Friday 27th July 2012, 2pm - 9:30pm
Arnolfini, 16 Narrow Quay, Bristol BS1 4QA, +44 (0)117 9172300 / 01

27th July 2012


The morning workshops will not be open to the public, but the outcomes will feed into the rest of the day.

Position Papers/Performance lectures
Dark Studio

Speaking Code (Geoff Cox & Alex McLean)

In this performance lecture presentation Geoff Cox and Alex McLean will live-code/perform their new book using it as source code for further reinvention and distortion. Combining human and machine voices, they aim to undermine the distinctions between critical writing and coding practices to push the analogy of speech and code to its limits.

Live Notation - Double Agent (Hester Reeve)

In this presentation, Hester Reeve employs the term 'live notation' to aid new understandings of the relevance of the living body in an art work as a form of dynamic signifcation - a relevance that links to un-institutionalised forms of creative labour and to the 'un-economic' of the 'extended body.'

Live Notation & 'Live' Drawing (Andre Stitt)

Andre Stitt's presentation will explore drawing and painting as a form of live notation in relation to his recent practice. This will include the infuence of his previous work as performance artist on current 'live' drawing as a form of transmission or notation at sites in west Wales and Northern Ireland.

"Live-coding as a Musical Interpretation: The System and the Piece" (Thor Magnusson)

In this presentation Thor Magnusson will present "ixi lang" and ideas linked to epistemic instruments in relationship to the new term live notation. There will be time for some discussion after.

3.30-5.00 Notations of Intimacy (Maria X)
A One-to-One Performance Lecture

Maria X has been observing a proliferation of intimate practices in contemporary performance and live art settings, and has prepared a lecture on the subject for a single audience member: yourself. You will be asked to participate in negotiating your very own choreography of intimacy that will shape this singular academic encounter.


Live-Coding the Drone Machines: The System as a Musical Piece (Thor Magnusson)

In this performance the aim is to perform on a highly constraint live-coding system that exists at the border of being a score, a musical piece, and a system for musical expression. It is not clear to the author how, and in which way, the system blurs the boundaries between a piece and an instrument, an investigation that can only be explored through actual practice.

The Triumph of Crowds: a score for decapitation, rotation, two trumpets and organza (after Poussin) (Brigid Mcleer & Kate Sicchio)

Brigid Mcleer's piece translates Nicholas Poussin's painting 'The Triumph of David' (1631-33) into a series of drawings, instructions and materials, using the painting itself as a code through which these new translations are developed. This is a collaboration with Kate Sicchio who will confront, interpret and perform the notation live on 27th.

Isomorphic Algorhythms (Sam Aaron)

In this live coding performance synthesis, structure and symbolism are concurrently woven together with high level abstractions, hand-crafted language and embodied interaction to create sound, visuals and meaning.

The Gospel According to Wrongheaded (Wrongheaded)

In this passionate religious ceremony, Wrongheaded will commune with the divine. The medium of worship will be the pure act of live coding; they intend to explore very seriously indeed Christian religious themes that have underlain much of the last two millennia, if not very slightly longer.

The Hair of the Horse (Dave Griffiths, Alex McLean & Hester Reeve)

An experiment in live coding in cyclic time, through active feedback through transient marks.

Live Notation is funded by the Arts & Humanities Research Council. For further information about the project please visit