Algorave Live coding TidalCycles Ethnography Music
This dissertation examines the global phenomena of live coded music and algorave through a specific investigation of the practices of users of the musical coding software TidalCycles. Tidalists, as users of TidalCycles call themselves, create music and sound through direct engagement with computer code. It is customary for Tidalists to broadcast their screen so that audiences may observe the performers' code during the event. While many Tidalists situate their practice around the creation of electronic dance music, others describe motivations including creating art music, teaching others about coding, or participating in a community organized around free software. Drawing together the findings from nine interviews with ethnographic fieldwork both online and at LiveCode.NYC events in Brooklyn, New York, this dissertation explores how scenes in which Tidalists participate are shaped by diverse forms of subcultural capital (Thornton, 1996) within the field of cultural production (Bourdieu, 1983) and live coding tribe (Maffesoli, 2016), how Tidalists rely upon notions of genre and vibe to describe their artistic projects, how liveness is defined in scenes where computers are primarily responsible for "playing" instruments, and how Tidalists affiliate with the social world of algorave. I demonstrate that Tidalists seeking individual recognition for their craft must do so outside of algorave scenes.
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Details
Title
Live, love, code
Creators
Ian Burns Zimmermann
Contributors
Brent Adam Luvaas (Advisor)
Awarding Institution
Drexel University
Degree Awarded
Doctor of Philosophy (Ph.D.)
Publisher
Drexel University; Philadelphia, Pennsylvania
Number of pages
ix, 155 pages
Resource Type
Dissertation
Language
English
Academic Unit
College of Arts and Sciences; Communication, Culture, and Media; Communication; Drexel University