From dev at commtom.com  Sun Nov  1 14:40:39 2009
From: dev at commtom.com (devslashnull)
Date: Sun, 1 Nov 2009 12:40:39 -0700
Subject: [microsound] Looking for Input on Live Cinema
In-Reply-To: <402838.89011.qm@web34204.mail.mud.yahoo.com>
References: <A8B7CF7D-D2F9-493C-9E23-16D6A7637850@commtom.com>
	<402838.89011.qm@web34204.mail.mud.yahoo.com>
Message-ID: <DDDBC0F8-D8C2-4271-AE90-3CC2D271C68E@commtom.com>

Are you interested in answering the questions? Let me know. If you'd  
like to re-post the "request for input" on FaceBook, go right ahead. I  
could not find you on FaceBook. I am Dev Null on FaceBook.

I prefer to be contacted at this e-mail address however.

David

On Oct 30, 2009, at 2:47 PM, Josephine Lipuma wrote:

> David,
> Post this to FaceBook, and be-friend me please.
> Thanks so,
> Josephine Lipuma
>
> From: devslashnull <dev at commtom.com>
> To: microsound at microsound.org
> Sent: Fri, October 30, 2009 2:26:19 PM
> Subject: [microsound] Looking for Input on Live Cinema
>
> I am researching the practice of Live Cinema, for some writing that  
> I am doing, and am looking for artists that do live AV who would be  
> willing to answer some questions via e-mail.
>
> Criteria for respondents:
>
> 1. Those who consider what they are doing to be "art" and feel their  
> work is informed by contemporary art practices.
>
> 2. Those who perform within an "art" context (i.e. galleries,  
> museums, media art festivals or other venues loosely defined as "art- 
> venues.")
>
> Please respond off-list and / or pass this on to anyone you might  
> think would be interested. I will be pursuing publication of the  
> paper, and will clear any use of responses with individual  
> respondents.
>
> Thanks,
>
> David Fodel
>
> -------------David Fodel-------------------
> MFA Candidate/Graduate Instructor
> ------Electronic Media Art Design-----
> ----------University of Denver-----------
> ------http://www.davidfodel.com-----
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

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From paulorcbarros at uol.com.br  Wed Nov  4 20:26:15 2009
From: paulorcbarros at uol.com.br (Paulo R. C. Barros)
Date: Wed, 4 Nov 2009 23:26:15 -0200
Subject: [microsound] Enigmidia
In-Reply-To: <A8B7CF7D-D2F9-493C-9E23-16D6A7637850@commtom.com>
References: <A8B7CF7D-D2F9-493C-9E23-16D6A7637850@commtom.com>
Message-ID: <4af229b718285_43d613996ac222@weasel14.tmail>

http://www.youtube.com/warp.swf?v=Dh9pMr3vf24

All the best,
Paulo

From vze26m98 at optonline.net  Thu Nov 12 16:54:58 2009
From: vze26m98 at optonline.net (Charles Turner)
Date: Thu, 12 Nov 2009 16:54:58 -0500
Subject: [microsound] Visual editing of audio-rate parameter files?
Message-ID: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net>

Hey, sorry to ask a tech question here, but it's pretty general in  
nature:

I've recorded an audio-rate (AIFF) 8-channel datafile with synthesis  
parameter data in it. That is, instead of data that ranges from -1.0  
to 1.0, the data range is more like 0.0 to 50.0.

It'd be great to open this file in a conventional audio editor, but it  
seems like most (or all) of them clip the data above 1.0. Some will  
wrap it, which creates another type of weirdness.

Any thoughts? I poked around a bit with MSP, and it seems the  
[buffer~] object only handles 4-channels. I haven't found an audio  
editor that has this feature. Currently wondering whether there's a  
more general tool for DSP use that might do the trick.

Thanks! Charles


From noisesmith at gmail.com  Thu Nov 12 17:21:44 2009
From: noisesmith at gmail.com (Justin Glenn Smith)
Date: Thu, 12 Nov 2009 14:21:44 -0800
Subject: [microsound] Visual editing of audio-rate parameter files?
In-Reply-To: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net>
References: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net>
Message-ID: <4AFC8A78.8020607@gmail.com>

Charles Turner wrote:
> Hey, sorry to ask a tech question here, but it's pretty general in nature:
> 
> I've recorded an audio-rate (AIFF) 8-channel datafile with synthesis
> parameter data in it. That is, instead of data that ranges from -1.0 to
> 1.0, the data range is more like 0.0 to 50.0.
> 
> It'd be great to open this file in a conventional audio editor, but it
> seems like most (or all) of them clip the data above 1.0. Some will wrap
> it, which creates another type of weirdness.
> 
> Any thoughts? I poked around a bit with MSP, and it seems the [buffer~]
> object only handles 4-channels. I haven't found an audio editor that has
> this feature. Currently wondering whether there's a more general tool
> for DSP use that might do the trick.
> 

I would say that if any tool could handle it snd would be able to edit it
visually. I think snd is linux / unix only.

https://ccrma.stanford.edu/software/snd/

Also, sox should be able to split it out into individual channels or normalize
to a range other tools can use (ie. if you scale amplitude by .02 it should be
editable in a normal editor, and then sox should be able to multiply it by 50 again
when you are done -- but of course this would probably lead to some rounding errors
in quieter parts of the signal).

From technohead3d at googlemail.com  Thu Nov 12 18:00:34 2009
From: technohead3d at googlemail.com (Adam Davis)
Date: Thu, 12 Nov 2009 23:00:34 +0000
Subject: [microsound] A series of textual compositions 1
In-Reply-To: <5badef3b0911121122v6f85f348j9953e2a904dfd458@mail.gmail.com>
References: <5badef3b0911121122v6f85f348j9953e2a904dfd458@mail.gmail.com>
Message-ID: <5badef3b0911121500x6187fce7x3340ed58471dd1ad@mail.gmail.com>

Friends at .microsound

Inspired by those composed by La Monte Young, I have produced a series of
abstract textual pieces which I would like to share with you:

*Compositions for Posthuman/Postposthuman Performer(s)*
**
1.

To play the harmony of interconnectedness.
To play the harmony of self-similarity.
To play them in synchronisation to the rhythm of the strange, feedbacking
loops caused when escaping infinity.
To escape infinity, only to arrive at infinity, for the infinite nature of
infinity must include the area outside of it.

2.

To use whatever you see around you now as three-dimensional graphic notation
and to play it.

3.

This piece requires the performer to wilfully initiate their own existence
and free will, and to subsequently dance, in an improvisational manner, to
the rhythms of the feedback/contradiction of wilfully initiating one?s own
existence and free will.

4.

This piece requires the performer to be transcended of contradiction and
physical nonsense, and proceed to split energy from vibration, whilst
simultaneously and symmetrically splitting vibration from energy for
resultant energy-less vibrations and energetic changelessness.

5.

To be an infinitely long, conical pyramid with an infinitely large base and
an infinitely small summit point.

6.

A singularity is an infinitely small point of perfect harmony. Play and
improvise around said harmony on a harpsichord.

7.

Compose a composition that requires a performer to compose a composition.

8.

Infinite tones of infinite frequencies, infinite amplitudes and infinite
wavelengths in infinite combinations; infinite copies of all said tones
phasing and flanging with them and one another in infinite frequencies,
amplitudes and wavelengths.

9.

For a performer to vocalise in such a manner that the waveforms produced
will form, when scribed onto a flat medium, a discernible self-portrait of
the vocalising performer in real time across time, of which the
self-portrait will have an almost identical facial expression and posture as
the actual artist during the performance.

10.

For a performer to cause an infinite feedback loop by curling up inside it's
own uterus, and for a troupe of dancers of infinite number to dance to the
rhythms of this loop by switching and syncretising infinite genders in
infinite combinations and re-combinations...all choreographed and within
synchronisation to one another.

11.

To let the microsound be the rain that, once torrential, becomes
the blissful choir.              To let the microsound be the rain on your
posthuman skin,                                             and the
nanoprobes that rejuvenate the symphony.

Very best wishes,

AD
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From technohead3d at googlemail.com  Thu Nov 12 18:02:16 2009
From: technohead3d at googlemail.com (Adam Davis)
Date: Thu, 12 Nov 2009 23:02:16 +0000
Subject: [microsound] A series of textual compositions 2
In-Reply-To: <5badef3b0911121227o4be6defcy9d1c13562b4d81f2@mail.gmail.com>
References: <5badef3b0911121227o4be6defcy9d1c13562b4d81f2@mail.gmail.com>
Message-ID: <5badef3b0911121502r2656d378ic9b2a237c7870acc@mail.gmail.com>

 Continued...(I just have so much to share!)

*Automorphic Piece for Standing*
**
Equilibrioception can be balance;
Balance is harmony;
To stand there and not fall over is music.

The symmetry of equal and opposite reactions;
Symmetry is harmony;
To stand there and not sink through the floor is music.

Does the past reach back infinitely?
Will the future continue infinitely?
If so, then the present is always a perfect balance
Between the equally infinite past and future.
This moment is music.

**
*Performance for a naked, visually impaired person with access to the
Internet*
**
Action 1. Put on some clothes.
Action 2. Put on a pair of glasses suited to your degree of visual
impairement.
Action 3. Access the Internet and publish a blog post about yourself.
Action 4. Relish and enjoy your, now, transhumanity by jumping around and
making noise hedonistically or whatever.


*Toilet Compositions*
**

1. This piece requires the performer to dance improvisationally to the tiny,
cycling whirlpools and vortices of the urodynamic landscape of their bladder
and urethra, -whilst- they are urinating.

2. This piece requires the performer to convert the urodynamic movements of
the urine from the bladder to the urethra and outward, like whirls and
ripples, into sound using just their own voice, -whilst- they are urinating.

3. For those who are about to urinate to be immersed in their own ?full?
bladder, causing an infinite feedback loop. For the performer to do an
improvised and synchronised swimming routine inside their own bladder to the
rhythms and cycles of said feedback loop, and to then enjoy the ride through
the urinal system as the performer urinates their liquid and themselves.



AD
**
**
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From vze26m98 at optonline.net  Thu Nov 12 18:59:20 2009
From: vze26m98 at optonline.net (Charles Turner)
Date: Thu, 12 Nov 2009 18:59:20 -0500
Subject: [microsound] Visual editing of audio-rate parameter files?
In-Reply-To: <4AFC8A78.8020607@gmail.com>
References: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net>
	<4AFC8A78.8020607@gmail.com>
Message-ID: <FFB33640-DA30-4514-A0DB-72A9FDA4E984@optonline.net>

Hi Justin-

Thanks for the response. I've used snd a bunch in the past, and while  
it might be programmed to do such a thing, it doesn't right out of the  
box.

Your suggestion about scaling is well taken, although I think I would  
generate my parameter data with values between 0.0 - 1.0 and then post- 
scale it. Inserting the record stage between the data generation and  
post-scaling would enable me to edit the recorded parameters while  
editing the resulting audio.

The only inelegance would be having to remember the scaling factors,  
although the rounding you discuss wouldn't be an issue then.

Best, Charles


From hellomynameisphil+mcrsnd at gmail.com  Thu Nov 12 19:02:57 2009
From: hellomynameisphil+mcrsnd at gmail.com (Phil Thomson)
Date: Thu, 12 Nov 2009 16:02:57 -0800
Subject: [microsound] Visual editing of audio-rate parameter files?
In-Reply-To: <4AFC8A78.8020607@gmail.com>
References: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net> 
	<4AFC8A78.8020607@gmail.com>
Message-ID: <c3e4d47f0911121602m7a3d038dld389b0384a4dc82@mail.gmail.com>

You haven't mentioned which (Mac?) audio editors you've tried.
Offhand, I can think of SoundHack, Audacity and Amadeus (or Amadeus
Pro) that can import raw data. Have you tried all those?

On Thu, Nov 12, 2009 at 2:21 PM, Justin Glenn Smith
<noisesmith at gmail.com> wrote:
> Charles Turner wrote:
>> Hey, sorry to ask a tech question here, but it's pretty general in nature:
>>
>> I've recorded an audio-rate (AIFF) 8-channel datafile with synthesis
>> parameter data in it. That is, instead of data that ranges from -1.0 to
>> 1.0, the data range is more like 0.0 to 50.0.
>>
>> It'd be great to open this file in a conventional audio editor, but it
>> seems like most (or all) of them clip the data above 1.0. Some will wrap
>> it, which creates another type of weirdness.
>>
>> Any thoughts? I poked around a bit with MSP, and it seems the [buffer~]
>> object only handles 4-channels. I haven't found an audio editor that has
>> this feature. Currently wondering whether there's a more general tool
>> for DSP use that might do the trick.
>>
>
> I would say that if any tool could handle it snd would be able to edit it
> visually. I think snd is linux / unix only.
>
> https://ccrma.stanford.edu/software/snd/
>
> Also, sox should be able to split it out into individual channels or normalize
> to a range other tools can use (ie. if you scale amplitude by .02 it should be
> editable in a normal editor, and then sox should be able to multiply it by 50 again
> when you are done -- but of course this would probably lead to some rounding errors
> in quieter parts of the signal).
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>



-- 
"In art only one thing matters: that which cannot be explained."

