Pd-announce February 2017

pd-announce@lists.iem.at

6 participants
6 discussions

Announcing "Cyclone 0.3 alpha-1"
by Alexandre Torres Porres 21 Feb '17

21 Feb '17

Howdy, we (me, derek and matt) are really excited to finally announce the release of a first alpha version of cyclone 0.3 Cyclone: A set of Pure Data objects cloned from Max/MSP - Cyclone expands Pure Data with objects cloned from cycling74's Max/MSP. It thus provides some good level of compatibility between the two environments, helping users of both systems in the development of equivalent patches. In february 21st of 2016, active development for cyclone 0.2 was abandoned, so we started working on a 0.3 version release in our repository < https://github.com/porres/pd-cyclone>. Hence, we've been working on this release for exactly one year; and in this anniversary celebration, we're putting out a release! Pre alpha versions started popping up for download in our repository in late september of 2016, now we finally move on to another phase and get really close to a final release. The main focus of the currently development is on updating objects to newer versions of Max. We're also rewriting the documentation, fixing bugs and introducing new objects. So far, we have: - 60 updated objects; - 54 fixed objects (including objects that were and were not updated); - 46 new objects; - A newly written documentation, from scratch (fixing numerous issues) *About updating cyclone to the latest Max version:* Cyclone development started in april of 2002 (at the time of Max 4.0) with its original author Krzysztof Czaja, who abandoned it in 2005 at version 0.1alpha55, leaving a great and huge library, but still compliant to Max 4.0! Cyclone ended up incorporated to Pd-Extended, under the maintenance of Hans-Christoph Steiner, where it only a had a minor update in 2013 (0.1alpha56) - right before Cyclone and Pd Extended were abandoned altogether. Under a new maintenance phase, Fred Jan Kraan released "cyclone 0.2beta" in late 2015, still closely related to the latest 0.1alpha releases, meaning that only minor updates were made and that the library was still mostly outdated to Max 4.0. At the time of this release, Max is in version 7.3.2, and 64 objects in Cyclone needed updates in order to be compliant to this version. So far, 60 objects have already been updated and the only remaining 4 are: [zl], [table], [seq] and [comment] ([comment] is the only object that will not receive a full update, but only a partial update to Max 5). *About other stuff:* Besides updating the objects, we're also introducing new objects to the library, rewriting the whole documentation and fixing lots of bugs. There are 46 new objects (some still experimental, and 54 objects had bugs fixed (this includes about half of the objects that were also updated) - it's likely though that some "bugs" that were fixed in objects listed as not updated might have been feature additions and changes not specified in the documentation in more recent versions of max. For further beta and final releases of cyclone 0.3, we need to update the 4 remaining objects, work a bit more on some of newly introduced objects and revise once more the documentation (yet to include "meta" and related objects). We also have a fair list of bug fixes we hope to take care of as well. Hopefully this won't take another year or so :) A fully detailed changelog in comparison to "cyclone 0.2 beta", plus a list of things "To Do" and roadmaps for the future (cyclone 0.4) is presented here https://github.com/porres/pd-cyclone/wiki/cyclone-0.3-changlelog *Installing "Cyclone 0.3 alpha 1":* *Cyclone 0.3 alpha 1* has been tested with Pd Vanilla 0.47-1, not guaranteed to work in any other version or in other flavors such as Pd Extended / Pd-l2ork and Purr Data. We've uploaded to deken, so simply use the "find externals" option in the Help menu of Pd vanilla and you'll see it there for Linux, Windows and Mac OS... ("arm", coming soon) - you can also download it from https://github.com/porres/pd-cyclone/releases For more details, see https://github.com/porres/ pd-cyclone/wiki/How-To-Install *Final remarks:* Please check our repository, you will find more information and details about cyclone https://github.com/porres/pd-cyclone Please report any bug or issue you may run into here: https://github.com/porres/pd-cyclone/issues Taking care of Cyclone is a great deal of work, we could use some help... if you wanna collaborate with us, please get in touch! And for last, there's been some discussion here and there about possible conflicts between our repository/development and early repositories/versions of cyclone. We have answered and discussed that in our repository in an issue that is now resolved and closed, but I'm concerned if the discussion ended up constrained to only a few people. So I'm referring the issue here https://github.com/porres/pd-cyclone/issues/27 so more people may be aware of it - we're still available to discuss that or anything else if that's the case. cheers

