦既是一種承諾又是一種責任。在經濟許可的情況下，他們的父母購買了家用電腦，但這些機器的潛力往往難以實現。與ZX Spectrums、TRS-80s、CP/M微型電腦和Commodores共度的時間通常是從兄弟姐妹那裡搶來的，或是與渴望學習的父母共用。當時很少有電腦遊戲，所以你必須自己寫。但由於沒有網際網路可以請教，從雜誌上費力地複製下來的代碼往往不起作用。創意表達的機會往往只是在屏幕上發出簡單的嗶嗶聲或彩色斑點。而「隨機」（RANDOMIZE或RND）這個關鍵字成為了擺脫無聊的方式。

Schools in the 1980s were also investing in Apple IIs and BBC Micros, but creative coding was not the first priority in computer science education. Given the relatively limited resources, education in computing was task focused rather than imaginative or playful.13 Whether or not they had creative experiences with computers, many live coders did have creative childhoods. Many headed for careers in the professional arts through early promise as instrumental musicians, dancers (KS), or composers (SK, MH).

在20世紀80年代，學校也開始投資於蘋果II和BBC微型電腦，但創意編碼並不是以電腦科學教育的首要目標。由於資源相對有限，電腦教育更注重任務的執行，而不是想像力或遊戲性。無論他們是否有創意的電腦體驗，許多即興編碼師在童年時期都擁有豐富的創意。其中許多人通過在樂器演奏、舞蹈（KS）或作曲（SK，MH）方面展現出的早期才華，逐漸進入專業藝術的職業生涯。

Some won prizes, formed bands, and performed as soloists on piano (NC, AA), trumpet (AS), or percussion (AC) or switched to guitar (TM, AdC) or saxophone (SA) so they could form rock and jazz bands. AM used school equipment to experiment with a drum machine. At the same time, some also followed more stereotypically technical interests. SA became obsessed with programming his graphing calculator, JR coded on paper because he didn’t have a computer, and DO, whose home computer had limited software, wrote C code in notebooks with a pencil until his parents finally bought a C compiler for his birthday.

一些人贏得了獎項，組成了樂隊，並作為獨奏者彈奏鋼琴（NC，AA）、小號（AS）或打擊樂器（AC），或轉向吉他（TM，AdC）或薩克斯風（SA），以組建搖滾和爵士樂團。AM利用學校的設備試驗打擊樂器。同時，一些人也追隨更具技術性的興趣。SA著迷於程式圖形運算，JR 在紙上編寫代碼，因為他沒有電腦，而(DO)的家用電腦上只有有限的軟體，他用鉛筆在筆記本上寫C代碼，直到他的父母終於為他購買了一個C編譯器作為生日禮物。

This ensemble of geeks and musician-technologists did not meet each other,14 or learn there were others like them, since children had no access to the internet in the 1980s. DO remembers a 1985 computing camp where the most memorable experi- ence was not writing code but sending his first email. This “weird” combination of interests—both art and technology—was sufficiently unusual that without access to others via the internet, live coders often grew up working in isolation from a wider sense of a community of practice. It was years before AS (based in Australia) could experience related work. Even after hearing of the London live coding scene and recog- nizing that it was the same thing he was attempting, he could find only a single online video of live coding (Ge Wang and Perry Cook using ChucK).

這群極客和音樂技術人員並沒有相互見面，也沒有了解到還有其他和他們一樣的人，因為20世紀80年代的孩子們無法接觸到網際網路。(DO)記得1985年的電腦營隊，最難忘的經歷不是寫代碼，而是發送了他的第一封電子郵件。這種藝術和技術的「奇特」結合非常罕見，以至於在沒有網際網路的情況下，即興編碼者通常在沒有更廣泛實踐社群的支持下獨立成長。AS（澳大利亞人）多年後才能接觸到相關的工作。即使在聽說倫敦的現場編碼場景並意識到那就是他嘗試的事情之後，他只能找到一部在線影片中進行現場編碼的影片（Ge Wang和Perry Cook使用ChucK）。

## The Art School Shapes Digital Culture
For some future live coders, it was a challenge to find contexts for combining the tech- nical and the creative.15 However, their musical and performance talent led many of this first generation of live coders to art school, and they all remember the tutors who first inspired them to experiment with generative systems and digital media. Notable figures who influenced and inspired our nascent live coders included Larry Cuba and Morton Subotnik at the California Institute of Arts (AA), William Latham’s recruitment of students from Bournemouth University (DG), Martin Robinson at Middlesex Univer- sity (NC, TM), Perry Cook and Paul Lansky at Princeton University (GW), Juan Reyes at the University of Colombia (AC), Kurd Alsleben at the Hochschule für bildende Künste in Hamburg (JR), Andrew Brown at Queensland University of Technology (AS), Helmut Dencker at the Hochschule für Musik in Graz (AdC), and Scott Wilson at the University of Birmingham (SK). It was clear to both tutors and students that conventional scripted notation, in the digital era, might be a mechanical constraint foreign to the creative opportunities of free improvisation and the process-based and experimental arts. As the first digital generation of students were exposed to these practices, they and their tutors seem to have realized together that code could be treated as either a medium, a craft material, a composition system, or a performance notation—principles that were increasingly explored in degree show pieces or in new societies, collectives, and collab- orations between tutors and students. Most of this activity took place in graduate arts programs around the mid-1990s, where access to sufficiently advanced hardware and software, and much time for exploration at hand, enabled tutors to teach experimental classes in electroacoustics (for musicians), computer music (for sound engineers), or interactive and media art (for graphic designers).

對於一些未來的即興編碼者來說，結合技術和創意是一個挑戰。然而，他們的音樂和表演才華使得這些首批即興編碼者中的許多人進入了藝術學院，他們都記得那些首先啟發他們嘗試生成系統和數位媒體的導師。影響和激勵我們初生的即興編碼者的著名人物包括加州藝術學院的Larry Cuba和Morton Subotnik（AA），William Latham在伯恩茅斯大學招募學生（DG），Middlesex大學的Martin Robinson（NC，TM），普林斯頓大學的Perry Cook和Paul Lansky（GW），哥倫比亞大學的Juan Reyes（AC），漢堡美術學院的Kurd Alsleben（JR），昆士蘭科技大學的Andrew Brown（AS），格拉茨音樂學院的Helmut Dencker（AdC）和伯明翰大學的Scott Wilson（SK）。無論是導師還是學生都清楚，在數位時代，傳統的腳本樂譜可能成為創意自由即興和基於過程的實驗藝術的機械限制。隨著第一批數位時代的學生接觸到這些實踐，他們和他們的導師似乎一起意識到，程式碼可以被視為媒介、工藝材料、作曲系統或表演標識 - 這些原則在畢業展作品或在導師和學生之間的新社團、集體和合作中越來越多地得到探索。這些活動大多發生在20世紀90年代中期左右的研究生藝術課程中，那裡有足夠先進的硬體和軟體，以及充裕的時間進行探索，使導師能夠教授關於電子聲學（音樂家）、電腦音樂（聲音工程師）或互動和媒體藝術（平面設計師）的實驗性課程。

## Slub
One of the most influential of these collaborations was between two people who ini- tially met as students: Adrian Ward, when completing a hybrid arts-computing degree (bachelor of science in media lab arts), and Alex McLean, who was frustrated by the lack of creative opportunity in his applied computing course (bachelor of science in computing), both at the University of Plymouth in the UK (where Geoff Cox was also teaching). Ward had concentrated on the subversion of standard digital media tools in his program AutoShop (1999), which offered a satirical commentary on the functional- ity of Adobe’s Photoshop.16 Ward and McLean’s shared desire for programming to be a creative activity was revived when they met again after both had graduated and moved to London.
They became regular collaborators, exploring the relationship between packaged and improvised software in “The Generative Manifesto,” a precursor to the TOPLAP manifesto that was offered to the public in a Perl community event at the Institute of Contemporary Arts (ICA) in London in September 2000, during which Ward shouted the manifesto over a soundtrack of rhythms synthesized by McLean. The two soon gained an international profile, with Ward winning the software art prize at Transme- diale in 2001 for his next project AutoIllustrator (2001) and McLean winning the same prize the following year for forkbomb.pl (2002)—a simple script that would visualize the process of crashing the machine it was run on.17

其中最具影響力的合作來自於兩個最初作為學生相識的人：阿德里安·沃德（Adrian Ward）在完成混合藝術與電腦科學學位（媒體實驗室藝術學士學位），以及亞歷克斯·麥克林（Alex McLean），他對應用電腦課程中缺乏創意機會感到沮喪（電腦科學學士學位），兩人都就讀於英國普利茅斯大學（Geoff Cox也在該校任教）。沃德專注於在其《AutoShop》（1999）程式中顛覆標準數位媒體工具，該程式對Adobe的Photoshop功能進行了諷刺性評論。沃德和麥克林對於將編程視為一種創意活動的共同渴望在他們畢業後再次相遇並搬到倫敦時得以恢復。
他們成為經常合作夥伴，在《生程式宣言》中探索打包和即興軟體之間的關係，該宣言是 TOPLAP 宣言的前身，於2000年9月在倫敦當代藝術研究所（ICA）的Perl社群活動中向公眾宣布，當時沃德在麥克林合成的節奏聲中大聲宣讀宣言。兩人很快獲得國際知名度，沃德在2001年的Transmediale軟體藝術獎中獲得下一個項目《AutoIllustrator》（2001）的獎項，而麥克林在隔年憑藉《forkbomb.pl》（2002）贏得相同獎項，該簡單腳本能夠視覺化運行它的機器的崩潰過程。

## The Generative Manifesto
Performing under the name slub,18 Ward and McLean’s “Generative Manifesto,” as pre- served in the handwritten original reproduced here, advocated:
1. Attention to detail—that only hand-made generative music can allow (code allows you to go deeper into creative structures);
2. Realtime output and compositional control—we hate to wait (it is inconceivable to expect non-realtime systems to exhibit signs of life);
3. Construct and explore new sonic environments with echoes from our own. (art reflects human narrative, code reflects human activity);
4. Open process, open minds—we have nothing to hide (code is unambiguous, it can never hide behind obscurity. We seek to abolish obscurity in the arts);
5. Only use software applications written by ourselves—software dictates output, we dictate software (authorship cannot be granted to those who have not authored!)

>Figure 2.1
The original handwritten slub “Generative Manifesto.”
Source: From Adrian Ward and Alex McLean.

1. 對細節的關注 - 只有手工製作的生成式音樂才能實現（程式碼讓你更深入創造結構）；
2. 即時輸出和作曲控制 - 我們討厭等待（期望非即時系統展示生命跡象是難以置信的）；
3. 創造和探索具有我們自己回聲的新聲音環境（藝術反映人類敘事，程式碼反映人類活動）；
4. 開放的過程，開放的心態 - 我們沒有什麼可隱藏的（程式碼是明確的，它永遠不能隱藏在模糊不清中。我們努力消除藝術中的模糊不清）；
5. 只使用我們自己編寫的軟體應用程式 - 軟體決定輸出，我們決定軟體（未編寫過程的人不能被授予作者身份！）

The ICA event where this manifesto was delivered marked McLean and Ward’s second public performance as slub, and it occurred well before they had contacted other live coders. Indeed, although the two had explored live coding in passing at an event earlier that year,19 on this occasion they ran preprepared scripts from the command line, rather than writing their code live. They were concerned with real-time control and with asserting their creative agency as programmers writing code to make music, but several years passed before they put these two motivations together to become an exclusively live coding collaboration. As others report, despite all the ingredients being there, it seems that the significance of live coding, which seems obvious in retrospect, only really became apparent when communities of practice began to form around it.

這份宣言在ICA活動中的發表，標誌著McLean和Ward作為slub的第二次公開表演，而這次表演發生在他們與其他即興編碼者聯繫之前。事實上，儘管這兩位在那一年早些時候的一次活動中稍微探索了即興編碼，但在這個場合上，他們運行了從命令行運行的預先準備的腳本，而不是即興編寫程式碼。他們關注的是即時控制，以及作為寫作音樂的程式設計師，肯定他們的創作能力，但過了幾年，他們才將這兩個動機結合起來，成為一個專門的即興編碼合作團隊。正如其他人所報導的，儘管所有的元素都存在，但僅僅在即興編碼的實踐社群開始形成時，即興編碼的重要性才真正顯現出來，這在回顧時顯得顯而易見。

## The Foundry and Public Life
The growing accessibility to the internet was a significant factor through this period, allowing experimenters to make contact with communities of practice beyond their local environment. KS reports looking for dance on the internet, SA was searching for other calculator hackers, and AM was building online communities via bulletin board systems. However, the live environments of many venues and project spaces, as well as conferences and festivals, are what really provided a frame for making connections and sharing practice. The emergence of live coding was shaped not only by the evolution of the live coder as a performer but in relation to an audience that participates in the way that thinking-in-public is made visible through coding. Around the turn of the millennium, with the first internet boom, code was slowly entering public consciousness, as code became popularized in advertisements, on television, in magazines, and on film through design tropes such as CamelCase typography, arrays of zeros and ones as binary signifiers of the digital, and the code aesthetic of the Matrix movies.

