Live Coding audiovisual performance (2022-23)

In the current turbulent sociopolitical landscape, a reflective contemplation on speculative post-modern futures is a necessity. Dominant notions in music/art-making, such as the genius artist and the musical/artwork, have been long questioned and critiqued, while alternative concepts of musicking and art-making are actively being evaluated in the network, digital, and computational art communities. Live coding is such a practice in which laptop performers code algorithmic processes that are manifested audiovisually in real time. The live coder is already accustomed to a configuration of relationships that include the fluid character of musical improvisation and remix culture, in combination with the identity of the computer musician as an improviser, collaborator, contributor, and commoner. In our approach, we reappropriate creative code by various artists, combined with our own interpretations and aesthetic histories. This practice which we term “Serendipitous Liquidation,” can be characterized as entangling its authors’ computerized musicality or bringing their digital voices into a conversation. In that way, we propose an audiovisual experience that manifests a communitarian turn and brings closer a social reality based on digital communing.

Serendipitous Liquidation describes the practice of live coding that reuses, remixes, and repurposes creative code by various authors in live performances. The limitless aesthetic possibilities of openly published code snippets are harnessed in experimental, improvisatory, and playful modes. This practice paves the way for the development of commons-centric ecosystems that are supported by Distributed Ledger Technologies. The performance engages with SuperCollider tweets and Hydra sketches composed by various creative coders.

In collaboration with Aaron J. Juarez