Was presented at:
With the advent of real-time computer music programming languages, specialized practices have arisen. Live coding (LC) and SCTweeting (SCT) are significant examples of creative constraint-coding approaches to computer music. The former consists of improvised live-electronic music in which performers project their coding screen. The latter is the practice of code golfing for creating (and sharing on social media) 140-character codes that generate complex sounds. In this paper we seek to approximate these two, drawing a comparative conceptualization and outlining possible artistic and contextual bonds between them. We analyze how both scenes, being new forms of artistic practices, propose radical and non-traditional approaches to coding. For that, LC and SCT are associated with the concepts and theoretical elaborations of cybernetics and mechanology, such as feedback loops as well as the isodynamism between technical behavior and human thought. Thereupon, we discuss how constraints play an important role in LC and SCT to develop ideas and achieve idiosyncratic artistic results. Finally, we outline some possible interweaving and didactic potential that have been latent in both practices.