在這段時間內，網際網路的普及性不斷提高，成為一個重要因素，使實驗者能夠與超越他們所在地區的實踐社群取得聯繫。KS回憶在網際網路上尋找舞蹈，SA在尋找其他計算器駭客，而AM通過佈告欄系統建立線上社群。然而，許多場地和項目空間、會議和節慶的現場環境，才真正為建立聯繫和分享實踐提供了框架。即興編碼的出現不僅受到即興編碼者作為表演者的演變所塑造，而且還與觀眾的參與密切相關，觀眾以思考公開化的方式通過編碼而變得可見。在千禧年之交，隨著第一次網際網路繁榮，程式碼逐漸進入公眾意識，因為程式碼在廣告、電視、雜誌和電影中變得流行，例如使用駝峰拼寫法的排版、由0和1組成的數組作為數字化的二進制表示，以及《黑客帝國》系列電影中的程式碼美學。

The generative music scene in London gathered an audience through some remark- able venues, including the Foundry pub in Hoxton and the literally underground Public Life, an ex-public lavatory in Spitalfields curated as an experimental venue by Siraj Izhar from 2001 to 2004.20 The Foundry pub was set up with the support of Bill Drummond, well known for his pop music disruptions as part of the KLF. Drummond’s poster titled “I COULD FUCKIN’ DO BETTER THAN THAT” was hung in the Foundry as an open invitation to artists to participate. Many experimental events, including the first slub performances, were held here. Public Life was run as an open arts collec- tive with a similar focus on experimental digital culture, with the following rules of operation: “1. not to solicit activity, all activity had to be self-initiated, volunteered or uninvited” and “2. not to say no to anything, reject anything but attempt accommo- dation in some way.” The program of events in late 2002 included Plug and Play nights, open-source occasions where participants were invited to “bring data/bring laptop/ tech.” Adrian Ward and Alex McLean performed as slub, while Nick Collins appeared as 3play with John Eacott and Fabrice Mogini, students working with Martin Robinson, who was teaching one of the few SuperCollider-based courses at Middlesex University at the time. Other Middlesex students organizing events at Public Life included Thor Magnusson and Enrike Hurtado, who organized events where people would use the ixi instruments they made as part of their master of arts degree.

倫敦的生成音樂場景通過一些引人注目的場所吸引了觀眾，包括位於霍克斯頓的Foundry酒吧和地下的Public Life，這是一個位於斯皮塔爾菲爾茲的前公共洗手間，由2001年至2004年由Siraj Izhar策劃為實驗場所。Foundry酒吧是在Bill Drummond的支持下設立的，他以作為KLF的一部分進行流行音樂破壞而聞名。Drummond的海報寫著“我能做得比那更好”，被掛在Foundry酒吧，作為向藝術家參與的開放邀請。許多實驗性活動，包括首次的slub表演，都在這裡舉行。Public Life以開放的藝術集合運作，對實驗數位文化有著類似的關注，運作規則如下：“1. 不邀請活動，所有活動都必須是自發的、自願的或未經邀請的”和“2. 不對任何事情說不，不拒絕任何事物，但嘗試以某種方式進行容納”。2002年末的活動計畫包括Plug and Play之夜，開放源碼的場合，邀請參與者“帶數據/帶筆記本電腦/技術”。Adrian Ward和Alex McLean以slub的身份進行表演，而Nick Collins以3play的身份與John Eacott和Fabrice Mogini一起出現，他們是與當時在Middlesex University教授少數以SuperCollider為基礎的課程的Martin Robinson一起工作的學生。在Public Life組織活動的其他Middlesex學生包括Thor Magnusson和Enrike Hurtado，他們組織人們使用他們作為碩士藝術學位一部分製作的ixi樂器的活動。

Partial archives of the Public Life calendar show the determination of those in the scene not to take themselves too seriously. Variously described as “dead-eyed genera- tive techno boffins *slub*” and “stub et de l’autre coté de slab puisque slub existe,” slub and colleagues reveled in a geeky aesthetic that both acknowledged the dubious fashion status of this underground genre and exemplified the art-school habit of tongue-in- cheek “pretension” (typified by the use of manifestos). Although showing screens to the audience was central to the ethos of both Public Life and the “Generative Mani- festo,” it was not presumed that the performers would necessarily be writing code at the event. AM remembers that his code was generally prepared in advance and that Adrian Ward, who did write code while performing, did not make a big thing of it.

Public Life日曆的部分檔案顯示出場景中的人們決心不要過於認真看待自己。他們被形容為“dead-eyed generative techno boffins *slub*”和“stub et de l’autre coté de slab puisque slub existe”，slub和同事們對於這種樂在其中的怪異美學感到狂歡，這種美學既承認了這種地下流派的可疑時尚地位，也體現了藝術學校以挖苦和自嘲的“假裝”為習慣（以使用宣言為典型）。儘管向觀眾顯示屏幕是Public Life和“生成式宣言”的精神核心，但並不預期表演者會在活動中實際編寫代碼。AM記得他的代碼通常是提前準備的，而Adrian Ward在表演時確實寫了代碼，但他並沒有把這件事當成一個大事來看待。

## Read_me/Runme
The London scene around the Foundry and Public Life and the “Generative Manifesto” of slub and their software art prizes at Transmediale were all political in their moti- vations and intentions. This spirit of art activism linked up with an international com- munity associated with the Read_me festivals curated by Olga Goriunova and Alexei Shulgin and their online incarnation at the runme.org website. After an initial event in Moscow in 2002, the second Read_me/runme was held in Helsinki in 2003. Amy Alex- ander and Alex McLean were invited to contribute to the selection and curation of the festival, working closely together in AM’s development of the art database runme.org (with conceptual input from Pit Schultz, Florian Cramer, Matthew Fuller, the Yes Men, and Thomax Kaulmann). Runme.org became central to the Read_me festival concept as a communal catalog, submission system, and repository for executable open projects that recognized the emergent practices of coders.21 The third iteration was in August 2004,22 where Read_Me 2004 (hosted by Aarhus University) was immediately followed by a joint Runme/Dorkbot City Camp hosted by the Jutland Academy of Fine Arts, attended by many of the live coding community and for some (such as DG) their first experience of writing code in public. Amy Alexander, Alex McLean, Nick Collins, and Fredrik Olofsson memorably took to the stage all at the same time, with an array of projectors showing all of their screens.

圍繞Foundry和Public Life的倫敦場景，以及slub的“生成式宣言”和他們在Transmediale的軟體藝術獎，都是出於政治動機和意圖。這種藝術行動主義的精神與Olga Goriunova和Alexei Shulgin策劃的Read_me節日，以及他們在runme.org網站的線上化形態相關聯的國際社區連接在一起。繼2002年在莫斯科的首次活動之後，第二次的Read_me/runme在2003年在赫爾辛基舉行。Amy Alexander和Alex McLean被邀請參與節日的選擇和策劃，與AM在開發藝術數據庫runme.org（有Pit Schultz、Florian Cramer、Matthew Fuller、Yes Men和Thomax Kaulmann的概念輸入）時密切合作。Runme.org成為Read_me節日概念的中心，作為一個公共目錄、提交系統和可執行開放項目的存儲庫，承認了編碼者的新興實踐。第三次迭代是在2004年8月，當時Read_Me 2004（由奧胡斯大學主辦）立即接著由朱特蘭美術學院主辦的聯合Runme/Dorkbot City Camp，許多現場編碼社區的成員參加了這個活動，對於一些人（如DG）來說，這是他們第一次在公眾面前編寫代碼的經驗。Amy Alexander、Alex McLean、Nick Collins和Fredrik Olofsson都令人難忘地同時上台，一系列的投影機顯示了他們所有的螢幕。

## The Birth of TOPLAP
The specific term live coding appears around the year 2000, although it must be recog- nized that the terms live programming and live coding were being used interchangeably at that time. It seems there was something in the air, with a number of disconnected developments—the release of early versions of the Just In Time programming library for SuperCollider in 2001 by Julian Rohrhuber, experimental programming workshops, the first performances from collaborative ensembles such as slub and Powerbooks_ UnPlugged, the release of the ChucK on-the-fly language by Ge Wang in Princeton23— all leading up to the establishment of the international live coding community TOPLAP at the Changing Grammars symposium convened by Renate Wieser and Julian Rohrhu- ber at the HfbK in February 2004.

特定的術語「即時編碼（live coding）」出現在大約2000年，雖然必須承認，當時「即時編程（live programming）」和「即時編碼（live coding）」這兩個詞語被交替使用。似乎當時有一種空氣在流動，有許多不相關的發展——2001年Julian Rohrhuber為SuperCollider發布的Just In Time程式庫的早期版本，實驗性的程式設計工作坊，第一次來自slub和Powerbooks_UnPlugged等協作組合的表演，以及在Princeton由Ge Wang發布的ChucK即時語言——都導向了在2004年2月Renate Wieser和Julian Rohrhuber在HfbK召開的Changing Grammars研討會上建立的國際即時編碼社區TOPLAP。

Changing Grammars was a politically engaged festival of code-as-art, a “live audio programming symposium,” whose advertised purpose was recognizably to discuss live coding as we know it today: “Some computer languages allow changing a running pro- cess on the fly by rewriting the code that defines it. Applied to computer music this means that one can write sound compositions while they are already playing.”24 The symposium brought together different forms of collaborative art. It was inspired by live improvisation in clubs, the conversational art by Antje Eske and Kurd Alsleben, network music as pursued in the work of Alberto de Campo, and a radicalization of open source as collective thinking—the name encapsulating the ambiguous power of grammatical law. Changing Grammars was the watershed moment of live coding, as the meeting at which TOPLAP was formed and immediately after which the TOPLAP manifesto was first drafted. The (temporarily named) Temporary Organisation for the Promotion of Live Algorithm Programming was constituted, continuing as an online wiki and email discussion list that included additional software artists and live coders outside Europe, such as DG, GW, and AA. The logo, designed by Adrian Ward, symbolizes both the centrality and provisional/reversible status of the laptop as the name then given to an electronic music genre that was both technologized and commoditized.

Changing Grammars是一個以程式碼為藝術的具有政治參與性的節日，一個“現場音頻程式設計研討會”，其廣告目的明顯是討論我們今天所知道的即時編碼：“有些電腦語言允許通過重寫定義它的代碼來改變正在運行的程序。應用到電腦音樂，這意味著人們可以在音樂已經播放的時候編寫聲音作品。”該研討會匯集了不同形式的協作藝術。它受到俱樂部即興現場，Antje Eske和Kurd Alsleben的對話藝術，Alberto de Campo工作中的網路音樂，以及開源作為集體思考的激進化的啟發——這個名字封裝了語法規則的曖昧力量。Changing Grammars是即時編碼的分水嶺，因為在這次會議上，TOPLAP成立，並在會議結束後首次起草了TOPLAP宣言。為了促進即時演算法程式設計的臨時組織（暫時命名）被構成，並以線上wiki和電子郵件討論列表的形式持續下去，其中包括來自歐洲以外的更多軟件藝術家和即時編碼者，如DG、GW和AA。該標誌由Adrian Ward設計，象徵著筆記本電腦的中心地位和臨時/可逆狀態，這是當時給一種電子音樂類型的名稱，既是科技化的，也是商品化的。

>Figure 2.2
The TOPLAP logo created by Adrian Ward.
Source: Wikipedia, “ToplapLogo,” last modified April 20, 2011, https://toplap.org/wiki/ToplapLogo.