~Georges Braque


~~~~~~~~~~~~~~~~~~~~~~~~~
~ Phil Thomson
~ http://philthomson.ca/
~~~~~~~~~~~~~~~~~~~~~~~~~

From vze26m98 at optonline.net  Thu Nov 12 19:27:52 2009
From: vze26m98 at optonline.net (Charles Turner)
Date: Thu, 12 Nov 2009 19:27:52 -0500
Subject: [microsound] Visual editing of audio-rate parameter files?
In-Reply-To: <c3e4d47f0911121602m7a3d038dld389b0384a4dc82@mail.gmail.com>
References: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net>
	<4AFC8A78.8020607@gmail.com>
	<c3e4d47f0911121602m7a3d038dld389b0384a4dc82@mail.gmail.com>
Message-ID: <F5B31774-E63F-44C3-82B6-EDF2F93EFBAB@optonline.net>

On Nov 12, 2009, at 7:02 PM, Phil Thomson wrote:

> You haven't mentioned which (Mac?) audio editors you've tried.
> Offhand, I can think of SoundHack, Audacity and Amadeus (or Amadeus
> Pro) that can import raw data. Have you tried all those?

Yep. I wouldn't say that SoundHack enables visual editing. Amadeus and  
Audacity both clip the data values. Tried also DSP Quattro, Sound  
Sampler, and Sound Studio. (I'm sure I could write a small article on  
how different editors handle clipping.)

I'm skeptical that an audio editor would permit what I want to do.  
After all it's supposed to be feeding the data into the audio  
subsystem of the computer, which is just going to clip anyway. That's  
is why I thought of Matlab or some such...

C


From gregpond at gmail.com  Thu Nov 12 19:56:12 2009
From: gregpond at gmail.com (Greg Pond)
Date: Thu, 12 Nov 2009 18:56:12 -0600
Subject: [microsound] Visual editing of audio-rate parameter files?
In-Reply-To: <F5B31774-E63F-44C3-82B6-EDF2F93EFBAB@optonline.net>
References: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net>
	<4AFC8A78.8020607@gmail.com>
	<c3e4d47f0911121602m7a3d038dld389b0384a4dc82@mail.gmail.com>
	<F5B31774-E63F-44C3-82B6-EDF2F93EFBAB@optonline.net>
Message-ID: <94e4b7b30911121656h53cf7722g9a1c17906748a709@mail.gmail.com>

I cant say I have an answer but I would post to the PD list for this.

greg

On Thu, Nov 12, 2009 at 6:27 PM, Charles Turner <vze26m98 at optonline.net> wrote:
> On Nov 12, 2009, at 7:02 PM, Phil Thomson wrote:
>
>> You haven't mentioned which (Mac?) audio editors you've tried.
>> Offhand, I can think of SoundHack, Audacity and Amadeus (or Amadeus
>> Pro) that can import raw data. Have you tried all those?
>
> Yep. I wouldn't say that SoundHack enables visual editing. Amadeus and
> Audacity both clip the data values. Tried also DSP Quattro, Sound Sampler,
> and Sound Studio. (I'm sure I could write a small article on how different
> editors handle clipping.)
>
> I'm skeptical that an audio editor would permit what I want to do. After all
> it's supposed to be feeding the data into the audio subsystem of the
> computer, which is just going to clip anyway. That's is why I thought of
> Matlab or some such...
>
> C
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>

From vze26m98 at optonline.net  Thu Nov 12 20:06:50 2009
From: vze26m98 at optonline.net (Charles Turner)
Date: Thu, 12 Nov 2009 20:06:50 -0500
Subject: [microsound] Dick Raaijmakers' "De Methode"
Message-ID: <21D20E6E-5BF5-43DD-BE87-36D45E4E56E7@optonline.net>

(What the heck? 2 posts in 1 day?)

My copy of the English translation of Raaijmaker's big treatise on  
reading machines showed up today. Highly recommended. For further info:

<http://www.baltanlaboratories.org/?p=1125>

Yet another reason to learn Dutch. What's out there? ;-)

Enjoy! Charles


From paulo.mouat at gmail.com  Thu Nov 12 20:29:46 2009
From: paulo.mouat at gmail.com (Paulo Mouat)
Date: Thu, 12 Nov 2009 20:29:46 -0500
Subject: [microsound] A series of textual compositions 1
In-Reply-To: <5badef3b0911121500x6187fce7x3340ed58471dd1ad@mail.gmail.com>
References: <5badef3b0911121122v6f85f348j9953e2a904dfd458@mail.gmail.com>
	<5badef3b0911121500x6187fce7x3340ed58471dd1ad@mail.gmail.com>
Message-ID: <424ce300911121729y270f1703w97410dd4a95e29ec@mail.gmail.com>

Looks a lot like Stockhausen's Aus den sieben Tagen cycle (deliberately?
coincidence?).

//p
http://www.interdisciplina.org/00.0

On Thu, Nov 12, 2009 at 6:00 PM, Adam Davis <technohead3d at googlemail.com>wrote:

>
> Friends at .microsound
>
> Inspired by those composed by La Monte Young, I have produced a series of
> abstract textual pieces which I would like to share with you:
>
> *Compositions for Posthuman/Postposthuman Performer(s)*
> **
> 1.
>
> To play the harmony of interconnectedness.
> To play the harmony of self-similarity.
> To play them in synchronisation to the rhythm of the strange, feedbacking
> loops caused when escaping infinity.
> To escape infinity, only to arrive at infinity, for the infinite nature of
> infinity must include the area outside of it.
>
> 2.
>
> To use whatever you see around you now as three-dimensional graphic
> notation and to play it.
>
> 3.
>
> This piece requires the performer to wilfully initiate their own existence
> and free will, and to subsequently dance, in an improvisational manner, to
> the rhythms of the feedback/contradiction of wilfully initiating one?s own
> existence and free will.
>
> 4.
>
> This piece requires the performer to be transcended of contradiction and
> physical nonsense, and proceed to split energy from vibration, whilst
> simultaneously and symmetrically splitting vibration from energy for
> resultant energy-less vibrations and energetic changelessness.
>
> 5.
>
> To be an infinitely long, conical pyramid with an infinitely large base and
> an infinitely small summit point.
>
> 6.
>
> A singularity is an infinitely small point of perfect harmony. Play and
> improvise around said harmony on a harpsichord.
>
> 7.
>
> Compose a composition that requires a performer to compose a composition.
>
> 8.
>
> Infinite tones of infinite frequencies, infinite amplitudes and infinite
> wavelengths in infinite combinations; infinite copies of all said tones
> phasing and flanging with them and one another in infinite frequencies,
> amplitudes and wavelengths.
>
> 9.
>
> For a performer to vocalise in such a manner that the waveforms produced
> will form, when scribed onto a flat medium, a discernible self-portrait of
> the vocalising performer in real time across time, of which the
> self-portrait will have an almost identical facial expression and posture as
> the actual artist during the performance.
>
> 10.
>
> For a performer to cause an infinite feedback loop by curling up inside
> it's own uterus, and for a troupe of dancers of infinite number to dance to
> the rhythms of this loop by switching and syncretising infinite genders in
> infinite combinations and re-combinations...all choreographed and within
> synchronisation to one another.
>
> 11.
>
> To let the microsound be the rain that, once torrential, becomes
> the blissful choir.              To let the microsound be the rain on your
> posthuman skin,                                             and the
> nanoprobes that rejuvenate the symphony.
>
> Very best wishes,
>
>
> AD
>
>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>
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From thinksamuel at yahoo.com  Fri Nov 13 07:51:29 2009
From: thinksamuel at yahoo.com (Samuel van ransbeeck)
Date: Fri, 13 Nov 2009 04:51:29 -0800 (PST)
Subject: [microsound] any interest in participating in a research project?
Message-ID: <133569.93030.qm@web34202.mail.mud.yahoo.com>

Hello

As a student of composition, I always felt a lack of a method for algorithmic composition. For counterpoint and harmony, there are treatises and structured methods but for the 20th century idiom with all its facets, there is no structured pedagogical means for students to learn about algorithmic composition. I would like to write a method book to allow students to learn about algorithmic composition, giving them information and i the end of each chapter some exercises. It would be like the book of Straus about posttonal theory, only it will focus on algorithmic methods. 

I have spoken to my professor about this but he told me I need a rather large group of people to test my texts and exercises on. My question now is: Are there people from the microsound mailing list interested in participating in such a research. I would write a chapter and exercises, share them with you and letting you write small exercises and then collecting and comparing the results of each exercise. This would be like one year. What is in it for you: eternal glory and I will try to record as many compositions possible to include in a CD.

Let me know what you think
Samuel


      
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From sofus at foppa.dk  Fri Nov 13 08:14:08 2009
From: sofus at foppa.dk (Sofus Forsberg)
Date: Fri, 13 Nov 2009 14:14:08 +0100
Subject: [microsound]
 =?utf-8?q?any_interest_in_participating_in_a_researc?=
 =?utf-8?q?h_project=3F?=
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <6a9981decbcd9de27004d45119a4229b@mail.foppa.dk>


Good idea



Im in! :D



On Fri, 13 Nov 2009 04:51:29 -0800 (PST), Samuel van ransbeeck

<thinksamuel at yahoo.com> wrote:

> Hello

> 

> As a student of composition, I always felt a lack of a method for

> algorithmic composition. For counterpoint and harmony, there are

treatises

> and structured methods but for the 20th century idiom with all its

facets,

> there is no structured pedagogical means for students to learn about

> algorithmic composition. I would like to write a method book to allow

> students to learn about algorithmic composition, giving them information

> and i the end of each chapter some exercises. It would be like the book

of

> Straus about posttonal theory, only it will focus on algorithmic

methods. 

> 

> I have spoken to my professor about this but he told me I need a rather

> large group of people to test my texts and exercises on. My question now

> is: Are there people from the microsound mailing list interested in

> participating in such a research. I would write a chapter and exercises,

> share them with you and letting you write small exercises and then

> collecting and comparing the results of each exercise. This would be

like

> one year. What is in it for you: eternal glory and I will try to record

as

> many compositions possible to include in a CD.

> 

> Let me know what you think

> Samuel



-- 

Sofus Forsberg

www.myspace.com/sofusforsberg

From cyborgk at gmail.com  Fri Nov 13 09:24:09 2009
From: cyborgk at gmail.com (David Powers)
Date: Fri, 13 Nov 2009 08:24:09 -0600
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <6a9981decbcd9de27004d45119a4229b@mail.foppa.dk>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<6a9981decbcd9de27004d45119a4229b@mail.foppa.dk>
Message-ID: <686ba4e40911130624j279252abo21d977bb693f7f9d@mail.gmail.com>

Interesting idea, I would help.
~David

On Fri, Nov 13, 2009 at 7:14 AM, Sofus Forsberg <sofus at foppa.dk> wrote:
>
> Good idea
>
>
>
> Im in! :D
>
>
>
> On Fri, 13 Nov 2009 04:51:29 -0800 (PST), Samuel van ransbeeck
>
> <thinksamuel at yahoo.com> wrote:
>
>> Hello
>
>>
>
>> As a student of composition, I always felt a lack of a method for
>
>> algorithmic composition. For counterpoint and harmony, there are
>
> treatises
>
>> and structured methods but for the 20th century idiom with all its
>
> facets,
>
>> there is no structured pedagogical means for students to learn about
>
>> algorithmic composition. I would like to write a method book to allow
>
>> students to learn about algorithmic composition, giving them information
>
>> and i the end of each chapter some exercises. It would be like the book
>
> of
>
>> Straus about posttonal theory, only it will focus on algorithmic
>
> methods.
>
>>
>
>> I have spoken to my professor about this but he told me I need a rather
>
>> large group of people to test my texts and exercises on. My question now
>
>> is: Are there people from the microsound mailing list interested in
>
>> participating in such a research. I would write a chapter and exercises,
>
>> share them with you and letting you write small exercises and then
>
>> collecting and comparing the results of each exercise. This would be
>
> like
>
>> one year. What is in it for you: eternal glory and I will try to record
>
> as
>
>> many compositions possible to include in a CD.
>
>>
>
>> Let me know what you think
>
>> Samuel
>
>
>
> --
>
> Sofus Forsberg
>
> www.myspace.com/sofusforsberg
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>

From john at humanoidsounds.co.uk  Fri Nov 13 11:39:07 2009
From: john at humanoidsounds.co.uk (john at humanoidsounds.co.uk)
Date: Fri, 13 Nov 2009 16:39:07 +0000
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>

That sounds great. I'm really getting into using Symbolic Composer at  
the moment. I would definitely like to be involved.

