This is a great way to frame it, and it is indeed how I approach composition as well. It sometimes helps to think of a piece as a solution – maybe the only solution – to a set of constraints.
Three limitations that I love in Pd off the top of my head: 1. The relatively small set of core objects really helps with programming ingenuity, and in fact has made me think through some things that have been helpful in other programming contexts. I love when someone throws down a "this can't be done in vanilla" challenge; I've learned lots from thinking, "OK, we'll see about that!" 2. The smallish set of objects also means that Pd is not a black box. It does mean sometimes that you have to know what you're doing, but in general it does not force you to think a specific way about what you're doing. This is not true in my experience with my students who use other programs excluding csound and SC, but including Max – they'll often as a group settle on one massive object or plugin that does 100 things in a really specific way (look at this badass object I found!) and all end up writing more or less the same piece due to the directions the design of the object pushed them in. 3. Its visual austerity is a huge help to me in thinking clearly about patching and dataflow. It's amazing how often a geometrically elegant solution turns out to be an elegant solution full stop. On Wed, Mar 2, 2016 at 9:50 AM, Lorenzo Sutton <[email protected]> wrote: > Trying to turn the Pd limitations thread, which eventually became the > (usual) 'Pd vs foo" thread, into something possibly more constructive, > interesting and inspiring. > > Starting from the concept of "Creative Limitation" (I am primarily > thinking of Stravinsky): > > How do Pd's limitations enhance people's creativity? > > > _______________________________________________ > [email protected] mailing list > UNSUBSCRIBE and account-management -> > http://lists.puredata.info/listinfo/pd-list >
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