This research project involved the production and public performance of eight audio-visual
art works and a corresponding reflective commentary. The aim in creating the artworks was
to slow down and translate digital information, in the form of the rhythms and patterns of
computer processes, into musical, textual and visual forms. In this reflective commentary, I
argue that such processes of playing code offer a distinct form of HCI (human-computer interaction)
that has significant musical and critical value in a field that has hitherto been
overly dominated by movement, gesture and touch. Through a research process that involved
both learning to play the established highly evolved rhythmic artforms of Afro-Cuban
and flamenco music, as well as deconstructing data communication signals and developing
experimental computer interfaces, I immersed myself in a series of environments in
which rhythmic codes were embodied and transmitted through sound. I argue that the systems
I developed, by incorporating a variety of cultural traditions - each based upon the
transmission of these rhythmical codes - lend what Yuk Hui has described as technodiversity
to the field of interactive computer art. Drawing upon postphenomenology and media
archaeology, as well as Csikszentmihalyi’s concept of flow, I argue for the importance of
practice-based methods - making circuits, writing software, performing, exhibiting and
studying the music within their localities - in the forging of productive new links between
the fields of HCI data communications and diverse global musical traditions. By making
data audible and developing experimental new hermeneutic relations with computers, my
work suggests productive expansions to our extant relationship with technological artifacts
in terms of embodiment, as well as offering practical approaches towards developing technodiversity