Cheers,

John Proctor
Humanoid Sound Systems / Camel Audio
http://www.humanoidsounds.co.uk / http://www.camelaudio.com

On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:

> Hello
>
> As a student of composition, I always felt a lack of a method for  
> algorithmic composition. For counterpoint and harmony, there are  
> treatises and structured methods but for the 20th century idiom with  
> all its facets, there is no structured pedagogical means for  
> students to learn about algorithmic composition. I would like to  
> write a method book to allow students to learn about algorithmic  
> composition, giving them information and i the end of each chapter  
> some exercises. It would be like the book of Straus about posttonal  
> theory, only it will focus on algorithmic methods.
>
> I have spoken to my professor about this but he told me I need a  
> rather large group of people to test my texts and exercises on. My  
> question now is: Are there people from the microsound mailing list  
> interested in participating in such a research. I would write a  
> chapter and exercises, share them with you and letting you write  
> small exercises and then collecting and comparing the results of  
> each exercise. This would be like one year. What is in it for you:  
> eternal glory and I will try to record as many compositions possible  
> to include in a CD.
>
> Let me know what you think
> Samuel
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

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From jlipuma at yahoo.com  Fri Nov 13 13:23:43 2009
From: jlipuma at yahoo.com (Josephine Lipuma)
Date: Fri, 13 Nov 2009 10:23:43 -0800 (PST)
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
Message-ID: <901503.77449.qm@web34204.mail.mud.yahoo.com>

Post this on Facebook, befriend me and I will post it on my feed....




________________________________
From: "john at humanoidsounds.co.uk" <john at humanoidsounds.co.uk>
To: microsound at microsound.org
Sent: Fri, November 13, 2009 10:39:07 AM
Subject: Re: [microsound] any interest in participating in a research project?


That sounds great. I'm really getting into using Symbolic Composer at the moment. I would definitely like to be involved.

Cheers,

John Proctor
Humanoid Sound Systems / Camel Audio
http://www.humanoidsounds.co.uk/ / http://www.camelaudio.com

On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:

Hello
>
>
>As a student of composition, I always felt a lack of a method for algorithmic composition. For counterpoint and harmony, there are treatises and structured methods but for the 20th century idiom with all its facets, there is no structured pedagogical means for students to learn about algorithmic composition. I would like to write a method book to allow students to learn about algorithmic composition, giving them information and i the end of each chapter some exercises. It would be like the book of Straus about posttonal theory, only it will focus on algorithmic methods. 
>
>
>I have spoken to my professor about this but he told me I need a rather large group of people to test my texts and exercises on. My question now is: Are there people from the microsound mailing list interested in participating in such a research. I would write a chapter and exercises, share them with you and letting you write small exercises and then collecting and comparing the results of each exercise. This would be like one year. What is in it for you: eternal glory and I will try to record as many compositions possible to include in a CD.
>
>
>Let me know what you think
>Samuel
>_______________________________________________
>microsound mailing list
>microsound at microsound.org
>http://or8.net/mailman/listinfo/microsound
>



      
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From ted.pallas at gmail.com  Fri Nov 13 13:27:44 2009
From: ted.pallas at gmail.com (Ted Pallas)
Date: Fri, 13 Nov 2009 13:27:44 -0500
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <901503.77449.qm@web34204.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
	<901503.77449.qm@web34204.mail.mud.yahoo.com>
Message-ID: <8c1eb1cf0911131027se3390e9l6b54826e6c6ca397@mail.gmail.com>

I'm also curious, and would love to help if I can.

Ted Pallas
Live Media Designer
://grove.nyc, founder
http://grovenyc.net
ted dot pallas -at- gmail dot com
516.286.9661


On Fri, Nov 13, 2009 at 1:23 PM, Josephine Lipuma <jlipuma at yahoo.com> wrote:

> Post this on Facebook, befriend me and I will post it on my feed....
>
> ------------------------------
> *From:* "john at humanoidsounds.co.uk" <john at humanoidsounds.co.uk>
> *To:* microsound at microsound.org
> *Sent:* Fri, November 13, 2009 10:39:07 AM
> *Subject:* Re: [microsound] any interest in participating in a research
> project?
>
> That sounds great. I'm really getting into using Symbolic Composer at the
> moment. I would definitely like to be involved.
>
> Cheers,
>
> John Proctor
> Humanoid Sound Systems / Camel Audio
> http://www.humanoidsounds.co.uk/ / http://www.camelaudio.com
>
> On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:
>
> Hello
>
> As a student of composition, I always felt a lack of a method for
> algorithmic composition. For counterpoint and harmony, there are treatises
> and structured methods but for the 20th century idiom with all its facets,
> there is no structured pedagogical means for students to learn about
> algorithmic composition. I would like to write a method book to allow
> students to learn about algorithmic composition, giving them information and
> i the end of each chapter some exercises. It would be like the book of
> Straus about posttonal theory, only it will focus on algorithmic methods.
>
> I have spoken to my professor about this but he told me I need a rather
> large group of people to test my texts and exercises on. My question now is:
> Are there people from the microsound mailing list interested in
> participating in such a research. I would write a chapter and exercises,
> share them with you and letting you write small exercises and then
> collecting and comparing the results of each exercise. This would be like
> one year. What is in it for you: eternal glory and I will try to record as
> many compositions possible to include in a CD.
>
> Let me know what you think
> Samuel
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>
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From jlipuma at yahoo.com  Fri Nov 13 13:30:58 2009
From: jlipuma at yahoo.com (Josephine Lipuma)
Date: Fri, 13 Nov 2009 10:30:58 -0800 (PST)
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <8c1eb1cf0911131027se3390e9l6b54826e6c6ca397@mail.gmail.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
	<901503.77449.qm@web34204.mail.mud.yahoo.com>
	<8c1eb1cf0911131027se3390e9l6b54826e6c6ca397@mail.gmail.com>
Message-ID: <264916.34667.qm@web34203.mail.mud.yahoo.com>

mw too, I will help...




________________________________
From: Ted Pallas <ted.pallas at gmail.com>
To: microsound at microsound.org
Sent: Fri, November 13, 2009 12:27:44 PM
Subject: Re: [microsound] any interest in participating in a research project?

I'm also curious, and would love to help if I can.

Ted Pallas
Live Media Designer
://grove.nyc, founder
http://grovenyc.net
ted dot pallas -at- gmail dot com
516.286.9661



On Fri, Nov 13, 2009 at 1:23 PM, Josephine Lipuma <jlipuma at yahoo.com> wrote:

Post this on Facebook, befriend me and I will post it on my feed....
>
>
>
>
________________________________
From: "john at humanoidsounds.co.uk" <john at humanoidsounds.co.uk>
>To: microsound at microsound.org
>Sent: Fri, November 13, 2009 10:39:07 AM
>Subject: Re: [microsound] any interest in participating in a research project?
>
>
>That sounds great. I'm really getting into using Symbolic Composer at the moment. I would definitely like to be involved.
>
>
>Cheers,
>
>
>John Proctor
>Humanoid Sound Systems / Camel Audio
>http://www.humanoidsounds.co.uk/ / http://www.camelaudio.com
>
>
>On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:
>
>Hello
>>
>>
>>>>As a student of composition, I always felt a lack of a method for algorithmic composition. For counterpoint and harmony, there are treatises and structured methods but for the 20th century idiom with all its facets, there is no structured pedagogical means for students to learn about algorithmic composition. I would like to write a method book to allow students to learn about algorithmic composition, giving them information and i the end of each chapter some exercises. It would be like the book of Straus about posttonal theory, only it will focus on algorithmic methods. 
>>
>>
>>I have spoken to my professor about this but he told me I
>> need a rather large group of people to test my texts and exercises on. My question now is: Are there people from the microsound mailing list interested in participating in such a research. I would write a chapter and exercises, share them with you and letting you write small exercises and then collecting and comparing the results of each exercise. This would be like one year. What is in it for you: eternal glory and I will try to record as many compositions possible to include in a CD.
>>
>>
>>Let me know what you think
>>Samuel
>>
>>_______________________________________________
>>>>microsound mailing list
>>microsound at microsound.org
>>http://or8.net/mailman/listinfo/microsound
>>
>
>
>_______________________________________________
>>microsound mailing list
>microsound at microsound.org
>http://or8.net/mailman/listinfo/microsound
>
>



      
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From mis at artengine.ca  Fri Nov 13 18:31:49 2009
From: mis at artengine.ca (Michal Seta)
Date: Fri, 13 Nov 2009 18:31:49 -0500
Subject: [microsound] Visual editing of audio-rate parameter files?
In-Reply-To: <94e4b7b30911121656h53cf7722g9a1c17906748a709@mail.gmail.com>
References: <F0F8E968-5FEE-4FB3-A577-C03402BCE442@optonline.net> 
	<4AFC8A78.8020607@gmail.com>
	<c3e4d47f0911121602m7a3d038dld389b0384a4dc82@mail.gmail.com> 
	<F5B31774-E63F-44C3-82B6-EDF2F93EFBAB@optonline.net>
	<94e4b7b30911121656h53cf7722g9a1c17906748a709@mail.gmail.com>
Message-ID: <eee389550911131531p1caf684eq71b7b643c50800d0@mail.gmail.com>

On Thu, Nov 12, 2009 at 7:56 PM, Greg Pond <gregpond at gmail.com> wrote:
> I cant say I have an answer but I would post to the PD list for this.

Yes, in fact, pd arrays do not have any limits as to the ranges of
stored data.  Just make sure you create the arrays that can
accommodate such large values (you can do it in the properties) or
else the data will be drawn all over the place.  Also, I guess you
will want to avoid the use of [soundfiler] object to load that data
into arrays (this is a "standard" way of loading audio data) because
it will probably chop your data into -1.0 to 1.0 although I have not
tried it and may be wrong.  In fact, soundfiler has the ability to
completely ignore the header of the file and load raw data.
Otherwise, you send the array a "read" message and it should do but
you will need to know how many values there are in your files and
create the arrays large enough to accommodate the data.

Feel free to shoot me an email if you need any assistance.

./MiS

From holyloki at liscentric.com  Fri Nov 13 18:56:03 2009
From: holyloki at liscentric.com (Ryan Dunn)
Date: Fri, 13 Nov 2009 17:56:03 -0600
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
Message-ID: <98B34E9E-FD0E-4A7B-B3B6-F4181C03DC35@liscentric.com>

It seems to me that asking this list to be your sample pool would be  
like asking doctors to try basic anatomy lessons and tell you whether  
they are successful.  You should be finding participants who Don't  
have experience in algorithmic composing in order to yield the best  
results for your research.

Ryan Dunn
http://www.liscentric.com

On Nov 13, 2009, at 10:39 AM, john at humanoidsounds.co.uk wrote:

> That sounds great. I'm really getting into using Symbolic Composer  
> at the moment. I would definitely like to be involved.
>
> Cheers,
>
> John Proctor
> Humanoid Sound Systems / Camel Audio
> http://www.humanoidsounds.co.uk / http://www.camelaudio.com
>
> On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:
>
>> Hello
>>
>> As a student of composition, I always felt a lack of a method for  
>> algorithmic composition. For counterpoint and harmony, there are  
>> treatises and structured methods but for the 20th century idiom  
>> with all its facets, there is no structured pedagogical means for  
>> students to learn about algorithmic composition. I would like to  
>> write a method book to allow students to learn about algorithmic  
>> composition, giving them information and i the end of each chapter  
>> some exercises. It would be like the book of Straus about posttonal  
>> theory, only it will focus on algorithmic methods.
>>
>> I have spoken to my professor about this but he told me I need a  
>> rather large group of people to test my texts and exercises on. My  
>> question now is: Are there people from the microsound mailing list  
>> interested in participating in such a research. I would write a  
>> chapter and exercises, share them with you and letting you write  
>> small exercises and then collecting and comparing the results of  
>> each exercise. This would be like one year. What is in it for you:  
>> eternal glory and I will try to record as many compositions  
>> possible to include in a CD.
>>
>> Let me know what you think
>> Samuel
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

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From I.Orosa.Paleo at rug.nl  Fri Nov 13 19:02:31 2009
From: I.Orosa.Paleo at rug.nl (=?iso-8859-1?Q?Iv=E1n?= Orosa Paleo)
Date: Sat, 14 Nov 2009 01:02:31 +0100
Subject: [microsound] any interest in participating in a
	research	project?
In-Reply-To: <98B34E9E-FD0E-4A7B-B3B6-F4181C03DC35@liscentric.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
	<98B34E9E-FD0E-4A7B-B3B6-F4181C03DC35@liscentric.com>
Message-ID: <web-128352150@mail3.rug.nl>

Hi list,
<quote> You should be finding participants who Don't have experience 
in algorithmic composing in order to yield the best results for your 
research <end quote>

that's actually a good point. However, it seems to me that certain 
previous, ground knowledge might be required. Is it so? If it is, what 
would be it in your opinion.

