Re: A call for a world perspective in 3D
Hi Again Alex, I just went off for a break before getting back to work. I've pasted your questions and will attempt to answer them all. /managing sound buffers (you can only have 16 at a time in OpenAL) -These buffers send out smaller sample sized waveforms. The waveforms have a specific signature which you trace back, and decompose using a fourrier transform. This is how Jaws or voice over voices are done. What we are essentially doing with code is break it down to its constituent parts and go back up the ladder by adjusting mathematical proofs meaning referencing ourselves from axioms and expressing them in code. This means that each channel is a queue of smaller buffers. -Each of the 16 channels will be used entirely if possible, but for now I preffer keeping a good focus on the xml parsing side to have the proof of concept ready by 2 weeks. , handling stereo sound samples -the API handles this already. It's just a matter of how you process this, where you prioritise, and what other options are there to increase the number of channels. I don't think a second that with what is already there, an incredible experience can't be had. generating sounds on the fly instead of relying on recorded audio, -Sounds on the fly are a signature. A chirp is a wave form signature. Fourrier should be thanked for this. applying real-time filters or effects -The API includes a nodesList which handles this entire structure, using a b plus tree. I'm sure other more advanced tree systems can be thought up or searched for on the net. It's incredible how if your question in google has the right semantics, it finds it exactly as you want it. managing occlusions and distance roll-offs -This is the part I have been working on and will finish either beginning or mid week. By having that same node structure, you are doing concurrency between nodes. These concurrencies can be reshaped into the buffer as they are blended, almost a machine code A+B operation. The geometry is elegant too. Imagine a system, using those same nodes, which are connected by a matrix. The matrix is local, reflecting its position in the global, the world axis. That world axis contains say a matrix of 9 regions. These matrices are the world's child nodes. They have child nodes too. And so a region may have 9 districts. These districts have 16 blocks each (keep it at congruent multiples if possible though I didn't in this example. Where a multiple of one is a multiple of another. Following me so far? Once you've reached the inner most, or most nested matrix, that matrix have simple instructions, tags, calls and listeners. Each functions with the following axioms: 1-function bijectivity. mathematically, each node relation should be mapped. This way you are sure that every single node is bijective with the other node. meaning that functions and their inverses return the original value. This is very useful for a lot of connectivity. Now add several classes which can be instaced and all contain or encapsulate the proper methods for functioning in the world, as well as through the various menus, maps, pop overs, etc. The XML parser I have does exactly that, and places every element in the right hierarchy, then accessible via call, dict search or list / matrix arrangements. The gemoetrical shapes inside come from a library I am coding, meaning every primitive type of shape. The Ngon. low values give you a tetrahedron, increase the value by far and you get a perfect sphere. 4 sides and its a rectangle, etc. Another one is a bunch of points you add together to form the environment, or space where the sound is emitted. Inwards and outwards. At the top of these 3D sound orientation objects class, I call wObjects, you have a smaller matrix with simple tuple like rows which take from a database, which I have already setup with the tables etc. The dB script will continue to increase as various objects are created by code only. Not paintbrushing. Actual abstract and beautifully elegant nature that is handled with the minimum ammount of big O. Factorial by factorial, you're fucked in fact, arithmetic, and well... Now I'll give you an example of how to generate a tree: -Create an ngon. Increase the vector transform influence from one point to a circular shape around it with a hyperbolic falloff. The values of these these falloffs are all class instances. -create a spline (it;s a function line) perpendicular to the original object's x and y. It's easy. You just compare the local axis as compared to world axis of one object then put that value into the other object. -Use the formula that directs whatever tree or plant in real life from its geometry, and make sure to add the phi ratio, or some call it the golden ratio. This ratio will allow for the natural fractals to combine. Mathematically, you just have to look for the math you want, understand it, and apply it. Back to the task. -Use several properties to the revolving
Re: A call for a world perspective in 3D
Hi Alex, I have the Js web audio API classes ready but reading the openal.audio python module, I think I can save a lot of processes and do everything in one language (save xml and lua for the world of warcraft interface) http://pythonhosted.org/PyAL/audio.html#module-openal.audio To answer your question about the buffer channels. The buffer max is 16 megs. a lot of sounds can be shrunk, blended and refactored using fourrier's transforms. Also, by applying buffer queuing algorithms such that active sound sources and their positional information can be truncated into the right bytesize, considering that most or all of our computers are intel x86, and a lot of us using 64-bit. with 16 buffer channels, we have approximately 256 megs of sound clips and generated waveforms (on the fly) that can be queued using parallel algorithms. I was thinking of using the select() module for this purpose which listens and automatically fills the queue which can then be passed to each individual buffers. By quick calculation, this is how I see it: each observer (character in the game) has three areas (long, med, short). Anything long range dithers anyway in the perceptive field, so they can be blended through the queue and played back as a single long range pass, or pre recorded. Making a simulation first then recording can also work. Mid range has more definition but channel size restricted to 5 sources. The rest of the 10 channels can be various sources around the proximity of the player. I can even hypothesise a cheat which filters the types of sounds we want to hear. In regards to emulating higher channel counts, I think it will have to be again math based. Say you have a willow tree in front of you. there are about 35 odd branches, each with smaller branches and their leaves. clumps of leaves with small rustle signatures (this is just about function generation into the buffer) can be blended before being sent to the buffer. Kind of a premix before getting out there in the world. Again, bijectivity is super important to trace back and edit the raw as it comes. using the select module allows for automatic buffer dispatch for the first available one, since each buffer block say is the raw data and its positional/volume/others information. I don't think this will be much of a problem though it shows a technical restriction. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Alex Hall mehg...@icloud.com wrote: I won't pretend to understand all of this. My degree is computer science, not higher mathematics or engineering. Still, I'm intrigued, and would love to hear a practical example. To keep things on topic, would this library be usable from a Swift or Objective-C app for iOS or OS X? If so, can you give a real-world example of how? I understand representing things as sounds, but how would it handle in a real app? That is, what about loading/managing sound buffers (you can only have 16 at a time in OpenAL), handling stereo sound samples, generating sounds on the fly instead of relying on recorded audio, applying real-time filters or effects, managing occlusions and distance roll-offs, that kind of thing? Is there a mapping engine, where the programmer can lay out the world in some kind of XML or JSON format? Have I missed the point entirely? On Jan 10, 2015, at 10:31 PM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix identification and eigan matrices. Now set a wind particle (full of bounding boxes) object that traverses the tree. Each collision triggers the sound of a rustle. in real 3D position relative to the user’s position. Now take these tree structures and use a spherical shape (revolving the nGon I mentioned earlier around its y axis) and pass it through a deformer (which changes scalar values of the vectors within the sphere). This deformer can use a set of physics class objects such as inertia, parabolic deviations, swirls, you name the geometric shape, there’s a math formulae for it. Consider that each vector or vertex is a bird in a school of birds. Apply an index to it, and use this other swarm algorithm I studied to create an array of bees, birds, fish, whatever. each, when colliding with
