Pd-announce

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New release of Pd-L2Ork now available
by Bukvic, Ivica 17 Dec '24

17 Dec '24

Dear all, Please pardon x-posting. L2Ork is pleased to announce the latest Holiday release of Pd-L2Ork and WebPdL2Ork, version 20241217. Below is an update summary: *Integrated rich text and vanilla 0.55 additions *Improved indexing *Initial clean-up of the cyclone library (active, mousefilter, and MouseState) *Added neuralnet *Reworked flite *WebPdL2Ork bugfixes and improvements (Tweeter now loads in seconds) *59 new L2Ork Tweeter instruments and a new piece, added MadMapper interfacing patches You can grab your builds from the usual place https://bit.ly/pd-l2ork Don't forget to follow us on Instagram: https://instagram.com/L2Ork Wishing all Happy Holidays! Best, Ico -- Ivica Ico Bukvic, D.M.A. Director, Creativity + Innovation Director, Human-Centered Design iPhD Institute for Creativity, Arts, and Technology Virginia Tech Creative Technologies in Music School of Performing Arts – 0141 Blacksburg, VA 24061 (540) 231-6139 ico(a)vt.edu<mailto:ico@vt.edu> ci.icat.vt.edu<http://ci.icat.vt.edu> l2ork.icat.vt.edu<http://l2ork.icat.vt.edu> ico.bukvic.net<http://ico.bukvic.net>

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Call for submissions: ECHO #7 - Speculative Sound Synthesis
by David Pirrò 16 Dec '24

16 Dec '24

Call for submissions: ECHO #7 - Speculative Sound Synthesis Deadline: February 28 2025 The online journal ECHO invites submissions for its upcoming seventh issue on "Speculative Sound Synthesis," edited by David Pirrò, and Leonie Strecker. ECHO is the online publication of the Music, Thought and Technology research group at Orpheus Instituut, Ghent. The artistic practice of sound synthesis has evolved in close relation to science and technology. This relationship has been fundamental, offering new means and methods for experimentation while simultaneously instilling a strong pull toward standardisation, closure, and control. "Speculative Sound Synthesis" destabilises and recomposes the multilayered relationship between technology and artistic practice, seeking to unleash aesthetic potentials that would remain unseen or hidden by technological habits. Speculation, in this context, denotes a questioning attitude that emphasises hypothetical thinking, curiosity, and exploration. As an artistic practice, speculation functions as a situated oscillation between experience and imagination, generating new forms of knowledge and opening pathways to novel aesthetic thinking. This special issue welcomes contributions from practitioners who are committed to critical and speculative approaches at the intersection of art and technology. Within this hybrid space, synthesis is understood both as a means of producing new forms and, in a more abstract sense, the practice of bringing forth assemblages of materials and concepts. We seek contributors engaged in practices that question, challenge, criticise, deconstruct, recompose, reformulate, shift, dislocate, endanger, or reject established standards of sound synthesis, exploring aesthetic positions that offer alternative perspectives on thinking and creating sound. For further details and submission instructions, please click: https://echo.orpheusinstituut.be/current-call This issue is edited by the Speculative Sound Synthesis research project team. The "Speculative Sound Synthesis" project is funded by the Austrian Science Fund (FWF) within the Programme for Arts-based Research (PEEK) – PEEK AR 713-G and is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz. https://speculative.iem.at/

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Workshop Click Tracker 14th December, 14h CET
by João Pais CT 11 Dec '24

11 Dec '24

Dear List, on Saturday the 14th of December at 14h CET there will be a online Click Tracker workshop. The workshop is free of charge, but participants must enroll at https://bit.ly/workshop_click_AnT You can also find all information in the facebook event https://fb.me/e/4g3JEAfxN Feel free to share this information with anyone insterested. The goal of this workshop is to learn how to use the Click Tracker app, developed by João Pais for the creation of click tracks. The Click Tracker is a powerful tool that can help musicians either with the creation process, the preparation and rehearsing or even performance of musical works with a certain degree of metric complexity, or simply to synchronise electronic means with instruments. During this workshop, João Pais will present the Click Tracker features, demonstrating how to create files for a number of different situations (changing tempi, time signatures, etc). Before the workshop, each participant will receive an email with the details for the access to the online session. You can find more information and tutorial, as well as download the application at https://jmmmp.github.io/clicktracker/ Participants are strongly encouraged to previously send a PDF referring to practical cases they might like to see discussed during the session. Best, João Pais -- Click Tracker Mobile -https://bit.ly/click-tracker-mob Click Tracker Website -http://j.mp/click-tracker Click Tracker Library -https://bit.ly/ClickTrackerLibrary Facebook -http://j.mp/clicktrackerfb