I have no previous experience with algorithmic composition and I would 
be willing to participate.

Salud,
Iv?n


On Fri, 13 Nov 2009 17:56:03 -0600
  Ryan Dunn <holyloki at liscentric.com> wrote:
> It seems to me that asking this list to be your sample pool would be 
> like asking doctors to try basic anatomy lessons and tell you 
>whether  they are successful.  You should be finding participants who 
>Don't  have experience in algorithmic composing in order to yield the 
>best  results for your research.
> 
> Ryan Dunn
> http://www.liscentric.com
> 
> On Nov 13, 2009, at 10:39 AM, john at humanoidsounds.co.uk wrote:
> 
>> That sounds great. I'm really getting into using Symbolic Composer  
>> at the moment. I would definitely like to be involved.
>>
>> Cheers,
>>
>> John Proctor
>> Humanoid Sound Systems / Camel Audio
>> http://www.humanoidsounds.co.uk / http://www.camelaudio.com
>>
>> On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:
>>
>>> Hello
>>>
>>> As a student of composition, I always felt a lack of a method for  
>>> algorithmic composition. For counterpoint and harmony, there are  
>>> treatises and structured methods but for the 20th century idiom  
>>> with all its facets, there is no structured pedagogical means for  
>>> students to learn about algorithmic composition. I would like to  
>>> write a method book to allow students to learn about algorithmic  
>>> composition, giving them information and i the end of each chapter  
>>> some exercises. It would be like the book of Straus about posttonal 
>>> 
>>> theory, only it will focus on algorithmic methods.
>>>
>>> I have spoken to my professor about this but he told me I need a  
>>> rather large group of people to test my texts and exercises on. My  
>>> question now is: Are there people from the microsound mailing list  
>>> interested in participating in such a research. I would write a  
>>> chapter and exercises, share them with you and letting you write  
>>> small exercises and then collecting and comparing the results of  
>>> each exercise. This would be like one year. What is in it for you:  
>>> eternal glory and I will try to record as many compositions  
>>> possible to include in a CD.
>>>
>>> Let me know what you think
>>> Samuel
>>>
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
> 

From dev at commtom.com  Fri Nov 13 21:14:27 2009
From: dev at commtom.com (devslashnull)
Date: Fri, 13 Nov 2009 19:14:27 -0700
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <98B34E9E-FD0E-4A7B-B3B6-F4181C03DC35@liscentric.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>
	<98B34E9E-FD0E-4A7B-B3B6-F4181C03DC35@liscentric.com>
Message-ID: <8EDD9A10-8CFD-4CD9-946A-D44A4F543101@commtom.com>

well some of the people on this list are instructors/professors  
themselves and might be interested in using the chapters/exercises  
within the context of a classroom, where many of the participants do  
not have any experience in algorithmic composition.

that is where my interest lies.

put me on your list Samuel.


On Nov 13, 2009, at 4:56 PM, Ryan Dunn wrote:

> It seems to me that asking this list to be your sample pool would be  
> like asking doctors to try basic anatomy lessons and tell you  
> whether they are successful.  You should be finding participants who  
> Don't have experience in algorithmic composing in order to yield the  
> best results for your research.
>
> Ryan Dunn
> http://www.liscentric.com
>
> On Nov 13, 2009, at 10:39 AM, john at humanoidsounds.co.uk wrote:
>
>> That sounds great. I'm really getting into using Symbolic Composer  
>> at the moment. I would definitely like to be involved.
>>
>> Cheers,
>>
>> John Proctor
>> Humanoid Sound Systems / Camel Audio
>> http://www.humanoidsounds.co.uk / http://www.camelaudio.com
>>
>> On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:
>>
>>> Hello
>>>
>>> As a student of composition, I always felt a lack of a method for  
>>> algorithmic composition. For counterpoint and harmony, there are  
>>> treatises and structured methods but for the 20th century idiom  
>>> with all its facets, there is no structured pedagogical means for  
>>> students to learn about algorithmic composition. I would like to  
>>> write a method book to allow students to learn about algorithmic  
>>> composition, giving them information and i the end of each chapter  
>>> some exercises. It would be like the book of Straus about  
>>> posttonal theory, only it will focus on algorithmic methods.
>>>
>>> I have spoken to my professor about this but he told me I need a  
>>> rather large group of people to test my texts and exercises on. My  
>>> question now is: Are there people from the microsound mailing list  
>>> interested in participating in such a research. I would write a  
>>> chapter and exercises, share them with you and letting you write  
>>> small exercises and then collecting and comparing the results of  
>>> each exercise. This would be like one year. What is in it for you:  
>>> eternal glory and I will try to record as many compositions  
>>> possible to include in a CD.
>>>
>>> Let me know what you think
>>> Samuel
>>>
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

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From matdalgleish at hotmail.com  Fri Nov 13 23:21:46 2009
From: matdalgleish at hotmail.com (mat dalgleish)
Date: Sat, 14 Nov 2009 04:21:46 +0000
Subject: [microsound] any interest in participating in a
	research	project?
In-Reply-To: <8EDD9A10-8CFD-4CD9-946A-D44A4F543101@commtom.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>,
	<1C8E2F66-0AB6-4E89-9232-8E2041FC03C3@humanoidsounds.co.uk>,
	<98B34E9E-FD0E-4A7B-B3B6-F4181C03DC35@liscentric.com>,
	<8EDD9A10-8CFD-4CD9-946A-D44A4F543101@commtom.com>
Message-ID: <COL116-W5564BBCA69D9CC9B4646FCC2A70@phx.gbl>


Of the small-ish number of books on algorithmic composition, some do include some code such as Taube's Notes from the Metalevel
http://www.amazon.com/Notes-Metalevel-Introduction-Computer-Composition/dp/9026519753

Still, there would certainly seem to be room for another text taking a different route through the topic. If done well, I at least would find it a useful aid to teaching. 


From: dev at commtom.com
To: microsound at microsound.org
Date: Fri, 13 Nov 2009 19:14:27 -0700
Subject: Re: [microsound] any interest in participating in a research	project?



well some of the people on this list are instructors/professors themselves and might be interested in using the chapters/exercises within the context of a classroom, where many of the participants do not have any experience in algorithmic composition.
that is where my interest lies.
put me on your list Samuel.


On Nov 13, 2009, at 4:56 PM, Ryan Dunn wrote:It seems to me that asking this list to be your sample pool would be like asking doctors to try basic anatomy lessons and tell you whether they are successful.  You should be finding participants who Don't have experience in algorithmic composing in order to yield the best results for your research.
Ryan Dunnhttp://www.liscentric.com

On Nov 13, 2009, at 10:39 AM, john at humanoidsounds.co.uk wrote:That sounds great. I'm really getting into using Symbolic Composer at the moment. I would definitely like to be involved.
Cheers,
John ProctorHumanoid Sound Systems / Camel Audiohttp://www.humanoidsounds.co.uk / http://www.camelaudio.com
On 13 Nov 2009, at 12:51, Samuel van ransbeeck wrote:Hello
As a student of composition, I always felt a lack of a method for algorithmic composition. For counterpoint and harmony, there are treatises and structured methods but for the 20th century idiom with all its facets, there is no structured pedagogical means for students to learn about algorithmic composition. I would like to write a method book to allow students to learn about algorithmic composition, giving them information and i the end of each chapter some exercises. It would be like the book of Straus about posttonal theory, only it will focus on algorithmic methods. 
I have spoken to my professor about this but he told me I need a rather large group of people to test my texts and exercises on. My question now is: Are there people from the microsound mailing list interested in participating in such a research. I would write a chapter and exercises, share them with you and letting you write small exercises and then collecting and comparing the results of each exercise. This would be like one year. What is in it for you: eternal glory and I will try to record as many compositions possible to include in a CD.
Let me know what you thinkSamuel
_______________________________________________
microsound mailing list
microsound at microsound.org
http://or8.net/mailman/listinfo/microsound

_______________________________________________
microsound mailing list
microsound at microsound.org
http://or8.net/mailman/listinfo/microsound

_______________________________________________
microsound mailing list
microsound at microsound.org
http://or8.net/mailman/listinfo/microsound

 		 	   		  
_________________________________________________________________
Have more than one Hotmail account? Link them together to easily access both
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From firatergene at hotmail.com  Sat Nov 14 03:22:24 2009
From: firatergene at hotmail.com (firat ergene)
Date: Sat, 14 Nov 2009 08:22:24 +0000
Subject: [microsound] any interest in participating in a research
 project?
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <COL112-W1900845664A471375356FDB9A70@phx.gbl>


I'd like to participate too. 
But I think it'd be more easier for us to understand that we're the right person for this project if you explain minimum requirements more precisely. For example, what kind of a basic information needed for the participants? Is being able to read western notation sufficent? Or is it neccesary to have some harmony knowledge also. If so, how much? What kind of a commitment is needed? 3 hours for a week? 1 hour a day? etc.. 
best regards

Date: Fri, 13 Nov 2009 04:51:29 -0800
From: thinksamuel at yahoo.com
To: microsound at or8.net
Subject: [microsound] any interest in participating in a research project?



Hello
As a student of composition, I always felt a lack of a method for algorithmic composition. For counterpoint and harmony, there are treatises and structured methods but for the 20th century idiom with all its facets, there is no structured pedagogical means for students to learn about algorithmic composition. I would like to write a method book to allow students to learn about algorithmic composition, giving them information and i the end of each chapter some exercises. It would be like the book of Straus about posttonal theory, only it will focus on algorithmic methods. 
I have spoken to my professor about this but he told me I need a rather large group of people to test my texts and exercises on. My question now is: Are
 there people from the microsound mailing list interested in participating in such a research. I would write a chapter and exercises, share them with you and letting you write small exercises and then collecting and comparing the results of each exercise. This would be like one year. What is in it for you: eternal glory and I will try to record as many compositions possible to include in a CD.
Let me know what you thinkSamuel




 		 	   		  
_________________________________________________________________
Windows 7: I wanted simpler, now it's simpler. I'm a rock star.
http://www.microsoft.com/Windows/windows-7/default.aspx?h=myidea?ocid=PID24727::T:WLMTAGL:ON:WL:en-US:WWL_WIN_myidea:112009
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From artheist at gmail.com  Sat Nov 14 05:45:02 2009
From: artheist at gmail.com (Sylvain)
Date: Sat, 14 Nov 2009 11:45:02 +0100
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <4AFE8A2E.60806@gmail.com>

Hi Samuel,

Nice idea. I'm on the list too.
Looking forward for further details.

Sylvain

Samuel van ransbeeck a ?crit :
> Hello
>
> As a student of composition, I always felt a lack of a method for 
> algorithmic composition. For counterpoint and harmony, there are 
> treatises and structured methods but for the 20th century idiom with 
> all its facets, there is no structured pedagogical means for students 
> to learn about algorithmic composition. I would like to write a method 
> book to allow students to learn about algorithmic composition, giving 
> them information and i the end of each chapter some exercises. It 
> would be like the book of Straus about posttonal theory, only it will 
> focus on algorithmic methods. 
>
> I have spoken to my professor about this but he told me I need a 
> rather large group of people to test my texts and exercises on. My 
> question now is: Are there people from the microsound mailing list 
> interested in participating in such a research. I would write a 
> chapter and exercises, share them with you and letting you write small 
> exercises and then collecting and comparing the results of each 
> exercise. This would be like one year. What is in it for you: eternal 
> glory and I will try to record as many compositions possible to 
> include in a CD.
>
> Let me know what you think
> Samuel
>
> ------------------------------------------------------------------------
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>   


From tobiasreber at sunrise.ch  Sat Nov 14 06:07:49 2009
From: tobiasreber at sunrise.ch (Tobias Reber)
Date: Sat, 14 Nov 2009 12:07:49 +0100
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <4AFE8A2E.60806@gmail.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<4AFE8A2E.60806@gmail.com>
Message-ID: <11149A4E-D84E-4419-BE18-41150C3A4E67@sunrise.ch>

Sounds good. I'd be interested in participating.

