FARM '25: "Demo: Rocq N’Roll ..."
Demo: Rocq N’Roll
Roger Burtonpatel and Claire Wang
(University of Pennsylvania, USA)
Rocq N’Roll is a software instrument and tool with type proof -> music. It parses Rocq proof tactics into Musical Instrument Digital Interface (MIDI) notes to generate musical sound based on a proof state. ’Playing’ or ’performing’ a proof with Rocq N’Roll means stepping through it interactively to generate pitches that correspond to the step in the proof, with more complex chords and melodies coming from proof steps with multiple suboperations (i.e. automated tactics). Rocq N’ Roll is primarily an artistic tool, but it may also have interesting use cases in helping Rocq users conceptualize proof deautomation. And (in our humble opinion) it sounds pretty sweet.
@InProceedings{FARM25p18,
author = {Roger Burtonpatel and Claire Wang},
title = {Demo: Rocq N’Roll},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {18-20},
doi = {10.1145/3759162.3759642},
year = {2025},
}
Publisher's Version
FARM '25: "Demo: I Am Your Co-pilot ..."
Demo: I Am Your Co-pilot
Dylan Davis
(Swinburne University, Australia)
The aim of this work is to offer a reflective auditory environment that prompts contemplation about the direction of technology and music. The multiple drones’ consistent presence symbolizes the steady advancement of technology, while the ambient layers depict the evolving nature of music. The drones and tones combine with a spoken word description of ‘cyberspace’ first documented by William Gibson.
@InProceedings{FARM25p31,
author = {Dylan Davis},
title = {Demo: I Am Your Co-pilot},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {31-33},
doi = {10.1145/3759162.3759645},
year = {2025},
}
Publisher's Version
Info
FARM '25: "Demo: How to Score in the ..."
Demo: How to Score in the Art Racket
Jared Gentner
(Unaffiliated, USA)
Embedded music programming languages confer a number of benefits to composers by bringing music objects into the world of modules, bindings, and code reuse. However, many composers write music in graphical score editors. A natural desire, then, would be to embed music languages into these editors. A proper embedding would provide a means to export the score-with-embedded-code from the score editor to a program in the music language's host language. This program ought to be loadable into a larger program context, leveraging the modular features of the host language to share bindings with other host language modules.
That is the subject of this demo. The demo will use the MuseScore score editor and the Tonart music language embedded in the Racket language, but the same principles can be applied in other score editors, or with other choices of music and host language.
@InProceedings{FARM25p51,
author = {Jared Gentner},
title = {Demo: How to Score in the Art Racket},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {51-54},
doi = {10.1145/3759162.3759648},
year = {2025},
}
Publisher's Version
FARM '25: "Demo: Weft: Enabling Tidal ..."
Demo: Weft: Enabling Tidal on the Web
Matthew Kaney and William Payne
(Unaffiliated, USA; University of North Carolina at Chapel Hill, USA)
TidalCycles is a library for live-coded music performance based in Haskell, and Strudel is an adaptation of TidalCycles in JavaScript. Both have seen wide use, but their implementation within existing environments for evaluating code limits the ways in which a live code editor can integrate with the compilation process. This demo presents Weft, a web-based Haskell-like interpreter which allows performers to use TidalCycles syntax and type definitions to control Strudel's library of JavaScript pattern functions. By implementing the parser, type checker, and runtime in a JavaScript module, Weft enables interactive use in the browser, while also adding type inference and error reporting rarely seen in web-based live coding environments.
@InProceedings{FARM25p1,
author = {Matthew Kaney and William Payne},
title = {Demo: Weft: Enabling Tidal on the Web},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {1-4},
doi = {10.1145/3759162.3759640},
year = {2025},
}
Publisher's Version
FARM '25: "Type-Safe Blazon: Enforcing ..."
Type-Safe Blazon: Enforcing Pedantry in Heraldic Design
Matthew Lutze
(Aarhus University, Denmark)
We present Miniblazon, a simplified version of blazon, the language historically used to describe coats of arms. We introduce a type system that prevents several forms of invalid blazons as well as violations of stylistic conventions. We implement the system as a command-line application and use it to analyze a corpus of historical blazons, identifying several as convention-breaking.
@InProceedings{FARM25p5,
author = {Matthew Lutze},
title = {Type-Safe Blazon: Enforcing Pedantry in Heraldic Design},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {5-17},
doi = {10.1145/3759162.3759641},
year = {2025},
}
Publisher's Version
FARM '25: "Sonic Earth: An Algorithmic ..."
Sonic Earth: An Algorithmic Performance Approach to Real-Time Environmental Sonification
Riccardo Mazza
(APM Saluzzo, Italy)
This paper introduces an algorithmic performance approach for transforming real-time environmental data into collaborative, generative sound practices. Drawing from atmospheric and geospatial parameters — including temperature, humidity, and pollution indices — the system generates both electronic soundscapes and adaptive notations for acoustic performers. Through live navigation across global environmental conditions, the framework explores dynamic, location-specific harmonic structures, integrating cultural and ecological dimensions into the compositional process. By combining real-time data acquisition, functional programming techniques, and algorithmic composition, the system establishes a dialogic relationship between computational processes and human performers. Departing from traditional sonification models based on symbolic or analytical mappings, this approach frames live performance as a hybrid artistic space where environmental data actively shape musical expression and audience experience. The work aims to position environmental sonification within the broader context of generative art and real-time algorithmic performance, fostering new modes of artistic and ecological engagement.