Re: A call for a world perspective in 3D
As before, I don't follow all of this. Computer science uses math, but nothing like this, and I didn't need anything past calculus 1. Still, I'd like to see the API, and (most importantly) to know if I can use all this in an iOS or Mac app written in Swift or Objective-C. If everything is condensed to a C or C++ library, I don't see why such integration couldn't happen, but I have no idea if the languages you're using would be compatible. I realize you are focused on web-based apps at the moment, so we might be on two different wavelengths here. On Jan 11, 2015, at 8:52 AM, Yuma Antoine Decaux jamy...@gmail.com wrote: Hi Alex, I have the Js web audio API classes ready but reading the openal.audio python module, I think I can save a lot of processes and do everything in one language (save xml and lua for the world of warcraft interface) http://pythonhosted.org/PyAL/audio.html#module-openal.audio http://pythonhosted.org/PyAL/audio.html#module-openal.audio To answer your question about the buffer channels. The buffer max is 16 megs. a lot of sounds can be shrunk, blended and refactored using fourrier's transforms. Also, by applying buffer queuing algorithms such that active sound sources and their positional information can be truncated into the right bytesize, considering that most or all of our computers are intel x86, and a lot of us using 64-bit. with 16 buffer channels, we have approximately 256 megs of sound clips and generated waveforms (on the fly) that can be queued using parallel algorithms. I was thinking of using the select() module for this purpose which listens and automatically fills the queue which can then be passed to each individual buffers. By quick calculation, this is how I see it: each observer (character in the game) has three areas (long, med, short). Anything long range dithers anyway in the perceptive field, so they can be blended through the queue and played back as a single long range pass, or pre recorded. Making a simulation first then recording can also work. Mid range has more definition but channel size restricted to 5 sources. The rest of the 10 channels can be various sources around the proximity of the player. I can even hypothesise a cheat which filters the types of sounds we want to hear. In regards to emulating higher channel counts, I think it will have to be again math based. Say you have a willow tree in front of you. there are about 35 odd branches, each with smaller branches and their leaves. clumps of leaves with small rustle signatures (this is just about function generation into the buffer) can be blended before being sent to the buffer. Kind of a premix before getting out there in the world. Again, bijectivity is super important to trace back and edit the raw as it comes. using the select module allows for automatic buffer dispatch for the first available one, since each buffer block say is the raw data and its positional/volume/others information. I don't think this will be much of a problem though it shows a technical restriction. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: I won't pretend to understand all of this. My degree is computer science, not higher mathematics or engineering. Still, I'm intrigued, and would love to hear a practical example. To keep things on topic, would this library be usable from a Swift or Objective-C app for iOS or OS X? If so, can you give a real-world example of how? I understand representing things as sounds, but how would it handle in a real app? That is, what about loading/managing sound buffers (you can only have 16 at a time in OpenAL), handling stereo sound samples, generating sounds on the fly instead of relying on recorded audio, applying real-time filters or effects, managing occlusions and distance roll-offs, that kind of thing? Is there a mapping engine, where the programmer can lay out the world in some kind of XML or JSON format? Have I missed the point entirely? On Jan 10, 2015, at 10:31 PM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix
Re: A call for a world perspective in 3D
I think web apps would be wonderful as long as speech is also included or sent to the os to process. I would although like to have a world to ecplore that is a regular app on iOS. Mine craft anyone? Sent from my iPhone On Jan 11, 2015, at 8:10 AM, Alex Hall mehg...@icloud.com wrote: As before, I don't follow all of this. Computer science uses math, but nothing like this, and I didn't need anything past calculus 1. Still, I'd like to see the API, and (most importantly) to know if I can use all this in an iOS or Mac app written in Swift or Objective-C. If everything is condensed to a C or C++ library, I don't see why such integration couldn't happen, but I have no idea if the languages you're using would be compatible. I realize you are focused on web-based apps at the moment, so we might be on two different wavelengths here. On Jan 11, 2015, at 8:52 AM, Yuma Antoine Decaux jamy...@gmail.com wrote: Hi Alex, I have the Js web audio API classes ready but reading the openal.audio python module, I think I can save a lot of processes and do everything in one language (save xml and lua for the world of warcraft interface) http://pythonhosted.org/PyAL/audio.html#module-openal.audio To answer your question about the buffer channels. The buffer max is 16 megs. a lot of sounds can be shrunk, blended and refactored using fourrier's transforms. Also, by applying buffer queuing algorithms such that active sound sources and their positional information can be truncated into the right bytesize, considering that most or all of our computers are intel x86, and a lot of us using 64-bit. with 16 buffer channels, we have approximately 256 megs of sound clips and generated waveforms (on the fly) that can be queued using parallel algorithms. I was thinking of using the select() module for this purpose which listens and automatically fills the queue which can then be passed to each individual buffers. By quick calculation, this is how I see it: each observer (character in the game) has three areas (long, med, short). Anything long range dithers anyway in the perceptive field, so they can be blended through the queue and played back as a single long range pass, or pre recorded. Making a simulation first then recording can also work. Mid range has more definition but channel size restricted to 5 sources. The rest of the 10 channels can be various sources around the proximity of the player. I can even hypothesise a cheat which filters the types of sounds we want to hear. In regards to emulating higher channel counts, I think it will have to be again math based. Say you have a willow tree in front of you. there are about 35 odd branches, each with smaller branches and their leaves. clumps of leaves with small rustle signatures (this is just about function generation into the buffer) can be blended before being sent to the buffer. Kind of a premix before getting out there in the world. Again, bijectivity is super important to trace back and edit the raw as it comes. using the select module allows for automatic buffer dispatch for the first available one, since each buffer block say is the raw data and its positional/volume/others information. I don't think this will be much of a problem though it shows a technical restriction. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Alex Hall mehg...@icloud.com wrote: I won't pretend to understand all of this. My degree is computer science, not higher mathematics or engineering. Still, I'm intrigued, and would love to hear a practical example. To keep things on topic, would this library be usable from a Swift or Objective-C app for iOS or OS X? If so, can you give a real-world example of how? I understand representing things as sounds, but how would it handle in a real app? That is, what about loading/managing sound buffers (you can only have 16 at a time in OpenAL), handling stereo sound samples, generating sounds on the fly instead of relying on recorded audio, applying real-time filters or effects, managing occlusions and distance roll-offs, that kind of thing? Is there a mapping engine, where the programmer can lay out the world in some kind of XML or JSON format? Have I missed the point entirely? On Jan 10, 2015, at 10:31 PM, Yuma Antoine Decaux jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient,
Re: A call for a world perspective in 3D
Mathematics is the base language. The rest is inflexion. I don't see a reason why it cannot be converted. The pyobjc bridge allows for this. You're used to a MVC design pattern I suppose, with Model View Control. Then take all the python stuff as model data and pyobjc does the interface and control through x-code. I have looked at swift and I like the language so far. I have started with a web based set of languages because they are so efficient server side, and world of warcraft is a server side platform. I didn't see a reason to take all my time constructing C classes when some python modules are based in c anyway. Do you see where I'm heading at? Every language uses the same base concepts. They just differ in the writing of it. I know c language quite a little now that I have completed two courses using it, but so far I see better results and especially, faster ones using the expansive python module repository and finding everything or every component I need to make this happen. I understand that you have stayed at high school calculus, but I can't push enough the difference your code will experience when you delve into higher maths. In any case, I'm continuing this until I get a good solid working demo. Cheers, Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 12/01/2015, at 12:10 am, Alex Hall mehg...@icloud.com wrote: As before, I don't follow all of this. Computer science uses math, but nothing like this, and I didn't need anything past calculus 1. Still, I'd like to see the API, and (most importantly) to know if I can use all this in an iOS or Mac app written in Swift or Objective-C. If everything is condensed to a C or C++ library, I don't see why such integration couldn't happen, but I have no idea if the languages you're using would be compatible. I realize you are focused on web-based apps at the moment, so we might be on two different wavelengths here. On Jan 11, 2015, at 8:52 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi Alex, I have the Js web audio API classes ready but reading the openal.audio python module, I think I can save a lot of processes and do everything in one language (save xml and lua for the world of warcraft interface) http://pythonhosted.org/PyAL/audio.html#module-openal.audio http://pythonhosted.org/PyAL/audio.html#module-openal.audio To answer your question about the buffer channels. The buffer max is 16 megs. a lot of sounds can be shrunk, blended and refactored using fourrier's transforms. Also, by applying buffer queuing algorithms such that active sound sources and their positional information can be truncated into the right bytesize, considering that most or all of our computers are intel x86, and a lot of us using 64-bit. with 16 buffer channels, we have approximately 256 megs of sound clips and generated waveforms (on the fly) that can be queued using parallel algorithms. I was thinking of using the select() module for this purpose which listens and automatically fills the queue which can then be passed to each individual buffers. By quick calculation, this is how I see it: each observer (character in the game) has three areas (long, med, short). Anything long range dithers anyway in the perceptive field, so they can be blended through the queue and played back as a single long range pass, or pre recorded. Making a simulation first then recording can also work. Mid range has more definition but channel size restricted to 5 sources. The rest of the 10 channels can be various sources around the proximity of the player. I can even hypothesise a cheat which filters the types of sounds we want to hear. In regards to emulating higher channel counts, I think it will have to be again math based. Say you have a willow tree in front of you. there are about 35 odd branches, each with smaller branches and their leaves. clumps of leaves with small rustle signatures (this is just about function generation into the buffer) can be blended before being sent to the buffer. Kind of a premix before getting out there in the world. Again, bijectivity is super important to trace back and edit the raw as it comes. using the select module allows for automatic buffer dispatch for the first available one, since each buffer block say is the raw data and its positional/volume/others information. I don't think this will be much of a problem though it shows a technical restriction. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: I won't pretend to understand all of this. My degree is computer science, not higher mathematics
Re: A call for a world perspective in 3D
The reason why I like js is because recently apple has also adopted it for its scripting capabilities. It's much better suited than using a one application script language such as for jaws. With js, all UI elements in the entire system are accessible. And other js scripts can be plugged together to enhance the experience even within the OS. I've tested this, since 2 years ago, with GUI manipulations, UI element browsers, axaccessibility trees, etc. It's totally feasable. In Js at least, I have a functioning 3D setup. I just need to port the controls into js and pair the process with the sound API. And avoid a crap load of non desired announcements and replace it with sounds that go around me. Pair this with swift and you're still having performance apps working, and essentially accessible to everyone too. With the dB power that web provides. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 12/01/2015, at 12:21 am, Devin Prater d.pra...