The TOPLAP Manifesto
The TOPLAP manifesto itself is as “temporary” as the organization and has only ever been published as a draft, in 2004. The authors of the manifesto insist that it was never (and shouldn’t be) really finished—and of course that TOPLAP is a temporary organiza- tion.25 The manifesto was originally shared as an openly edited wiki document, settling on the following draft during the space of a year.26 The manifesto states:

TOPLAP宣言本身就像組織一樣“臨時”，並且從未被正式發布，只在2004年以草案形式公開。該宣言的作者堅稱，它從未（也不應該）真正完成——當然，TOPLAP也是一個臨時組織。該宣言最初是作為一個公開編輯的wiki文件分享的，在一年的時間裡確定了以下的草案。宣言聲明：

We demand:

Give us access to the performer’s mind, to the whole human instrument.
Obscurantism is dangerous. Show us your screens.
Programs are instruments that can change themselves.
The program is to be transcended—Artificial language is the way.
Code should be seen as well as heard, underlying algorithms viewed as well as their visual outcome.
Live coding is not about tools. Algorithms are thoughts. Chainsaws are tools. That’s why algorithms are sometimes harder to notice than chainsaws.
We recognize continuums of interaction and profundity, but prefer:

Insight into algorithms
The skillful extemporisation of algorithm as an expressive/impressive display of mental dexterity
No backup (minidisc, DVD, safety net computer) We acknowledge that:
It is not necessary for a lay audience to understand the code to appreciate it, much as it is not necessary to know how to play guitar in order to appreciate watching a guitar performance.
Live coding may be accompanied by an impressive display of manual dexterity and the glo- rification of the typing interface.
Performance involves continuums of interaction, covering perhaps the scope of controls with respect to the parameter space of the artwork, or gestural content, particularly direct- ness of expressive detail. Whilst the traditional haptic rate timing deviations of expressivity in instrumental music are not approximated in code, why repeat the past? No doubt the writing of code and expression of thought will develop its own nuances and customs.27

我們要求：
* 讓我們接觸到表演者的思維，整個人類的儀器。
* 神秘主義是危險的。向我們展示你的屏幕。
* 程式是可以自我改變的樂器。
* 程式應該被超越——人工語言就是方法。
* 代碼應該被看見以及聽見，基礎的演算法以及它們的視覺效果應該被看見。
* 即時編碼不只是關於工具。演算法是思考。鏈鋸是工具。這就是為什麼演算法有時比鏈鋸更難以察覺。

我們認識到互動和深度的連續性，但更傾向於：
* 對演算法的洞見
* 算法的巧妙即興創作作為表達/展現心智敏捷的方式
* 無後備（迷你光碟，DVD，安全網電腦）我們承認：
* 外行觀眾無需理解代碼即可欣賞它，正如欣賞吉他表演無需知道如何彈吉他一樣。
* 即時編碼可能伴隨著手部靈巧的展示和打字介面的榮耀化。
* 表演涉及互動的連續性，或許涵蓋了與藝術作品參數空間的控制範疇，或手勢內容，特別是表達細節的直接性。儘管儀器音樂中的傳統觸覺節奏變異在代碼中並未被模擬，但為什麼要重複過去呢？毫無疑問，寫代碼和表達思想將會發展出其自身的細微差別和習慣。

With clear influence from “The Generative Manifesto” of McLean and Ward, per- haps its most famous injunction is “Show us your screens”—a mantra of the live coding community.28 However, even this central phenomenon of the live coding movement is contested. Some regard the showing of screens as explanatory (GW) or didactic (SA), as simply a way of sharing their way of making music (for slub), while for others the gesture is underpinned by the materialist principles of granting access to the means of production, as discussed in later chapters of this book. The founders of TOPLAP were fully aware of the irony of an improvised culture being documented and systematized: the assertive style of the manifesto is parodic and, like all manifestos, algorithmic in the sense of being program-like and able to generate new sociotechnical forms. In this sense it follows a long tradition of technology-based manifestos and declarative calls to action.29 However, our own interviews (AM with AdC) acknowledge that “even if the TOPLAP manifesto obviously is intended as tongue-in-cheek, it did have an undercur- rent of real ambition.”

明顯受到McLean 和 Ward的“生成宣言”的影響，也許其最著名的指示是“向我們展示你的屏幕”——這是即時編碼社區的口頭禪。然而，即使是即時編碼運動的這個核心現象也受到爭議。有些人認為展示屏幕是解釋性的（GW）或教育性的（SA），對於slub來說，只是分享他們創作音樂的方式，而對於其他人來說，這種舉動背後的基礎是物質主義的原則，即授予進入生產手段的權利，這在本書後面的章節中有所討論。TOPLAP的創始充分意識到即興文化被記錄和系統化的諷刺性：宣言的堅定風格是諷刺的，並且像所有的宣言一樣，在某種意義上說是算法化的，因為它像程式一樣，能夠產生新的社會技術形式。在這個意義上，它延續了長期以來基於技術的宣言和呼籲行動的傳統。然而，我們自己的訪談（AM與AdC）承認，“即使TOPLAP宣言顯然是打趣的，它的確有一種真實的野心”。

## Catalysts and Precursors
So far we have focused on the genesis of the TOPLAP live coding community between 2000 and the present day, in recognition of the rich development of music and arts practice that came out of physical and online meeting points. It is also important to recognize precursors and catalysts, where individuals or small groups engaged in activi- ties and developments that could be conceived of as live coding even if these people never viewed their practice as such or found value in the term live coding.

迄今為止，我們專注於了解 TOPLAP 即興編碼社群自 2000 年至今的起源，以認識在實體和線上交流平台中衍生出的豐富音樂和藝術實踐的發展。同樣重要的是要承認先驅和催化劑，這些個人或小團體從事的活動和發展，即使這些人從未將他們的實踐視為即興編碼，或並未對即興編碼這個術語感到重要性，但這些活動和發展可以被視為即興編碼的先驅。

## Interactive Programming
The propagation of the Forth programming language through the 1970s was a signifi- cant event in the development of interactive programming for real-time applications, as the language architecture allows operations to be interactively (re)defined while the program is running, with a core that is unusually fast and lightweight.30 In 1979 Doug Collinge created the Moxie language for timed procedures, delivered originally as a Forth package and later reimplemented by Roger Dannenberg in a C version called Moxc,31 described as an “integration of procedural and declarative score-like descrip- tions of interactive real-time behavior.”32 Dave Anderson and Ron Kuivila began working together in 1984, initiated by Kuivila asking if it would be possible to keep access to the Forth outer interpreter while running his concurrent thread package. It is explorations in this style that have enabled live coding as we understand it now, and according to the TOPLAP wiki, Kuivila is the person responsible for the first known performance of what we would now recognize as live coding, at STEIM Amsterdam in 1985.

在20世紀70年代，Forth編程語言的推廣對於實時應用的交互式編程的發展起到了重要作用。該語言架構允許在程序運行時交互地（重新）定義操作，其核心具有非常快速和輕量級的特點。1979年，Doug Collinge創建了Moxie語言，最初以Forth包的形式提供，後來由Roger Dannenberg在稱為Moxc的C版本中重新實現，被描述為“將程序和聲明性類似樂譜的互動實時行為描述集成在一起”。1984年，Dave Anderson和Ron Kuivila開始合作，當時Kuivila詢問是否可以在運行並行線程包的同時保持對Forth外部解譯器的訪問。正是這種風格的探索使我們現在理解的即興編碼成為可能，根據TOPLAP wiki的記錄，Kuivila是我們現在所認識的即興編碼的第一個已知演出者，他於1985年在阿姆斯特丹的STEIM進行了表演。

## SuperCollider
If the formation of TOPLAP was a pivotal moment in the crystallization of live cod- ing as a performing arts genre, the next most significant occasion (though earlier in the timeline) may well be a workshop that was presented at the International Com- puter Music Conference (ICMC) in 2000 by James McCartney, author of the Super- Collider music programming language.33 McCartney’s work influenced many of those we interviewed. Indeed, it is hard to ignore the number of live coders whose first expe- riences of coded music came from tutors who were the early adopters and teachers of SuperCollider. Even TOPLAP owes its existence to McCartney’s work; SuperCollider was the main programming language used at the Changing Grammars meeting.

如果說TOPLAP的形成是將即興編碼作為表演藝術類型凝結的重要時刻，那麼下一個最具意義的場合（雖然在時間線上較早）可能是由James McCartney在2000年的國際電腦音樂大會（ICMC）上舉辦的一個研討會。James McCartney是SuperCollider音樂編程語言的作者，他的作品影響了我們訪問的許多人。事實上，很難忽視那些第一次接觸編碼音樂的即興編碼者是從那些早期使用和教授SuperCollider 的導師那裡獲得的。即使TOPLAP 的存在也歸功於麥卡特尼的工作；SuperCollider是Changing Grammars會議上主要使用的編程語言。

Versions of SuperCollider were already in circulation before 2000, and some schools were using those early versions. But McCartney’s workshop at the International Com- puter Music Conference 2000, where he demonstrated fluent synthesizer program- ming in a text-based language, made a huge impact on many of those who attended. His workshop involved a live software demonstration, not a musical performance, but many of those present recognized the potential for using code as a musical instrument, rather than as a means to build instruments.

在2000年之前，SuperCollider 的版本已經在流通，一些學校正在使用那些早期版本。但是麥卡特尼在2000年的國際電腦音樂大會上舉辦的研討會對許多參與者產生了巨大的影響，他在研討會中展示了以文字為基礎的流暢合成器編程。他的研討會涉及實時軟體演示，而不是音樂表演，但許多在場的人意識到了使用代碼作為音樂樂器的潛力，而不僅僅是用來構建樂器的手段。

The basic operating principles of SuperCollider are squarely in the tradition of the MUSIC-N family of digital synthesis systems, continuing Max Mathews’s original invention of a modular system of software unit generators that are connected into a logical network. Conceptually, this is the same operating principle as modular analog synthesizers, which are connected into a network using patch cables, and of the Max/ MSP language, which visualizes the patch cables as connecting lines in an on-screen diagram. McCartney’s first version of SuperCollider provided a text programming inter- face to this underlying model, but Version 2 of SuperCollider transformed the program- ming experience by changing the style of control language to that of Smalltalk—the innovative language developed by Alan Kay and others at Xerox Palo Alto Research Center (PARC) that underlies a recent resurgence of interest in “live programming” within the software engineering research community.34

SuperCollider的基本運作原則完全符合MUSIC-N數位合成系統家族的傳統，延續了Max Mathews對一個模塊化軟件單元生成器系統的原創發明，這些生成器被連接成一個邏輯網絡。從概念上講，這與模塊化模擬合成器的基本運作原則相同，模塊化合成器使用補丁線將模塊連接成一個網絡，而Max/MSP語言將這些補丁線視覺化為屏幕上的連接線圖。麥卡特尼的第一個版本的SuperCollider提供了一個文本編程接口，以支持這個底層模型。但是SuperCollider的第二版通過將控制語言的風格改為Smalltalk，從而改變了編程體驗，Smalltalk是Alan Kay等人在施洛克斯帕羅奧圖研究中心（PARC）開發的創新語言，最近在軟件工程研究界中引起了對「即時編程」的興趣復興。

It is notable that Collinge’s original Moxie referenced Smalltalk, and also the Simula language that had inspired it, relating the event-simulation functionality of Simula to a causal model of music in terms of processes and events, which he felt would become the foundation of a far more powerful descriptive model. Certainly, for Kuivila, Super- Collider was the first environment that he believed had retained the interactive pro- gramming quality of Forth while allowing much richer programming abstractions.

值得注意的是，Collinge的原始Moxie引用了Smalltalk，還有啟發了它的Simula語言，將Simula的事件模擬功能與過程和事件的音樂因果模型相關聯，他認為這將成為一種遠更強大的描述模型的基礎。對於Kuivila來說，SuperCollider是他相信保留了Forth的交互式編程特性，同時允許更豐富的編程抽象的第一個環境。

Immediately, SuperCollider 2 encouraged live experimentation. In particular, from the moment when the interpreter remained usable during synthesis, it allowed for a redefinition of functions at runtime (in the same way that words could be added at runtime to the Forth dictionary). These functions could be picked up by sequencing unit generators like Spawn, and Kuivila created a TSpawn function that introduced the ability to trigger this update. This was used in the early versions of Rohrhuber’s work on proxy systems.

