>Well I dislike hype and self-promotion too. If that's all this is about (and perhaps it is) we could leave it at that. You mean I have to cancel my bumper sti

>Well I dislike hype and self-promotion too. If that's all this is about (and perhaps it is) we could leave it at that. You mean I have to cancel my bumper sticker order with this phrase: Those who can code, code; those who can't "live code"... tongue in cheek (sort of?)... geez... ;P I should mention I didn't exactly jump into the comments here to discuss LC or the algorave event in particular. I'm all for it essentially, but squeamish when LC is used as a generic banner / buzz word to promote things to the larger public. My comments below are not directed at you personally as we seem to share the lack of interest in hype or misuse of LC in event or self-promotion, etc. I might mention I like your music and a portion of other LCers too. >Some pre-compose parts which they manipulate, some (including myself) go from a blank page. I thought you were in favour of composition, personally I love to improvise as much as possible live. Keeping in mind that I'm still using real-time synthesis engines, mostly SuperCollider server, there is an awful lot of more interesting compositional possibilities _and_ improvisational mechanisms when one can custom code a control and visualization client versus using built in standard control mechanisms of a more generic interface like sclang or even overtone (haven't looked at it). While somewhat tongue in cheek as this is informed from my observation, mostly 5-10+ years ago, is that the LC movement if you will originated from language / client environments where "the REPL" for most investigating the tech was where folks ended up because they lacked the ability to effectively custom code things in sclang let alone create their own client. That at least is the surrounding situation from my perspective that spawned the LC movement and more so a reason for a manifesto to "cover up" / justify said inability. Technically most LCers don't start with a "blank slate". One is piecing together by code / REPL pre-arranged control mechanisms of any given client environment. One doesn't exactly create wholly unique control structures on the fly. At best one may be able to create a composition of pre-existing control structures built into the environment or as you say pre-made / composed by the artist. The LC aspect is just a superfluous by product of the type of client and not actually what is happening in regard to on the fly creation of wholly new control structures improvisationally or otherwise. Aesthetically I perceive it as born of artificial constraints due to the inability by the initial round of purviewers. This doesn't mean there isn't some original really cool stuff happening with LC. I've yet to find it though, but totally support folks who wish to travel down this route. As I mentioned before LC is a valid and useful tool in the larger toolbox of techniques. I also fully admit I need to get caught up on the LC community regarding advances that I may have not been paying attention to over the years (specifically last 5). I'd posit that 80% if not more of what goes on at an "algorave" is not "live coding", but I suppose that depends on any given lineup. "LC" as applied to a larger event which is not wholly dedicated to LC artists does just become a catchy phrase. Getting any deeper opinion wise gets a little too nuanced for a HN comment discussion. >"Give it a go in the US sometime" - woah, you are special, aren't you? I don't know why live coding hasn't caught on so much in the US, it could be something to do with the top-down laptop orchestra model there, I don't know though, I've never been. The US is strange for electronic music let alone computer music. Despite a fair amount going on in a handful of metropolitan areas I call it the "ass end of the world" as far as anything off the beaten path is concerned even for traditionally oriented electronic dance music that is much more accepted abroad let alone experimental electronic music / computer music. That statement is also informed by the 10 years I spent trying to promote somewhat experimental dance music. I don't exactly want to get trapped by personal anecdotes, but that is kind of where that statement is coming from per se; hopefully the "next guy / gal" has more success. As far as the top-down laptop orchestra model goes that seemingly is more of a side-effect of the cloistered / mostly closed off academic bubble for computer music in the US. LC and the algorave concept certainly benefits from the general European festival scene I'm sure, so does more traditionally aligned offbeat electronic dance music which receives a firm outsider place in the larger US scene which is extremely stratified. Out here if you don't fall into 1 of ~6 well defined buckets then forget about it; don't even try to straddle between 2 of the buckets because it just doesn't fly... Basically there is no industry over here let alone scene for this kind of stuff whereas in Europe seemingly there is wider acceptance in general. It's interesting to hear about more acceptance in Canada / Mexico for LC though from a scene based perspective. In the US with the views above taken into consideration, but also including the associated economics of the situation (dire / you're on your own) then one can see why not much has changed historically in regard to the US being the land of the independent maverick composer / performer especially for those outside the academic sphere of things who are experimentally minded.