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ICMC BOSTON 2025 - Call for Music
by dudas 09 Dec '24

09 Dec '24

[ Apologies for cross-posting this message to multiple lists ] Call for Music https://icmc2025.sites.northeastern.edu/call-for-submissions/#music Practitioners of Computer Music and Electroacoustic Music, including composers, sound artists, performers, and improvisers, are invited to submit proposals for works to be presented at ICMC BOSTON 2025 <https://icmc2025.sites.northeastern.edu/>. Submissions may be fixed or performative in nature. While submissions of works that align with this year’s conference theme of Curiosity, Play, Innovation are highly encouraged, we remain open to other themes and concepts and welcome submissions in the following broad categories: Fixed media (stereo or multichannel) Live electronics and/or fixed media with, or without, instruments/voice Audiovisual (fixed or performative) Interactive systems (sensor-based controllers, score following, gesture/motion tracking, etc.) Improvised electronics with, or without, acoustic instrument(s)/voice Networked performance Live coding and algorithmic performance CALL FOR MUSIC: SUBMISSION GUIDELINES Composers and Sound Artists may submit fixed media or performative works, with or without visuals, up to twelve (12) minutes in length. Shorter works, eight (8) minutes, or less, are strongly encouraged. For those submitting works combining electronics with instruments/voice, please indicate if you would like your work to be considered for performance by members of one of the ICMC 2025 ensembles-in-residence: Hinge Quartet <http://hingequartet.com/> saxophone (any, except bass), electric guitar, piano, and percussion Callithumpian Consort <http://www.callithumpian.org/> soprano voice, flute (doubling piccolo, alto), clarinet (doubling bass cl.), violin, cello, and piano. If you will be providing your own performer to play your piece, please let us know. Performers are invited to apply to perform a work involving digital technology. The performer-applicant does not need to be the composer of the work, and the composer is not required to attend the conference. This provides an opportunity for performers specializing in electroacoustic music to contribute to ICMC 2025 by presenting a work drawn from the rapidly growing repertoire in this field. Suggested duration is eight (8) minutes, or less. Note: Performers must secure all required permissions for public presentation of proposed works. Improvisers working with digital technology are invited to submit a proposal to perform an improvisation, with or without visuals, up to eight (8) minutes in length. The proposal must include an audio file demonstrating the nature of the improvisation and a written description of the technology/system utilized. Improvisations may be purely electronic, or may involve an acoustic instrument, voice, or amplified object(s) with electronics. Piece + Paper We also encourage Piece + Paper submissions, which combine musical work with research presentations. These submissions provide an opportunity to discuss a work’s technical and aesthetic aspects in depth. For Piece + Paper submissions please refer to the Call for Papers <https://icmc2025.sites.northeastern.edu/call-for-submissions/#papers> for additional guidelines. Each submission must include the following: Work Description (1000 characters) Technical Requirements and Setup Specifications Program Note (3000 characters) Biographical Note (Primary Author) (3000 characters) Biographical Note(s) (Secondary Participants) (8000 characters) File Uploads: Please submit your main audio/video file that best represents your music submission. We accept wav, aif, aiff, m4a, mp3, and mp4 file formats.NOTE: max file sizes are 100MB (for each file) – if you have large video files, we encourage you to include links to anonymous, unpublished YouTube or Vimeo links in an accompanying PDF upload. (For multichannel works, please submit a stereo, binaural mix. If a multichannel submission is accepted to the conference, mono files corresponding to each channel will be requested.) NOTE: Please do not submit links to videos of audio-only, performative works (instrument + electronics, for example) unless there is an interactive component involving relevant motion or some other theatrical component that is primary to the work. Please submit a performance score (when applicable, for notated works) Preferred Venue: Applicants will be asked to specify if the work is intended for presentation in a concert venue, alternative nightclub environment, or a listening space. In cases where the preferred venue is a concert hall, please indicate if a nightclub or listening room will be acceptable as an alternative, if we are unable to program the work in a more traditional concert setting. Submissions should be made through the ICMC BOSTON 2025 Conference Management Toolkit (CMT) https://cmt3.research.microsoft.com/ICMCBOSTON2025 Available Systems: For concerts, we are able to accommodate the following diffusion setups: stereo, quadrophonic, 5.1, 8-channel, and 8-channel augmented (additional channels/loudspeakers for materials to be spatialized in real-time with elevated, rear-facing, and upward facing monitors. Number of channels and loudspeakers TBD). Single screen video projection is possible in most of the available concert venues. For listening rooms, we will have a selection of spaces available with stereo, quadrophonic, and 8-channel playback systems. Video projection or a display monitor will be possible in each of these spaces. Call for Music Submission Deadline: February 1, 2025 For any questions regarding the Call for Music Submissions, please contact the ICMC BOSTON 2025 Music Chair: John Mallia (john.mallia(a)necmusic.edu <mailto:john.mallia@necmusic.edu>).