@me.com wrote: I think web apps would be wonderful as long as speech is also included or sent to the os to process. I would although like to have a world to ecplore that is a regular app on iOS. Mine craft anyone? Sent from my iPhone On Jan 11, 2015, at 8:10 AM, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: As before, I don't follow all of this. Computer science uses math, but nothing like this, and I didn't need anything past calculus 1. Still, I'd like to see the API, and (most importantly) to know if I can use all this in an iOS or Mac app written in Swift or Objective-C. If everything is condensed to a C or C++ library, I don't see why such integration couldn't happen, but I have no idea if the languages you're using would be compatible. I realize you are focused on web-based apps at the moment, so we might be on two different wavelengths here. On Jan 11, 2015, at 8:52 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi Alex, I have the Js web audio API classes ready but reading the openal.audio python module, I think I can save a lot of processes and do everything in one language (save xml and lua for the world of warcraft interface) http://pythonhosted.org/PyAL/audio.html#module-openal.audio http://pythonhosted.org/PyAL/audio.html#module-openal.audio To answer your question about the buffer channels. The buffer max is 16 megs. a lot of sounds can be shrunk, blended and refactored using fourrier's transforms. Also, by applying buffer queuing algorithms such that active sound sources and their positional information can be truncated into the right bytesize, considering that most or all of our computers are intel x86, and a lot of us using 64-bit. with 16 buffer channels, we have approximately 256 megs of sound clips and generated waveforms (on the fly) that can be queued using parallel algorithms. I was thinking of using the select() module for this purpose which listens and automatically fills the queue which can then be passed to each individual buffers. By quick calculation, this is how I see it: each observer (character in the game) has three areas (long, med, short). Anything long range dithers anyway in the perceptive field, so they can be blended through the queue and played back as a single long range pass, or pre recorded. Making a simulation first then recording can also work. Mid range has more definition but channel size restricted to 5 sources. The rest of the 10 channels can be various sources around the proximity of the player. I can even hypothesise a cheat which filters the types of sounds we want to hear. In regards to emulating higher channel counts, I think it will have to be again math based. Say you have a willow tree in front of you. there are about 35 odd branches, each with smaller branches and their leaves. clumps of leaves with small rustle signatures (this is just about function generation into the buffer) can be blended before being sent to the buffer. Kind of a premix before getting out there in the world. Again, bijectivity is super important to trace back and edit the raw as it comes. using the select module allows for automatic buffer dispatch for the first available one, since each buffer block say is the raw data and its positional/volume/others information. I don't think this will be much of a problem though it shows a technical restriction. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: I won't pretend to understand all of this. My degree is computer science, not higher mathematics or engineering. Still, I'm intrigued, and would love to hear
Re: A call for a world perspective in 3D
Well, let us know when you have a library ready to test out. I'd very much rather use Swift, so PyObjC isn't really going to work. As I said, the ideal would be a Swift or C/C++ library that any other language could access. You said that all languages have the same basics, and you're certainly right about that, but porting code I don't understand is a recipe for disaster. smile Keep us updated. On Jan 11, 2015, at 1:01 PM, Yuma Antoine Decaux jamy...@gmail.com wrote: The reason why I like js is because recently apple has also adopted it for its scripting capabilities. It's much better suited than using a one application script language such as for jaws. With js, all UI elements in the entire system are accessible. And other js scripts can be plugged together to enhance the experience even within the OS. I've tested this, since 2 years ago, with GUI manipulations, UI element browsers, axaccessibility trees, etc. It's totally feasable. In Js at least, I have a functioning 3D setup. I just need to port the controls into js and pair the process with the sound API. And avoid a crap load of non desired announcements and replace it with sounds that go around me. Pair this with swift and you're still having performance apps working, and essentially accessible to everyone too. With the dB power that web provides. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 http://www.twitter.com/triple7 On 12/01/2015, at 12:21 am, Devin Prater d.pra...@me.com mailto:d.pra...@me.com wrote: I think web apps would be wonderful as long as speech is also included or sent to the os to process. I would although like to have a world to ecplore that is a regular app on iOS. Mine craft anyone? Sent from my iPhone On Jan 11, 2015, at 8:10 AM, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: As before, I don't follow all of this. Computer science uses math, but nothing like this, and I didn't need anything past calculus 1. Still, I'd like to see the API, and (most importantly) to know if I can use all this in an iOS or Mac app written in Swift or Objective-C. If everything is condensed to a C or C++ library, I don't see why such integration couldn't happen, but I have no idea if the languages you're using would be compatible. I realize you are focused on web-based apps at the moment, so we might be on two different wavelengths here. On Jan 11, 2015, at 8:52 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi Alex, I have the Js web audio API classes ready but reading the openal.audio python module, I think I can save a lot of processes and do everything in one language (save xml and lua for the world of warcraft interface) http://pythonhosted.org/PyAL/audio.html#module-openal.audio http://pythonhosted.org/PyAL/audio.html#module-openal.audio To answer your question about the buffer channels. The buffer max is 16 megs. a lot of sounds can be shrunk, blended and refactored using fourrier's transforms. Also, by applying buffer queuing algorithms such that active sound sources and their positional information can be truncated into the right bytesize, considering that most or all of our computers are intel x86, and a lot of us using 64-bit. with 16 buffer channels, we have approximately 256 megs of sound clips and generated waveforms (on the fly) that can be queued using parallel algorithms. I was thinking of using the select() module for this purpose which listens and automatically fills the queue which can then be passed to each individual buffers. By quick calculation, this is how I see it: each observer (character in the game) has three areas (long, med, short). Anything long range dithers anyway in the perceptive field, so they can be blended through the queue and played back as a single long range pass, or pre recorded. Making a simulation first then recording can also work. Mid range has more definition but channel size restricted to 5 sources. The rest of the 10 channels can be various sources around the proximity of the player. I can even hypothesise a cheat which filters the types of sounds we want to hear. In regards to emulating higher channel counts, I think it will have to be again math based. Say you have a willow tree in front of you. there are about 35 odd branches, each with smaller branches and their leaves. clumps of leaves with small rustle signatures (this is just about function generation into the buffer) can be blended before being sent to the buffer. Kind of a premix before getting out there in the world. Again, bijectivity is super important to trace back and edit the raw as it comes. using the select module allows for automatic buffer dispatch for the first available one, since each buffer block say is the raw data and its
Re: A call for a world perspective in 3D
Hi Alex, the reason why I started with python is that I initially wanted world of warcraft accessiblity. So that's the choice thing. I can port it to swift once I know better about the language. I will broadcast the entire structure and their scripts once its done and see if you can get any of the stuff inside, which I am sure you will :) -- You received this message because you are subscribed to the Google Groups MacVisionaries group. To unsubscribe from this group and stop receiving emails from it, send an email to macvisionaries+unsubscr...@googlegroups.com. To post to this group, send email to macvisionaries@googlegroups.com. Visit this group at http://groups.google.com/group/macvisionaries. For more options, visit https://groups.google.com/d/optout.