Tobias

Am 14.11.2009 um 11:45 schrieb Sylvain:

> Hi Samuel,
>
> Nice idea. I'm on the list too.
> Looking forward for further details.
>
> Sylvain
>
> Samuel van ransbeeck a ?crit :
>> Hello
>>
>> As a student of composition, I always felt a lack of a method for  
>> algorithmic composition. For counterpoint and harmony, there are  
>> treatises and structured methods but for the 20th century idiom  
>> with all its facets, there is no structured pedagogical means for  
>> students to learn about algorithmic composition. I would like to  
>> write a method book to allow students to learn about algorithmic  
>> composition, giving them information and i the end of each chapter  
>> some exercises. It would be like the book of Straus about posttonal  
>> theory, only it will focus on algorithmic methods.
>> I have spoken to my professor about this but he told me I need a  
>> rather large group of people to test my texts and exercises on. My  
>> question now is: Are there people from the microsound mailing list  
>> interested in participating in such a research. I would write a  
>> chapter and exercises, share them with you and letting you write  
>> small exercises and then collecting and comparing the results of  
>> each exercise. This would be like one year. What is in it for you:  
>> eternal glory and I will try to record as many compositions  
>> possible to include in a CD.
>>
>> Let me know what you think
>> Samuel
>>
>> ------------------------------------------------------------------------
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

---

Tobias Reber : musician / sound designer

Tobias Reber
Freiburgstrasse 32
2503 Biel
Switzerland

mobile: ++41 (0)79 573 11 69
email: tobiasreber at sunrise.ch
www.myspace.com/stereorabbi


From damian.ml at frey.co.nz  Sat Nov 14 07:50:22 2009
From: damian.ml at frey.co.nz (Damian Stewart)
Date: Sat, 14 Nov 2009 13:50:22 +0100
Subject: [microsound] searching for a book... title 'development something
	mind something'
Message-ID: <6EB65FAB-E817-42E7-9D30-00A3DA98AF61@frey.co.nz>

hi microsound,

i'm searching for a book that was a tiny bit hip in intellectual  
circles around 2005-2006ish.. the problem was i don't remember the  
exact title.

it's something like:
The Development of Mind in the History of Cro-Magnon Man
or
The History of Mind and the Development of Something
.. i'm pretty sure it has the words 'mind', 'development', and  
something anthropological/historical sounding like cro-magnon or  
neolithic ...

sorry for the vagueness, hoping someone can help!

cheers
d
--
damian stewart | skype: damiansnz | damian at frey.co.nz
frey | live art with machines | http://www.frey.co.nz


From technohead3d at googlemail.com  Sat Nov 14 09:32:29 2009
From: technohead3d at googlemail.com (Adam Davis)
Date: Sat, 14 Nov 2009 14:32:29 +0000
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <5badef3b0911140632n6d550872gd2b447ca78717479@mail.gmail.com>

Samuel, I would love to be a part of your project! Please include me :)

Adam
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From technohead3d at googlemail.com  Sat Nov 14 09:32:29 2009
From: technohead3d at googlemail.com (Adam Davis)
Date: Sat, 14 Nov 2009 14:32:29 +0000
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <5badef3b0911140632n6d550872gd2b447ca78717479@mail.gmail.com>

Samuel, I would love to be a part of your project! Please include me :)

Adam
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From eduardoacosta at gmail.com  Sat Nov 14 09:51:27 2009
From: eduardoacosta at gmail.com (Eduardo Acosta)
Date: Sat, 14 Nov 2009 15:51:27 +0100
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <5badef3b0911140632n6d550872gd2b447ca78717479@mail.gmail.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<5badef3b0911140632n6d550872gd2b447ca78717479@mail.gmail.com>
Message-ID: <9d0ec1d60911140651je8a7ceal5cf6fbe259023082@mail.gmail.com>

Samuel, lovely project, count me in please, im very interested
Greetings from Spain

Eduardo
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From eduardoacosta at gmail.com  Sat Nov 14 09:58:24 2009
From: eduardoacosta at gmail.com (Eduardo Acosta)
Date: Sat, 14 Nov 2009 15:58:24 +0100
Subject: [microsound] Experimental video online presentation
Message-ID: <9d0ec1d60911140658x588dfc3dqdce64d165e2bdf05@mail.gmail.com>

Hello microsounders,

I Want to present a piece in collaboration with Dave Seidel.
We used "A door into spring" piece into an experimental video.


*
http://vimeo.com/7557146*

Best regards!
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From technohead3d at googlemail.com  Sat Nov 14 10:07:14 2009
From: technohead3d at googlemail.com (Adam Davis)
Date: Sat, 14 Nov 2009 15:07:14 +0000
Subject: [microsound] A series of textual compositions 1
In-Reply-To: <424ce300911121729y270f1703w97410dd4a95e29ec@mail.gmail.com>
References: <5badef3b0911121122v6f85f348j9953e2a904dfd458@mail.gmail.com>
	<5badef3b0911121500x6187fce7x3340ed58471dd1ad@mail.gmail.com>
	<424ce300911121729y270f1703w97410dd4a95e29ec@mail.gmail.com>
Message-ID: <5badef3b0911140707m4d1ea178n878cfad79bdc2290@mail.gmail.com>

Hello Paulo,

Aye, those works, as well as those by La Monte Young like his Compositions
1960, were a big influence there. I hope to get these published sometime :)

Adam
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From dev at commtom.com  Sat Nov 14 10:15:25 2009
From: dev at commtom.com (devslashnull)
Date: Sat, 14 Nov 2009 08:15:25 -0700
Subject: [microsound] searching for a book... title 'development
	something mind something'
In-Reply-To: <6EB65FAB-E817-42E7-9D30-00A3DA98AF61@frey.co.nz>
References: <6EB65FAB-E817-42E7-9D30-00A3DA98AF61@frey.co.nz>
Message-ID: <353142C9-A99D-4D64-8BAE-298B988F9EAA@commtom.com>

The Origin of Consciousness in the Breakdown of the Bicameral Mind?

written in 1976 by Julian Jaynes. Maybe not the one you are thinking of.




On Nov 14, 2009, at 5:50 AM, Damian Stewart wrote:

> hi microsound,
>
> i'm searching for a book that was a tiny bit hip in intellectual  
> circles around 2005-2006ish.. the problem was i don't remember the  
> exact title.
>
> it's something like:
> The Development of Mind in the History of Cro-Magnon Man
> or
> The History of Mind and the Development of Something
> .. i'm pretty sure it has the words 'mind', 'development', and  
> something anthropological/historical sounding like cro-magnon or  
> neolithic ...
>
> sorry for the vagueness, hoping someone can help!
>
> cheers
> d
> --
> damian stewart | skype: damiansnz | damian at frey.co.nz
> frey | live art with machines | http://www.frey.co.nz
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound


From damian.ml at frey.co.nz  Sat Nov 14 11:15:21 2009
From: damian.ml at frey.co.nz (Damian Stewart)
Date: Sat, 14 Nov 2009 17:15:21 +0100
Subject: [microsound] searching for a book... title 'development
	something mind something'
In-Reply-To: <353142C9-A99D-4D64-8BAE-298B988F9EAA@commtom.com>
References: <6EB65FAB-E817-42E7-9D30-00A3DA98AF61@frey.co.nz>
	<353142C9-A99D-4D64-8BAE-298B988F9EAA@commtom.com>
Message-ID: <AE9656B3-4EEA-4088-8964-A819A8C352E1@frey.co.nz>

that's the one! thanks.

On 14 Nov 2009, at 16:15, devslashnull wrote:

> The Origin of Consciousness in the Breakdown of the Bicameral Mind?
>
> written in 1976 by Julian Jaynes. Maybe not the one you are thinking  
> of.
>
>
>
>
> On Nov 14, 2009, at 5:50 AM, Damian Stewart wrote:
>
>> hi microsound,
>>
>> i'm searching for a book that was a tiny bit hip in intellectual  
>> circles around 2005-2006ish.. the problem was i don't remember the  
>> exact title.
>>
>> it's something like:
>> The Development of Mind in the History of Cro-Magnon Man
>> or
>> The History of Mind and the Development of Something
>> .. i'm pretty sure it has the words 'mind', 'development', and  
>> something anthropological/historical sounding like cro-magnon or  
>> neolithic ...
>>
>> sorry for the vagueness, hoping someone can help!
>>
>> cheers
>> d
>> --
>> damian stewart | skype: damiansnz | damian at frey.co.nz
>> frey | live art with machines | http://www.frey.co.nz
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

--
damian stewart | skype: damiansnz | damian at frey.co.nz
frey | live art with machines | http://www.frey.co.nz


From thinksamuel at yahoo.com  Sat Nov 14 11:22:56 2009
From: thinksamuel at yahoo.com (Samuel van ransbeeck)
Date: Sat, 14 Nov 2009 08:22:56 -0800 (PST)
Subject: [microsound] any interest in participating in a research project:
	requiremnets
Message-ID: <399839.13260.qm@web34205.mail.mud.yahoo.com>

Hello

I am happily surprised with the enthousiastic response I received here. For the requirments: you would have to be proficient in western music notation. A basic understanding of harmony would be nice but my goal is (in chronological order):
1. you read the text and ask questions (via email or skype)
2. you make the exercises at the end of each chapter. This would be 5 small exercises like: write a melodic line for flute using the algorithm
3. You give me feedback on the text and exercises; what can be improved and so.
4. The exercises I will collect, compare and eventually add in the book as examples.

I will write approx 1 chapter a month (I hope) and ask from you probably 1 day (in total) amonth. You can spread your hours as you like, as long as you send me the exercises and give me feedback on the material.

I will keep you updated
Yours sincerely
Samuel Van Ransbeeck



      
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From srascha at gmail.com  Sat Nov 14 13:35:28 2009
From: srascha at gmail.com (stephen schaum)
Date: Sat, 14 Nov 2009 13:35:28 -0500
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <9d0ec1d60911140651je8a7ceal5cf6fbe259023082@mail.gmail.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<5badef3b0911140632n6d550872gd2b447ca78717479@mail.gmail.com>
	<9d0ec1d60911140651je8a7ceal5cf6fbe259023082@mail.gmail.com>
Message-ID: <b2bd785c0911141035j76bdc572p85cb2bea99f00eeb@mail.gmail.com>

Hi Samuel,
Great research project...I would definitely like to be part of it
-Stephen


On Sat, Nov 14, 2009 at 9:51 AM, Eduardo Acosta <eduardoacosta at gmail.com>wrote:

>
>
> Samuel, lovely project, count me in please, im very interested
> Greetings from Spain
>
> Eduardo
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>
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From paulorcbarros at uol.com.br  Sat Nov 14 19:28:40 2009
From: paulorcbarros at uol.com.br (Paulo R. C. Barros)
Date: Sat, 14 Nov 2009 22:28:40 -0200
Subject: [microsound] Interview on Circuit-Bending
In-Reply-To: <5badef3b0911140707m4d1ea178n878cfad79bdc2290@mail.gmail.com>
References: <5badef3b0911121122v6f85f348j9953e2a904dfd458@mail.gmail.com>
	<5badef3b0911121500x6187fce7x3340ed58471dd1ad@mail.gmail.com>
	<424ce300911121729y270f1703w97410dd4a95e29ec@mail.gmail.com>
	<5badef3b0911140707m4d1ea178n878cfad79bdc2290@mail.gmail.com>
Message-ID: <4aff4b38b78a1_2b18c2dbbec422@weasel23.tmail>

http://www.youtube.com/watch?v=PtdVucQQrQE


NUMBER 2
Computer Visuals - Paulo R. C. Barros (Sao Paulo-Brazil)
Circuit-Bent Sounds - Igor Amokian (Los Angeles-USA)


Interview on Circuit-Bending
Chris Wild aka Igor Amokian


Part 1:

http://vimeo.com/2213397


Part 2:

http://vimeo.com/3789999


Part 3:

http://vimeo.com/5710737


All the best,
Paulo 

From paulorcbarros at uol.com.br  Sun Nov 15 16:38:55 2009
From: paulorcbarros at uol.com.br (Paulo R. C. Barros)
Date: Sun, 15 Nov 2009 19:38:55 -0200
Subject: [microsound] Guttural: "Manipulated Image"
In-Reply-To: <4b005873f3a4d_6ec62b7c3f017c@weasel13.tmail>
References: <4afd943ee0400_64584a9a3f4197@weasel12.tmail>
	<4afd99f05be5f_29c44a9a3f41f0@weasel12.tmail>
	<4afda1b1b9805_bc84a9a3f4168@weasel12.tmail>
	<4aff47071e00_1c6fc2dbbec127@weasel23.tmail>
	<4aff629a6d8ec_b08c2dbbec1a9@weasel23.tmail>
	<4aff6338b25b7_d28c2dbbec416@weasel23.tmail>
	<4affefcf2e209_612ef51c3f42eb@weasel22.tmail>
	<4afff22628acf_66d6f51c3f466d@weasel22.tmail>
	<4afff26be36b6_6bcdf51c3f41d9@weasel22.tmail>
	<4b0050f215f9e_4a212b7c3f01d0@weasel13.tmail>
	<4b0054b1a695a_5c662b7c3f0385@weasel13.tmail>
	<4b00554ba05cc_5f252b7c3f01f@weasel13.tmail>
	<4b005873f3a4d_6ec62b7c3f017c@weasel13.tmail>
Message-ID: <4b0074ef9f0c8_a8f2b7c3f03ab@weasel13.tmail>

http://sfcomplex.org/wordpress/2009/11/mi9-guttural

All the best,
Paulo

From batuhan at batuhanbozkurt.com  Sun Nov 15 17:32:05 2009
From: batuhan at batuhanbozkurt.com (Batuhan Bozkurt)
Date: Mon, 16 Nov 2009 00:32:05 +0200
Subject: [microsound] Requesting sounds for a process oriented piece /
	concept
Message-ID: <E771A454-7291-4B08-88E8-5D2698AD6C32@batuhanbozkurt.com>

Hi all,

I'm working on a simple music process (or process music concept) which  
needs input sounds of duration between 8 to 15 seconds. Instead of  
producing them all by myself (someone who is aware of the simple  
mechanics of the concept, and as a side effect partially perceptually  
blind to the unexpected opportunities that can be provided by  
unexpected source materials) I thought it might be interesting to ask  
the great people here for cooperation.

