@yaxu@post.lurk.org 

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1.56K Posts, 394 Following, 1.13K Followers · Non-academic research fellow at non-profit org @thentrythis@mastodon.thentrythis.org, working on algorithmic patterns (@alpaca@mastodon.thentrythis.org). Instigator of @tidalcycles@post.lurk.org, and co-founder of @algorave@post.lurk.org, toplap, algomech festival, etc he/him

Recent twts from @yaxu@post.lurk.org

If you’re on an online community, please search “elephant in the room” and share what the elephants are.

Here’s the ones from the future of coding slack:

- DCI architecture (not sure what that is)

- Haskell crypto

- Code quality

- Incoherence of ownership

- No one in UK government listens to evidence

- Functional reactive programming

- IDEs

- Browsers being crap at resizing in tiling window managers

- The elephant being the room

- Bret Victor ⌘ Read more

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When I first started making algorithmic music with Ade Ward 24 years ago (as Slub), we decided to only make music with software we’d made ourselves. I’ve mostly stuck to that aim ever since, although after a couple of years we added a rule that we’d make a fundamental part of the software during performances to keep things interesting.

I’m starting to get a bit fed up with just doing that so now I’m thinking about adding an additional rule - only live code algorithmic music that I can run without a computer. My plan is … ⌘ Read more

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I’ve been thinking about doing a bigger live coding event in Sheffield but it’s difficult to get funding to pay artist fees and expenses, and it’s not really possible to cover them from ticket sales. In the old days people often weren’t paid to play but this excludes people who can’t afford it.. But it was much easier to make events happen. How do people feel about this these days, both organisers and people travelling to perform (and of course those who do both)? ⌘ Read more

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Please stop writing down music.

“In all Indian musical traditions, learning, rationalization and sharing are part of an internal process within and between artists. The magnificence of this non-scribal technique is the acceptance of diversity and the possibility of continuous musical change. The internalization of structure and form in the art, the role of memory and rediscovering without written reference keeps the music moving and varied. Every voice is not identical; the possibility of music bending and swaying acro … ⌘ Read more

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