RAW’s performances and albums are filled with live-coded algorithmic melodies,
alongside unique coded visuals. There is nothing quite like this in the respective
fields of music or tech. What has your experience been like of integrating this art-form in public environments? Where do you see live-coding’s mission in the art and tech stratosphere?

Our inaugural concert was performed in a gallery. The venue was completely occupied, and attendees were extremely eager to view our live audiovisual performance. However, persuading individuals that the music was being generated spontaneously through code- writing took some time. Despite the fact that we were projecting the code onto the audience, it was perceived more as a visual component than as the primary element for composing the musical experience. Later, as we participated in an increasing number of events, individuals began to comprehend what we were attempting to say. Then, the dilemma of whether or not to release an album arose. Because the audiovisual experience that we deliver fluctuates
considerably with each performance. Despite this, we have released albums, EPs, and singles, and the number of our followers continues to grow. We relish the opportunity to perform in public spaces whenever possible. We discovered that audiences enjoyed witnessing the live creation of the audiovisual compositions during our performances. Even if the audience lacks prior experience in code reading, they are able to comprehend the implementation of the procedures and their completion. The mission of live coding in the realms of art and technology is multifaceted and influential. By ensuring that programming is both accessible and engaging, this initiative aims to democratize technology and empower artists to actively engage in the process of creating digital art and music. Promoting community and collaboration, the practice facilitates the exchange of code in real time and promotes collective learning. Furthermore, it acts as an impetus for the advancement of novel interfaces, exerting an impact on the wider domain of human-computer interaction. In its entirety, live coding exerts a significant influence on the
trajectory of digital innovation, challenging the limits of traditional artistic and technological methodologies.

How has your craft evolved since you began? What learnings have you gained along the way?

Our musical sensibilities and experiences profoundly shape our aesthetic. Engaging in the exchange of preferred songs amongst ourselves fosters a shared understanding of musical preferences, which we appreciate. Experimenting with and blending various sounds is typically our primary starting point. Although articulating our individual musical styles remains a formidable task, the process of composing our own music also facilitates the development of a curatorial mindset towards our craft. As we were engaged in the production of the new album, we were confronted with dire sociological and political catastrophes. These factors influence our perspective on music, and ultimately, we were enthusiastic about creating an album devoid of any musical content. This method subsequently inspired us to combine noise, sound art, and music in order to develop a solid compositional strategy. As an illustration, the Diachronic track from the W.A.R. album provides a nearly continuous auditory immersion through the use of well-balanced noise textures. The aim was to challenge traditional notions of music and push the boundaries of sonic experimentation. By incorporating noise and sound art into our compositions, we sought to evoke emotions and provoke thought in ways that traditional musical elements alone could not achieve. The Diachronic track exemplifies this approach, captivating listeners with its immersive and carefully crafted layers of noise textures that create a unique auditory experience.

What tools and resources are invaluable to you?

During our investigation into live coding methods, we reached the consensus to utilize the Supercollider as a tool for sound development. However, implementing your ideas rapidly proved to be quite challenging, and expressing experimentation was strictly institutionalized. Furthermore, as soon as we began to perform in front of larger audiences, expectations escalated and progress in Supercollider development was extremely sluggish. We quickly transitioned to utilizing Sonic Pi; however, we found its musical aesthetics to be less than ideal. We subsequently switched to utilizing Tidalcycles. This development greatly affected us, as it enabled us to synchronize two computers with exceptional precision. We are both responsible for creating music and visuals simultaneously. Attempts were made to generate visuals through live coding at one point, but that endeavour did not last for very long. Our visual elements are composed of Openframeworks precompiled codes that respond to audio via real-time frequency analysis.

What advice would you give to budding software engineers who want to follow this
more artistic route?

When it comes to creative coding, there is a kind of knowledge that is hard to put into words. It can be thought of as tacit knowledge, similar to trying to explain how to ride a bicycle without actually doing it. To truly understand and learn creative coding, one must practice and apply theoretical concepts. Merely reading books on how to ride a bicycle will not make you an expert on riding a bike. Falling down is a natural part of the learning process, as it allows for the development of balance and coordination. While sketchbooks and note-taking apps can help generate ideas, implementing them is crucial. Those interested in creative or live coding can gain valuable insight by joining forums, reading daily posts, and asking questions of others within the community. As a beginner, contributing to the documentation pages of these application frameworks can provide hands-on experience. Ultimately, the only way to improve your skills is to practice and seek help when needed. Don’t be afraid to make mistakes, as they are an opportunity to learn and prevent them in the future.