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

Tank tv's DVD anthology of contemporary film and video and the Re:[Video Positive] exhibition at FACT in Liverpool respectively explore the present and past of artist's video.  It's come a long way, but where has it arrived? asks Pryle Behrman