Here are some notes:
* 8 to 15 seconds long
* Inclusion of one or more acoustic source is desirable
* A single piece will be created by transformations of a single source  
sound, so inclusion of some sort of spectral and dynamic variation in  
the source works well
* Speech works well, especially if there is other intermittent  
sounds / noises (produced by instruments or otherwise) accompanying it.
* Composition of unrelated sounds also work well together in later  
stages
* The listener will hear the untransformed sound once at the beginning  
of a piece
* Sounds can be original productions, can be cut parts from your own  
pieces (if you are willing to), or can be parts from public domain or  
freely licensed recordings that you find interesting for such a  
purpose, as long as I'm allowed to use them.

I don't want to give the details of the musical process here now, not  
because I am intending to keep it a secret (I can't!), but because I  
don't want to influence the results directly by disclosing the simple  
mechanics of the system. If you want to know what it is about, please  
mail me off-list and I will gladly explain.

When I make something out of them (which is kind of, instantly, once I  
compile the source sounds) I am going to make a free online music  
release out of them for anyone to listen (by properly attributing each  
source sound to its owner of course!) and I will also provide the  
(open source) software I've written to compose them (it is a unguided  
stochastic system so permutations with one source is endless, if one  
wants to experiment). I will, of course, disclose the details of the  
process publicly if it needs any further explanation after listening.

I will also make sure the authors of the sounds will hear the pieces  
before I release them and they can opt-out at that stage, so I simply  
won't use that sound. And lastly, I won't be choosing anything here.  
If I get many contributions, I might release the "pieces" I happened  
to like the most, but I will include all the sounds in the software  
I'm going to provide (with proper attributions again, of course).

Please mail me off-list if you are willing to participate, I can also  
reply general questions from here.

Thanks for your attention.

Sincerely,
Batuhan Bozkurt
/* http://www.earslap.com */





From kim at anechoicmedia.com  Sun Nov 15 20:19:02 2009
From: kim at anechoicmedia.com (Kim Cascone)
Date: Sun, 15 Nov 2009 17:19:02 -0800
Subject: [microsound] please do not post announcements and calls to the main
	list
Message-ID: <4B00A886.4080507@anechoicmedia.com>

there is another .microsound list for that purpose
please re-read the main microsound page for an explanation as to protocals
thanks

From mnelson2 at wisc.edu  Sun Nov 15 22:58:17 2009
From: mnelson2 at wisc.edu (MSC Nelson)
Date: Sun, 15 Nov 2009 21:58:17 -0600
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <133569.93030.qm@web34202.mail.mud.yahoo.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
Message-ID: <7F830BD8026C4DA4A1BAB6466333C90F@sohe.ad.wisc.edu>

Samuel:

 

I would enjoy participating in your project, as it sounds interesting.  If
you are going to gather data formally, asking questions about experience
levels with algorithmic composition and using that as a variable would be a
way to use responses from a pool of people who have different intensities of
previous use.  It could be interesting to compare responses from the high
and low ends of that spectrum.

 

Mark

 

M.S.C. Nelson

Associate Professor

Design Studies Department

University of Wisconsin-Madison

Room 235

1300 Linden Drive

Madison, WI 53706

608-261-1003

mnelson2 at wisc.edu

 

  _____  

From: microsound-bounces at or8.net [mailto:microsound-bounces at or8.net] On
Behalf Of Samuel van ransbeeck
Sent: Friday, November 13, 2009 6:51 AM
To: microsound at or8.net
Subject: [microsound] any interest in participating in a research project?

 

Hello

 

As a student of composition, I always felt a lack of a method for
algorithmic composition. For counterpoint and harmony, there are treatises
and structured methods but for the 20th century idiom with all its facets,
there is no structured pedagogical means for students to learn about
algorithmic composition. I would like to write a method book to allow
students to learn about algorithmic composition, giving them information and
i the end of each chapter some exercises. It would be like the book of
Straus about posttonal theory, only it will focus on algorithmic methods. 

 

I have spoken to my professor about this but he told me I need a rather
large group of people to test my texts and exercises on. My question now is:
Are there people from the microsound mailing list interested in
participating in such a research. I would write a chapter and exercises,
share them with you and letting you write small exercises and then
collecting and comparing the results of each exercise. This would be like
one year. What is in it for you: eternal glory and I will try to record as
many compositions possible to include in a CD.

 

Let me know what you think

Samuel

 

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From hellomynameisphil+mcrsnd at gmail.com  Mon Nov 16 09:46:53 2009
From: hellomynameisphil+mcrsnd at gmail.com (Phil Thomson)
Date: Mon, 16 Nov 2009 06:46:53 -0800
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <7F830BD8026C4DA4A1BAB6466333C90F@sohe.ad.wisc.edu>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<7F830BD8026C4DA4A1BAB6466333C90F@sohe.ad.wisc.edu>
Message-ID: <c3e4d47f0911160646u37bca2e9oe580ff530e42c70b@mail.gmail.com>

Can future replies re: this go directly to the original poster and not
to the list please?

On Sun, Nov 15, 2009 at 7:58 PM, MSC Nelson <mnelson2 at wisc.edu> wrote:
> Samuel:
>
>
>
> I would enjoy participating in your project, as it sounds interesting. ?If
> you are going to gather data formally, asking questions about experience
> levels with algorithmic composition and using that as a variable would be a
> way to use responses from a pool of people who have different intensities of
> previous use.? It could be interesting to compare responses from the high
> and low ends of that spectrum.
>
>
>
> Mark
>
>
>
> M.S.C. Nelson
>
> Associate Professor
>
> Design Studies Department
>
> University of Wisconsin-Madison
>
> Room 235
>
> 1300 Linden Drive
>
> Madison, WI 53706
>
> 608-261-1003
>
> mnelson2 at wisc.edu
>
>
>
> ________________________________
>
> From: microsound-bounces at or8.net [mailto:microsound-bounces at or8.net] On
> Behalf Of Samuel van ransbeeck
> Sent: Friday, November 13, 2009 6:51 AM
> To: microsound at or8.net
> Subject: [microsound] any interest in participating in a research project?
>
>
>
> Hello
>
>
>
> As a student of composition, I always felt a lack of a method for
> algorithmic?composition. For counterpoint and harmony, there are treatises
> and structured methods but for the 20th century idiom with all its facets,
> there is no structured?pedagogical?means for students to learn about
> algorithmic composition. I would like to write a method book to allow
> students to learn?about?algorithmic composition, giving them information and
> i the end of each chapter some exercises. It would be like the book of
> Straus about posttonal theory, only it will focus on algorithmic methods.
>
>
>
> I have spoken to my professor about this but he told me I need a rather
> large group of people to test my texts and exercises on. My question now is:
> Are there people from the microsound mailing list interested in
> participating in such a research. I would write a chapter and exercises,
> share them with you and letting you write small exercises and then
> collecting and comparing the results of each exercise. This would be like
> one year. What is in it for you: eternal glory and I will try to record as
> many compositions possible to include in a CD.
>
>
>
> Let me know what you think
>
> Samuel
>
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
>



-- 
"In art only one thing matters: that which cannot be explained."

~Georges Braque


~~~~~~~~~~~~~~~~~~~~~~~~~
~ Phil Thomson
~ http://philthomson.ca/
~~~~~~~~~~~~~~~~~~~~~~~~~

From renato.fabbri at gmail.com  Mon Nov 16 09:59:08 2009
From: renato.fabbri at gmail.com (Renato Fabbri)
Date: Mon, 16 Nov 2009 12:59:08 -0200
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <c3e4d47f0911160646u37bca2e9oe580ff530e42c70b@mail.gmail.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<7F830BD8026C4DA4A1BAB6466333C90F@sohe.ad.wisc.edu>
	<c3e4d47f0911160646u37bca2e9oe580ff530e42c70b@mail.gmail.com>
Message-ID: <1f50cb500911160659n695eb66dlecfe151fc6b00c42@mail.gmail.com>

2009/11/16 Phil Thomson <hellomynameisphil+mcrsnd at gmail.com>:
> Can future replies re: this go directly to the original poster and not
> to the list please?

why so? as we both have gmails, it groups into one thread anyway.

>
> On Sun, Nov 15, 2009 at 7:58 PM, MSC Nelson <mnelson2 at wisc.edu> wrote:
>> Samuel:
>>
>>
>>
>> I would enjoy participating in your project, as it sounds interesting. ?If
>> you are going to gather data formally, asking questions about experience
>> levels with algorithmic composition and using that as a variable would be a
>> way to use responses from a pool of people who have different intensities of
>> previous use.? It could be interesting to compare responses from the high
>> and low ends of that spectrum.
>>
>>
>>
>> Mark
>>
>>
>>
>> M.S.C. Nelson
>>
>> Associate Professor
>>
>> Design Studies Department
>>
>> University of Wisconsin-Madison
>>
>> Room 235
>>
>> 1300 Linden Drive
>>
>> Madison, WI 53706
>>
>> 608-261-1003
>>
>> mnelson2 at wisc.edu
>>
>>
>>
>> ________________________________
>>
>> From: microsound-bounces at or8.net [mailto:microsound-bounces at or8.net] On
>> Behalf Of Samuel van ransbeeck
>> Sent: Friday, November 13, 2009 6:51 AM
>> To: microsound at or8.net
>> Subject: [microsound] any interest in participating in a research project?
>>
>>
>>
>> Hello
>>
>>
>>
>> As a student of composition, I always felt a lack of a method for
>> algorithmic?composition. For counterpoint and harmony, there are treatises
>> and structured methods but for the 20th century idiom with all its facets,
>> there is no structured?pedagogical?means for students to learn about
>> algorithmic composition. I would like to write a method book to allow
>> students to learn?about?algorithmic composition, giving them information and
>> i the end of each chapter some exercises. It would be like the book of
>> Straus about posttonal theory, only it will focus on algorithmic methods.
>>
>>
>>
>> I have spoken to my professor about this but he told me I need a rather
>> large group of people to test my texts and exercises on. My question now is:
>> Are there people from the microsound mailing list interested in
>> participating in such a research. I would write a chapter and exercises,
>> share them with you and letting you write small exercises and then
>> collecting and comparing the results of each exercise. This would be like
>> one year. What is in it for you: eternal glory and I will try to record as
>> many compositions possible to include in a CD.
>>
>>
>>
>> Let me know what you think
>>
>> Samuel
>>
>>
>>
>> _______________________________________________
>> microsound mailing list
>> microsound at microsound.org
>> http://or8.net/mailman/listinfo/microsound
>>
>>
>
>
>
> --
> "In art only one thing matters: that which cannot be explained."
>
> ~Georges Braque
>
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~
> ~ Phil Thomson
> ~ http://philthomson.ca/
> ~~~~~~~~~~~~~~~~~~~~~~~~~
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>

From mnelson2 at wisc.edu  Mon Nov 16 14:39:16 2009
From: mnelson2 at wisc.edu (MSC Nelson)
Date: Mon, 16 Nov 2009 13:39:16 -0600
Subject: [microsound] any interest in participating in a
	research	project?
In-Reply-To: <c3e4d47f0911160646u37bca2e9oe580ff530e42c70b@mail.gmail.com>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<7F830BD8026C4DA4A1BAB6466333C90F@sohe.ad.wisc.edu>
	<c3e4d47f0911160646u37bca2e9oe580ff530e42c70b@mail.gmail.com>
Message-ID: <60E2F6886EB0460FBF6FC021EBE30336@sohe.ad.wisc.edu>

Um...  Perhaps I missed something.  This is a discussion list but you want
to eliminate discussion from the list?  Seems a bit oxymoronic.

