Processing Community Day @ Aarhus

The first Processing Community Day (PCD), organized by Taeyoon Choi and the Processing Foundation in 2017 was an effort to improve diversity within the art and programming community.

For Processing Community Day 2019, it will broaden the reach and impact of this community by organizing with hundreds of Processing communities around the world.

I am co-organizing a PCD day @ Aarhus onn 9 Feb 2019 with the theme called “How to think about code differently”, and we are aiming to build an open and local community to explore code and coding practice in many different ways beyond science and engineering specialisation and functional applications development.

See here for more information:

Workshop and Performative-lecture by Shelly Knotts

I have recently invited live coder-researcher Shelly Knotts to give a 3-hours workshop to my master students, and also a performative-lecture at Kunsthal Aarhus. See below information:

Workshop title: Live Coding Fieldnotes

Workshop date: 1 Nov, 2018 at Aarhus University


For the last six years I have been exploring the potential of live coding as an improvisational performance practice across contexts and genres. I’ve performed in the free improv, DIY and noise scenes, academic electronic music contexts and at Algoraves, collaborating with other live coders, acoustic musicians, visualists, authors, and algorithmic beings. Through the trial-and- (often fortuitous)error process of live algorithmic design I’ve expanded my own musical limits, learnt more about SuperCollider than I did in seven years in the studio and came to see live coding as more than just a tool for flexible improvisation.
Through embracing live coding I came to perform technicality, becoming a visible example of a ‘woman who codes’. I became acutely aware of the narratives of live coding and the politics of embodying this position. I perceived the critique of feminine technicality that exists in music tech and computer science fields as amplified by the act of publicly ‘doing technical things’. Feminism as a performative practice became central to my work and resulted in projects such as ALGOBABEZ and OFFAL (Orchestra For Females And Laptops).

In this workshop I’ll recount experiences from the wild of performing with and through algorithms, and expanding my own musical horizons through explorative coding. I’ll discuss embracing error and failure as part of the practice, using narratives around this to help diversify the live coding community, and the contribution of female live coders to reinserting women into the narratives of computing.
After an introductory talk we will explore some live coding tools, techniques and practices and engage in critical discussion on performing with and through algorithms.

Performative-lecture date: 2 Nov 2018 at Kunsthal Aarhus

Performative-lecture title: Annoying Algorithms: or Critical Approaches to Performing with and through Algorithms


In this talk Shelly will share observations from the wild of improvising with and through algorithms. She describes a number of performance systems which explore possible synergies between the dynamics of improvisation in music ensembles which use network technology to exchange musical and social data, and the dynamics of online social networking which is fundamentally mediated by algorithms and interface design. The pieces discuss and explore the dynamics of human interaction when data collection and algorithms are used to modify or moderate this interaction, and algorithms subvert or enable particular power-dynamics. This critical approach to algorithmically mediating improvised performance feeds into a live coding performance practice which acknowledges and highlights human error and failure. The talk will be followed by a performance of her work Flow (2015-16) which uses live EEG data to disrupt her live coding performance.


helly Knotts produces live-coded and network music performances and projects which explore aspects of code, data and collaboration in improvisation. She performs and presents her work internationally at festivals and conference, and collaborates prolifically with computers and other humans. She studied for a PhD in Live Computer Music at Durham University with a focus on the social dynamics of collaboration in Network Music. In 2017 she was Leverhulme Artist-in- Residence at School of Chemistry, Newcastle University, working on Molecular Soundscapes which included Chemical Algorave exploring live coded data sonification. She is currently a Research Fellow at SensiLab, Monash University working on ARC funded project Improvisational Interfaces.

As well as performing at numerous Algoraves and Live Coding events, she collaborates with improvisers across a spectrum of styles and practices. Current projects include algo-pop duo ALGOBABEZ (with Joanne Armitage), international telematic laptop ensemble OFFAL (Orchestra For Females And Laptops), and audio-visual, generative live coding performance [Sisesta Pealkiri] with Alo Allik.

She has received commissions and residencies from national funders in the UK. Her music has been released on Fractal Meat and Chordpunch record labels and in 2017 she was a winner of the inaugural The Oram Awards for innovation in sound and music.



* The performative-lecture is supported by Humans and IT Research Centre, Department of Digital Design and Information Studies, and Digital Aesthetics Research Center at the Aarhus University, as well as Kunsthal Aarhus.

Experimental Creative Writing with Natural Language Processing

I am organizing a 2-day workshop on experimental creative writing with natural language processing on 21-22 Nov 2018. See here for details:

As part of the Humans and IT research programme (HIT), Digital Aesthetics Research Center (DARC) has invited Allison Parrish, a programmer, poet and educator, to give a two days hands-on workshop regarding the state of the art of natural language processing, exploring the relationship between art, culture, creativity, programming practice, computational thinking and artificial intelligence.