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ICMC BOSTON 2025 -- Call for Papers & Innovation Showcase
by dudas 09 Dec '24

09 Dec '24

[ Apologies for cross-posting this message to multiple lists ] Call for Papers https://icmc2025.sites.northeastern.edu/call-for-submissions/#papers ICMC Boston 2025 <https://icmc2025.sites.northeastern.edu/> invites submissions of full papers (up to 8 pages) and short papers (up to 4 pages) that resonate with the conference theme Curiosity, Play, Innovation. We welcome works in the following broader categories, including but not limited to: Acoustics and Psychoacoustics Algorithmic Composition Artificial Intelligence, Machine Learning, and Data Analysis Audio Analysis and Music Information Retrieval Augmented and Virtual Reality in Music Composition, Performance, and Interactive Systems Computer-aided Music Education Digital Audio Effects and Signal Processing Digital Musical Instruments Distributed and Networked Music Systems Education, Historical Perspectives, and Infrastructure Electronic and Digital Musical Instruments Game Audio and Interactive Sound Design Generative Music Systems Historical Perspectives on Computer Music Human-Computer Interaction in Music Live Coding and Real-Time Systems Mobile and Web Music Technology Movement, Sensor, and Gesture-based Sound Actions Music Cognition and Perception Music Representation and Notation Physical Modeling and Sound Synthesis Piece + Paper Robotics and Music Sonification and Auditory Display Sound and Signal Processing Spatial and Immersive Audio Studio Reports and Infrastructure Virtual Reality, Gaming, and Networked Systems We particularly encourage submissions that combine innovative approaches to music with groundbreaking technology and scientific insights. Both full and short papers will be included in the proceedings. Authors of the selected papers will have the opportunity to present their work orally during paper sessions and as live demos in the “Innovation Showcase”(see below). Winners of the Best Paper Award will be invited to publish an extended version of their paper in a special issue of the Computer Music Journal <https://direct.mit.edu/comj>. Full papers should present completed research with comprehensive methodology and artist and/or technical results. Short papers are suitable for work-in-progress, preliminary findings, or focused technical solutions demonstrating clear potential impact. Papers will be reviewed based on their artistic/musical contribution, technical/scientific merits, originality and innovation, presentation quality, and relevance to the extended field of computer music. Only original work not previously published or submitted for publication is considered for acceptance. Authors of accepted submissions who cannot physically attend the conference may present remotely. CALL FOR PAPERS: SUBMISSION GUIDELINES All submissions must be in English and use appropriate and inclusive language. Paper submissions should be made using the provided templates and submitted through the ICMC BOSTON 2025 Conference Management Toolkit (CMT) <https://cmt3.research.microsoft.com/ICMCBOSTON2025>. Please remove any identifying information from your submission materials to ensure a double-blind peer review process. LaTeX, MS Word, and OpenDocument Text templates are available here: Download Paper Templates <https://icmc2025.sites.northeastern.edu/files/2024/11/ICMC_2025_Paper_Templ…> Note that page limits include references. To have your paper considered for the demo session, please check the “available for demo” box in the CMT and upload relevant technical documents during submission. The submission deadline for the paper track: January 15, 2025, AoE [Anywhere on Earth] NOTE: The submission portal will be closing for new paper submissions on January 15, 2025 at 11:59pm (AoE). However, you will be able to update your submission until January 22 at 11:59pm (AoE). No extensions will be granted. For any questions regarding submissions, please contact the ICMC BOSTON 2025 Paper Chairs: Victor Zappi <mailto:v.zappi@northeastern.edu> or Akito van