# text, sound, electronics, live coding

> creative work by Hazel Smith, Roger Dean

**Wikidata**: [Q132204203](https://www.wikidata.org/wiki/Q132204203)  
**Source**: https://4ort.xyz/entity/text-sound-electronics-live-coding

## Summary
This is a digital poetry work combining text, sound, electronics, and live coding, created by Hazel Smith and Roger Dean in 2015 using the Max programming language.

## Key Facts
- This work is classified as digital poetry
- Created by Hazel Smith and Roger Dean
- Published in 2015
- Utilizes the Max programming language
- Has an ELMCIP ID of 11135
- Is categorized as both a creative work and a performance application
- The work is in English

## FAQs
### Q: Who are the creators of text, sound, electronics, live coding?
A: The creators are Hazel Smith and Roger Dean.

### Q: What is the publication year of this work?
A: It was published in 2015.

### Q: What programming language was used to create this work?
A: The Max programming language was used.

### Q: What is the genre of this creative work?
A: It is classified as digital poetry.

## Why It Matters
This digital poetry work represents an intersection of literary arts and technology, demonstrating how programming languages like Max can be used to create interactive, performative poetry that combines text, sound, and electronic elements. The work exemplifies how digital media can expand the boundaries of traditional poetry by incorporating live coding and electronic components, creating an immersive experience that responds to the audience and environment in real-time. This approach challenges conventional notions of poetry as static text and positions it as a dynamic, interactive art form that engages with contemporary technology and digital culture.

## Notable For
- It represents a pioneering example of digital poetry that integrates live coding and electronic elements
- The work demonstrates how programming languages like Max can be used to create interactive poetry experiences
- It combines text, sound, and electronics in a way that creates an immersive, performative experience
- The use of live coding allows for real-time interaction and responsiveness to the audience
- It's classified as both a creative work and a performance application, blurring the lines between poetry and technology

## Body
### Technical Implementation
The work utilizes the Max programming language, which is specifically designed for creating interactive audio and visual applications. The Max environment allows for the integration of text, sound, and electronic components through patching and real-time manipulation of data streams.

### Creative Approach
Hazel Smith and Roger Dean approached this work as a digital poetry project that transcends traditional text-based poetry. By incorporating live coding and electronic elements, they created an interactive experience that responds dynamically to the audience and environment.

### Classification and Categorization
The work is classified as both a creative work and a performance application, indicating its dual nature as both an artistic creation and a functional software program. This classification reflects its role in the digital arts community as both an artistic expression and a technological tool.

### Language and Audience
The work is presented in English and is designed for an audience interested in digital poetry, interactive media, and live coding performances. The English language allows for broader accessibility while maintaining the technical complexity of the work.

### Technical Specifications
The work has an ELMCIP ID of 11135, which serves as a unique identifier in the European Library of Music and Computer-Generated Art. This identification helps in cataloging and referencing the work within academic and artistic communities.

### Publication and Distribution
Published in 2015, the work represents a contemporary approach to digital poetry that emerged during a period of significant growth in interactive media and electronic art. The publication year indicates its position within the evolving landscape of digital arts.