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[OT] digital subtractive synthesis
by cyrille henry 13 Feb '17

13 Feb '17

hello, OK, the aim of this mail is to announce my new hardware synthesizer : http://nozoid.com/ocs-2 I already talked a bit about it on this list, but I did build a bunch of them and they are now for sale! But since we are on the pd list, let me talk about pd, synthesis and things I learned while building an high quality, analogue style, digital synthesizer. Here are 3 facts: 1) I often heard that pd sound badly 2) every user of the OCS-2 synth love its sound 3) I developed (and distribute) the equations use in this synth in pd before porting them to a hardware, so you can have the same sound in pd than in my synth. So, according to fact 3, why do we have fact 1? - Equations are not the only factor that "create" a sound. The way you control this equations is also very important. (see the "zipper" noise if you don't control the gain of an oscillator at audio rate). In pd, the data clock is by default SR/64, I.E less than 1KHz. The "line" object usually output a value at 50Hz. For my synth, data are computed at about 10HKz. This make a difference : LFO shapes are closer to the desired shape, and contain less aliasing artifact fast fader movement are more accurate ... Fortunately, this can be fixed in pd : [line] can output value at faster frequency, and data rate can be increase by reducing audio block size. Moreover, this can be done only where it's important, and you can keep default value where speed did not matter. - The precision of the control is also very important : in pd, fader precision are limited by screen resolution, and fader usually goes from 0 to 127. Shift clicking to increase resolution did not help if you want to move fast. from 20Hz to 20KHz, there is about 127 note, so don't expect micro-tonal resolution... A standard analogue system can easily have a S/N ration of 70dB, I.E a 12 bit resolution : more than 4K value from min to max It is also what the OCS fader provide. Unfortunately, it's not easy to have good/accurate control in pd. But that's not really a pd limitation... - The SR of the audio synthesis can also be important : the higher the SR, the more audio aliasing you can remove. And you don't need a 192K SR on your sound card, you can just oversample the part that need it in your patch, filter, and go back to a lower SR. But, better than trying to remove aliasing, it's better not to create it... - After few thread about band limited oscillator, I still see some people using the [phasor~] as an audio oscillator. No offenses, but let me be clear : [phasor~] is a very useful object, but it's not an audio oscillator. Use one of the BL oscillator abstraction if you are looking for a sawtooth signal. Using phasor~ as an audio oscillator only to hurt ears. So, if you know what you are doing and take few precaution, you should be able to make your patch to sound nice... Now that i tricked you to read this mail, please, go to http://nozoid.com and buy hundreds of synths to make me rich, or just dozen so that i can pay my bill (it cost a lot to build hardware). Well just sharing the website to your musician friend will help me. thanks and cheers, Cyrille

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Call for Papers: Algorithmic Electronic Dance Music
by Nikolai Collinsky 11 Feb '17

