Those tools have existed for long as you say but actually using the code projected during the performance is (relative to csound) recent simply cos the compute wasn't there before. And csound can't practically be used live today too (a tad too low level). Max could've been but wasn't used like that.
my point was more that this didnt come out of nowhere. in various weird subcultures folks would sometimes use trackers live but they werent generally big dance parties, they were nerd parties.
Sure yeah. But the code was projected and very much part of the performance. Nerd party indeed!
One of my thumb rules is if I use "X is *just* Y", I examine it further especially if both X and Y exist. Sorensen and Magnusson made their own lang/env to align with their creative think. Max would've been humanly slow for their process is my guess.
at this point i just want to say the names of things in public so that interested folks can follow up, but it looks like the REPL/live-coding paradigm was applied to csound at roughly the same time github.com/kunstmusik/c... (hasnt been updated in ages, uses vim which is a lift for non-nerds)
and i want to emphasize, i am not saying anyone is wrong or bad here, i think it is genuinely important to attach notations around the history of these very tiny, niche experiments to any broader discussion of how fucking cool the results of related things are.
like, that coder in particular has two forks of his repository. it did not become a thing outside his own home workshop. but it indicates that others, probably quite a few others, were working on similar projects in their spare time, almost certainly without support
Sure. There were musicians and composers before Mozart and who he learnt from. That doesn't diminish his contributions.
please dont take me as trying to diminish anyone
holy christ, it's based on lisp