SuperCollider 2立即鼓勵了即時實驗。特別是，從解釋器在合成過程中仍然可用的那一刻起，它允許在運行時重新定義函數（就像可以在運行時向Forth字典中添加單詞一樣）。這些函數可以被像Spawn這樣的序列單元生成器選取，Kuivila創建了一個TSpawn函數，引入了觸發此更新的能力。這在Rohrhuber早期對代理系統工作的版本中被使用。

It is within the SuperCollider community that we see terms such as live program- ming and code live used around 2000–2001 by Julian Rohrhuber and Fabrice Mogini, respectively. Indeed, at the launch of the Morpheus CD-ROM (a disk that contained a runtime version of SuperCollider with generative music pieces by five composers) in 2001, Mogini was live coding in a London Shoreditch nightclub, projecting code onto the wall and writing SuperCollider patterns in a specific graphical user interface system he had built.35

正是在SuperCollider社區中，我們看到像Julian Rohrhuber和Fabrice Mogini分別在2000-2001年左右使用如即時程式設計和即時編碼等術語。的確，在2001年推出Morpheus CD-ROM（該光盤包含了一個運行版本的SuperCollider，以及由五位作曲家製作的生成音樂作品）時，Mogini正在倫敦Shoreditch夜店中即時編碼，將程式碼投影到牆上，並在他構建的特定圖形用戶界面系統中編寫SuperCollider模式。

It is no coincidence that these developments were all taking place within Super- Collider 2. Its extreme conciseness, together with its repository of interesting exam- ples that could be easily rewritten and combined in live textures, foregrounded code as public artistic expression. Its design prompted users to run different parts of their code concurrently, changing parameters continually as the music evolved. However, a considerable advance for live coding came with Rohrhuber’s introduction of proxies, which made it possible to rewrite any component of the program at runtime. Instead of preparing the parameters for live interaction, the whole programming activity became an integral part of the running program. The proxy system was also used in improvisa- tion to share and access code running on multiple computers, enabling the live laptop network music performances of the PowerBooks_UnPlugged ensemble.36

這些發展都發生在SuperCollider 2之內絕非巧合。它的極度簡潔，以及其可以輕易地被重寫並在即時紋理中結合的有趣示例庫，將代碼作為公開的藝術表達凸顯出來。其設計促使用戶同時運行代碼的不同部分，隨著音樂的演變不斷改變參數。然而，Rohrhuber引入代理的方式為即時編碼帶來了重大進步，使得可以在運行時重寫程序的任何組件。代替為即時互動準備參數，整個編程活動成為了運行程序的一個不可或缺的部分。代理系統也用於即興創作，共享並訪問在多台電腦上運行的代碼，使PowerBooks_UnPlugged樂隊的筆記型電腦網路音樂表演成為可能。

## The Growing Community
The pioneering years of live coding in the early 2000s were followed by accelerating growth of the live coding community. It has now grown to include so many prominent individuals that it would have been impossible for us to interview them all or even to fully document the expanding circles of those involved. In the months and years immediately after the formation of TOPLAP, those who attended and participated in the early events (such as DG) developed their own tools and performance practices. Increasing coverage in forums enabled a wider network of explorers to identify their own work as live coding, as when AS saw a Slashdot article by AM on hacking Perl and recognized that his own “live” exploration within a read-eval-print loop could be per- formed in public, leading directly to the first live coding performance in Australia by Andrew Brown and Andrew Sorensen (as aa_cell), at the Australasian Computer Music Conference in June 2005.

2000年代初即時編碼的開創性年代過後，即時編碼社區的成長速度加快。現在它已經擴大到包括如此多的重要人物，我們不可能采訪他們所有人，甚至無法完全記錄那些參與其中的人的擴大圈子。在TOPLAP成立之後的幾個月和幾年內，那些參加並參與早期活動的人（如DG）發展出他們自己的工具和表演實踐。論壇上的越來越多的報導使得更廣泛的探索者能夠將他們自己的工作識別為即時編碼，就像AS看到AM在Slashdot上關於Perl黑客的文章，並認識到他自己在讀取-評估-打印循環中的“即時”探索可以在公開場合進行，這直接導致了Andrew Brown和Andrew Sorensen（以aa_cell的名字）在2005年6月的澳大利亞電腦音樂會議上進行的澳大利亞的第一次即時編碼表演。

As academic music departments started to incorporate live coding (or at least, fur- ther attention to SuperCollider) into their curriculum, they created a generation of performers who had an established framework within which to explore. AC was already familiar with computers as media-processing tools but had not considered herself to be a coder until Ernesto Romero taught a live coding class in Mexico in 2009, leading to her own first public performance in 2010. SK had already used digital music tools in high school and found that Max/MSP and SuperCollider were part of her under- graduate curriculum in 2006 and 2009, respectively. For her, coding in itself was not a conceptual commitment but a tool available as part of the repertoire of free improvisa- tion practice, in which she saw little real distinction between digital and analog syn- thesizers. She did not perform explicitly as a live coder until 2013 but quickly became a core member of the UK community.

隨著學術音樂部門開始將即時編碼（或至少，對SuperCollider的更多關注）納入其課程，他們創造了一代表演者，這些表演者有一個既定的框架來進行探索。AC已經熟悉了電腦作為媒體處理工具，但直到2009年Ernesto Romero在墨西哥教授一門即時編碼課程，她才將自己視為編碼者，這導致了她在2010年的第一次公開表演。SK在高中已經使用過數位音樂工具，並發現Max/MSP和SuperCollider分別在2006年和2009年成為她本科課程的一部分。對她來說，編碼本身並不是一種概念承諾，而是作為自由即興實踐的曲目一部分可用的工具，在這種實踐中，她認為數位和模擬合成器之間幾乎沒有什麼真正的區別。她直到2013年才明確地作為一個即時編碼者表演，但很快就成為了英國社區的核心成員。

JR and AdC were visiting professors in Karlsruhe who taught SuperCollider in 2009 to students at the Institute for Music Informatics and Musicology, including Juan A. Romero, Holger Ballweg, Patrick Borgeat, and Matthias Schneiderbanger, who then formed the live coding collective Benoit and the Mandelbrots. They say that their first performance later that year was memorable for being even “more nerdy than Kraftwerk” because they had not yet acquired laptop stands and were obliged to sit on the stage while typing.

JR 和 AdC 於 2009 年在卡爾斯魯厄擔任訪問教授，他們在音樂資訊學與音樂學研究所教授 SuperCollider 給學生，包括 Juan A. Romero、Holger Ballweg、Patrick Borgeat 和 Matthias Schneiderbanger，他們隨後組成了現場編碼組合 Benoit and the Mandelbrots。他們表示，他們那年稍後的首次演出令人難忘，因為他們比 "Kraftwerk" 還要 "書呆子"，原因是他們當時還沒有筆記型電腦架，所以被迫坐在舞台上打字。

Although more could be said about the institutional grounding of live coding through educational establishments, including the teaching of environments such as SuperCollider, Pure Data, Max/MSP, CSound, ChucK, Hydra, and TidalCycles and the widespread rollout of Sonic Pi into schools as well as universities (currently approach- ing its two-millionth reported download), much of the community growth and educa- tion has been through workshops organized by art institutions, media labs, universities, and various festivals. As examples, John Eacott organized the SuperCollider summer school at Westminster University in the early 2000s; Nick Collins, Fredrik Olofsson, and Sergio Luque gave SuperCollider workshops; Thor Magnusson and Enrike Hurtado organized ixi workshops on audiovisual programming across Europe; Bruno Ruviaro and Fernando Lopez-Lezcano at CCRMA at Stanford, and a large open-source Pure Data community, with people such as Derek Holzer, Gunter Geiger, and Hans Christoph Steiner, was active in open-source audio programming education. Various institutions, organizations, and collectives were instrumental in this spreading of skills—notably, Centro Multimedia, Centro Nacional de las Artes in Mexico, the Studio for Electro- Instrumental Music in the Netherlands, Access Space in Sheffield, and l’ull cec in Spain, which organized a coordinated program of SuperCollider education through a series of workshops at Hangar Barcelona.37

雖然可以進一步討論現場編碼通過教育機構的制度化，包括教授如 SuperCollider、Pure Data、Max/MSP、CSound、ChucK、Hydra 和 TidalCycles 這些環境的使用，以及 Sonic Pi 的廣泛推廣到學校以及大學（目前快要達到兩百萬次報告的下載量），但大部分的社區成長和教育都是通過藝術機構、媒體實驗室、大學以及各種節慶組織的工作坊實現的。例如，John Eacott 在 2000 年初在西敏寺大學組織了 SuperCollider 夏季學校；Nick Collins、Fredrik Olofsson 和 Sergio Luque 提供了 SuperCollider 工作坊；Thor Magnusson 和 Enrike Hurtado 在歐洲各地組織了有關音像編程的 ixi 工作坊；Bruno Ruviaro 和 Fernando Lopez-Lezcano 在史丹福的 CCRMA，以及一個由 Derek Holzer、Gunter Geiger 和 Hans Christoph Steiner 等人組成的大型開源 Pure Data 社區，都積極參與開源音頻編程教育。各種機構、組織和集體在這種技能的傳播中起到了重要的作用，值得注意的包括墨西哥的 Centro Multimedia、Centro Nacional de las Artes、荷蘭的 Studio for Electro-Instrumental Music、謝菲爾德的 Access Space，以及西班牙的 l’ull cec，他們通過在巴塞羅那的 Hangar 組織一系列的工作坊，協調推動了 SuperCollider 教育計劃。

The mixture of curiosity, enthusiasm, and engagement shown by technical audiences has become a staple of live coding performance. At programming language and tool conferences, especially, there is a long-standing tradition of live demos exhibiting the convenience and efficiency of new technologies by showing that sophisticated results can be achieved in view of the eyes of the audience.38 A second wave of live coders, such as MH and SA, extending the technical tools developed in earlier live cod- ing experiments, were already familiar with this kind of code performance before they started to explore musical ideas of their own. For more technical audiences looking to develop their own skills and understanding, knowing how the tools work and how effects are achieved is greatly valued, leading to performances that often consist of a lecture or seminar followed by music improvised in the moment.

呈現出對於新奇、熱情和參與的混合，已經成為現場編碼表演的主食。在程式語言和工具研討會上，特別是有一種長久的傳統，即通過現場展示，展示新技術的便利和效率，讓觀眾看到可以達到精緻的結果。第二波現場編碼者，如MH和SA，擴展了早期現場編碼實驗中開發的技術工具，他們在開始探索自己的音樂理念之前，已經熟悉這種代碼表演。對於更專業的觀眾來說，他們希望發展自己的技能和理解，知道工具是如何工作的，如何達到效果是非常重要的，這導致了表演往往包括一個講座或研討會，然後在當下即興演奏音樂。

Live coding has also extended beyond the performance of music and projected visual effects to explore the potential of code in association with dance or poetry. KS is a dancer and choreographer who had used digital tools such as Isadora and Processing to create dynamic stage sets and had an intuitive understanding that these were themselves a kind of choreographic notation. After meeting AM, she began to explore the intersec- tions between long-standing questions of notation and improvisation in dance (to be discussed further in chapter 4) and the potential of live code as an improvised score.

現場編碼也已經超越了音樂和投影視覺效果的表演，探索了與舞蹈或詩歌相關的代碼的潛力。KS 是一位舞者和編舞家，她曾經使用像 Isadora 和 Processing 這樣的數位工具來創造動態舞台設置，並且直觀地理解這些本身就是一種編舞符號。在遇到 AM 之後，她開始探索舞蹈中關於符號和即興的長期問題（將在第四章進一步討論）與現場代碼作為即興樂譜的潛力之間的交集。

As with any performance or musical genre, we stress the point that live coding is a community construction. Performance implies an audience; it is a fundamentally social enterprise. The tools used in live coding may be constructed in private, and live coders develop their skills with personal preparation, but experiences of community were central to the development of everybody we interviewed.

如同任何表演或音樂類型，我們強調的一點是，現場編碼是一種社區建構。表演意味著有觀眾；它是一種基本的社會組織。現場編碼使用的工具可能是私下構建的，現場編碼者透過個人準備來發展他們的技能，但我們訪談的每一個人的發展都與社區經驗密切相關。

For those live coders educated in a Western art school tradition, ensemble perfor- mance and studio settings are everyday routines. Just as with the art-rock bands of the 1960s and 1970s, several prominent live coding groups developed directly from groups of art-school contemporaries, including Benoit and the Mandelbrots and the Public Life regulars 3Play. However, the cultures of education in technical practice are very dif- ferent. In comparison to art schools, there is far less expectation that computer science and software-engineering students will work closely with their peers on an everyday basis. As a result, the communal experience of live coding, for these individuals, was challenging but transformative. SA discovered a completely different kind of creative experience through a classic rite of passage, forming a band (under the name Meta-eX, with his brother-in-law Jonathan Graham), while GW recalled that his undergraduate interest in algorithmic composition, to be followed by research in the Western contem- porary tradition, underwent an epiphany when he had to explain his plans to band members he met at a party on the way to start his PhD in Princeton.

