Live coding is an artistic performance practice where computer music and graphics are created, displayed and manipulated in front of a live audience together with projections of the (predominantly text based) computer code. Although the pressures of such performance practices are considerable, until now only familiar programming aids (for example syntax highlighting and textual overlays) have been used to assist live coders. In this paper we integrate an intelligent agent into a live coding system and examine how that agent performed in two contrasting modes of operation-as a recommender, where on request the the agent would generate (but not execute) domain-appropriate code transformations in the performer's text editor, and as a disruptor, where the agent generated and immediately executed changes to the code and the streaming music being performed. A within-subjects study of six live coders suggested that participants of the study preferred the agent's disruptive mode as a mechanism for enhancing the creativity of their live coding performances.

Livecoding is an artistic programming practice in which an artist's low-level interaction can be observed with sufficiently high fidelity to allow for transcription and analysis. This paper presents the first reported "coding" of livecoding videos. From an identified corpus of videos available on the web, we coded performances of two different livecoding artists, recording both the (textual) programming edit events and the musical effect of these edits. Our analysis includes a novel, transition-matrix visualisation of the textual and musical dimensions of this data to create a "performer fingerprint". We show how detailed transcriptions of livecoding videos can be made which, we hope, will provide a foundation for further research into describing and understanding livecoding.

Network connectivity offers the potential for a group of musicians to play together over the network. This paper describes a trans-Atlantic networked musical livecoding performance between Andrew Sorensen in Germany (at the Schloss Daghstuhl conference on Collaboration and Learning through Live Coding) and Ben Swift in San Jose (at YL/HCC) in September 2013. In this paper we describe the infrastructure developed to enable this performance.

The act of computer programming is generally considered to be temporally removed from a computer program's execution. In this paper we discuss the idea of programming as an activity that takes place within the temporal bounds of a real-time computational process and its interactions with the physical world. We ground these ideas within the con- text of livecoding -- a live audiovisual performance practice. We then describe how the development of the programming environment "Impromptu" has addressed our ideas of programming with time and the notion of the programmer as an agent in a cyber-physical system.

Dynamic software systems for generative art have particular requirements around rapid development and manipulation of ideas and real-time computational processes. Impromptu is an innovative new programming environment created by Andrew Sorensen, and is designed to facilitate the fluid flow of creative ideas and their expression in software. It has been used for our recent projects, including a variety of Collaborative Music Jamming Systems, because it supports creative processes by leveraging the audio, graphic and video capabilities of the modern operating system within a dynamic programming environment. In our projects collaboration is supported through a synthesis of media types, numerous communication protocols, and facilities for inter-system communications and control. The demonstration will show these environments and how Impromptu supported their development.