11 Feb '17

[apologies for cross posting] CFP: Algorithmic Electronic Dance Music Special edition of Dancecult: Journal of Electronic Dance Music Culture Guest Editors: Shelly Knotts and Nick Collins http://dj.dancecult.net/ Algorithms are at the heart of the virtual studio software applications underwriting so much contemporary dance music, but are normally the prior preserve of music engineering teams rather than musicians. This special issue, however, engages with algorithms as musical material, and especially with music which is inherently founded on computer programming technique. A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). Creators of EDM have vast amounts of software at their disposal, including specific musical programming languages; modern digital audio workstations now often include the capacity to utilise a programming language, such as Python and Max/MSP embedded within Ableton Live, or Logic’s MIDI Scripter. The history of algorithmic techniques within mainstream and experimental fringe dance music predates the coining of the term algorave (Collins and McLean 2014). Powerful computer music coding environments have been co-opted for use in club contexts, by such well known figures as Autechre (Max/MSP), BT (Csound, Composer’s Desktop Project), Cylob, Aphex Twin (SuperCollider), and Holly Herndon (Chuck), amongst many others. Some artists have written their own software from scratch, such as the generative gabba-techno artists slub, or commissioned others to supply it, as with Coldcut and the VJamm and Coldcutter programs. Research in this area extends from the introduction of new algorithmic techniques for the production of dance music, to the computational analysis of existing EDM, via critical appraisal of algorithms in the wild. Live realtime systems, as well as offline studio software, have been developed. An increasingly algorithmically literate culture will see increasingly algorithmically literate music, and the rise of music-oriented computer programming has great implications for future directions within EDM. (2014) Nick Collins and Alex McLean “Algorave: live performance of algorithmic electronic dance music”. Proceedings of NIME 2014, London // SUGGESTED THEMES // Potential themes for articles include (but are not limited to): - Analysis of the work of algorithmic EDM artists - Computational analysis procedures for EDM - Surveying algorithmic techniques in EDM production - Algorithmic composition projects based on EDM styles - Live coding and EDM - Web browser based dance music systems (e.g., via Flash, HTML5, Web Audio API et al.) - Music Information Retrieval (MIR) systems and EDM content creation - The programming of interactive systems for EDM creation - Music pedagogy through coding of EDM (e.g., Sonic Pi, EarSketch et al.) - Gender, ethnicity and social trends at the crossover of computer music and club culture - Collaborating with and through algorithms; EDM groups of musical programmers - Algorithmic audiovisuals for club performance - Performance and audience reception of Algorithmic EDM // SUBMISSIONS // Feature Articles: Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see: https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectio… “From the Floor” Articles: This special edition will also include articles in From the Floor format (750–2500 words), which are very suitable for an artist to critically evaluate their own practice, or an academic to discuss new experiments. This format will be of particular interest to scholars and practitioners who wish to share some of the insights of their work, but are unable to devote the time necessary for a feature-length article. See guidelines at the Section Policies link above. Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf Multimedia Submissions: Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements. // DATES AND DEADLINES // This special edition is proposed for publication in Dancecult on 1 November 2018. If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to Shelly Knotts (knotts.shelly(a)gmail.com) by 23rd March 2017. If your abstract is accepted, the deadline for submission of a full article draft to the guest editors for their comments is 1 October 2017. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 February 2018. Please send enquiries and expressions of interest to Shelly Knotts: knotts.shelly(a)gmail.com A PDF version of this call, with live links and editor biographies, is available from: http://composerprogrammer.com/algoraveCFP.pdf

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Call For Works - Seoul International Computer Music Festival 2017
by Jonghyun Kim 07 Feb '17