Troyer <mailto:avantroyer@berklee.edu>. We look forward to your contributions and celebrating 50 years of creativity and innovation in computer music at ICMC Boston 2025! ***** Call for Innovation Showcase (Posters and Demos) https://icmc2025.sites.northeastern.edu/call-for-submissions/#innovation ICMC Boston 2025 <https://icmc2025.sites.northeastern.edu/> invites submissions for the Innovation Showcase, which combines poster presentations and live demonstrations. Submissions in this category should be short papers (up to 2 pages) that resonate with the theme of Curiosity, Play, Innovation. We welcome works in the following broader categories, including but not limited to: Acoustics and Psychoacoustics Algorithmic Composition Artificial Intelligence, Machine Learning, and Data Analysis Audio Analysis and Music Information Retrieval Augmented and Virtual Reality in Music Composition, Performance, and Interactive Systems Computer-aided Music Education Digital Audio Effects and Signal Processing Digital Musical Instruments Distributed and Networked Music Systems Education, Historical Perspectives, and Infrastructure Electronic and Digital Musical Instruments Game Audio and Interactive Sound Design Generative Music Systems Historical Perspectives on Computer Music Human-Computer Interaction in Music Live Coding and Real-Time Systems Mobile and Web Music Technology Movement, Sensor, and Gesture-based Sound Actions Music Cognition and Perception Music Representation and Notation Physical Modeling and Sound Synthesis Piece + Paper Robotics and Music Sonification and Auditory Display Sound and Signal Processing Spatial and Immersive Audio Studio Reports and Infrastructure Virtual Reality, Gaming, and Networked Systems We encourage submissions of all stages, including works-in-progress, preliminary research findings, focused technical solutions, brief case studies, and fully developed projects. The crucial aspect is that the work lends itself to engaging presentations through posters or hands-on demonstrations. Submissions should offer interactive experiences that allow conference attendees to directly engage with the work/technology, comprehend its musical applications, and appreciate its innovative elements. Each submission will be evaluated based on its creative and intellectual merit, practical functionality, suitability for interactive presentation, and potential impact on the field of computer music. Selected submissions will be included in the proceedings. CALL FOR INNOVATION SHOWCASE: SUBMISSION GUIDELINES All submissions must be in English and must use appropriate and inclusive language. Submissions should be made using the provided templates and submitted through ICMC BOSTON 2025 Conference Management Toolkit (CMT) <https://cmt3.research.microsoft.com/ICMCBOSTON2025>. Alongside the 2-page paper, submissions conceived for live demonstration must include a technical rider and video documentation (max 5 minutes). Please remove any identifying information from all submitted materials to ensure a double-blind peer review process. LaTeX, MS Word, and OpenDocument Text templates are available here: Download Paper Templates <https://icmc2025.sites.northeastern.edu/files/2024/11/ICMC_2025_Paper_Templ…> Note that page limit includes references. The submission deadline for the paper track: January 15, 2025, AoE [Anywhere on Earth] NOTE: The submission portal will be closing for new paper submissions on January 15, 2025 at 11:59pm (AoE). However, you will be able to update your submission until January 22 at 11:59pm (AoE). No extensions will be granted. For any questions regarding submissions, please contact the ICMC BOSTON 2025 Paper Chairs: Victor Zappi <mailto:v.zappi@northeastern.edu> or Akito van Troyer <mailto:avantroyer@berklee.edu>. We look forward to your contributions and celebrating 50 years of creativity and innovation in computer music at ICMC Boston 2025! ************************************** Anthony Paul De Ritis, MBA, PhD Professor, Music Department Northeastern University, Boston, MA 02115 USA www.deritis.com <http://www.deritis.com/>

