I am hoping this is some kind of parody of the nigh universal tendency for (relational/new media/ all?) art to resemble the collateral campaign in The Man Without Qualities. [cf Matthew Hyland's great article on Documenta in Mute a few years back]. But it might just be a second order symptom of the disease hiding behind the illusion of a cure.

In the 1960s and '70s musicians devised innovative forms of notation and protocol to liberate themselves from aesthetic and social conventions. Today's digital devotees of code based production and improvisation are continuing this tradition, argues Simon Yuill*

If relational aesthetics and open source were always commercial, can the musical score provide a way of thinking through different relationships between creativity and code? The return to improvisation in 'livecoding' draws parallels with experimental practices developed by maverick musicians, programmers and educators from Sun Ra, The Art Ensemble of Chicago and the Scratch Orchestra to Seymour Papert. Simon Yuill argues that these 'di