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+# ICLC 2027 - Proposal for Live Performances
+
+Live Performances (including audio, visual, and A/V or multimedia)
+will largely be sorted into one of two formats: a concert format, with seated audience; and an Algorave format, unseated and intended for dancing. As we explore venues and dates, and according to patterns that we see emerge from the submissions received, we intend to program several different subcategories of the concert format.
+
+## 1. General Information
+
+- **Performance Title:** Mother, Demos of All,
+
+- **Main Contact:** Tomoya Matsuura(me@matsuuratomoya.com)
+
+- **Additional Performers:**
+
+- **Performance Type:** Concert
+
+## 2. Performance description
+
+デモンストレーションについてのライブコーディングパフォーマンス。パフォーマンスは、リアルタイムの信号処理をターゲットにしたプログラミング言語mimiumを用いて行われる。
+
+パフォーマーは、デモンストレーションという言葉の持つ意味について、ダグラス・エンゲルバートによって1968年に行われたコンピューターシステムNLSのデモを起点に解説する文章の朗読をしながら、そのマイク音声をリアルタイムに制御し、意図的にオーディオフィードバックを引き起こしながら変調することで演奏する。エンゲルバートデモはのちにジャーナリストのスティーブン・レビーによって「全てのデモの母」と表現されたが、この「全てのXXの母」という表現は、サダム・フセインが湾岸戦争の開戦時に「この戦いは全ての戦いの母となるだろう」と発言したものを英語訳したものが、アメリカのニュースを通じてミーム化したものであった。デモンストレーションとは今や、政治的直接行動か直線的な技術発展のアピールへと二極化している。このパフォーマンスでは、ライブコーディングにおいて美徳とされてきた、コードを見せることの意味を、デモンストレーションという言葉が脱政治化されてきた歴史を振り返り再・政治化することを試みる。
+
+ライブコーディングにおいて、観客は全てのコードの意味を必ずしも理解できるわけではないという問題がある。パフォーマンスの後半でアクターは音色に紐づけられたシンボル（変数名）が恣意的であることを、例えばkickという関数名を機械的にbulletに置き換えてもコードは変わらず動作することを示すことで実演する。その後、アクターはさらにbulletに紐づけられた音色の定義を書き換えることで、明らかにbulletとは紐づかない音を出力することで、全てのコードの意味が理解できなくとも、コードと音の対応関係にナラティブを持たせられることを実演する。
+
+技術的には、本パフォーマンスでは、（筆者自身が開発者でもある）mimiumのライブコーディング機能でなければ実現の難しい、低レベル信号処理のリアルタイムな書き換えを積極的に活用している。これまでにも、筆者はChucKやFaustといった言語で同様のオーディオフィードバックを扱うパフォーマンスを試みてきたが、既存の言語では信号処理のインスタンスの入れ替え時に音切れや、ディレイやリバーブのテールがリセットされる問題が起きていた。mimiumのライブコーディング機能では、これらの問題を、関数呼び出しツリーの差分解析を行うことで、可能な限りインスタンスの内部状態を引き継ぎながら入れ替えを行い、音切れの発生しない自然な繋がりを実現している。
+
+こうした技術的要素により、本作品では、既存のMIDIベースの言語による音楽表現とは大きく異なる、朗読と音響信号処理によるサウンドパフォーマンスを提示する。
+
+
+A live coding performance exploring the concept of “demonstration.” The performance will be conducted using mimium, a programming language designed for real-time signal processing. 
+
+The performer reads a text explaining the meaning of the word “demonstration,” starting with Douglas Engelbart’s 1968 demonstration of the NLS computer system, while simultaneously controlling the microphone audio in real time and modulating it to intentionally induce audio feedback. Engelbart’s demo was later described by journalist Steven Levy as “the mother of all demos”; however, this phrase—“the mother of all XX”—originated from an English translation of Saddam Hussein’s statement at the start of the Gulf War—“This war will be the mother of all wars”—which became a meme through American news coverage. Demonstrations today have become polarized into either direct political action or appeals for linear technological progress. 
