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Organised Sound /OSO Additional services for  Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Live coding in laptop performance NICK COLLINS, ALEX McLEAN, JULIAN ROHRHUBER and ADRIAN WARD Organised Sound / Volume 8 / Issue 03 / December 2003, pp 321 ­ 330 DOI: 10.1017/S135577180300030X, Published online: 21 April 2004 Link to this article: /abstract_S135577180300030X How to cite this article: NICK COLLINS, ALEX McLEAN, JULIAN ROHRHUBER and ADRIAN WARD (2003). Live coding in laptop performance.  Organised Sound, 8, pp 321­330 doi:10.1017/S135577180300030X Request Permissions : Click here Downloaded from /OSO, IP address: 32 on 14 May 2013 Live coding in laptop performance 1 NICK COLLINS, ALEX McLEAN, JULIAN ROHRHUBER and ADRIAN WARD 1St. John’s College, Cambridge, CB2 1TP E-mail: nick@, alex@state51.co.uk, rohrhuber@uni-hamburg.de, adrian@signwave.co.uk URL: , , http://swiki.hfbk-hamburg.de:8888/MusicTechnology/6, Seeking new forms of expression in computer music, a small code and run aesthetic. We do not formally set out in number of laptop composers are braving the challenges of this article the choice between scripting languages like coding music on the fly. Not content to submit meekly to the Perl, Ruby or SuperCollider, believing that decision to rigid interfaces of performance software like Ableton Live or be a matter for the individual composer/programmer. Reason, they work with programming languages, building Yet there is undoubtedly a sense in which the language their own custom software, tweaking or writing the programs can influence one’s frame of mind, though we do not themselves as they perform. Often this activity takes place attempt anything so ambitious as to track the influ- within some established language for