An update to the ELSE library is out, mostly with updates in current
objects and just a few new objects. Three managing lists: [reverse],
[rotate], [iterate] and a new drum sequencer objects ([drum.seq]). Please
note that [else/drum.seq] and [else/mtx.ctl] have issues in Pd 0.49 (and
only in 0.49), but this is already fixed for the next 0.50 release. See
https://github.com/porres/pd-else/releases/tag/v1.0-beta21 for a complete
changelog on what's new in ELSE 1.0 beta 21 and wait a but for all binaries
to be available in the repository and via deken (only missing so far are
raspberry pi binaries). The Live Electronics Tutorial that relies in the
ELSE library was also updated - see:
https://github.com/porres/Live-Electronic-Music-Tutorial/releases/tag/v1.0-…
cheers
Dear Pure Data community,
I am currently running a publication fundraiser on Kickstarter for my
book VECTOR SYNTHESIS: a Media Archaeological Investigation into
Sound-Modulated Light.
The book describes my research into the military and techno-scientific
legacies at the birth of modern computing, and how early computer,
electronic media, and video artists of the 1950’s, 60’s, and 70’s
attempted to decouple these tools from their destructive origins.
It also presents my Pure Data software library and live performance
project which employs audio synthesis and vector graphics techniques to
investigate direct relationships between sound and image using analog
CRT displays.
The conclusion of the book reflects on how the project and the research
surrounding it has contributed to the larger experimental audiovisual
arts community through events such as the Vector Hack Festival.
Artists discussed include Mary Ellen Bute, Ben Laposky, Len Lye, Norman
McLaren, Desmond Paul Henry, James Whitney, John Whitney Sr., Dan
Sandin, Steina Vasulka, Woody Vasulka, Larry Cuba, Bill Etra, Mitchell
Waite, Rosa Menkman, Cracked Ray Tube, Andrew Duff, Benton C.
Bainbridge, Philip Baljeu, Jonas Bers, Robin Fox, Robert Henke, Ivan
Marušić Klif, Jerobeam Fenderson, Hansi Raber, Ted Davis, Roland
Lioni, Bernhard Rasinger, and the Kikimore group.
The book is 122 pages long, has 21 illustrations, links to several video
examples online, and was fabulously designed by Claire Matthews.
I’ve launched this Kickstarter to print and distribute the book to
people who have expressed interest, to get them to people who have
assisted in its creation, and just as importantly to send them to
organizations and schools who deserve one. Your support of this
publishing project will help make that possible.
Details can be found here:
https://www.kickstarter.com/projects/macumbista/vector-synthesis-book
Thank you for your kind attention!
Derek Holzer
--
derek holzer
noise.art.technology
http://macumbista.net
*Apologies for cross-postings*
# Fifth Annual Web Audio Conference - 3rd Call for Submissions
https://www.ntnu.edu/wac2019
The fifth Web Audio Conference (WAC) will be held 4-6 December, 2019 at the
Norwegian University of Science and Technology (NTNU) in Trondheim, Norway.
WAC is an international conference dedicated to web audio technologies and
applications. The conference addresses academic research, artistic
research, development, design, evaluation and standards concerned with
emerging audio-related web technologies such as Web Audio API, Web RTC,
WebSockets and Javascript. The conference welcomes web developers, music
technologists, computer musicians, application designers, industry
engineers, R&D scientists, academic researchers, artists, students and
people interested in the fields of web development, music technology,
computer music, audio applications and web standards. The previous Web
Audio Conferences were held in 2015 at IRCAM and Mozilla in Paris, in 2016
at Georgia Tech in Atlanta, in 2017 at the Centre for Digital Music, Queen
Mary University of London in London, and in 2018 at TU Berlin in Berlin.
The internet has become much more than a simple storage and delivery
network for audio files, as modern web browsers on desktop and mobile
devices bring new user experiences and interaction opportunities. New and
emerging web technologies and standards now allow applications to create
and manipulate sound in real-time at near-native speeds, enabling the
creation of a new generation of web-based applications that mimic the
capabilities of desktop software while leveraging unique opportunities
afforded by the web in areas such as social collaboration, user experience,
cloud computing, and portability. The Web Audio Conference focuses on
innovative work by artists, researchers, students, and engineers in
industry and academia, highlighting new standards, tools, APIs, and
practices as well as innovative web audio applications for musical
performance, education, research, collaboration, and production, with an
emphasis on bringing more diversity into audio.