+
+In this performance, the performer attempt to re-politicize the significance of “showing code”—long considered a virtue in live coding—by reflecting on the history of how the term “demonstration” has been depoliticized. 
+
+In live coding, there is the issue that the audience does not necessarily understand the meaning of all the code. In the latter half of the performance, the performer demonstrates that the symbols (variable names) linked to sounds are arbitrary—for example, by mechanically replacing the function name “kick” with “bullet” while showing that the code continues to function unchanged. Subsequently, the performer rewrites the definition of the sound associated with “bullet” to produce a sound clearly unrelated to “bullet,” thereby demonstrating that even without understanding the meaning of all the code, a narrative can still be established through the correspondence between the code and the sound. 
+
+Technically, this performance actively utilizes real-time rewriting of low-level signal processing—a feat that would be difficult to achieve without the live coding functionality of mimium (of which the author is also a developer). Previously, the author has attempted performances involving similar audio feedback using languages such as ChucK and Faust; however, with existing languages, issues such as audio dropouts and the reset of delay and reverb tails occurred when swapping signal processing instances. mimium’s live coding feature addresses these issues by performing differential analysis of the function call tree, allowing instances to be swapped while preserving their internal states as much as possible, thereby achieving a natural transition without audio dropouts. 
+
+Through these technical elements, this work presents a sound performance combining dialogue reading and audio signal processing that differs significantly from musical expression using existing MIDI or other note-based languages.
+
+## 3. Video and/or Audio Material
+
+Please provide one or multiple links to video or audio material
+related to this performance here.
+
+## 4. Program Note
+
+Please provide a short (max. 150 words) program note. This will be
+shared in the online Conference program and used for any printed
+program materials.
+Use this text as an abstract on the submission website.
+
+## 5. Artist(s) Biography
+
+Please provide a short biography (max. 150 words each) for each
+performer involved in this performance. These will be published in the
+proceedings of the Conference.
+
+**PLEASE DON'T FORGET TO FILL OUT THE TECHNICAL QUESTIONNAIRE BELOW!**
+
+\newpage
+
+# ICLC 2027 – Technical Requirements
+
+Live Performances
+
+## 1. General Information
+
+### 1.1 What setting is the performance intended for?
+
+Please describe the ideal conditions, e.g. Algorave with dancing
+audience, concert setting with seated audience, setting with
+moving/exploring audience? Inside, outside, lighting preferences?
+Please indicate if any conditions are simply nice-to-have or absolute
+showstoppers.
+
+### 1.2 How many performers will be in the performance?
+
+### 1.3 Are you open to being paired with another performer?
+
+If you’re submitting a visual-only or music-only Algorave performance,
+the Committee may select a complimentary performer to create a
+combined A/V set, without additional input from you. You may answer
+“no” if you don't want to be paired in this way.
+
+### 1.4 Will your performance require technical support during the set?
+
+Is support needed, e.g. to run lighting changes, timings, etc.? If
+yes, please describe.
+
+## 2. Materials Needed
+
+### VIDEO
+
+### 2.1 What are your projection needs?
+
+Please state what connector type(s) you need (HDMI, VGA, ...), and the
+ideal or minimum resolution. Do you need one or more extra
+projections, in addition to the main screen?
+
+### AUDIO
+
+### 2.2 How many input channels on the mixing console do you need?
+
+Please also mention your preferred type(s) of input (XLR, ¼", etc.).
+
+### 2.3 Do you require a microphone? If so, how many microphones does your performance need?
+
+### 2.4 Do you require a monitor, either over headphones or otherwise?
+
+### 2.5 Are you bringing your own audio interface?
+
+If you can’t bring your own for any reason, please state what you need
+or what you think would be compatible.
+
+### OTHER
+
+### 2.6 How much table/floor space will you need for your performance? How many chairs?
+
+### 2.7 Do you need an internet connection during the performance?
+
+Please state if you need Wi-Fi, if you could use Ethernet, and how the
+performance relies upon a remote connection of any kind.
+
+### 2.8 Anything else you need?
+
+Cables, adapters, power strips, anything else you can't bring yourself?