對於那些在西方藝術學院傳統中受教育的現場編碼者來說，合奏表演和工作室設置是日常常規。就像1960年代和1970年代的藝術搖滾樂團一樣，許多知名的現場編碼團體直接由藝術學院的同時期人群發展出來，包括 Benoit and the Mandelbrots 和 Public Life 常客 3Play。然而，技術實踐中的教育文化是非常不同的。與藝術學校相比，計算機科學和軟件工程學生每天與同儕密切合作的期望遠遠不夠。因此，對於這些人來說，現場編碼的社區經驗雖然具有挑戰性，但卻是變革性的。SA 透過一種經典的過渡儀式，組建了一個樂團（以 Meta-eX 的名義，與他的兄弟公婿 Jonathan Graham），發現了一種完全不同的創意體驗，而 GW 回憶說，他的本科對演算法作曲的興趣，後來研究西方當代傳統，當他在前往普林斯頓開始他的博士學位的途中在一個派對上向樂團成員解釋他的計劃時，有了一種彷彿獲得啟示的感覺。

For a traditional music school or conservatoire context, the community of live cod- ing may be difficult to accommodate within conventional group structures given the quite different pace and rhythm of (intermittent) edit and (continuous) execution, in contrast to the conventional instrumentalist’s constant adjustment of note articula- tions but near inability to discuss the work while still making sound. DO did not really start live coding until 2010, with the formation of Cybernetic Orchestra. For him, the medium of code leads to forms of sharing beyond those needed for more individual musical practices. While instrumental performance gestures happen in the moment, code gestures are temporally distanced from their effects and thus able to accommodate a parallel time stream of discourse, through which members are able to consider and grasp what others have done. Of course, code can also be an explicit technology of con- trol, allowing those inside or outside the group to expose or impose individual inten- tions to a much greater extent than possible with conventional instruments.

對於傳統的音樂學校或音樂學院的語境來說，現場編碼的社區可能很難適應常規的團體結構，因為（間歇性的）編輯和（持續性的）執行的節奏和節奏與傳統的樂器演奏者的音符表達方式的不斷調整，以及在仍然發出聲音的同時幾乎無法討論作品，這兩者存在著很大的差異。直到2010年，DO與Cybernetic Orchestra一起形成時，他才真正開始進行現場編碼。對他來說，代碼這種媒介帶來了超越個人音樂實踐所需的共享形式。雖然樂器表演動作在當下發生，但代碼動作在時間上與其效果相隔，因此能夠適應平行的談話時間流，通過這種方式，成員能夠思考並理解其他人已經做過的事情。當然，代碼也可以是一種明確的控制技術，讓團體內部或外部的人能夠在比使用傳統樂器可能的範圍內更大程度地暴露或施加個人意圖。

Whether or not live coding is intrinsically communal, the network of personal con- tacts that have been described here were essential to the development of the form. Notably, AM extended the community through personal connections, such as an office across the hall from JA or meeting AC while learning SuperCollider from Romero. Once able to perform in public, the memorable venues and events of the experimental arts scene resulted in lasting impacts—two remarkable algoraves in the art vessel MS Stub- nitz in April and May 2013; SK, BatMan, and DO visiting a tiny island in Venice for the laptop orchestra/ensemble festival Laptops Meet Musicians in July 2011; JR and RW live coding a musical accompaniment to silent movies as Signifikantelstadl starting in 2005; or the Hamburg-based band ginkgo turning a chill-out room into a mock office.39

無論現場編碼是否本質上是社區的，這裡所描述的人際聯繫網絡對於該形式的發展至關重要。值得注意的是，AM通過個人聯繫來擴展社區，比如從Romero那裡學習SuperCollider時遇到AC，或者他的辦公室就在JA的對面。一旦能夠公開表演，實驗藝術場景的難忘場地和事件就會產生持久的影響—2013年4月和5月在藝術船MS Stubnitz上的兩場令人驚嘆的算法派對；SK、BatMan和DO在2011年7月參加位於威尼斯一個小島上的筆記本電腦樂團/樂隊音樂會Laptops Meet Musicians；JR和RW從2005年開始作為Signifikantelstadl對無聲電影進行現場編碼的音樂伴奏；或者漢堡樂團ginkgo把一個冷靜的房間變成一個模擬辦公室。

## Revising Histories, Reshaping Communities "重寫歷史，重塑社區"

Existing at the intersection of performing arts and computer science, live coding risks the same challenges and problems with diversity that continue to persist within these fields, as well as within technologized performance cultures more broadly.40 Certainly, the fields of electronic art music, computing, and software engineering are not widely recognized for their diversity. However, since live coding is neither conventional soft- ware engineering nor mainstream art or music, it arguably has the capacity to emerge as a community of practice relatively free of the hierarchies and expectations that have habitually dogged its neighboring disciplinary fields.

位於表演藝術與電腦科學的交叉點，現場編程面臨的挑戰和多元性問題與這些領域以及更廣泛的科技化表演文化中持續存在的問題相同。無疑，電子藝術音樂、電腦和軟體工程領域並未因其多元性而廣為人知。然而，由於現場編程既不是傳統的軟體工程，也不是主流的藝術或音樂，它理應有能力作為一種實踐社群，相對免於習以為常的鄰近學科領域的階級和期望。

The rhetoric of live coding’s emergent community is often portrayed as inclusive, even utopian—an invitation for new collectives to form or a welcome offered to people of diverse artistic, educational, ethnic, and gender backgrounds. However, although the contour or boundary that gives shape to an emerging community creates condi- tions of belonging and commonality, it can also mean that there will always be indi- viduals who do not belong or remain unrepresented.41 While live coding aspires to be an inclusive community of practice, it is not always as simple as that. As live coder JA points out, “Computing has been coded masculine.”42 The gateway of entry might well be open in principle, but this does not always mean that its threshold is easily crossed. Networks and communities emerge through complex webs of association and initia- tion, friendship, and fraternity. Educational experiences can often create conditions of expectation and convention, establishing unspoken rules and permissions, possibili- ties, and limitations. For example, the early educational experiences of prominent digi- tal artists such as AA were significantly shaped by the continual socialization of women not to be the stereotypical coder. While the educational climate has changed, female live coders, such as AA and, more recently, ALGOBABEZ (JA and SK), have ironically appropriated the persona of the stereotypical performing nerd, celebrating the coun- terexpectations of adopting subversive gender identities. Increasingly for some female live coders, however, the challenge is also one of moving beyond ironic critique toward actively shaping and redefining the future of live coding in more affirmative terms.43

現場編程新興社群的修辭常被描繪為包容性的，甚至是烏托邦式的——邀請新的集體形成，或對來自不同藝術、教育、族裔和性別背景的人發出歡迎。然而，雖然給新興社區塑形的輪廓或邊界創造了歸屬感和共通性，但這也可能意味著總會有不屬於或未被代表的個體。 雖然現場編程渴望成為一個包容性的實踐社區，但情況並非總是那麼簡單。如現場編程員 JA 所指出的，「計算機科學已經被賦予了男性特質。」原則上，入口可能是開放的，但這並不總是意味著其門檻能輕易越過。網絡和社區是通過複雜的聯繫和初步聯繫、友誼和兄弟情誼而形成的。教育經驗常常創造出期望和習俗的條件，建立起無聲的規則和許可，可能性和限制。例如，像 AA 這樣的著名數字藝術家的早期教育經驗，大大受到不讓女性成為典型編碼員的持續社會化影響。雖然教育氛圍已經改變，但女性現場編程員，如 AA，以及最近的 ALGOBABEZ (JA 和 SK)，都以具有諷刺性地采用了典型表演書呆子的角色，慶祝採用顛覆性性別身份的反期望。然而，對於越來越多的女性現場編程員來說，挑戰也在於超越諷刺的批判，積極塑造和重新定義現場編程的未來，用更肯定的語言來表達。

In spite of the aspiration of live coding to be inclusive and diverse, and though female coders such as AA, AC, and SK have become key figures within the live coding community, the number of male live coders arriving in the community constantly threatens to dominate. Due to the rapid increase in its size, there is a real risk that the growing community will become less diverse than even at its inception, potentially recapitulating the historical displacement of women pioneers in electroacoustic music and the sonic arts.44 Tactics for addressing the continuing gender diversity imbalance take two distinctive approaches: the active reshaping of a community through inter- ventionist and activist strategies and the rewriting of existing histories as a correc- tive toward a more inclusive narrative to reimagine a different future. Projects such as OFFAL (Orchestra for Females and Laptops) and the duo ALGOBABEZ have affirmatively foregrounded the female gender of their performers.

儘管現場編程的理想是包容與多樣，並且像AA、AC和SK這樣的女性編碼員已經成為現場編程社區的重要人物，但不斷加入社區的男性現場編碼員的數量總是威脅著要主導。由於其規模的快速增長，有一個真實的風險，即這個不斷擴大的社群將可能比在其形成之初還要缺乏多樣性，可能會重蹈覆轍，驅逐女性在電子音樂和聲音藝術領域的先鋒者。解決持續的性別多樣性失衡的策略有兩種顯著的方法：通過干預主義和積極主義策略積極地重塑社區，並重寫現有的歷史，作為一種修正，朝向一種更包容的敘事，以重新想像一個不同的未來。如OFFAL（女性與筆記本電腦管弦樂團）和二人組ALGOBABEZ等項目，已經積極地突出了他們表演者的女性身份。

Significantly, many female live coders have also been instrumental in establishing specific communities and educational opportunities for supporting women’s engage- ment in live coding, reshaping the future of live coding through advocacy and activ- ism, through women-only workshops, and through mentoring and other initiatives to widen participation. For example, in the UK a pivotal moment for redressing gender balance within live coding was the free all-women Live Coding Workshop led by the Yorkshire Sound Women Network at Huddersfield University (December 2015) and funded by the Arts and Humanities Research Council Live Coding Research Network, which introduced twenty women to ixi lang and SuperCollider.45 Further widening participation, JA has since led live coding workshops at the National Media Museum in Bradford, England, as part of “Make Some Noise,” which targeted students (around the age of eight to nine years) from areas with low socioeconomic backgrounds. In 2019 the Northern Sound Collective hosted a series of symposiums, workshops, and hack- athons (open only to women, including trans women and nonbinary people) with the theme “Automation and Me: Living an Algorithmic Life” to explore themes of bodies, technologies, and automation.46

顯著的是，許多女性現場編碼員也在建立特定社區和教育機會方面發揮了重要作用，這些社區和機會支持女性參與現場編碼，通過倡議和活動，通過僅限女性的工作坊，以及通過指導和其他擴大參與的倡議，重塑現場編碼的未來。例如，在英國，修正現場編碼中性別平衡的一個關鍵時刻是由約克郡聲音女性網絡在哈德斯菲爾德大學主導的免費全女性現場編碼工作坊（2015年12月），該工作坊由藝術和人文研究委員會現場編碼研究網絡資助，向20位女性介紹了ixi lang和SuperCollider。為了進一步擴大參與，JA在布拉德福德的英國國家媒體博物館主導了現場編碼工作坊，作為“Make Some Noise”的一部分，該活動針對來自低社經背景地區的學生（約8到9歲）。2019年，北方聲音集合主辦了一系列的研討會、工作坊和黑客馬拉松（僅對女性開放，包括跨性別女性和非二元性別人士），主題為“自動化與我：生活在算法生活中”，以探索身體、技術和自動化的主題。

In her article “Finding Joy in Error and Space to Fail In,” JA argues that “in com- puter science pedagogy, one argument that has been put forward to explain the lack of engagement from women is their fear of failure.”47 A significant characteristic of the advocacy and education platforms described above is that they reportedly create safe spaces for failure, for taking risks and trying something out. Rather than foreground the need for technical virtuosity, such all-women and nonbinary opportunities offer, as JA argues, “underrepresented groups . . . a safe space to fail in their learning . . . a space in which to fail constructively.”48 Strikingly, JA reports that while many female live coders feel encouraged by advocacy and educational projects and even by the inclusive culture of algoraves, they continue to feel excluded from key community spaces such as the live coding Slack channel.49 JA argues that “the dominance of technical discussion on Slack underpins the maleness of the forum,”50 where the focus of discussion on tools and technicalities can both alienate and undermine female coders.