Mark

M.S.C. Nelson
Associate Professor
Design Studies Department
University of Wisconsin-Madison
Room 235
1300 Linden Drive
Madison, WI 53706
608-261-1003
mnelson2 at wisc.edu
 

-----Original Message-----
From: microsound-bounces at or8.net [mailto:microsound-bounces at or8.net] On
Behalf Of Phil Thomson
Sent: Monday, November 16, 2009 8:47 AM
To: microsound at microsound.org
Subject: Re: [microsound] any interest in participating in a research
project?

Can future replies re: this go directly to the original poster and not
to the list please?

On Sun, Nov 15, 2009 at 7:58 PM, MSC Nelson <mnelson2 at wisc.edu> wrote:
> Samuel:
>
>
>
> I would enjoy participating in your project, as it sounds interesting. ?If
> you are going to gather data formally, asking questions about experience
> levels with algorithmic composition and using that as a variable would be
a
> way to use responses from a pool of people who have different intensities
of
> previous use.? It could be interesting to compare responses from the high
> and low ends of that spectrum.
>
>
>
> Mark
>


From experimedia at gmail.com  Mon Nov 16 16:55:46 2009
From: experimedia at gmail.com (Jeremy Bible)
Date: Mon, 16 Nov 2009 16:55:46 -0500
Subject: [microsound] any interest in participating in a research
	project?
In-Reply-To: <60E2F6886EB0460FBF6FC021EBE30336@sohe.ad.wisc.edu>
References: <133569.93030.qm@web34202.mail.mud.yahoo.com>
	<7F830BD8026C4DA4A1BAB6466333C90F@sohe.ad.wisc.edu>
	<c3e4d47f0911160646u37bca2e9oe580ff530e42c70b@mail.gmail.com>
	<60E2F6886EB0460FBF6FC021EBE30336@sohe.ad.wisc.edu>
Message-ID: <5a9dc0d60911161355l2afb1f59g45068e668b2672d8@mail.gmail.com>

Count me in.

On Monday, November 16, 2009, MSC Nelson <mnelson2 at wisc.edu> wrote:
> Um... ?Perhaps I missed something. ?This is a discussion list but you want
> to eliminate discussion from the list? ?Seems a bit oxymoronic.
>
> Mark
>
> M.S.C. Nelson
> Associate Professor
> Design Studies Department
> University of Wisconsin-Madison
> Room 235
> 1300 Linden Drive
> Madison, WI 53706
> 608-261-1003
> mnelson2 at wisc.edu
>
>
> -----Original Message-----
> From: microsound-bounces at or8.net [mailto:microsound-bounces at or8.net] On
> Behalf Of Phil Thomson
> Sent: Monday, November 16, 2009 8:47 AM
> To: microsound at microsound.org
> Subject: Re: [microsound] any interest in participating in a research
> project?
>
> Can future replies re: this go directly to the original poster and not
> to the list please?
>
> On Sun, Nov 15, 2009 at 7:58 PM, MSC Nelson <mnelson2 at wisc.edu> wrote:
>> Samuel:
>>
>>
>>
>> I would enjoy participating in your project, as it sounds interesting. ?If
>> you are going to gather data formally, asking questions about experience
>> levels with algorithmic composition and using that as a variable would be
> a
>> way to use responses from a pool of people who have different intensities
> of
>> previous use.? It could be interesting to compare responses from the high
>> and low ends of that spectrum.
>>
>>
>>
>> Mark
>>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>

-- 
-- 
Jeremy Bible
---------------------------------------------------------------------------------------------
Experimedia - record label + mailorder shop + a/v arts (est.2000)
---------------------------------------------------------------------------------------------
experimedia.net
jeremybible.com
jbjh.experimedia.net
myspace.com/experimedia
---------------------------------------------------------------------------------------------

From roger at eartrumpet.org  Wed Nov 18 07:23:10 2009
From: roger at eartrumpet.org (Roger Mills)
Date: Wed, 18 Nov 2009 23:23:10 +1100
Subject: [microsound] realtime net audio platforms
Message-ID: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org>

Hi Everyone,

I hope this is ok to post here but I am doing some investigating of  
realtime net audio platforms and wondered if anyone knew of any others  
than ninjam, eJammer, netpd, Keyworks ?

Anyone had experiences (particularly improvising) using any of these  
or any other platforms ?

Cheers

Roger

--
Roger Mills
http://www.eartrumpet.org
http://www.furthernoise.org

http://ethernetorchestra.netpraxis.net

M: 0403 414495













From noisesmith at gmail.com  Wed Nov 18 07:35:18 2009
From: noisesmith at gmail.com (Justin Glenn Smith)
Date: Wed, 18 Nov 2009 04:35:18 -0800
Subject: [microsound] realtime net audio platforms
In-Reply-To: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org>
References: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org>
Message-ID: <4B03EA06.6050407@gmail.com>

Roger Mills wrote:
> Hi Everyone,
> 
> I hope this is ok to post here but I am doing some investigating of
> realtime net audio platforms and wondered if anyone knew of any others
> than ninjam, eJammer, netpd, Keyworks ?
> 
> Anyone had experiences (particularly improvising) using any of these or
> any other platforms ?
> 

The jack audio connection kit (primarily Linux, but availible for Mac and
Windows also) has the netjack backend, which can be used simultaneously with
the regular sound-card based one. I have heard good things about low latency
usage over ethernet, but I am not so sure about using over longer network
distances.

From noisesmith at gmail.com  Wed Nov 18 07:35:18 2009
From: noisesmith at gmail.com (Justin Glenn Smith)
Date: Wed, 18 Nov 2009 04:35:18 -0800
Subject: [microsound] realtime net audio platforms
In-Reply-To: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org>
References: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org>
Message-ID: <4B03EA06.6050407@gmail.com>

Roger Mills wrote:
> Hi Everyone,
> 
> I hope this is ok to post here but I am doing some investigating of
> realtime net audio platforms and wondered if anyone knew of any others
> than ninjam, eJammer, netpd, Keyworks ?
> 
> Anyone had experiences (particularly improvising) using any of these or
> any other platforms ?
> 

The jack audio connection kit (primarily Linux, but availible for Mac and
Windows also) has the netjack backend, which can be used simultaneously with
the regular sound-card based one. I have heard good things about low latency
usage over ethernet, but I am not so sure about using over longer network
distances.

From paulshuler at fastmail.us  Wed Nov 18 07:58:35 2009
From: paulshuler at fastmail.us (Paul Shuler)
Date: Wed, 18 Nov 2009 07:58:35 -0500
Subject: [microsound] realtime net audio platforms
In-Reply-To: <4B03EA06.6050407@gmail.com>
References: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org> 
	<4B03EA06.6050407@gmail.com>
Message-ID: <e22514520911180458i268673f2q514a036885f6ec27@mail.gmail.com>

I've had some fun experiences jamming with ninjam. It syncing is achieved by
"being a measure behind" which takes a little getting use to but it is
effective. here are some links to .ogg jams that I have been involved in.
(koostix) Cheers
http://autosong.ninjam.com/index.php?search=koostix&usehist=$usehist

On Wed, Nov 18, 2009 at 7:35 AM, Justin Glenn Smith <noisesmith at gmail.com>wrote:

> Roger Mills wrote:
> > Hi Everyone,
> >
> > I hope this is ok to post here but I am doing some investigating of
> > realtime net audio platforms and wondered if anyone knew of any others
> > than ninjam, eJammer, netpd, Keyworks ?
> >
> > Anyone had experiences (particularly improvising) using any of these or
> > any other platforms ?
> >
>
> The jack audio connection kit (primarily Linux, but availible for Mac and
> Windows also) has the netjack backend, which can be used simultaneously
> with
> the regular sound-card based one. I have heard good things about low
> latency
> usage over ethernet, but I am not so sure about using over longer network
> distances.
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>
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From mis at artengine.ca  Wed Nov 18 08:52:30 2009
From: mis at artengine.ca (Michal Seta)
Date: Wed, 18 Nov 2009 08:52:30 -0500
Subject: [microsound] realtime net audio platforms
In-Reply-To: <4B03EA06.6050407@gmail.com>
References: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org> 
	<4B03EA06.6050407@gmail.com>
Message-ID: <eee389550911180552u746b2c49wcbdcd36f7370c6d8@mail.gmail.com>

On Wed, Nov 18, 2009 at 7:35 AM, Justin Glenn Smith
<noisesmith at gmail.com> wrote:
> The jack audio connection kit (primarily Linux, but availible for Mac and
> Windows also) has the netjack backend, which can be used simultaneously with
> the regular sound-card based one. I have heard good things about low latency
> usage over ethernet, but I am not so sure about using over longer network
> distances.

Yes, but I have installed Jack2 on Mac and it told me that the IP
component was broken and was going to be available on Mac in the
future.  You could try to compile Jack1 and have access jack.udp,
though, but I have never tried any compilations on the Apple platform
(and it seems that it is not as straight forward as on Linux).

That said, I had fairly good results with jack.udp on a LAN
(seb-second latency).  I have not tried WAN but it would probably be
less optimal.  Note however that jack sends raw audio data, no
compression.  The problem with systems that use some sort of
compression is that there is encoding/decoding overhead which,
naturally, adds to the latency.

There is also SAT's (Society for Arts and Technology) Scenic (why do
they keep changing the name?)
http://scenic.sat.qc.ca/en/Scenic

It is a linux only (at least it was until recently) system for
high-bandwidth audio-visual communication.  I have attended the
performance of National Parks in which half of the band played in
Montreal and the other half some 5000 form here and they played
(mostly) in sync with high resolution audio and video.  But they had
big pipes (direct optical connection).  YYMV, and installation of the
thing is quite involved.

I am presently working (and researching) a possibility to jam over
WiFi, so if anyone has any ideas, I will grab them, otherwise I will
share some info if that becomes necessary (and I actually get it
working).

Cheers,

./MiS

From noisesmith at gmail.com  Wed Nov 18 09:09:29 2009
From: noisesmith at gmail.com (Justin Glenn Smith)
Date: Wed, 18 Nov 2009 06:09:29 -0800
Subject: [microsound] realtime net audio platforms
In-Reply-To: <eee389550911180552u746b2c49wcbdcd36f7370c6d8@mail.gmail.com>
References: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org>
	<4B03EA06.6050407@gmail.com>
	<eee389550911180552u746b2c49wcbdcd36f7370c6d8@mail.gmail.com>
Message-ID: <4B040019.9070209@gmail.com>

Michal Seta wrote:
> That said, I had fairly good results with jack.udp on a LAN
> (seb-second latency).  I have not tried WAN but it would probably be
> less optimal.  Note however that jack sends raw audio data, no
> compression.  The problem with systems that use some sort of
> compression is that there is encoding/decoding overhead which,
> naturally, adds to the latency.

Jack can use CELT audio compression if both ends of the connection are
using the same version of CELT.

From j.m.duarte.r at gmail.com  Wed Nov 18 09:14:37 2009
From: j.m.duarte.r at gmail.com (Joao Ricardo)
Date: Wed, 18 Nov 2009 14:14:37 +0000
Subject: [microsound] realtime net audio platforms
Message-ID: <8925530d0911180614y66303febvc0036b5885055b7c@mail.gmail.com>

Here's one I've used with relative success: http://www.t-u-b-e.de/
It's not very stable but latency is insignificant.

Cheers,
Jo?o
-- 
http://ocp.pt.vu
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From mis at artengine.ca  Wed Nov 18 09:18:22 2009
From: mis at artengine.ca (Michal Seta)
Date: Wed, 18 Nov 2009 09:18:22 -0500
Subject: [microsound] Fwd:  realtime net audio platforms
In-Reply-To: <eee389550911180617y580e2788i65cc977a418b57a9@mail.gmail.com>
References: <1AD5A403-1C03-45FA-8C20-62E7DF27B62D@eartrumpet.org> 
	<4B03EA06.6050407@gmail.com>
	<eee389550911180552u746b2c49wcbdcd36f7370c6d8@mail.gmail.com> 
	<4B040019.9070209@gmail.com>
	<eee389550911180617y580e2788i65cc977a418b57a9@mail.gmail.com>
Message-ID: <eee389550911180618x376c2fe8ue066eccc6e4297a2@mail.gmail.com>

Sorry, I forgot to make this public:


---------- Forwarded message ----------
From: Michal Seta <mis at artengine.ca>
Date: Wed, Nov 18, 2009 at 9:17 AM
Subject: Re: [microsound] realtime net audio platforms
To: Justin Glenn Smith <noisesmith at gmail.com>


On Wed, Nov 18, 2009 at 9:09 AM, Justin Glenn Smith
<noisesmith at gmail.com> wrote:

> Jack can use CELT audio compression if both ends of the connection are
> using the same version of CELT.
>

Jack2, which I have not yet figured out. ?In fact, my attempts with
establishing master-slave relationships all failed. ?It could be that
it expects a fairly reliable network (I was trying it over WiFi, on at
least one end). ?Jack1 does not implement CELT.

