Done, I the file named binfile.pd_darwin in the PD app package in
the directory path you provided. Should I name the file something
else? I'm on an Intel Mac. Still no audio though I can see in the
log window that messages are being sent when I use your binDATApayer
program.
On Tue, Oct 13, 2009 at 3:33 PM, <[email protected]> wrote:
Im on a mac so everything is hidden inside the app package, which is
a folder really.
I go to application> right click/ ctrl click on the file and select
"show content" then put the binary in contents/resources/extra
If you on linux it should be work the same (being Unix and all) but
not sure about windows i am afraid
Does anyone have any suggestions to get binfile.pd working on
windows / linux??
marius.
On 13 Oct 2009 02:21, Jerome Covington <[email protected]
> wrote:
> I can't seem to find this directory.
>
> ~/pd/contents/resources/extra
>
>
> Should I create that directory structure myself? And if so where
does it go?
>
>
> On Mon, Oct 12, 2009 at 3:54 PM, alan brooker [email protected]
> wrote:
>
> darn! I think it may have something to do with the binfile.pd
which is
>
> an external from Mr.Peaches-for some reason the binary doesn't get
>
> found by PD- I attach a copy for OSX- if you add it to
>
> ~/pd/contents/resources/extra (don't put in in the the mrpeach
folder
>
> because cant find it). I m not too sure where binaries are for other
>
> os
>
>
>
> Basically If the binfile gets working it is a good way to make sound
>
> based on computer data, as opposed to just playing the raw file of a
>
> jpeg -thank for looking :)
>
>
>
>
> On 10/12/09, Jerome Covington [email protected]>
wrote:
>
> > Hey, I can get the visualization to work, but not the
"audioization".
>
> >
>
> > On Sun, Oct 11, 2009 at 4:53 PM, The Space Between the Words
> > [email protected]> wrote:
>
> >
>
> >> Thanks, Alan!
>
> >>
>
> >> I will take a look at your binary conversion patch first chance
I get.
>
> >>
>
> >> Regards,
>
> >> Jerome
>
> >>
>
> >>
>
> >> On Oct 11, 2009, at 7:40 PM, alan brooker [email protected]
>
>
> >> wrote:
>
> >>
>
> >> it's better if you can recognise the stock price in the music,
>
> >>> because if you can't, you could have taken that data from
anywhere
>
> >>> else and it wouldn't matter, so why would you call it
stockmarket
>
> >>> music then?...
>
> >>>
>
> >>> I agree fully- the point in which the output is true to it's
source
>
> >>> and making something sound good is tricky and down to skill-
>
> >>>
>
> >>> I worked on a simple patch that created audio from binary data
from
>
> >>> loaded files and I am trying to make good sounds from the
patch in
>
> >>> different ways continually- half the fun though!(a work in
progress!
>
> >>> contains osx app and pd patch for other os- uses Mr.Peaches
binfile):
>
> >>>
>
> >>> http://databodega.googlecode.com/files/bin_data_application.macosx%20.zip
>
> >>>
>
> >>>
>
> >>>
>
> >>>
>
> >>> On 10/11/09, Jerome Covington
[email protected]> wrote:
>
> >>>
>
> >>>> Excellent, Mathieu.
>
> >>>> I have a lifetime of experience in music to inform the
aesthetics well.
>
> >>>>
>
> >>>> Now I just need more on the "how", and to that extent I am very
>
> >>>> interested
>
> >>>> in process within this community.
>
> >>>>
>
> >>>> --
>
> >>>> Regards,
>
> >>>> Jerome Covington
>
> >>>> . . . . : . . . . :
>
> >>>> "define audio development"
>
> >>>>
>
> >>>> On Sun, Oct 11, 2009 at 3:05 PM, Mathieu Bouchard [email protected]
>
> >>>> >wrote:
>
> >>>>
>
> >>>> On Sun, 11 Oct 2009, Jerome Covington wrote:
>
> >>>>>
>
> >>>>> Is anyone interested in sharing their process for turning
real-time,
>
> >>>>>
>
> >>>>>> non-audio data feeds, into music? See a great example of
one possible
>
> >>>>>> direction, here.