在她的文章“在錯誤和失敗中找到快樂”中，JA認為“在電腦科學教學中，一種用來解釋女性參與度不足的理由是她們對失敗的恐懼。”上述倡導和教育平台的一個重要特點是，據報導，它們創造了對失敗、冒險和嘗試新事物的安全空間。這些全女性和非二元性別的機會並不強調技術精湛的需求，而是，如JA所說，提供“代表性不足的群體...一個安全的學習失敗空間...一個可以建設性地失敗的空間。”顯著的是，JA報告說，儘管許多女性現場編碼者受到倡議和教育項目，甚至於算法派對的包容文化的鼓勵，但她們仍然感到被排除在關鍵的社區空間之外，如現場編碼Slack頻道。JA認為“Slack上技術討論的主導地位鞏固了這個論壇的男性氛圍”，在這裡，對工具和技術細節的討論焦點可以使女性編碼者感到疏遠並削弱她們的地位。

The introduction of algorave guidelines has also been an important gesture in changing a culture within the live coding community51—for example, by encouraging promoters and organizers to program lineups that reflect a greater gender balance and diversity more broadly. This is a positive intervention, yet there is still a risk that such practices inadvertently reinforce the sense of live coding as a predominantly white male culture whose rules and codes might be modified (slightly) to better allow others in. How can the live coding community become truly inclusive, not simply allowing or giving access to a wider diversity of individuals but rather becoming truly co- constituted and actively reshaped by the diversity of its evolving members? How can the language of inclusivity shift from one of “letting in” and “opening up,” inadver- tently reinforcing a sense of its own boundaries and gatekeepers, toward something that better reflects the transformative possibilities of greater diversity? In order for live coding to be a connecting force across diverse communities of practice, structuring hierarchies should continue to be rejected and shaken up when formed.

引入算法派對（algorave）指南也是改變現場編碼社區文化的一項重要舉措——例如，鼓勵推廣者和組織者策劃反映更大性別平衡和更廣泛多元性的陣容。這是一個積極的干預，然而還是存在這樣的風險，這樣的做法可能無意間強化了現場編碼作為一種主要的白人男性文化的觀感，這種文化的規則和代碼可能會被（稍微）修改，以更好地容納其他人。現場編碼社區如何能夠真正地包容，不僅僅是允許或給予更多不同個體的參與機會，而是由其不斷演進的成員的多樣性真正地共同構成並積極地重塑？包容性的語言如何能從“讓入”和“開放”轉變，這種轉變無意間強化了它自身邊界和看門人的意識，向更好地反映更大多元性的轉型可能性？為了使現場編碼成為連接多元實踐社區的力量，應該持續地拒絕和打破形成的結構性等級制度。

In compiling the partial histories of live coding, we have become increasingly aware of omissions and exclusions and of various biases, privileges, and blind spots, not least in relation to matters of diversity. Live coding aims to be inclusive; still, its evolution has been (and continues to be) uneven and nonlinear. While the early histories of live coding have a specifically European focus, in recent years the practice has evolved and developed into a truly global phenomenon. As live coding practices and communi- ties develop in Africa, India, Japan, and Mexico, they are shaped and informed by the distinctiveness of those geographical, cultural, and sociopolitical contexts. The increas- ingly international nature of the live coding scene, particularly the strong communities that have grown in Central and South America, has begun to counteract its previously European- and US-centric focus. For example, the /* vivo */ festival in Mexico City in 2012, the International Conference on Live Coding (ICLC) in Morelia in 2017, and the “Livecoders latinoamericanos” day programmed at the ICLC in Madrid 2019 revealed the radical vibrancy of the Latin American live coding communities to the wider scene, with the ICLC now held in both Spanish and English. While diversity in the live cod- ing scene has been discussed and confronted from the early days, the focus has tended toward issues of gender, rather than aspects such as race and class.52 However, events such as the police murder of George Floyd on May 25, 2020, and the impact of the Black Lives Matter protests that followed brought the matter of race into focus with a heightened sense of urgency, calling for intervention and activism beyond expressions of solidarity and performative allyship. The (Algo|Afro) Futures mentorship program is an initiative led by digital artist and curator Antonio Roberts in England that supports four Black artists in the West Midlands area who are in the early stages of their careers. The first cohort of this program—digital artist/musician Rosa Francesca, fine artist/film- maker Emily Mulenga, mixed-media poet Samiir Saunders, and musician/illustrator Jae Tawallah—were encouraged to explore live coding from the perspective of their own practices rather than fix any problem in the existing scene. They approached the theme from an intersectional standpoint, bringing varied interests and backgrounds in neuro- diversity, embodiment, anticapitalism, feminism, queerness, postcolonialism, and disability justice.53

在編撰現場編碼的部分歷史時，我們越來越意識到各種遺漏和排斥，以及各種偏見、特權和盲點，尤其與多元性相關。現場編碼旨在包容；然而，其進化一直並將繼續是不平均和非線性的。儘管現場編碼的早期歷史具有特定的歐洲焦點，但近年來，該實踐已經進化並發展為一種真正的全球現象。隨著現場編碼實踐和社區在非洲、印度、日本和墨西哥的發展，它們受到這些地理、文化和社會政治語境的獨特性的塑造和啟示。現場編碼的國際性特色，特別是在中南美洲快速增長的社區，已開始對其以前以歐洲和美國為中心的重點進行抵消。例如，2012年在墨西哥城的/* vivo */節，2017年在莫雷利亞的國際現場編碼會議(ICLC)，以及在2019年馬德里ICLC編程的"Livecoders latinoamericanos"日，都向更廣大的現場編碼社區展示了拉丁美洲現場編碼社區的激進活力，現在ICLC已經用西班牙語和英語舉辦。儘管從早期就開始討論並直面現場編碼場景的多樣性，但焦點傾向於性別問題，而不是種族和階級等方面。然而，例如2020年5月25日喬治·弗洛伊德被警察謀殺以及之後的Black Lives Matter抗議活動的影響，使種族問題以一種更加緊迫的感覺進入焦點，呼籲超越表達團結和表演性同盟關係的干預和行動。 (Algo|Afro) Futures指導計劃是英國數位藝術家和策展人Antonio Roberts領導的一個倡議，支持西米德蘭地區四位處於事業初期的黑人藝術家。該計劃的第一批成員——數位藝術家/音樂家Rosa Francesca，藝術家/電影製片人Emily Mulenga，多媒體詩人Samiir Saunders和音樂家/插畫家Jae Tawallah——被鼓勵從他們自己的實踐角度來探索現場編碼，而不是解決現有場景的任何問題。他們從一個交叉立場來處理這個主題，帶來了在神經多樣性、具象化、反資本主義、女權主義、酷兒、後殖民主義和殘障公正等方面的各種興趣和背景。

In parallel to the interventions and activism intent on changing the existing culture of live coding, there is also potential in revising the history of live coding itself, reveal- ing alternative narratives in which the historical presence of people who are disad- vantaged and/or underacknowledged (based on gender identity, ethnicity, or class, for example) are properly recognized within the evolution of computational technolo- gies. The trouble with histories—partial or otherwise—is that the collective memory of events and the visibility of certain individuals or practices afforded within a particular historical narrative are inescapably conditioned by the privileging norms of the social and cultural milieu itself. At times, then, a more active reading of alternative histo- ries—of a more overtly revisionist or reparative history—becomes critically necessary for addressing those existing and persisting blind spots and exclusions, for telling his- story from a different perspective. For example, at the International Conference on Live Coding in Hamilton (2016), Amy Alexander’s keynote “At the Margins” highlighted historical examples within computer science and the arts that were considered marginal or peripheral in their time but have had a long-term impact on their fields.54 These included the seemingly clerical work of early telephone switchboard operators along- side the innovations of influential female programmers, including Rear Admiral Grace Hopper, a pioneer of computer programming who popularized the idea of machine- independent programming languages, leading to the development of COBOL, the early business-oriented programming language.

與致力於改變現場編碼現有文化的干預和行動並行，修訂現場編碼本身的歷史也具有潛力，揭示出替代性的敘事，其中包含了歷史上那些處於不利地位和/或未被充分認知的人們（基於性別身份、種族或階級等）在電腦技術演變中得到適當認知。歷史的問題——無論是部分的還是其他的——在於對事件的集體記憶和在特定歷史敘事中給予某些個體或實踐的可見性，都不可避免地受到社會和文化環境本身的特權規範的條件。因此，有時候，對替代歷史的更積極的閱讀——一種更公開修訂或修復的歷史——對於解決現有並持續存在的盲點和排斥，從一個不同的角度講述歷史，變得非常必要。例如，在2016年漢密爾頓的國際現場編碼會議上，Amy Alexander的主題演講“在邊緣”突出了在電腦科學和藝術中的歷史範例，這些範例在其時被視為邊緣或外圍，但對其領域有長期影響。這些包括早期電話交換機操作員的看似文書工作，以及影響力深遠的女性程序員的創新，包括後將軍格蕾絲·霍珀，她是電腦編程的先驅，普及了機器獨立的編程語言的理念，導致了COBOL的開發，這是早期以商業為導向的編程語言。

Certainly, the role of women within the evolution of computer technology and pro- gramming generally requires ongoing reappraisal. The pivotal contribution of named individuals such as Ada Lovelace (1815–1852, known for being the first “computer programmer” writing an algorithm for execution by a computer—Babbage’s Analytical Engine) or Margaret Hamilton (credited with invention of the term software engineer- ing55) must be remembered in the context of innumerable unnamed others, such as the thousands of female “human computers” operating in the 1940s whose skill, knowl- edge, and dexterity have been historically undervalued. While software engineering emerged from the space program, in the military and patriarchal context of the Cold War, the golden age of electronic and computer music took place in more independent, less hierarchical, and therefore less male-dominated scenes. As it has developed, both commercial and academic power structures have formed,56 but these do not necessarily represent the diversity of the early pioneers. Reflecting on the stellar lineup of the 2016 Mothers of Invention festival in London, Laurie Spiegel commented:
Why so many women in early electronic music? Back then there were very few women com- posers of any kind. That was partly because men controlled access to performance, presenta- tion, preservation and publication resources (concert venues, print and vinyl, concert halls, orchestra, radio airplay . . . ). In contrast, electronic equipment did not treat women any differently from men. We were able to turn our musical ideas into sound and then play them for people without the almost-always-male establishment gatekeepers and their biases.57

顯然，女性在電腦技術和編程的演變中的角色需要持續的重新評估。我們必須在無數名字被遺忘的其他人的背景下，記住像Ada Lovelace（1815-1852，以成為第一個“電腦程序員”而聞名，為一台電腦——巴比奇的分析機寫下算法）或Margaret Hamilton（被認為是軟體工程術語的創造者）等個別人士的關鍵貢獻，例如在1940年代運作的數千名女性“人類計算機”，她們的技能、知識和靈巧在歷史上被低估。雖然軟體工程起源於太空計劃，在冷戰的軍事和父權主義背景下，電子音樂和電腦音樂的黃金時代則在更獨立、較少階級，因此男性主導的場景中發展。隨著其發展，商業和學術權力結構已經形成，但這些並不一定代表早期先鋒的多樣性。回顧2016年倫敦發明之母音樂節的閃亮陣容，Laurie Spiegel評論道：為何在早期的電子音樂中有這麼多女性？那時候的女性作曲家很少。這部分原因是因為男性控制著表演、呈現、保存和出版的資源（如音樂會場地、印刷和黑膠、音樂廳、管弦樂團、廣播播放……）。相反，電子設備對男性和女性的待遇並無差異。我們能夠將我們的音樂理念轉化為聲音，然後為人們播放，而無需經過幾乎總是由男性建立的門檻和他們的偏見。

There have been conscious efforts to reject such hierarchies from developing in the live coding field.58 Beyond the reparative retelling of an existing evolutionary chronology, there are parallel attempts to radically rethink the chronology itself, to establish alterna- tive historical references to contemporary coding that in turn invite a rethinking of its possible future.