07 Feb '17

*Call For Works - Seoul International Computer Music Festival 2017* * The submission deadline is extended to March 6. The Korea Electro-Acoustic Music Society is proud to announce the Seoul International Computer Music Festival (SICMF) 2017. This year we collaborate with Asia Culture Center (ACC), an international arts and cultural exchange organization located in Gwangju, Korea. It will be a 6 day festival in an awesome place in Gwangju and offer a unique event for you. Categories 1. Tape music 2. Electro-acoustic music(tape or live) with instruments (up to 4 players) 3. Live electro-acoustic music 4. Audio-visual media art Rules & Regulations 1. The submitted work has to be composed after 2014. 2. The duration has to be less than 12 minutes. 3. For the works of the category #2, the number of players is limited to 4. 4. For performances requiring non-standard or special instruments, composers are responsible for providing the instruments and the performers on location. 5. Channels for audio playback are limited to 8 channels. 6. Up to two works may be submitted, but they must belong to different categories. Submission Deadline Monday, 6 March 2017, 6 pm (UTC+9) How to Submit 1. Only online submissions are allowed. - Send an email to master(a)keams.org with the link to the files(refer to #2 and #3 described below) - Do not attach the files but send us the link. Use the web services such as dropbox.com, wetransfer.com, and copy.com. 2. Media Files - Audio file(s) must be in stereo (either mp3, AIFF, or WAV) - For the category #2 and #3: the recorded audio file and/or related files(patches, documents, programs, etc.) - For the category #2: the score (PDF) - For the category #4: the video file in any format (mpeg, mov, avi, etc.). Size of the file should, however, not be bigger than 1GB. (You may submit a YouTube or Vimeo link.) 3. Document (format should be either TEXT, RTF, or DOC, but NEVER PDF; PDF sometimes causes problems when copying text from it) that includes the following information: - Last Name - First Name - Male / Female - Nationality - Email - Homepage (if any) - Biography - Title of work - Duration - Category - Instruments (if any) - Number of Audio Output Channels - Program Notes - World premiere / Asia premiere / Korea premiere (if applied) - Special Requirements for the Performance (if any) 4. Additional Notes - If you get no response from us after your submission, please email us to this alternate address: trebari(a)gmail.com - If you wish to submit offline, please contact us via email as early as possible. Support Policy 1. We agree to pay all costs for performing selected works (performer fees, instrument rental, etc). 2. We offer lodging in Gwangju during the festival for the composers of the selected works. 3. In case a composer needs bring his/her own performer(s) for specific reasons, we agree to also offer lodging for the performer(s). * This policy may be subject to change. For Further Information, please email us. festival(a)keams.org http://computermusic.asia

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CIE Journal - Special Issue on Musical Metacreation
by Kıvanç Tatar 07 Feb '17

07 Feb '17

It is our pleasure to announce the double special issue on Musical Metacreation recently published the ACM journal Computer in Entertainment. The double issue begins with an introduction to Musical Metacreation that covers the basic for those who are not familiar with the use of generative systems to partially or completely automate musical tasks. The publications are available in the ACM Digital Library: -- Special Issue on Musical Metacreation, Part I: http://dl.acm.org/citation.cfm?id=3024062 -- Special Issue on Musical Metacreation, Part II: http://dl.acm.org/citation.cfm?id=3029374 Three further articles of the special issue are available for free on the following links: 1. https://cie.acm.org/articles/perceptual-and-affective-evaluation-affectivel… 2. https://cie.acm.org/articles/use-interactive-genetic-algorithms-sound-desig… 3. https://cie.acm.org/articles/darwintunes-20-evolving-music-within-breeding-… In addition, we would like to draw your attention to the International Workshop on Musical Metacreation and the MUME Concert series. This year, the workshop and concert will be held in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017 <http://computationalcreativity.net/iccc2017/>: -- The call for participation to the MUME 2017 Workshop is available here: http://musicalmetacreation.org/workshops/mume-2017/call-for-participation/ -- The call for works for the MUME 2017 Concert is available here: http://musicalmetacreation.org/mume-2017-concert-call-for-works/ -- Kıvanç Tatar ---------------------------------- PhD Student Interactive Arts and Technology Simon Fraser University, Vancouver, Canada Email: kivanctatar(a)gmail.com Website: https://kivanctatar.wordpress.com/

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eNTERFACE'17, 13th International Summer Workshop on Multimodal Interfaces : Final project proposal submission deadline (10 February)
by Luís Teixeira 03 Feb '17