One thing I forgot to mention before, with regard to the original
post, netpd does not send audio data over the net, it only sends
control messages. ?It is a clever system and certainly fun (I have
never tried it) but it forces you to use the provided synths/effects.

ciao

./MiS



-- 
./MiS
514-344-0726
http://www.creazone.ca

From mis at artengine.ca  Wed Nov 18 09:21:00 2009
From: mis at artengine.ca (Michal Seta)
Date: Wed, 18 Nov 2009 09:21:00 -0500
Subject: [microsound] realtime net audio platforms
In-Reply-To: <8925530d0911180614y66303febvc0036b5885055b7c@mail.gmail.com>
References: <8925530d0911180614y66303febvc0036b5885055b7c@mail.gmail.com>
Message-ID: <eee389550911180621p7c5105d3vd946a7b5a3fa2110@mail.gmail.com>

On Wed, Nov 18, 2009 at 9:14 AM, Joao Ricardo <j.m.duarte.r at gmail.com> wrote:
> Here's one I've used with relative success: http://www.t-u-b-e.de/
> It's not very stable but latency is insignificant.

Ha!,

I tried to make t-u-b-e.de work but somehow I failed, I figured that
it had to be used with their servers? I guess I must be wrong but the
way it works is not quite intuitive (to me at least).
What do you mean by "not very stable"?

./MiS

From mmi at art.pte.hu  Wed Nov 18 14:37:38 2009
From: mmi at art.pte.hu (=?ISO-8859-1?Q?Media-_=E9s_Alkalmazott_Muveszetek_Intezete?=)
Date: Wed, 18 Nov 2009 20:37:38 +0100
Subject: [microsound] realtime net audio platforms
In-Reply-To: <eee389550911180621p7c5105d3vd946a7b5a3fa2110@mail.gmail.com>
References: <8925530d0911180614y66303febvc0036b5885055b7c@mail.gmail.com>
	<eee389550911180621p7c5105d3vd946a7b5a3fa2110@mail.gmail.com>
Message-ID: <4B044D02.1020001@art.pte.hu>

Halih?,

yes it's unstable especially the plug-in (vst) version for Mac. It 
consumes a lot
of CPU while the Mac standalone is a bit better and consumes a very 
little CPU.
The best is the Windows plugin, it never freezed (for me) but it's hard to
run it on Mac. Tubeplug is very straightforward, everybody can choose 
what to
hear on monitor, and it compresses the audio so don't need  a high 
bandwidth. So
good luck,

Best
Balazs

 

Michal Seta wrote:
> On Wed, Nov 18, 2009 at 9:14 AM, Joao Ricardo <j.m.duarte.r at gmail.com> wrote:
>   
>> Here's one I've used with relative success: http://www.t-u-b-e.de/
>> It's not very stable but latency is insignificant.
>>     
>
> Ha!,
>
> I tried to make t-u-b-e.de work but somehow I failed, I figured that
> it had to be used with their servers? I guess I must be wrong but the
> way it works is not quite intuitive (to me at least).
> What do you mean by "not very stable"?
>
> ./MiS
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>   


-- 

PTE-MK MAMI
PTE Muveszeti Kar, Media- es Alkalmazott Muveszetek Intezete 
H-7624 Pecs, Damjanich u. 30.
tel/fax:+36(72)501540 
mobil:+36(20)2331867 
e-mail: mmi at art.pte.hu


From craque at craque.net  Wed Nov 18 14:43:43 2009
From: craque at craque.net (Craque)
Date: Wed, 18 Nov 2009 11:43:43 -0800
Subject: [microsound] A series of textual compositions 1
In-Reply-To: <5badef3b0911140707m4d1ea178n878cfad79bdc2290@mail.gmail.com>
References: <5badef3b0911121122v6f85f348j9953e2a904dfd458@mail.gmail.com>	<5badef3b0911121500x6187fce7x3340ed58471dd1ad@mail.gmail.com>	<424ce300911121729y270f1703w97410dd4a95e29ec@mail.gmail.com>
	<5badef3b0911140707m4d1ea178n878cfad79bdc2290@mail.gmail.com>
Message-ID: <4B044E6F.3070104@craque.net>

don't forget Pauline Oliveros "Sonic Meditations".

Adam Davis wrote:
> Hello Paulo,
>  
> Aye, those works, as well as those by La Monte Young like his 
> Compositions 1960, were a big influence there. I hope to get these 
> published sometime :)
>  
> Adam
> 
> 
> ------------------------------------------------------------------------
> 
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound

From catsed at libero.it  Sat Nov 21 16:33:52 2009
From: catsed at libero.it (nicola catalano)
Date: Sat, 21 Nov 2009 22:33:52 +0100
Subject: [microsound] looking for contact
In-Reply-To: <399839.13260.qm@web34205.mail.mud.yahoo.com>
References: <399839.13260.qm@web34205.mail.mud.yahoo.com>
Message-ID: <a06240801c72e0cd5d9a3@[151.49.117.213]>

i'm wondering if there's any chance to get a contact for toshio iwai. 
his mail address anyone?
contact me off-list in case. thanks in advance.
nic

From pjknoyes at gmail.com  Tue Nov 24 21:05:31 2009
From: pjknoyes at gmail.com (Patrick Kennelly)
Date: Tue, 24 Nov 2009 18:05:31 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <C731D0EB.10FDF%Pjknoyes@gmail.com>

HIGHWAYS PERFORMANCE SPACE
Southern California?s Boldest Center for New Performance
 
 
Seeks submissions for new works for its July-December 2010
season.
 
 
Highways is inviting submissions from performance artists,
dancers/choreographers, theatrical practitioners, sound + new music artists,
and interdisciplinary artists who are creating new works addressing pressing
questions in the social, sexual, psychological, and political spheres that
blur traditional aesthetic borders, finding unexpected solutions to
traditional performance/theatrical practices.
 
All levels of intent, scale, length, and development are encouraged.
 
Highways co-presents with its artists,
and offers one + two week presenting opportunities.
 
 
----------------------------------------------------------------------------
 
E-mail: 
submissions at highwaysperformance.org
 
+ include a short description of the work, the time frame in which you'd
like to present, and any support materials (including website links).

Deadline:  January 1, 2010
 
----------------------------------------------------------------------------
 
Highways Performance Space is Southern California?s boldest center for new
performance. In its twenty-first year, Highways continues to be an important
alternative cultural center in Los Angeles that encourages fierce new
artists from diverse communities to develop and present innovative works.
 
Recently described by the Los Angeles Times as "a hub of experimental
theater, dance, solo drama and other multimedia performance," Highways
promotes the development of contemporary socially involved artists and art
forms.
 
Throughout our twenty-one year history, Highways has presented some of the
nation's outstanding performance artists, including: Karen Finley, Annie
Sprinkle, Ron Athey, Guillermo Gomez-Pena, Tim Miller, Sir Ian McKellan,
Quentin Crisp, Holly Hughes, John Fleck, Osseus Labyrint, Margaret Cho,
Simone Forti, Levan D. Hawkins, Dan Froot, Elia Arce, Dan Kwong, Denise
Uyehara, Jude Narita, Spiderwoman Theater, Keith Antar Mason + The Hittite
Empire, Luis Alfaro, Michael Kearns, John Malpede + Los Angeles Poverty
Department, Paul Zaloom, Butchlalis de Panochtitlan, Cornerstone Theater,
Mariel Carranza, Charles Phoenix as well as hundreds of other contemporary
emerging artists.

----------------------------------------------------------------------------

Patrick Kennelly
Associate Director
Highways Performance Space
310-453-1755



From eilish at thelab.org  Tue Nov 24 21:05:33 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:05:33 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125020533.27643.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:05:59 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:05:59 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125020559.27812.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:06:10 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:06:10 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125020610.27880.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:12:58 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:12:58 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125021258.3736.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:13:07 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:13:07 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125021307.3770.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:13:18 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:13:18 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125021318.3846.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:13:30 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:13:30 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125021330.3992.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:22:58 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:22:58 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125022258.13325.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:23:05 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:23:05 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125022305.13425.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From eilish at thelab.org  Tue Nov 24 21:23:13 2009
From: eilish at thelab.org (eilish at thelab.org)
Date: 24 Nov 2009 18:23:13 -0800
Subject: [microsound] Call for New Works [Highways Performance Space]
Message-ID: <20091125022313.13473.qmail@squid9.laughingsquid.net>

I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.

Hope to see you at our upcoming Postcard event on December 4, 6-9pm
http://www.thelab.org/events/406-postcard13.html
http://www.thelab.org/index.php?option=com_wordpress

All the best,
Eilish



From mmi at art.pte.hu  Wed Nov 25 01:20:41 2009
From: mmi at art.pte.hu (=?ISO-8859-1?Q?Media-_=E9s_Alkalmazott_Muveszetek_Intezete?=)
Date: Wed, 25 Nov 2009 07:20:41 +0100
Subject: [microsound] Call for New Works [Highways Performance Space]
In-Reply-To: <20091125022313.13473.qmail@squid9.laughingsquid.net>
References: <20091125022313.13473.qmail@squid9.laughingsquid.net>
Message-ID: <4B0CCCB9.6020207@art.pte.hu>

the aesthetics of failure...
or of redundancy? :)

eilish at thelab.org wrote:
> I am currently out of the office from Saturday, November 21 - Tuesday, December 1, 2009. The Lab is closed Monday, November 23 - Tuesday, December 1, 2009.
>
> Hope to see you at our upcoming Postcard event on December 4, 6-9pm
> http://www.thelab.org/events/406-postcard13.html
> http://www.thelab.org/index.php?option=com_wordpress
>
> All the best,
> Eilish
>
>
> _______________________________________________
> microsound mailing list
> microsound at microsound.org
> http://or8.net/mailman/listinfo/microsound
>   


-- 

PTE-MK MAMI
PTE Muveszeti Kar, Media- es Alkalmazott Muveszetek Intezete 
H-7624 Pecs, Damjanich u. 30.
tel/fax:+36(72)501540 
mobil:+36(20)2331867 
e-mail: mmi at art.pte.hu


From renato.fabbri at gmail.com  Sun Nov 29 15:27:24 2009
From: renato.fabbri at gmail.com (Renato Fabbri)
Date: Sun, 29 Nov 2009 18:27:24 -0200
Subject: [microsound] registering volume modulation
Message-ID: <1f50cb500911291227h287ef0a2g1e3a34b682a1cdc8@mail.gmail.com>

Hi Microsound List,

I am trying to learn what is the common way to register an audio
waveform's intensity or volume modulation. As far as I can guess, the
main issues are:

1) What are reasonable chunk sizes (in miliseconds i assume)? And what
overlapping fraction is used?
and
2) What kind of measures are used for this chunks. (RMS/Peak)

I found nothing. It would be great to know about it in a general case,
but the specific case is for voice analysis.

Does anyone knows how is this done or where can i find this?

Thanks in advance,
Best,
rf

From noisesmith at gmail.com  Sun Nov 29 15:49:40 2009
From: noisesmith at gmail.com (Justin Glenn Smith)
Date: Sun, 29 Nov 2009 12:49:40 -0800
Subject: [microsound] registering volume modulation
In-Reply-To: <1f50cb500911291227h287ef0a2g1e3a34b682a1cdc8@mail.gmail.com>
References: <1f50cb500911291227h287ef0a2g1e3a34b682a1cdc8@mail.gmail.com>
Message-ID: <4B12DE64.8060006@gmail.com>

Renato Fabbri wrote:
> Hi Microsound List,
> 
> I am trying to learn what is the common way to register an audio
> waveform's intensity or volume modulation. As far as I can guess, the
> main issues are:
> 
> 1) What are reasonable chunk sizes (in miliseconds i assume)? And what
> overlapping fraction is used?
> and
> 2) What kind of measures are used for this chunks. (RMS/Peak)
> 
> I found nothing. It would be great to know about it in a general case,
> but the specific case is for voice analysis.
> 
> Does anyone knows how is this done or where can i find this?
> 

Most people cannot hear frequencies below 20hz, so any harmonic component
lower than 20hz is heard as volume change rather than a part of the timbre.

1/20*1000 gives 50 --- 50 ms or longer chunks should probably work. RMS 
will tell you more about the sound's perceived amplitude than peak will.
For extra credit you could do an fft and figure out the sone level for
the sound (the sone scale is weighted for human perceptual nonlinearities -
the frequencies that we hear best add more to the score).