在現場編碼領域，已經有意識地努力拒絕這種等級制度的形成。除了修正現有的演化年表，也有並行的嘗試從根本上重新思考年表本身，建立對當代編碼的替代歷史參考，進而促使人們重新思考其可能的未來。

## Textiles and Coding
One attempt to revise or even rewrite the historical evolution of computing and cod- ing, specifically in relation to live coding, can be witnessed in recent research projects that reconsider the links between coding and textiles. The development of the Jacquard loom is often credited as a key precedent in the evolution of computational hardware. First demonstrated in the early 1800s by its inventor, Joseph Marie Jacquard, the Jac- quard loom served to simplify and accelerate the manufacturing of textiles using a system of punch cards to control a mechanized process of weaving. These punch cards inspired the use of perforated cards by Charles Babbage in his Analytical Engine, and the Jacquard loom is thus considered a key technical precursor in the history of computing. However, this focus on hardware and machinic evolution often neglects the cogni- tive connections between weave and code.59 Indeed, as philosopher and cultural theo- rist Sadie Plant asserts, “The computer emerges out of the history of weaving. The loom is the vanguard site of software development.” By eschewing the well-established (accepted, normative) relation between the technologies of weaving and coding, research projects such as Weaving Codes/Coding Weaves (2014–2016) have focused more explicitly on the qualities of cognition and creativity emerging within tradi- tional handloom use and how the handweaver’s sense of embodied cognition can be extended to the practice of coding.60 The project argues that automated Jacquard weav- ing is antithetical to the principles of live coding—its planning in advance seems closer to the hands-off, automated generative music ethos developed since the 1950s—and so to find analogs to live coding, we have to look for roots that go further back in history. Multimedia artist and technologist Paola Torres Núñez del Prado has connected live coding with Peruvian textile practices through her Textile Patching performances, live coding with embroidered interfaces at the International Conference on Live Coding in 2017. More recently, she has launched the Neokhipukamayoq manifesto,61 pre- senting a vision for technology grounded in a heritage based on Khipu-making, the pan-Andean method of digital memory storage with knots in string, known for its use by the Inca Empire for recordkeeping. In this manifesto Núñez del Prado brings forward a living history of technology that is respectful of its origins as well as its con- temporary presence in Andean culture and mindful of its growing presence in the arts worldwide. The importance and indeed urgency behind this manifesto is in asserting a technological hierarchy where Indigenous thought systems are respected, where data representation is literally textile and connects with a wider vision of ecological equilib- rium. Where live coding proposes a vision of technology with the programmer part of the program, the Neokhipukamayoq manifesto steps back to include culture and the environment in the loop. As stated in the manifesto: In these times of climate emergency, it is imperative not only to question the materials used in our practice nor their energy consumption nor their carbon footprint, but their design, symbolism and historicity. Another technological narrative from the arts is imperative, one that will begin with the study of divergent technological expressions of the past and present.

一種試圖修訂或甚至重寫運算與編碼的歷史演進，特別與現場編碼相關的嘗試，可以在近期的研究項目中看到，這些研究重新考慮編碼與紡織之間的聯繫。雅卡爾織布機的發展通常被視為運算硬體演進的一個關鍵先驅。由其發明者約瑟夫·瑪麗·雅卡爾於1800年初首次展示，雅卡爾織布機通過使用一套打孔卡片系統來控制紡織的機械化過程，從而簡化並加速紡織品的製造。這些打孔卡片啟發了查爾斯·巴比奇在他的分析引擎中使用的穿孔卡片，因此，雅卡爾織布機被認為是運算歷史上的一個關鍵技術先驅。然而，這種對硬體與機械演進的關注往往忽略了編織和編碼之間的認知連接。事實上，正如哲學家和文化理論家薩迪·普蘭特所說，"電腦源於織布的歷史。織布機是軟體發展的先鋒地點。"通過避開已經確立的（接受的，規範的）織布和編碼技術之間的關係，如編織代碼/編碼織物（2014-2016）等研究項目更明確地專注於傳統手織機使用中出現的認知與創造力的特質，以及如何將手織人的身體認知感擴展到編碼實踐。該項目認為，自動化的雅卡爾織布與現場編碼的原則是對立的——其事先的規劃更像是自1950年代以來發展出的不用手、自動生成音樂的精神——所以要找到與現場編碼相似的根源，我們必須更深入地回溯歷史。多媒體藝術家和科技學者Paola Torres Núñez del Prado 通過她在2017年現場編碼國際會議上的Textile Patching表演，將現場編碼與秘魯紡織實踐連接起來，用刺繡界面現場編碼。近期，她推出了Neokhipukamayoq 宣言，提出了一種以Khipu 製作為基礎的技術遠景，Khipu是泛安地斯的數位記憶儲存方法，用繩子上的結來表示，因其在印加帝國的記錄保留中的使用而聞名。在這份宣言中，Núñez del Prado 提出了一種尊重其起源的技術的生活歷史，同時也尊重其在安地斯文化中的現代存在，並注意到其在全球藝術中的不斷增長的影響力。這份宣言的重要性和迫切性在於，它主張一種尊重土著思想體系的技術等級，其中資料呈現是真實的紡織品，並與更廣泛的生態平衡觀連接在一起。現場編碼提出了一種技術的遠景，程序員是程式的一部分，而Neokhipukamayoq宣言則進一步將文化和環境納入循環之中。正如宣言中所述：
在這種氣候緊急的時代，我們必須質疑的不僅僅是我們實踐中使用的材料、它們的能源消耗或碳足跡，而是它們的設計、象徵和歷史性。來自藝術的另一種技術敘事是必要的，一種將從研究過去和現在的分歧技術表現開始的敘事。

## From Instituting Moments to Institutional Frames
The focus on textiles (and especially ancient textile processes) traces live coding back to its earliest of precedents, conceived as an “instituting moment” for live coding practice.

However, the insurgent energy of the instituting moment or movement—the emer- gence of something new or novel—eventually becomes absorbed by or becomes itself an institution.62 The TOPLAP manifesto was important in galvanizing the terminology, spreading it, and contributing to the realization that programming computers live on stage is a valuable activity. Many of the early live coders who started out as young art- ists and student rebels have now graduated to become academics—research fellows or tenured faculty—while others are loosely connected to academia even if working as independent artists.

對紡織品（尤其是古老的紡織過程）的關注將現場編碼追溯到其最早的先例，被認為是現場編碼實踐的“創立時刻”。

然而，創立時刻或運動的激進能量——新事物或新奇事物的出現——最終會被吸收，或者本身就成為一種機構。TOPLAP宣言對於固化術語、傳播它，並有助於實現在舞台上現場編程電腦是一項有價值的活動，起著重要的作用。許多早期的現場編碼者從年輕的藝術家和學生叛逆者開始，現在已經畢業，成為研究員或終身教職，而其他人即使作為獨立藝術家，也與學術界有著鬆散的聯繫。

In combination with the continued growth of the live coding community and its intersection with the goals of technology researchers as they design more dynamic software-engineering tools, the dynamism of this cross-disciplinary enterprise has inexorably led to research grants, conference series, and academic publications. The German computer science research center at Schloss Dagstuhl hosted a 2013 meet- ing dedicated to live coding for art, education, and engineering—an event at which the plan for this book was first proposed.63 Subsequently, funding for a Live Coding Research Network from the UK Arts and Humanities Research Council, directed by Thor Magnusson and Alex McLean, supported a diverse range of events and meet- ings, starting with a launch event in March 2014 at which NC was invited to present a comprehensive history of live coding. Following a series of workshops and symposia, the first ICLC was organized by the Live Coding Research Network in 2015 and held at the University of Leeds.64 A parallel series of events, whose organizers were also rep- resented at the Dagstuhl meeting, has focused on engineering rather than the artistic implications of liveness in software development.65

隨著現場編碼社區的持續成長，以及其與技術研究人員的目標交集，他們設計出更多動態的軟體工程工具，這種跨學科企業的活力不可避免地導致了研究資助、研討會系列和學術出版物。德國的達格斯圖爾城堡電腦科學研究中心於2013年舉辦了一場專門為藝術、教育和工程設計的現場編碼會議——在這場活動中，首次提出了這本書的計劃。隨後，Thor Magnusson和Alex McLean主導的英國藝術和人文研究委員會資助了一個現場編碼研究網絡，支持了各種活動和會議，從2014年3月在NC被邀請在啟動活動上展示現場編碼的全面歷史開始。在一系列的工作坊和專題討論會之後，現場編碼研究網絡於2015年在利茲大學組織了第一屆國際現場編碼研討會。另一系列的活動，其組織者也在達格斯圖爾會議上有所代表，重點是軟體開發中的現場性而不是藝術的影響。

At the same time, live coding has resisted the hierarchies of control that sometimes build around academic disciplines, and much of the creative and technological activ- ity now takes place outside of institutions. The current wave of groundbreaking new systems, such as Hydra, Orca, Flok, Improviz, and Bespoke, have all been developed by independent practitioners, and the ICLC has increasingly promoted an atmosphere that is as much a festival as an academic event, aiming to be accessible to those without institutional backing through free or low-cost entry and travel grants. Likewise, proj- ects born in academia, such as TidalCycles and Sonic Pi, are now thriving as independent projects sustained by their communities. In the case of TidalCycles, this is via Sum- mer of Code grants and an OpenCollective fund, while Sonic Pi receives support from donors via Patreon. Nonetheless, academic research continues apace, research projects and studentships continue to be funded, and centers such as the Networked Imagi- nation Laboratory at McMaster University are able to benefit from exchanges with other thriving cultures of practice, such as Colectivo de Live Coders in Argentina and NL Coding Live in the Netherlands, among the thirty-two local communities loosely affiliated as TOPLAP nodes.66 In 2021 the European Culture–funded project On-the-Fly included both artistic and research residencies in a varied program held at collaborat- ing institutions in Barcelona, Ljubljana, and Eindhoven. As it does in many other areas, live coding challenges the accepted institutional distinctions, including that between the artist/practitioner as distinct from the academic.

同時，現場編碼已經抵制了有時在學術領域周圍形成的控制階層，現在大部分的創造性和技術活動都在機構之外進行。如 Hydra、Orca、Flok、Improviz 和 Bespoke 等突破性的新系統，都是由獨立的實踐者開發的，而國際現場編碼研討會也日益推動一種既是節慶又是學術活動的氛圍，通過免費或低成本的入場費和旅行補助，以便對那些沒有機構支持的人開放。同樣，出生於學術界的項目，如 TidalCycles 和 Sonic Pi，現在正作為獨立項目由他們的社區繼續繁榮。在 TidalCycles 的情況下，這是通過 Summer of Code 的資助和一個 OpenCollective 基金，而 Sonic Pi 則通過 Patreon 從捐贈者那裡獲得支持。然而，學術研究仍在進行，研究項目和學生資助持續得到資助，如 McMaster 大學的 Networked Imagination 實驗室能夠從與其他繁榮的實踐文化的交流中受益，例如阿根廷的 Colectivo de Live Coders 和荷蘭的 NL Coding Live，他們是與 TOPLAP 疏鬆聯繫的三十二個當地社區之一。在 2021 年，由歐洲文化資助的 On-the-Fly 項目在巴塞羅那、盧布爾雅那和埃因霍芬的合作機構舉辦的多元化節目中，包括了藝術和研究駐留。正如在許多其他領域一樣，現場編碼挑戰了公認的機構區別，包括將藝術家/實踐者與學者區分開來的區別。

## Algorave
While the instituting energies of live coding have been absorbed and assimilated into institutional practices, and indeed while many of the first generation who are still active as live coders operate within these institutional frames, the insurgent and irrev- erent imperative of live coding persists. Parallel to the increasing institutionalization or even professionalization of live coding, the new genre of algorave has emerged. Coining the word algorave as the name of a new genre was a decisive moment in the history of live coding. Informed by NC’s own research into the development of electronic pop music genres, AM and NC realized that a musical genre could become a rallying stan- dard for a wider understanding of live coding.

儘管現場編碼的機構化能量已被吸收並融入到機構實踐中，而且實際上許多第一代仍然活躍的現場編碼者都在這些機構框架內運作，但現場編碼的叛逆和不敬的命令仍然持續存在。與現場編碼日益增加的機構化或甚至專業化平行，新的流派 algorave 已經出現。創造 algorave 這個詞作為新流派的名稱是現場編碼歷史上的一個決定性時刻。從 NC 自身對電子流行音樂流派發展的研究中得到啟示，AM 和 NC 意識到音樂流派可以成為更廣泛理解現場編碼的標誌。

>Figure 2.3
Algorave logo designed by David Palmer, a “spirangle” based on the three-armed algorithmic struc- ture of the Brigid’s cross.
Source: Wikipedia, “Algorave,” last modified September 12, 2021, https://en.wikipedia.org/wiki/Algorave.