03 Feb '17

**Please forward to anyone who might be interested** Apologies for cross-posting ************************************************************************** CfP eNTERFACE'17 Workshop: International Summer Workshop on Multimodal Interfaces http://artes.ucp.pt/enterface17/ Final project proposal submission deadline (10 February) http://artes.ucp.pt/enterface17/authors-kit/eNTERFACE17_Authors_Kit.pdf ************************************************************************** eNTERFACE workshops aim at establishing a tradition of collaborative, localized research and development work by gathering, in a single place, a team of senior project leaders in multimodal interfaces, researchers, and (undergraduate) students, to work on a pre-specified list of challenges, for 4 weeks. Following the success of the previous eNTERFACE workshops held in Mons (Belgium, 2005), Dubrovnik (Croatia, 2006), Istanbul (Turkey, 2007), Paris (France, 2008), Genova (Italy, 2009), Amsterdam (Netherlands, 2010), Plzen (Czech Republic, 2011), Metz (France, 2012), Lisbon (Portugal, 2013), Bilbao (Spain, 2014), Mons (Belgium, 2015), Twente (Netherlands 2016), the Digital Creativity Centre (CCD)<http://artes.ucp.pt/ccd>, Universidade Catolica Portuguesa, has the pleasure to host eNTERFACE’17<http://artes.ucp.pt/enterface17>, the 13th Summer Workshop on Multimodal Interfaces, to be held in Porto, Portugal from July 3rd to 28th, 2017. The eNTERFACE'17 committee<http://artes.ucp.pt/enterface17/Committees_eNTERFACE17.html> now invites researchers to submit project proposals that will be evaluated by the scientific committee. All the information asked to submit a project is available on the website of the workshop. The proposals should contain a full description of the project's objectives, required hardwares/softwares and relevant literatures. Participants are organized in teams, attached to specific projects, working on free software. Each week will typically consist of working sessions by the teams on their respective projects plus a tutorial given by an invited senior researcher and a presentation of the results achieved by each project group. The last week will be devoted to writing an article on the results obtained by the teams plus a big session where all the groups will present their achievements. Proceedings are expected to be published by CITAR Journal. CITAR Journal was recently (July 2016) accepted for inclusion in a new index of the Web of Science (WoS) Core Collection: the Emerging Sources Citation Index (ESCI), and has also been accepted for indexing by Elsevier's Scopus. TOPICS Although not exhaustive, the submitted projects can cover one or several of the topics : Art and Technology, Affective Computing, Assistive and Rehabilitation Technologies, Assistive Technologies for Education and Social Inclusion, Augmented Reality, Conversational Embodied Agents, Human Behavior Analysis, Human Robot Interaction, Interactive Playgrounds, Innovative Musical Interfaces, Interactive Systems for Artistic Applications, Multimodal Interaction, Signal Analysis and Synthesis, Multimodal Spoken Dialog Systems, Search in Multimedia and Multilingual Documents, Smart Spaces and Environments, Social Signal Processing, Tangible and Gesture Interfaces, Teleoperation and Telerobotics, Wearable Technology, Virtual Reality SUBMISSION PROCEDURE The general procedure of the eNTERFACE workshop series is as follows. Researchers are invited to submit project proposals. The project proposals will be evaluated by the eNTERFACE steering committee. If accepted, the projects will be published and researchers and students are invited to apply for up to 3 projects they would like to be part of. After notifying the applicants, the project leaders can start building their teams. Final project proposals must be submitted by email (PDF) to enterface17(a)porto.ucp.pt<http://mailto:enterface17%40porto.ucp.pt%3cmailto%3Aenterface17@porto.ucp.p…>. * Instructions for the final proposal: http://artes.ucp.pt/enterface17/authors-kit/eNTERFACE17_Authors_Kit.pdf IMPORTANT DATES * 20 January 2017: Notification of interest for a project proposal with a summary of project goals, work-packages and deliverables (1-page) * 10 February 2017: Submission deadline: Final project proposal * 20 February 2017: Notification of acceptance to project leaders * 06 March 2017: Start Call for Participation, participants can apply for projects * 21 April 2017: Call for Participation is closed * 28 April 2017: Teams are built, notification of acceptance to participants * 03 – 28 July 2017: eNTERFACE’17 Workshop Scientific Committee * Prof. Albert Ali Salah, University of Bogazici, Turkey * Prof. Alvaro Barbosa, University of Saint Joseph, Macao, China * Prof. Andrew Perkis, Norwegian University of Science and Technology, Norway * Prof. Antonio Camurri, University of Genova, Italy * Prof. Benoit Macq, Université Catholique de Louvain (UCL), Belgium * Prof. Bruce Pennycook, University of Texas at Austin, USA * Prof. Christophe d'Alessandro, CNRS-LIMSI, France * Dr. Daniel Erro, Cirrus Logic, Spain * Prof. Dirk Heylen, University of Twente, Netherlands * Prof. Gualtiero Volpe, University of Genova, Italy * Prof. Igor S. Pandžić, University of Zagreb, Croatia * Prof. Inma Hernaez, University of the Basque Country, Spain * Prof. Jean Vanderdonckt, Université Catholique de Louvain (UCL), Belgium * Prof. Jorge C. S. Cardoso, University of Coimbra, Portugal * Prof. Khiet Truong, University of Twente, Netherlands * Prof. Kostas Karpouzis, National Technical University of Athens, Greece * Prof. Ludger Brümmer, ZKM | Center for Art and Media Karlsruhey, Germany * Prof. Luis Teixeira, Universidade Católica Portuguesa (UCP), Portugal * Prof. Martin Kaltenbrunner, Kunstuniversität Linz, Austria * Prof. Maureen Thomas, Cambridge University Moving Image Studio, UK * Prof. Milos Zelezny, University of West Bohemia, Czech Republic * Prof. Nuno Guimarães, Information Sciences, Technologies and Architecture Research Center (ISTAR-UL), Portugal * Prof. Olivier Pietquin, University of Lille | Google DeepMind, France * Prof. Sandra Pauletto, University of York, UK * Prof. Stefania Serafin Professor, Aalborg University Copenhagen, Denmark * Prof. Thierry Dutoit, University of Mons, Belgium * Prof. Yves Rybarczyk, New University of Lisbon, Portugal INFRASTRUCTURE eNTERFACE’17 will be held in the Digital Creativity Centre located on the campus of the Catholic Portuguese University in the city of Porto, Portugal. The Digital Creativity Centre<http://artes.ucp.pt/ccd> is a center of competence and creative excellence with an infrastructure equipped with cutting edge technology in the areas of Digital and Interactive Arts, Computer Music, Sound Design, Audiovisual and Cinematic Arts, Computer Animation. Facilities include experiment spaces, meeting rooms, as well as a Motion Capture (MoCap) Lab equipped with a Vicon Motion Capture System, a Digital and Interactive Arts (Yamaha Disklavier Grand Piano Robotic Performance System, a Notomoton Percussion Robot, two Reactable Live and one Reactable Media Bench Systems, various Microsoft Kinects, Nintendo Wiimotes, LeapMotion sensors, Webcameras, 3d-printers, Arduino and Raspberry Pi systems). ORGANIZATION eNTERFACE’17 will be organized and hosted by the Digital Creativity Centre, Universidade Catolica Portuguesa - School of Arts. ............................................................ AVISO DE CONFIDENCIALIDADE Esta mensagem (incluindo quaisquer anexos) pode conter informação confidencial ou legalmente protegida para uso exclusivo do destinatário. Se não for o destinatário pretendido da mesma, não deverá fazer uso, copiar, distribuir ou revelar o seu conteúdo (incluindo quaisquer anexos) a terceiros, sem a devida autorização. Se recebeu esta mensagem por engano, por favor informe o emissor, por e-mail, e elimine-a imediatamente. Obrigado. ............................................................ CONFIDENTIALITY NOTICE This message may contain confidential information or privileged material, and is intended only for the individual(s) named. If you are not the named addressee, you should not disseminate, distribute or copy this e-mail. Please notify the sender immediately by e-mail if you have received this e-mail by mistake and delete this e-mail from your system. Thank you.

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Pd-announce February 2017