@InProceedings{FARM25p21,
author = {Riccardo Mazza},
title = {Sonic Earth: An Algorithmic Performance Approach to Real-Time Environmental Sonification},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {21-27},
doi = {10.1145/3759162.3759643},
year = {2025},
}
Publisher's Version
Video
FARM '25: "Demo: Sonic Earth: Live Demonstration ..."
Demo: Sonic Earth: Live Demonstration of an Algorithmic Performance System for Real-Time Environmental Sonification
Riccardo Mazza
(APM Saluzzo, Italy)
This demo presents an algorithmic performance system that transforms real-time environmental data into generative soundscapes and live performance materials. Built at the intersection of algorithmic composition, live coding, and environmental sonification, Sonic Earth demonstrates how planetary conditions --- including temperature, humidity, and pollution indices --- can shape collaborative musical practice in real time. This demo builds on a system recently selected for the demo showcase at the International Computer Music Conference (ICMC), expanding its presentation towards FARM's focus on functional, generative, and performative dimensions. The system integrates electronic sound synthesis, adaptive graphic notation, and human performers, establishing a dialogic performance space where environmental parameters directly influence musical structure, sonic texture, and interpretative gestures.
@InProceedings{FARM25p47,
author = {Riccardo Mazza},
title = {Demo: Sonic Earth: Live Demonstration of an Algorithmic Performance System for Real-Time Environmental Sonification},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {47-50},
doi = {10.1145/3759162.3759647},
year = {2025},
}
Publisher's Version
Video
FARM '25: "Demo: Girard’s Paradox as ..."
Demo: Girard’s Paradox as Structure Music
Isidore Mohr
(Unaffiliated, USA)
I present a translation of Girard's paradox into music using Soundproof, an in-progress system for translating proof terms of dependently typed lambda calculus into electronic music according to their tree structure. I explore methods of representing tree structures sonically, and points of choice in the translation and presentation of the result.
@InProceedings{FARM25p28,
author = {Isidore Mohr},
title = {Demo: Girard’s Paradox as Structure Music},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {28-30},
doi = {10.1145/3759162.3759644},
year = {2025},
}
Publisher's Version
FARM '25: "Demo: Weft: Enabling Tidal ..."
Demo: Weft: Enabling Tidal on the Web
Matthew Kaney and William Payne
(Unaffiliated, USA; University of North Carolina at Chapel Hill, USA)
TidalCycles is a library for live-coded music performance based in Haskell, and Strudel is an adaptation of TidalCycles in JavaScript. Both have seen wide use, but their implementation within existing environments for evaluating code limits the ways in which a live code editor can integrate with the compilation process. This demo presents Weft, a web-based Haskell-like interpreter which allows performers to use TidalCycles syntax and type definitions to control Strudel's library of JavaScript pattern functions. By implementing the parser, type checker, and runtime in a JavaScript module, Weft enables interactive use in the browser, while also adding type inference and error reporting rarely seen in web-based live coding environments.
@InProceedings{FARM25p1,
author = {Matthew Kaney and William Payne},
title = {Demo: Weft: Enabling Tidal on the Web},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {1-4},
doi = {10.1145/3759162.3759640},
year = {2025},
}
Publisher's Version
FARM '25: "Generalizing Turtle Geometry: ..."
Generalizing Turtle Geometry: An Extensible Language for Vector Graphics Drawing
Alice Rixte
(University of Bordeaux, France)
In this article, we provide a generalization of turtle graphics that can be specialized to create various domain-specific languages. In particular, we provide two specializations of our language: the first one produces Bézier paths and the second one combines and manipulates these paths for vector graphics. Additionally, we introduce a syntax that adds absolute positioning to the relative positioning of turtle graphics.
We demonstrate how a systematic way to extend the turtle's state allows generic equational reasoning on programming languages similar to turtle graphics as well as a rich way to specify languages for media arts.
@InProceedings{FARM25p34,
author = {Alice Rixte},
title = {Generalizing Turtle Geometry: An Extensible Language for Vector Graphics Drawing},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {34-46},
doi = {10.1145/3759162.3759646},
year = {2025},
}
Publisher's Version
FARM '25: "Demo: Rocq N’Roll ..."
Demo: Rocq N’Roll
Roger Burtonpatel and Claire Wang
(University of Pennsylvania, USA)
Rocq N’Roll is a software instrument and tool with type proof -> music. It parses Rocq proof tactics into Musical Instrument Digital Interface (MIDI) notes to generate musical sound based on a proof state. ’Playing’ or ’performing’ a proof with Rocq N’Roll means stepping through it interactively to generate pitches that correspond to the step in the proof, with more complex chords and melodies coming from proof steps with multiple suboperations (i.e. automated tactics). Rocq N’ Roll is primarily an artistic tool, but it may also have interesting use cases in helping Rocq users conceptualize proof deautomation. And (in our humble opinion) it sounds pretty sweet.
@InProceedings{FARM25p18,
author = {Roger Burtonpatel and Claire Wang},
title = {Demo: Rocq N’Roll},
booktitle = {Proc.\ FARM},
publisher = {ACM},
pages = {18-20},
doi = {10.1145/3759162.3759642},
year = {2025},
}
Publisher's Version