We will use Python as the main programming language, a high-level, interpreted and general-purpose dynamic programming language that focuses on code readability. Python can be run and used in multiple operating systems including Windows, Mac and Linux. No prior programming skills is required but you should be expected to get your hand dirty to tinker with code and use the command-line interface. The workshop will be relevant for those who are interested in textual/data/information analysis and creative computing across disciplines, such as software studies, digital humanities, STS, digital design, electronic literature, media studies, aesthetics and language studies, computer science and beyond.



Day 1- 21/11: 0900-1600 (include breaks and lunch)
Day 2- 22/11: 0900-13.00 (include breaks and lunch)

Fees: FREE but there is a limitation of max 15 participants. Priority will be given to faculty members and PhD students at Aarhus University and for those who can participate the two dates together.

Venue: Aarhus University, Helsingforsgade 14, Building 5342, room 333 (ADA-building), 8200 Aarhus N, Denmark

Registration: Please sign up here. You will be contacted for the detailed arrangement on/before Nov, 2018. (Deadline for registration 10-Oct-2018)

Workshop Description:

Natural Language Processing (or NLP) is an area that is a confluence of Artificial Intelligence and linguistics. It involves intelligent analysis of written language. In this hands-on workshop, we’ll investigate the state of the art of natural language processing with an eye toward using the sometimes-unintuitive abstractions of language produced by computational models to make programs that create surprising and poetic creative writing. Through a series of pre-written but easily modifiable programs, participants will be introduced to text analysis and language generation with the Python programming language. We’ll make automated “big Dada” cut-ups, undertake poor digital humanities based on word counts and part-of-speech tagging, and exploit vector arithmetic to write poetry like we’re using guitar pedals. Workshop participants will develop a number of small projects in text analysis and poetics using public domain texts of their choice. In becoming familiar with contemporary techniques for computational language analysis, information/data/literature/media studies, critics and researchers will be able to reason better about language-based media on the Internet. Designers, artists and writers, meanwhile, might just learn a few new techniques to add to their creative palette.

Allison is a computer programmer, poet, educator and game designer whose teaching and practice address the unusual phenomena that blossom when language and computers meet, with a focus on artificial intelligence and computational creativity. She is a Teacher at NYU’s Interactive Telecommunications Program, where she earned her master’s degree in 2008.

Named “Best Maker of Poetry Bots” by the Village Voice in 2016, Allison’s computer-generated poetry has recently been published in Ninth Letter and Vetch. She is the author of “@Everyword: The Book” (Instar, 2015), which collects the output of her popular long-term automated writing project that tweeted every word in the English language. The word game “Rewordable,” designed by Allison in collaboration with Adam Simon and Tim Szetela, was published by Penguin Random House in August 2017 after a successful round of Kickstarter funding. Her first full-length book of computer-generated poetry, “Articulations,” was published by Counterpath in 2018.
More info: generator / generating discourse

I will be givng a talk and workshop together with Cornelia Sollfrank, Morgane Stricot and Matthieu Vlaminck @ ZKM on the 13-14 Dec, 2017.

/*In « generator«, not only do the technical problems that are relevant to other digital works become apparent, moreover, it also shows the problems associated with data policies and their hegemonies. The podium discussion brings these technical as well as political-economical associations to the fore, and attempts to develop strategies and tactics for the growth and effective conservation of digital works. During the workshop, initial ideas will be experimented with, perhaps social hacking or the development of a completely new API. Together with the artist, we want to discuss how the problems of propriety software could be solved, why and what it actually consists of, and which political, art-theoretical implications are concealed behind it.*/

More details:

Feminist Coding in p5.js | Can Software be Feminist?

Vocable Code (Work-in-Progress) by Winnie Soon | Medium: Software Art/Digital Poetry/Composition

I am going to organize a half day feminist coding workshop primarily for women, queers, LGBT, non-binaries and minorities who are interested in programming, exploring the intersection of art, language, technology and feminism. The workshop addresses computer code as a language that is designed for both human and machine reading. Participants will base on the artwork/digital poetry/composition ‘Vocable Code’ to learn basic coding concepts, and they will also explore code as expressive and aesthetic materials, such as computer code as poetic text that is performative and executable. Through thinking and discussing code and (non)binary logics, participants will incorporate textual materials, visual effects and recorded voices to produce their own web-based algorithmic vocable code.

– No prior programming experience is required
– Bring your own laptop with Firefox Browser installed + your smartphone.

*The workshop is free of charge

Date/Time: Saturday, Nov 25th, 2017 · 12.00–17.00
@ Høegh Guldbergs Gade 65B, DK-8000C, Denmark

Check !=null for latest update.

Why p5.js?
p5js is an open source Javascript library developed by the Processing Foundation and is founded by Lauren McCarthy to make coding more accessible to artists, designers, educators and beginners. Winnie shares the vision and goal of p5.js, which is to put community outreach and diversity as the priority.