Re: A call for a world perspective in 3D
Can you explain a bit more what this library is doing and how it might be used? When you said 3d sound, I at first thought you meant something to supplement or replace OpenAL, but that's clearly not the case. I'm not clear on just what this does. Thanks. On Jan 10, 2015, at 2:34 AM, Yuma Antoine Decaux jamy...@gmail.com wrote: Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes structure for extracting tag and LUA function calls and creating a hierarchy of each node where parent node is UI. 2-A 3D sound library connecting to the js web sound API, using the node system 3-a parser toolset to create arrays of configurations between scripts and languages 4-A geometric 3D volume matrix with the node hierarchy class used as secondary process 5-using a parallell processing class to send socket information between nodes 6-A socket distribution (select()) daisy chain communication layer 7-A 3D prototype of an SSD based sound processing CPU that stocks all the information in the SSD as static memory. I have been 3D prototyping for about 15 years. I demand elegance and functionality in design, as much as efficient memory management of blocks and sectors. I am a programmer. All the scripts are doing exactly what they are supposed to except for the 3D matrix layer, which I am currently working on. However I have done all primitives, transforms and rotations using matrices. About to get back to completing the nGon class. This project started as a spark when I saw a tweet about a blind player on World of Warcraft. Now it has turned out to be much bigger. Everything is written in standard APIs such as python and JS modules. I am trying to complete this accessible World of Warcraft layer which I will use as a GNU license platform which does not use world of warcraft. I don’t understand why blizzard hasn’t done this. But this has given me the opportunity to see exactly what is happening in the system architecture. And be an architect, though I had lost that capacity once I lost vision. Will anyone be so cool as to send me a reply with “#vipWOW” as subject? I really hope that this ideal I have been carrying on for the past 6 years, dedicated to programming and mathematics where I used not do apply so frequently can be growing to a larger community through the effort I, and hope others, will accept as an independant hire, to help. I cannot afford thousands per month, but I have laid down the architecture, the working sub systems, and working through each all the way to the main class. This effort, I have come to realise, demands way more hands than my blind vision on the computer can handle, though I handle VIM quite well and efficiently. But it also needs to be accessible to the level I want it at some point. If you are ready to experience something seriously cool (network connectivity, private test server, wiki, calendars and contacts, vnc access, ssh, ftp, redundancy is not there yet but we’re working on an arch linux installation), with an extra dimension (tactile), please do contact me. Let’s make an order of classes that will standardise many aspects of our experience on the computer as blind coders, and be the programmers for programmers in facilitating our own experience. Sincerely, Antoine Decaux twitter: triple7 -- You received this message because you are subscribed to the Google Groups MacVisionaries group. To unsubscribe from this group and stop receiving emails from it, send an email to macvisionaries+unsubscr...@googlegroups.com. To post to this group, send email to macvisionaries@googlegroups.com. Visit this group at http://groups.google.com/group/macvisionaries. For more options, visit https://groups.google.com/d/optout. -- Have a great day, Alex Hall mehg...@icloud.com -- You received this message because you are subscribed to the Google Groups MacVisionaries group. To unsubscribe from this group and stop receiving emails from it, send an email to macvisionaries+unsubscr...@googlegroups.com. To post to this group, send email to macvisionaries@googlegroups.com. Visit this group at http://groups.google.com/group/macvisionaries. For more options, visit https://groups.google.com/d/optout.
Re: A call for a world perspective in 3D
I won't pretend to understand all of this. My degree is computer science, not higher mathematics or engineering. Still, I'm intrigued, and would love to hear a practical example. To keep things on topic, would this library be usable from a Swift or Objective-C app for iOS or OS X? If so, can you give a real-world example of how? I understand representing things as sounds, but how would it handle in a real app? That is, what about loading/managing sound buffers (you can only have 16 at a time in OpenAL), handling stereo sound samples, generating sounds on the fly instead of relying on recorded audio, applying real-time filters or effects, managing occlusions and distance roll-offs, that kind of thing? Is there a mapping engine, where the programmer can lay out the world in some kind of XML or JSON format? Have I missed the point entirely? On Jan 10, 2015, at 10:31 PM, Yuma Antoine Decaux jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix identification and eigan matrices. Now set a wind particle (full of bounding boxes) object that traverses the tree. Each collision triggers the sound of a rustle. in real 3D position relative to the user’s position. Now take these tree structures and use a spherical shape (revolving the nGon I mentioned earlier around its y axis) and pass it through a deformer (which changes scalar values of the vectors within the sphere). This deformer can use a set of physics class objects such as inertia, parabolic deviations, swirls, you name the geometric shape, there’s a math formulae for it. Consider that each vector or vertex is a bird in a school of birds. Apply an index to it, and use this other swarm algorithm I studied to create an array of bees, birds, fish, whatever. each, when colliding with each other will have a behavior generator using again, scalar values. I can’t stress enough the utility of matrices and transformations for things that go beyond just shapes. So I’ve gone way past my initial goal, and think this can be very useful. I want some help with some of the scripts, to complete them. I’m fine paying for it, but the person needs to not only like the idea, but actually believe in it. Anyway, here’s my two cents Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 http://www.twitter.com/triple7 On 10/01/2015, at 11:18 pm, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: Can you explain a bit more what this library is doing and how it might be used? When you said 3d sound, I at first thought you meant something to supplement or replace OpenAL, but that's clearly not the case. I'm not clear on just what this does. Thanks. On Jan 10, 2015, at 2:34 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes structure for extracting tag and LUA function calls and creating a hierarchy of each node where parent node is UI. 2-A 3D sound library connecting to the js web sound API, using the node system 3-a parser toolset to create arrays of configurations between scripts and languages 4-A geometric 3D volume matrix with the node hierarchy class used as secondary process 5-using a parallell processing class to send socket information between nodes 6-A socket distribution (select()) daisy chain communication layer 7-A 3D prototype of an SSD based sound processing CPU that stocks all the information in the SSD as static memory. I have been 3D prototyping for about 15 years. I demand elegance and functionality in design, as much as efficient memory management of blocks and sectors. I am a programmer. All the scripts are doing exactly what they are supposed to except for the 3D matrix layer, which I am currently working on. However I have done all primitives, transforms and rotations using matrices. About to get back to completing the nGon class. This project started as a spark when I saw a tweet about a blind player on World of Warcraft. Now it has turned out to be much bigger. Everything is written in standard APIs such as python and JS modules. I am trying to complete this accessible World of Warcraft layer which I will use as a GNU license platform which does not use
Re: A call for a world perspective in 3D