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Windows winget packages updated to 0.55-2
by Lucas Cordiviola 03 Dec '24

03 Dec '24

Windows(10 or 11) users can install (or update to) version 0.55-2 of pd (or pd64) from command-line via: - pd: winget install puredata - pd64: winget install pd64 :) -- Mensaje telepatico asistido por maquinas

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unauthorized 0.2 pre test release for apple silicon
by Alexandre Torres Porres 27 Nov '24

27 Nov '24

Hi, there's a quick pre-test release of a new "unauthorized" version I'm working on. It's up in deken. Someone on the Pd forum was looking for [playlist] for apple silicon and I had to upload to deken so he can test it (it's just a nightmare now with apple and malware). All objects but the streaming ones seem to be working... I also still need to figure out linking dynamic libs for those but I'm aware they already have issues, so my main concern is to provide the others for now, specially the GUIs! I might solve the streaming deals in new objects in ELSE. Please test and let me know. I gotta be off for a couple of days for gigs upstate in the meantime. When I'm back I'll clean the dust off my old intel mac that can still run Pd-Extended and try the unauthorized library in there to see how it behaves. I'll also try the other deken upload we have for Vanilla and mac intel. I gotta see if it all really works and what's the trouble. Many tests ahead. I'll check it all out and get back for at least a final apple upload with some more technical remarks. By the way, I also did reorganize things and also cleaned up the documentation a bit, included the [output~] abstraction from extra and tried to mitigate some of the mess. I would like to work more on that for the final version. I can guarantee a working apple upload, but I guess I need help for other systems. This version uses pd-lib-builder, so others can fork and try and build themselves and test quite easily for other operating OSes. Kudos to Pd for being awesome as it's incredible we can build such an old code so easily. I just needed mostly to change '*error(*' to '*pd_error(*' so things could build. Here's the repository by the way https://github.com/porres/pd-unauthorized Now, if you're not aware, I'm taking some time off the pd-list, so I'm not reading or responding. People can still reach me though via email (or join the new unauthorized repository if interested in collaborating with it and discussing it). I think some things could go without saying, but under the light of recent events, here is a bit of a disclaimer: I consider Pd to be a community of free and independent contributors. I don't speak or act on behalf of the Pd Community, nor the Pd-list (which I'm currently not participating in). That is to say I'm the only one responsible for my actions and if someone (like, say, the original author of this library) is not happy and reading this, please leave the pd-list and the pd community alone because of my actions and take anything up directly with me, ok? Come to the repository, whatever - that is to suggest you to leave the premises and meet me in the parking lot if desired ;) but bring it on and let's see what you really got (unless all that was needed was the stage to troll and make a scene). Others can reach me too, of course, but I don't really want to discuss the recent events, we can all leave it behind. My last action about this situation is that I'm uploading this library to deken and maintaining it, and there's nothing else to it besides technical discussions about keeping this code available, accessible and working as best as possible. Sorry again for causing trouble at the bar. Be back soon. cheers

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Pd 0.55-2 released
by Miller Puckette 17 Nov '24

17 Nov '24

To Pd-announce: Pd version 0.55-2 is available from https://msp.ucsd.edu/software.htm or (source only) via github: https://github.com/pure-data/pure-data . cheers Miller

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SMC 2025 call for papers, music & sonic arts
by IOhannes m zmölnig 15 Nov '24

15 Nov '24

Dear artists and researchers, https://smc25.iem.at/ IEM (https://iem.at) and the SMC network (https://smcnetwork.org) calls for music and sonic arts, as well as paper contributions to SMC, which will be held in Graz (Austria), consisting of a summer school between July 7th and 9th, and the conference/concerts as main event between July 10th and 12th at MUMUTH/University of Music & Performing Arts, Graz, 2025. Submission deadlines are Feb 7th 2025 for music and sonic arts, and March 7th 2025 for papers. See https://smc25.iem.at/ for details; we chose "Auditory Landscapes" as a theme :) IOhannes (for the Graz SMC25 team)

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New Pd-L2Ork Release and Other L2Ork-related Updates
by Bukvic, Ivica 14 Nov '24

14 Nov '24

Dear all, Pd-L2Ork version 20241111 is now available for download. Apart from the usual bug-fixes, the new version also integrates select Purr-Data editor and vanilla 0.55 improvements, as well as latest 3rd-party externals directly from their github repositories, starting with cross-platform HID external hidraw, and speech synthesis external flite. In addition, L2Ork Tweeter has received a version bump to 0.85. As usual, you will find installers for all major platforms (Linux (Arch, Ubuntu, plus Flatpak, and aarch64 or RPi), MacOS, and Windows) at https://bit.ly/pd-l2ork WebPdL2Ork continues to be developed in parallel. For more info, visit https://l2ork.music.vt.edu/main/pd-l2ork-invades-the-web/ Lastly, on October 19th, L2Ork International Ensemble it premiered its sixth work commissioned by the City of Alexandria (VA) Office of the Arts, featuring performers over 5,000 miles apart. The performance integrates projection mapping (by a collaborating artist Thomas Tucker) on a physical art installation Interstellar Influencer (Make an Impact) by StudioKCA that was on display in Alexandria's Waterfront park. Event recording can be seen on L2Ork's YouTube channel at https://www.youtube.com/watch?v=c1O-3g2tkoQ As L2Ork International Ensemble continues to grow, we invite anyone interested in collaborative musicking to contact us, and we will gladly add you to our Google Group and invite you to participate in future rehearsals and performances. Looking forward, stay tuned for a multi-site L2Ork Tweeter Hackathon scheduled for spring 2025. To learn more about the inaugural Hackathon that took place last spring, visit https://l2ork.music.vt.edu/static-pages/2024.4-hackathon.html Best, Ico -- Ivica Ico Bukvic, D.M.A. Director, Creativity + Innovation Director, Human-Centered Design iPhD Institute for Creativity, Arts, and Technology Virginia Tech Creative Technologies in Music School of Performing Arts – 0141 Blacksburg, VA 24061 (540) 231-6139 ico(a)vt.edu<mailto:ico@vt.edu> ci.icat.vt.edu<http://ci.icat.vt.edu> l2ork.icat.vt.edu<http://l2ork.icat.vt.edu> ico.bukvic.net<http://ico.bukvic.net>

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