>Algorave 的 logo 由 David Palmer 設計，是一種基於 Brigid's cross 的三臂算法結構的 "spirangle"。

Though the word algorave is undoubtedly ironic in part, just as was the case with TOPLAP, it caught the imagination of both an older generation of music and tech- nology writers who had participated in the rave scene of the 1980s and a younger generation of nightclubbers accustomed to electronic dance music. For example, MH was among a new generation of live coders who were inspired to use their technical skills to recover earlier music ambitions (in his case, as a promising young composer before entering the software industry). The popular technology magazine Wired pub- lished a short profile of algorave,67 following a key early event on the “art ship” MS Stubnitz, followed by articles in Vice, Dazed and Confused, and the Wire.68 This media interest exposed a new audience to the phenomenon of live coding that was many times beyond what had been seen at that point. In turn, as the practice has developed so have emergent guidelines for algoraves, which while demonstrating resistance to institutions or institutionalization, as well as against hierarchies, nonetheless stipulate an underpinning ethos and set of principles.69

雖然 "Algorave" 這個詞無疑部分具有反諷意味，就像 TOPLAP 一樣，它吸引了參與過 1980 年代 rave 現象的音樂和科技作家的老一輩，以及習慣於電子舞曲的年輕夜店族的想像。例如，MH 是一代新的 live coders，他們受到激勵，使用他們的技術技能來恢復早期的音樂抱負（在他進入軟體產業之前，他是一位有前途的年輕作曲家）。流行科技雜誌 Wired 發表了一篇關於 algorave 的短篇報導，在 "藝術船" MS Stubnitz 的一場關鍵的早期活動之後，接著是 Vice、Dazed and Confused 和 the Wire 的文章。這些媒體的關注讓新的觀眾了解到 live coding 的現象，這比到那時為止見過的要多很多倍。反過來，隨著實踐的發展，algoraves 的新興指南也已經形成，雖然它們展示了對機構或制度化的抵制，以及對等級制度的抵制，但仍然規定了一種基本的精神和一套原則。

A key question for live coding is what happens when the method becomes ubiqui- tous, accepted, and familiar. When the novelty of the performative situation wears out and the practice infiltrates regular club events or festivals (such that there is no need to advertise special “live coding” or “algorave” events), will this mode of practice simply become part of mainstream programming, irrespective of the method of performance? Many of the live coders interviewed remain on the periphery of the technical, aca- demic, and commercial establishment—and are concerned that growing mainstream audiences might lose the spirit of anarchy and subversion out of which the movement has grown. Indeed, Thor Magnusson has argued that although live coding is a term that has an important initial function when we introduce and explore this way of working with our machines, at some point the method will be so natural—to program a computer in live contexts—that we will not need to focus on the method anymore.70 This transition from marginal to mainstream can be witnessed in relation to video art, media art, or, to a certain extent, even live art—specific named practices that were once clearly differentiated and invited dedicated attention and audiences, but have gradually been assimilated into contemporary art more broadly.

對於即時編碼來說，一個關鍵的問題是當這種方法變得無所不在、被接受和熟悉時會發生什麼。當表演情境的新穎性消失，這種實踐滲入常規的俱樂部活動或節日（這樣就不需要宣傳特別的“實時編程”或“Algorave”活動）時，這種實踐方式是否會簡單地成為主流編程的一部分，不論表演方法如何？許多被採訪的實時編程者仍處在技術、學術和商業建制的邊緣——他們擔心日益增長的主流觀眾可能會失去這個運動所源自的無政府主義和顛覆精神。事實上，Thor Magnusson 提出，雖然實時編程是一個在我們介紹和探索這種與我們的機器工作的方式時有重要初始功能的詞，但在某個時候，這種方法將變得如此自然——在實時情境中編程電腦——我們將不再需要關注這種方法。這種從邊緣到主流的轉變可以在錄像藝術、媒體藝術或甚至是實時藝術——這些曾經清晰區分並引起專注和觀眾關注的特定命名實踐——的關係中得到觀察，但這些實踐已經逐漸被更廣泛的當代藝術所吸納。

One way of thinking about these different arcs—from instituting moment to institu- tionalized practice or from interest in the medium- or method-specificity of an emerg- ing practice to assimilation into the generic mainstream—could be through a wider consideration of group dynamics and group formation. In 1965, education psycholo- gist Bruce Tuckman conceived a model for describing the different stages of group formation, which arguably can be seen at work within the evolution of the live cod- ing community: forming (setting the stage), storming (meeting conflict and tension), norming and performing (implementing and sustaining projects), outperforming (expanding the original initiative and integrating new members), and adjourning. This last adjourning (sometimes even called mourning) stage is double-edged because the expansion of an original initiative also involves breaking up or moving beyond the origi- nal group dynamic and even a sense of letting go.

關於這些不同的弧線——從創立時刻到制度化的實踐，或者從對新興實踐的媒介或方法特異性的興趣到被主流所吸收——的一種思考方式，可以通過更廣泛地考慮群體動態和群體形成來進行。1965年，教育心理學家布魯斯·塔克曼（Bruce Tuckman）構想了一種描述群體形成不同階段的模型，這在某種程度上可以看作是在實時編程社區的演變中起作用：形成（設定舞台）、衝突（遇到衝突和緊張）、規範和表現（實施和維持項目）、超越表現（擴大原始倡議並融合新成員）和解散。這最後的解散（有時甚至被稱為哀悼）階段具有雙重邊緣性，因為擴大原始倡議也涉及到打破或超越原始的群體動態，甚至是一種放手的感覺。

New live coders—shaped by changes in technology and culture—continually add to and modify the practice of live coding and the understanding of its potential. As the practice of live coding reaches different geographical, cultural, and socioeconomic contexts, it inevitably changes. Certainly, the lived experience and articulation of live coding practice is going to vary depending on whether you are a live coder living in Europe, Japan, Mexico, Argentina, North America, Australia, or India. While the internet promises a shared global platform, in reality, practices, ideas, technologies, and theories circulate at different speeds and rhythms through different intensities and durations. The community of live coding might be described as being in its norming, performing, or even adjourning stage in one context, while in another context it is still nascent, still emerging. Indeed, our biographical interviews regularly drew attention to themes of empowerment, emancipation, and education as implications of the live coding movement. Despite the prevailing spirit of modesty and ironic detachment that has surrounded the development of live coding, initiatives such as AM’s engagement with refugee-related arts and diverse community groups, or SA’s fervent educational campaigning, demonstrate real engagement with the mission that has been central to the philosophy of live coding since its founding manifestos.

新的實時編碼者——受到科技和文化變遷的影響——不斷地增加並改變實時編碼的實踐和對其潛力的理解。當實時編碼的實踐觸及不同的地理、文化和社會經濟背景時，它必然會發生變化。可以肯定的是，實時編碼實踐的生活經驗和表述會根據你是否是居住在歐洲、日本、墨西哥、阿根廷、北美、澳洲或印度的實時編碼者而有所不同。雖然網路承諾提供一個共享的全球平台，但實際上，實踐、想法、科技和理論以不同的速度和節奏，通過不同的強度和持續時間進行流通。在某種情境下，實時編碼的社群可能被描述為處於規範、表現，甚至解散階段，而在另一種情境下，它仍然處於初生的、正在出現的階段。事實上，我們的傳記性訪談經常引起對賦權、解放和教育作為實時編碼運動影響的主題的關注。儘管謙遜和反諷的分離精神一直圍繞著實時編碼的發展，但如 AM 對難民相關藝術和多元社區群體的參與，或 SA 的熱切的教育宣傳，都顯示了對自創始宣言以來一直是實時編碼哲學的核心使命的真正投入。

This book itself is pitched at an interesting moment in the history of live coding, within the arc of live coding’s evolution. This chapter narrates a partial history of live coding from its emergence, through its evolution, to the point (now, as we are writing) where the stories composing this history are becoming more difficult to track and trace. TOPLAP has itself dissolved into a loose affiliation between geographical nodes with independent identities and online communities, where perhaps more discussion takes place in Spanish than English, with international activity centered around particular live coding environments.71 In a sense, then, the book could be read as a marker or signal of a transition already taking place within live coding or perhaps (if live coding is conceived to be entering its adjourning/mourning phase) even as its obituary. Yet the complex interdisciplinary, intercultural landscape of contemporary live coding, con- necting with heritage practices in order to look to the future, means that it has become increasingly problematic to view the evolution of this practice as a single linear arc. Not only is the live coding landscape always changing; its community spans multiple intersecting landscapes with a commitment to keeping ideas alive and changing that itself disrupts and dissolves hierarchy. Additionally, the tension between disciplinary discourses—for example, between art and engineering, as we discuss in chapter 7—has been perennial in every field of technical innovation, with craft, design, and indeed music often to be found in the contested intersection. It therefore seems likely that these alternative perspectives and communities will continue to grow into the foresee- able future.

這本書本身正處於實時編碼歷史中的一個有趣時刻，處於實時編碼演變的弧線中。本章敘述了實時編碼從其出現、通過其演變，到現在（我們正在寫作的時候）這些構成這個歷史的故事變得越來越難以追蹤和追溯的部分歷史。TOPLAP 本身已經解散成為具有獨立身份的地理節點和線上社群的鬆散聯繫，也許更多的討論是用西班牙語而不是英語進行，國際活動圍繞著特定的實時編碼環境。從某種意義上說，那麼，這本書可以被讀作是一個標記或訊號，指的是已經在實時編碼中發生的轉變，或者甚至（如果認為實時編碼正進入其結束/哀悼階段）是其訃告。然而，當代實時編碼的複雜的跨學科、跨文化景觀，與傳承實踐相連結，以期望未來，意味著將這種實踐的演變視為單一線性弧線變得越來越有問題。實時編碼的景觀不僅總是在變化，其社群橫跨多個交叉的景觀，並致力於讓思想活躍和變化，這本身就會打亂和消解階級結構。此外，學科間話語的緊張——例如，我們在第七章討論的藝術與工程間的緊張——在每一個技術創新領域都是常態，工藝、設計，甚至音樂常常可以在被爭奪的交叉點上找到。因此，這些替代觀點和社區可能會在可預見的未來繼續增長。

Eighteen years on from the critical gathering of the Changing Grammars sympo- sium of 2004 and the drafting of the TOPLAP manifesto, this book hinges on a moment in live coding’s evolution when it is just about still possible to narrate a partial his- tory, however fallible, at a critical juncture from where the practice of live coding now diverges and diversifies in ways we cannot yet tell. While this chapter has attempted to give some kind of coherence or contour to the arc of live coding’s development thus far, chapter 3 presents live coding in its singularity, exposing the specific approaches through which live coding manifests within a diversity of different practices. Neither comprehensive nor exhaustive,72 these expositions are conceived as personal perspec- tives on the practicing of live coding by live coders.73 The chapter includes both the cre- ators of new live coding tools and those who have developed artistic practices through using those tools. Some identify primarily as technologists, some as composers, and some as performing artists. As editors of this chapter, we do not attempt to synthesize a single narrative. Rather, we provide an opportunity for the diversity of live coding to be represented through rich accounts of practice and allow the practice to speak for itself and on its own terms.

距離2004年"Changing Grammars"研討會和TOPLAP宣言草擬的關鍵時刻已經過去了十八年，這本書著眼於實時編碼演變中的一個時刻，此時還剛好可以敘述部分歷史，然而這種敘述在批判的轉折點上是有缺陷的，因為實時編碼的實踐現在正以我們還無法描述的方式分歧和多元化。雖然這一章試圖給實時編碼迄今為止的發展提供某種的一致性或輪廓，但第三章將實時編碼以其獨特性呈現，揭示實時編碼在各種不同實踐中的具體方法。這些闡述既不全面也不詳盡，這些闡述被視為實時編碼者對實時編碼實踐的個人觀點。這一章既包括新的實時編碼工具的創造者，也包括通過使用這些工具發展藝術實踐的人。有些人主要認同自己是技術者，有些人認同自己是作曲家，有些人認同自己是表演藝術家。作為這一章的編輯者，我們並不試圖編寫一個單一的敘事。相反，我們提供了一個機會，讓實時編碼的多元性通過豐富的實踐記錄來呈現，並讓實踐自己說話，並以自己的方式說話。