I'm not a programmer, but as a gamer I'd love to see this in action. For years audio games have been more of play this cool sound in the background and just have a few interact able items. Sure that was how old games and some fighting games work but most games have gone beyond that. Have you gone to audio games.net about this? There are plenty of developers there whom are blind. Sent from my iPhone On Jan 10, 2015, at 9:31 PM, Yuma Antoine Decaux jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix identification and eigan matrices. Now set a wind particle (full of bounding boxes) object that traverses the tree. Each collision triggers the sound of a rustle. in real 3D position relative to the user’s position. Now take these tree structures and use a spherical shape (revolving the nGon I mentioned earlier around its y axis) and pass it through a deformer (which changes scalar values of the vectors within the sphere). This deformer can use a set of physics class objects such as inertia, parabolic deviations, swirls, you name the geometric shape, there’s a math formulae for it. Consider that each vector or vertex is a bird in a school of birds. Apply an index to it, and use this other swarm algorithm I studied to create an array of bees, birds, fish, whatever. each, when colliding with each other will have a behavior generator using again, scalar values. I can’t stress enough the utility of matrices and transformations for things that go beyond just shapes. So I’ve gone way past my initial goal, and think this can be very useful. I want some help with some of the scripts, to complete them. I’m fine paying for it, but the person needs to not only like the idea, but actually believe in it. Anyway, here’s my two cents Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 10/01/2015, at 11:18 pm, Alex Hall mehg...@icloud.com wrote: Can you explain a bit more what this library is doing and how it might be used? When you said 3d sound, I at first thought you meant something to supplement or replace OpenAL, but that's clearly not the case. I'm not clear on just what this does. Thanks. On Jan 10, 2015, at 2:34 AM, Yuma Antoine Decaux jamy...@gmail.com wrote: Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes structure for extracting tag and LUA function calls and creating a hierarchy of each node where parent node is UI. 2-A 3D sound library connecting to the js web sound API, using the node system 3-a parser toolset to create arrays of configurations between scripts and languages 4-A geometric 3D volume matrix with the node hierarchy class used as secondary process 5-using a parallell processing class to send socket information between nodes 6-A socket distribution (select()) daisy chain communication layer 7-A 3D prototype of an SSD based sound processing CPU that stocks all the information in the SSD as static memory. I have been 3D prototyping for about 15 years. I demand elegance and functionality in design, as much as efficient memory management of blocks and sectors. I am a programmer. All the scripts are doing exactly what they are supposed to except for the 3D matrix layer, which I am currently working on. However I have done all primitives, transforms and rotations using matrices. About to get back to completing the nGon class. This project started as a spark when I saw a tweet about a blind player on World of Warcraft. Now it has turned out to be much bigger. Everything is written in standard APIs such as python and JS modules. I am trying to complete this accessible World of Warcraft layer which I will use as a GNU license platform which does not use world of warcraft. I don’t understand why blizzard hasn’t done this. But this has given me the opportunity to see exactly what is happening in the system architecture. And be an architect, though I had lost that capacity once I lost vision. Will anyone be so cool as to send me a reply with “#vipWOW” as subject? I really hope that this ideal I have been carrying on for the past 6 years, dedicated to programming and mathematics where I used not do apply so frequently can be growing to a larger community through the
Re: A call for a world perspective in 3D
Hi Alex, Basically, I started it as a 3D engine, but now that I have applied all the mathematical rules and proofs on all of my primitive classes and their parent classes, I have started to realise that I am actually creating not only the engine but the connections for an interface using 3D positional sounds instead of graphics with the same matrix structure a visual 3D game would use. So the concept of this framework is to have a toolset for: 1-getting data from various file types and parse them into a separate database of elements, arrays within matrices, themselves within matrices. 2-A node system that connects the entire hierarchy of the 3D world, and a parsed interface in parallel. 3-A set of geometrical and physical tools (transforms, rotations, projections, spline behaviour, animation keypoints, boundaries, deflectors and warpers in various shapes which are also hierarchical, using either forward or inverse kinematics. I finished the nGon class which creates any shape from triangle to square all the way to a circle in a click, with local and world relative axes contained within the nGon object. This object will then be used among other data capsules in the wObject class which is either an interactable object, a character, AI or buildings. Considering that this is the basis for my venture into visual perception algorithms, I have made sure everything is optimised with the right helper tools and tree structure of classes collecting data from each other through either parallel processes or sockets. 4-The parallel processing and sockets are mainly server side, but These will be child classes of the voice conversation layer, which I will need some pointing towards so I don’t fall into coding for a crap module. 5-a set of server side tools using standard db methods (I’d like to use mongodb but will have to refresh myself and update the code to reflect) 6- Since all of these can be packaged into a module, ONce I have tested user intervace accessibility, I want to focus on structure comprehension with each platform, whether mac os or windows. Finally, once all the testing is made on WOW and players can start populating the official server, I will have a set of tools that satisfy the 3 tower multi agent concept invented by Bell and following robotics and AI scientists. Using the knowledge from the wow experience, I am going to integrate a set of sensors (infrared, sonar, bluetooth, gyro, temperature and humidity that will fit in a small stone like material (in this case, diamond I will produce with the diamond synthesising oven I purchased a few months ago. If you look at the parallel between the world I am coding, and how the software interacts with the world (for eg: when a player roams the world, with the log streams from the game’s console providing location information and other relative stuff, the software can gather that information from what I like to call single agents which are just the perceptive tower of the 3 tower algorithm used in AI. The information, topology, points of interest, perimeters, etc can all be called or instances created through my 3D math classes. If mapping out a virtual world is being done right now (hoping to finish this component by mid february), then nothing stops the software from swapping virtual world with sensors creating a rough outline of what’s around us. Using bounding boxes etc. And since there’s already a 3d audio layer, the sky becomes the limit. The reason why I am looking for blind programmers is because only blind users can really try to have an intuition as to the human computer interfacing methods. Like I said, I have a server with all services available to those who wish to participate, and the goal is to get 5-10 persons in game to discuss what needs to be changed between the UI selection methods (I have an empty key_bind class”), how the 3D engine will fare as the number of objects grows (though I am currently using the functional programming style and keeping algebraic complexity to a minimum, save fundamental formulaes, transforms and class instances. This particular section of my code uses 3 components: nodes, positional sound and a filter pass of each speech synthesis output to create the world. I hope this clarifies a bit more. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 10/01/2015, at 11:18 pm, Alex Hall mehg...@icloud.com wrote: Can you explain a bit more what this library is doing and how it might be used? When you said 3d sound, I at first thought you meant something to supplement or replace OpenAL, but that's clearly not the case. I'm not clear on just what this does. Thanks. On Jan 10, 2015, at 2:34 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes
Re: A call for a world perspective in 3D
That’s fine. the more info I get, the better. I have taken quite a cool segway into my geometry and matrix classes but the bottom line is that the world of warcraft XML structure along with the lua function calls is a tree structure. Therefore easily attachable to a set of listeners that will output speech synthesis. I have completed the script that creates the nodelist between UI and smallest element of each frame, and UI element in WOW. Sure, there are hundreds of UI files but it doesn’t matter since my algorithm picks out the necessarry info, parses it into a array like queue and once I’ve coded the key bindings, then the script is aware of everything that is happening UI wise. That’s a very good start for me. Each brick must be laid down, but every brick is made. Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Devin Prater d.pra...@me.com wrote: I'm not a programmer, but as a gamer I'd love to see this in action. For years audio games have been more of play this cool sound in the background and just have a few interact able items. Sure that was how old games and some fighting games work but most games have gone beyond that. Have you gone to audio games.net http://games.net/ about this? There are plenty of developers there whom are blind. Sent from my iPhone On Jan 10, 2015, at 9:31 PM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix identification and eigan matrices. Now set a wind particle (full of bounding boxes) object that traverses the tree. Each collision triggers the sound of a rustle. in real 3D position relative to the user’s position. Now take these tree structures and use a spherical shape (revolving the nGon I mentioned earlier around its y axis) and pass it through a deformer (which changes scalar values of the vectors within the sphere). This deformer can use a set of physics class objects such as inertia, parabolic deviations, swirls, you name the geometric shape, there’s a math formulae for it. Consider that each vector or vertex is a bird in a school of birds. Apply an index to it, and use this other swarm algorithm I studied to create an array of bees, birds, fish, whatever. each, when colliding with each other will have a behavior generator using again, scalar values. I can’t stress enough the utility of matrices and transformations for things that go beyond just shapes. So I’ve gone way past my initial goal, and think this can be very useful. I want some help with some of the scripts, to complete them. I’m fine paying for it, but the person needs to not only like the idea, but actually believe in it. Anyway, here’s my two cents Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 http://www.twitter.com/triple7 On 10/01/2015, at 11:18 pm, Alex Hall mehg...@icloud.com mailto:mehg...@icloud.com wrote: Can you explain a bit more what this library is doing and how it might be used? When you said 3d sound, I at first thought you meant something to supplement or replace OpenAL, but that's clearly not the case. I'm not clear on just what this does. Thanks. On Jan 10, 2015, at 2:34 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes structure for extracting tag and LUA function calls and creating a hierarchy of each node where parent node is UI. 2-A 3D sound library connecting to the js web sound API, using the node system 3-a parser toolset to create arrays of configurations between scripts and languages 4-A geometric 3D volume matrix with the node hierarchy class used as secondary process 5-using a parallell processing class to send socket information between nodes 6-A socket distribution (select()) daisy chain communication layer 7-A 3D prototype of an SSD based sound processing CPU that stocks all the information in the SSD as static memory. I have been 3D prototyping for about 15 years. I demand elegance and functionality in design, as much as efficient memory management of blocks and sectors. I am a programmer. All
Re: A call for a world perspective in 3D
I have already considered the buffer channel limits. These are, again, nodes. The nodes take a local form and a general form. Though internally there can only be 16 samples played simultaneously, shuffling the samples through the 3D sound API, filtering them and globalising them into a composite buffer (this is where function bijectivity is important, to allow things to go both ways) will effectively stream one sample that has gone through the node hierarchy as a single pass or channel. There are primitives I created for bounds, such as distance falloff etc. Listen around you and you will not have 16 different sounds going on simultaneously unless you’re in a concert hall, waiting for a classic troupe to play. When you include occlusion, clipping and filter buffers into one composite buffer, you’re getting flexible with the ammount of samples you have in your toolkit. Yes, the world should be considered as a single node from which everything else spawns. Just like OOP but using essential shortcut maths (I stronglyh recommend anyone to read discreet maths for this). I’m not sure yet how many processes I can run to offload stuff and dictate my own memory allocations, but for now I am building solid core classes to facilitate as much ressources as possible, off from the graphics load onto the sound load. I’m surprised no one has considered the node system, such as nodes.js or python’s setup() module. They are clearly under used and should be given more attention. Like I said, some of the invariables need to be load tested with profiling, but at this phase I am constructing the underlying world structure. If there’s a method out there with either python, js, java, c or to a lesser extent, objective c, please don’t hestiate to send me docs to read, etc. The more advanced, the happier I am :) Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 11/01/2015, at 2:37 pm, Alex Hall mehg...@icloud.com wrote: I won't pretend to understand all of this. My degree is computer science, not higher mathematics or engineering. Still, I'm intrigued, and would love to hear a practical example. To keep things on topic, would this library be usable from a Swift or Objective-C app for iOS or OS X? If so, can you give a real-world example of how? I understand representing things as sounds, but how would it handle in a real app? That is, what about loading/managing sound buffers (you can only have 16 at a time in OpenAL), handling stereo sound samples, generating sounds on the fly instead of relying on recorded audio, applying real-time filters or effects, managing occlusions and distance roll-offs, that kind of thing? Is there a mapping engine, where the programmer can lay out the world in some kind of XML or JSON format? Have I missed the point entirely? On Jan 10, 2015, at 10:31 PM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix identification and eigan matrices. Now set a wind particle (full of bounding boxes) object that traverses the tree. Each collision triggers the sound of a rustle. in real 3D position relative to the user’s position. Now take these tree structures and use a spherical shape (revolving the nGon I mentioned earlier around its y axis) and pass it through a deformer (which changes scalar values of the vectors within the sphere). This deformer can use a set of physics class objects such as inertia, parabolic deviations, swirls, you name the geometric shape, there’s a math formulae for it. Consider that each vector or vertex is a bird in a school of birds. Apply an index to it, and use this other swarm algorithm I studied to create an array of bees, birds, fish, whatever. each, when colliding with each other will have a behavior generator using again, scalar values. I can’t stress enough the utility of matrices and transformations for things that go beyond just shapes. So I’ve gone way past my initial goal, and think this can be very useful. I want some help with some of the scripts, to complete them. I’m fine paying for it, but the person needs to not only like the idea, but actually believe in it. Anyway, here’s my two cents Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190
