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20th century trans stereotype: showgirl
21st century trans stereotype: programmer

A collaborative networked performance between Knurl, a hybrid reprogrammable cello played by Rafaele Maria Andrade, and Mercury, a minimal human-readable language for live coding algorithmic electronic music played by Timo Hoogland. During this experimental electronic set both performers will play their own instrument/environment, but have also “infected” each other with a small “computer-virus” that allows them to interfere in each other’s environment by manipulating code and parameters over the network. This interaction will take place through the use of OSC messages over a network.

The title is a reference to the famous “Hello, World!” message used when writing or learning a new program and have it become “alive” in your console by printing this message. The “off” refers to the world being turned off in many ways since the coronavirus outbreak, but also refers to another world, a different world online, that has grown rapidly.

In Mercury all elements of the language are designed around making code more accessible and less obfuscating for the audience. This motivation stretches down to the coding style itself which uses clear descriptive names for functions and a clear syntax. Furthermore the editor is restricted to 30 lines of code, keeping all code always visible. Knurl, a ‘cello’ with 16 strings, is a shift into exploring the potential of hybrid instruments (acoustic-electronic) to be enhanced through built-in electronic components, as well as the potential for music to be a shared endeavour between performers, global audiences and its networks.

Rafaele Andrade is a composer and performer in the field of modern/experimental music. With a background in Conducting, Composition, Cello and Sonology. She designed her own instrument, which is charged by solar panels, to compose music and perform with. Rafaele has a passion for innovative initiatives, producing during her young career an orchestra of Brazilian music at 17 years old and at 22, curating a UNESCO project to promote a group of Latin American women composers (Rádio Delas).

Timo Hoogland is an artist, coder, music technologist and educator based in the Netherlands. He livecodes experimental electronic music and develops generative audiovisual compositions. He has an active role in organizing livecoding meet-ups and Algoraves with Creative Coding Utrecht, is part of the Netherlands Coding Live community and performed at various events and festivals such as ICLC and ADE. He teaches creative system and sound design at the HKU Bachelor of Music Technology.

SHP of THSEUS is a musical work for remote performers where the musical parameters are continuously changing, controlled by other performers and audience members. Based on Mythology and the thought experiment of identity, the shape of the work is predetermined but as it progresses, almost all sonic, visual, and control data is replaced multiple times over. A transformational performance overall, the visual and aural progressional will be interactive with the audience. The members of RE/SHFT/ER will be video mixing, performing on digital instruments, electronic instruments, circuit-bent devices, novel instruments, and voice.

RE/SHFT/ER (Nick Hwang, Jeff Herriott, Eric Sheffield, Anthony T. Marasco, Anna Weisling) is a group of electronic musicians, composers, visual artists with roots from around Wisconsin and Louisiana. RE/SHFT/ER is interested in creating and sharing tools that enable remote collaboration.

HyperDisCo is an improvised audiovisual performance by a large networked group – the current members of the Society for Nontrivial Pursuits Berlin. We all write and re-write code at the same time, and all code gets shared between all players. While we love to play in the same physical space, the corona pandemic rules make that impossible, which poses interesting constraints on playing together, and generally for exploring artistic uses of programming via live coding. In the ongoing online semester at UdK Berlin (where we teach and study), we are continuously developing a network setup in SuperCollider where all code runs simultaneously on all internet-connected nodes, so every node renders a complete, streamable realisation of the piece. By sticking with just-in-time programming style, we know that all running synced code is accessible and thus changeable for everyone, and all changes will go into the globally synced state which each local code mirrors. The jointly created sound and graphics processes embody the flow of ideas in the group; with text chatting and visual shouting mechanism allowing for more and less discreet ways of developing the piece by verbal discussion.

Complex behaviors in feedback systems, chaotic circuits, social systems or computer programs are fascinating objects of study. The Society for Nontrivial Pursuits Berlin S4NTP (students, alumni/ae and friends of the class for Generative Art / Computational Art at UdK Berlin, Alberto de Campo und Hannes Hoelzl) explores the possibility spaces of such systems for experimental performance. We design, build and program our own audio/visual/other performance systems based on a variety of devices, sensors, analog electronics, and software synthesis. We deploy them in extremely diverse projects crossing installation, performance and experiment.