>
> >>>>>>
>
> >>>>>>
>
> >>>>> Coïncidentally, I wrote some thoughts about it in the Pd
chatroom a few
>
> >>>>> hours before your email, because of a similar topic there:
>
> >>>>>
>
> >>>>> «
>
> >>>>>
>
> >>>>> musical meaningfulness comes from meaningfulness of the data
>
> >>>>> beforehand...
>
> >>>>> basically, if you put garbage in, you get garbage out.
>
> >>>>>
>
> >>>>> the exception to that is that a programme is a kind of data
in itself,
>
> >>>>> so
>
> >>>>> the programme can be considered a kind of meaningful
input... and if
>
> >>>>> the
>
> >>>>> programme imposes itself as the source of the meaning and
successfully
>
> >>>>> downplays the incoming garbage, it can make the output
meaningful;
>
> >>>>>
>
> >>>>> but unless one is very skilled at understanding the
information theory
>
> >>>>> standpoint of music, using random values gives you just more
>
> >>>>> meaningless
>
> >>>>> music like what you are talking about... sort of like
picking a random
>
> >>>>> book
>
> >>>>> from the library of babel.
>
> >>>>>
>
> >>>>> »
>
> >>>>>
>
> >>>>> http://vimeo.com/5415629
>
> >>>>>
>
> >>>>>>
>
> >>>>>>
>
> >>>>> now this is what I add to my above thoughts, this time in
relationship
>
> >>>>> to
>
> >>>>> the video: without necessarily explicitly thinking about
information
>
> >>>>> theory,
>
> >>>>> one can get to interesting results intuitively... one
essentially has
>
> >>>>> to
>
> >>>>> focus on getting beautiful results for likely inputs instead
of being
>
> >>>>> content with whatever fits with the description of a certain
art
>
> >>>>> concept.
>
> >>>>> Any former stock-market music I had listened to sounded like
crap. What
>
> >>>>> Patrick did was to make his programme insert so much beauty
and
>
> >>>>> coherence
>
> >>>>> in
>
> >>>>> the market's noise, that it made it sound meaningful...
actually, it's
>
> >>>>> more
>
> >>>>> like this: the programme can only output music that sounds
reasonably
>
> >>>>> good
>
> >>>>> no matter the input, and the meaningless input selects one
of the
>
> >>>>> possible
>
> >>>>> nice-sounding outputs. Overall, the music is more shaped by
Patrick's
>
> >>>>> æsthetic decisions than by the stock market, and it's
perfect like
>
> >>>>> that.
>
> >>>>>
>
> >>>>> so, Jérôme, I would mostly just suggest that you make
patches so that
>
> >>>>> the
>
> >>>>> results sound fairly good no matter the input you give them,
and
>
> >>>>> optionally,
>
> >>>>> if you can make the input also recognisable in the output,
it's a bonus
>
> >>>>> feature that can feel very rewarding, but it depends on the
context...
>
> >>>>> for
>
> >>>>> feeding stockmarket data it may not matter as much, but for
live
>
> >>>>> interactive
>
> >>>>> data from performers or visitors, they have to recognise
their own
>
> >>>>> impact
>
> >>>>> on
>
> >>>>> the music, else the point is going to be lost on them,
really. but even
>
> >>>>> for
>
> >>>>> stockmarket data, it's better if you can recognise the stock
price in
>
> >>>>> the
>
> >>>>> music, because if you can't, you could have taken that data
from
>
> >>>>> anywhere
>
> >>>>> else and it wouldn't matter, so why would you call it
stockmarket music
>
> >>>>> then?...
>
> >>>>>
>
> >>>>> so maybe you wanted people to explain their actual
processes, but I
>
> >>>>> hope
>
> >>>>> that you will also enjoy this reflexion on the question of
what might
>
> >>>>> make
>
> >>>>> processes be good or not.
>
> >>>>>
>
> >>>>> _ _ __ ___ _____ ________ _____________
_____________________ ...
>
> >>>>> | Mathieu Bouchard, Montréal, Québec. téléphone:
+1.514.383.3801
>
> >>>>>
>
> >>>>
>
> >>>>
>
> >
>
> >
>
> > --
>
> > Regards,
>
> > Jerome Covington
>
> > . . . . : . . . . :
>
> > "define audio development"
>
> >
>
>
>
>
>
>
> --
> Regards,
> Jerome Covington
> . . . . : . . . . :
> "define audio development"
>
>
>
--
Regards,
Jerome Covington
. . . . : . . . . :
"define audio development"
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