Re: A call for a world perspective in 3D
I’ll get into more detail on the 3D sound part. It uses a node system, as mentioned earlier, to plug, unplug, blend or ratio fit one or more nodes t=which can be filters, user set paremeters or daisy chained hierarchies of sound buffers. So imagine you call a tree instance from my library. It uses phi and pi to generate the fractal links down to the leaf node. Each leaf node has physical properties which follow parent nodes with a coefficient, or a scalar value spread along the entire tree. Each node is a sound buffer or a set of sound buffers. Collision detection is made via matrix identification and eigan matrices. Now set a wind particle (full of bounding boxes) object that traverses the tree. Each collision triggers the sound of a rustle. in real 3D position relative to the user’s position. Now take these tree structures and use a spherical shape (revolving the nGon I mentioned earlier around its y axis) and pass it through a deformer (which changes scalar values of the vectors within the sphere). This deformer can use a set of physics class objects such as inertia, parabolic deviations, swirls, you name the geometric shape, there’s a math formulae for it. Consider that each vector or vertex is a bird in a school of birds. Apply an index to it, and use this other swarm algorithm I studied to create an array of bees, birds, fish, whatever. each, when colliding with each other will have a behavior generator using again, scalar values. I can’t stress enough the utility of matrices and transformations for things that go beyond just shapes. So I’ve gone way past my initial goal, and think this can be very useful. I want some help with some of the scripts, to complete them. I’m fine paying for it, but the person needs to not only like the idea, but actually believe in it. Anyway, here’s my two cents Yuma Antoine Decaux Light has no value without darkness Mob: +612102277190 Skype: Shainobi1 twitter: http://www.twitter.com/triple7 On 10/01/2015, at 11:18 pm, Alex Hall mehg...@icloud.com wrote: Can you explain a bit more what this library is doing and how it might be used? When you said 3d sound, I at first thought you meant something to supplement or replace OpenAL, but that's clearly not the case. I'm not clear on just what this does. Thanks. On Jan 10, 2015, at 2:34 AM, Yuma Antoine Decaux jamy...@gmail.com mailto:jamy...@gmail.com wrote: Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes structure for extracting tag and LUA function calls and creating a hierarchy of each node where parent node is UI. 2-A 3D sound library connecting to the js web sound API, using the node system 3-a parser toolset to create arrays of configurations between scripts and languages 4-A geometric 3D volume matrix with the node hierarchy class used as secondary process 5-using a parallell processing class to send socket information between nodes 6-A socket distribution (select()) daisy chain communication layer 7-A 3D prototype of an SSD based sound processing CPU that stocks all the information in the SSD as static memory. I have been 3D prototyping for about 15 years. I demand elegance and functionality in design, as much as efficient memory management of blocks and sectors. I am a programmer. All the scripts are doing exactly what they are supposed to except for the 3D matrix layer, which I am currently working on. However I have done all primitives, transforms and rotations using matrices. About to get back to completing the nGon class. This project started as a spark when I saw a tweet about a blind player on World of Warcraft. Now it has turned out to be much bigger. Everything is written in standard APIs such as python and JS modules. I am trying to complete this accessible World of Warcraft layer which I will use as a GNU license platform which does not use world of warcraft. I don’t understand why blizzard hasn’t done this. But this has given me the opportunity to see exactly what is happening in the system architecture. And be an architect, though I had lost that capacity once I lost vision. Will anyone be so cool as to send me a reply with “#vipWOW” as subject? I really hope that this ideal I have been carrying on for the past 6 years, dedicated to programming and mathematics where I used not do apply so frequently can be growing to a larger community through the effort I, and hope others, will accept as an independant hire, to help. I cannot afford thousands per month, but I have laid down the architecture, the working sub systems, and working through each all the way to the main class. This effort, I have come to realise, demands way more hands than my blind vision on the computer can handle, though I handle VIM quite well and efficiently. But it also needs to be accessible to the level I want it at some point. If you are ready to experience
A call for a world perspective in 3D
Hi All, I am currently working on a 3D sound engine. I have so far done the following: 1-nodes structure for extracting tag and LUA function calls and creating a hierarchy of each node where parent node is UI. 2-A 3D sound library connecting to the js web sound API, using the node system 3-a parser toolset to create arrays of configurations between scripts and languages 4-A geometric 3D volume matrix with the node hierarchy class used as secondary process 5-using a parallell processing class to send socket information between nodes 6-A socket distribution (select()) daisy chain communication layer 7-A 3D prototype of an SSD based sound processing CPU that stocks all the information in the SSD as static memory. I have been 3D prototyping for about 15 years. I demand elegance and functionality in design, as much as efficient memory management of blocks and sectors. I am a programmer. All the scripts are doing exactly what they are supposed to except for the 3D matrix layer, which I am currently working on. However I have done all primitives, transforms and rotations using matrices. About to get back to completing the nGon class. This project started as a spark when I saw a tweet about a blind player on World of Warcraft. Now it has turned out to be much bigger. Everything is written in standard APIs such as python and JS modules. I am trying to complete this accessible World of Warcraft layer which I will use as a GNU license platform which does not use world of warcraft. I don’t understand why blizzard hasn’t done this. But this has given me the opportunity to see exactly what is happening in the system architecture. And be an architect, though I had lost that capacity once I lost vision. Will anyone be so cool as to send me a reply with “#vipWOW” as subject? I really hope that this ideal I have been carrying on for the past 6 years, dedicated to programming and mathematics where I used not do apply so frequently can be growing to a larger community through the effort I, and hope others, will accept as an independant hire, to help. I cannot afford thousands per month, but I have laid down the architecture, the working sub systems, and working through each all the way to the main class. This effort, I have come to realise, demands way more hands than my blind vision on the computer can handle, though I handle VIM quite well and efficiently. But it also needs to be accessible to the level I want it at some point. If you are ready to experience something seriously cool (network connectivity, private test server, wiki, calendars and contacts, vnc access, ssh, ftp, redundancy is not there yet but we’re working on an arch linux installation), with an extra dimension (tactile), please do contact me. Let’s make an order of classes that will standardise many aspects of our experience on the computer as blind coders, and be the programmers for programmers in facilitating our own experience. Sincerely, Antoine Decaux twitter: triple7 -- You received this message because you are subscribed to the Google Groups MacVisionaries group. To unsubscribe from this group and stop receiving emails from it, send an email to macvisionaries+unsubscr...@googlegroups.com. To post to this group, send email to macvisionaries@googlegroups.com. Visit this group at http://groups.google.com/group/macvisionaries. For more options, visit https://groups.google.com/d/optout.