Alberto de Campo and Hannes Hoelzl teach the class for Generative / Computational Arts at University of the Arts Berlin (UdK), with Bruno Gola as tutor for creative coding.

Global live coding ensemble SuperContinent will use the Estuary browser-based, collaborative live coding platform for an improvised, multi-lingual, live coding, audiovisual performance. The performance features sounds and images gathered by the ensemble members for this performance (and shared for posterity via our CC0 sample library), captured in locations as diverse as the locations from which we will perform.

SuperContinent is a global live coding ensemble (active since late 2018) that rehearses weekly in the Estuary browser-based, collaborative live coding platform. Members at the time of writing are, Celeste Betancur (Medellín, Colombia), Abhinay Khoparzi (Allahabad, India), Shelly Knotts (Newcastle Upon Tyne, UK), Melandri Laubscher (Cape Town, South Africa), Mynah Marie (Haifa, Israel), David Ogborn (Dundas, Canada), Chiho Oka (Tokyo, Japan), Jessica Rodriguez (Hamilton, Canada), and Eldad Tsabary (Montreal, Canada). Notable performances have included those at the International Conference on Live Coding, the 2020 EulerRoom Equinox global livestream, and various livecoding events organised by Toplap Japan and Algorave India.

This performance uses a hybrid technological approach to the use of field recording and experimental music collage, with Camposonico, an online tool hosted at This tool facilitates the querying and superposition of field recordings taken from the archive and Camposonico’s own growing experimental music archive. The performance proposes a view of sound and music as multidimensional entity that has the capacity to fuse disparate times and spaces. Through collage, the interrelationship between nature and human sound production is brought forth. and the use the archives as a mean of cooperative creative production (that extends beyond human creativity), puts the assumed importance of authorship in the creative act into question.

Diego Villaseñor (Vid Eco) is a composer, improviser, philosopher and programmer. His work focuses on the exploration of the possibilities of modular composition, the interaction of heterogeneous entities and the creation, exploration and intervention of open systems. Alongside Alejandro Franco Briones he is the coauthor of Nan-in-a-Can, a SuperCollider library for the creation of temporal canons, which is inspired by and develops the pioneering work of Conlon Nancarrow. He is also a member of the free improvisation collective Ruido 13, from Mexico City, with whom he has worked on concepts such as, the deconstruction of the musical instrument, leading sound synthesis with acoustic instruments/objects, or various forms of rhythmic texturing, ranging from rhythms derived from noise to complex polytempos. As part of Ruido 13 he also collaborates with activist-art collective Arte a 360 Grados, on the ongoing project “La Lengua del Diablo” which challenges the neglect of the Nahuatl language of central Mexico through sonic interventions in public and private spaces, workshops, concerts, recorded music and exhibitions.

I haven't logged into for years. Why are they emailing me now asking me to confirm my account?


Eric Trump's head somehow looks like it's covered in a condom and ready to serve as a bumplug

hello, i couldn't find this meme so i recreated it

happy canada day, did you know the flag is a graph

A screen shot of a screen shot of 5 paragraphs of text

petition to replace Columbus statue with Marsha P. Johnson's in her hometown 

How do I figure out how much bandwidth I need for video streaming?

Anyway,I saw Disclosure on Netflix and its pretty good but kind of too long.

When Boys Don't Cry came out I saw it in theatres and was so upset afterwards I didn't really speak for a week.

Streaming services are removing episodes of old TV shows that include characters in blackface. This includes an episode of the Golden Girls(!!)

Maybe while we're dealing with all this cultural nightmare, we could also do something about economic discrimination and police violence?

words for my fellow white people (edited) 

I am racist. In my core. I struggle with it daily.

I have done very racist things to POC's faces and in private. I have supported racist systems and people. None of that is ok. I am not able to apologize or absolve myself of many of these things. I have to carry them with me.

I am not perfect, and I never will be. But I'm looking for concrete ways in which to make change and trying to do it more quietly and not be performative.

You are going to fuck up. You're going to hurt ppl. You have to embrace this fact. It's not ok to make POC do labor for you and be your personal confessional. It's not ok to cling tighter to your biases when called out.

White supremacy tells us that people are either good or bad, but that is a lie. Your worth is not determined by your mistakes. But you have to be willing to own them and commit to doing better.

Feel free to hit me up if you want to talk about white people bullshit.

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