## Pre-submission Draft Feedback
Given that this year's conference theme is Diversity in Web Audio, we would
like to welcome everyone to submit. We have launched a pre-submission draft
feedback process to make people feel more confident, supported and welcome
regarding submitting. This call is addressed to those individuals who are
independent from academic institutions (deadline: June 9, 2019). More info
available at:
https://www.ntnu.edu/wac2019/pre-submission-draft-feedback
## Theme and Topics
The theme for the fifth edition of the Web Audio Conference is Diversity in
Web Audio. We particularly encourage submissions focusing on inclusive
computing, cultural computing, postcolonial computing, and collaborative
and participatory interfaces across the web in the context of generation,
production, distribution, consumption and delivery of audio material that
especially promote diversity and inclusion.
Further areas of interest include:
* Web Audio API, Web MIDI, Web RTC and other existing or emerging web
standards for audio and music.
* Development tools, practices, and strategies of web audio applications.
* Innovative audio-based web applications.
* Web-based music composition, production, delivery, and experience.
* Client-side audio engines and audio processing/rendering (real-time or
non real-time).
* Cloud/HPC for music production and live performances.
* Audio data and metadata formats and network delivery.
* Server-side audio processing and client access.
* Frameworks for audio synthesis, processing, and transformation.
* Web-based audio visualization and/or sonification.
* Multimedia integration.
* Web-based live coding and collaborative environments for audio and music
generation.
* Web standards and use of standards within audio-based web projects.
* Hardware and tangible interfaces and human-computer interaction in web
applications.
* Codecs and standards for remote audio transmission.
* Any other innovative work related to web audio that does not fall into
the above categories.
## Submission Tracks
We welcome submissions in the following tracks: papers, talks, posters,
demos, performances, and artworks. All submissions will be single-blind
peer reviewed. The conference proceedings, which will include both papers
(for papers and posters) and extended abstracts (for talks, demos,
performances, and artworks), will be published open-access online with
Creative Commons attribution, and with an ISSN number. A selection of the
best papers, as determined by a specialized jury, will be offered the
opportunity to publish an extended version at the Journal of Audio
Engineering Society.
**Papers**: Submit a 4-6 page paper to be given as an oral presentation.
**Talks**: Submit a 1-2 page extended abstract to be given as an oral
presentation.
**Posters**: Submit a 2-4 page paper to be presented at a poster session.
**Demos**: Submit a work to be presented at a hands-on demo session. Demo
submissions should consist of a 1-2 page extended abstract including
diagrams or images, and a complete list of technical requirements
(including anything expected to be provided by the conference organizers).
**Performances**: Submit a performance making creative use of web-based
audio applications. Performances can include elements such as audience
device participation and collaboration, web-based interfaces, Web MIDI,
WebSockets, and/or other imaginative approaches to web technology.
Submissions must include a title, a 1-2 page description of the
performance, links to audio/video/image documentation of the work, a
complete list of technical requirements (including anything expected to be
provided by conference organizers), and names and one-paragraph biographies
of all performers.
**Artworks**: Submit a sonic web artwork or interactive application which
makes significant use of web audio standards such as Web Audio API or Web
MIDI in conjunction with other technologies such as HTML5 graphics, WebGL,
and Virtual Reality frameworks. Works must be suitable for presentation on
a computer kiosk with headphones. They will be featured at the conference
venue throughout the conference and on the conference web site. Submissions
must include a title, 1-2 page description of the work, a link to access
the work, and names and one-paragraph biographies of the authors.
**Tutorials**: If you are interested in running a tutorial session at the
conference, please contact the organizers directly.
## Important Dates
March 26, 2019: Open call for submissions starts.
June 16, 2019: Submissions deadline.
September 2, 2019: Notification of acceptances and rejections.
September 15, 2019: Early-bird registration deadline.
October 6, 2019: Camera ready submission and presenter registration
deadline.
December 4-6, 2019: The conference.
At least one author of each accepted submission must register for and
attend the conference in order to present their work. A limited number of
diversity tickets will be available.
## Templates and Submission System
Templates and information about the submission system are available on the
official conference website: https://www.ntnu.edu/wac2019
Best wishes,
The WAC 2019 Committee
Hi all,
I want to share an special audio limiter that I've been using for years
in my recordings.
It's "special" because it *can't* be used live or with shorts delays. :(
It's for use with already recorded material and a special side-chain
file must be generated. For this I made an external. My first C thing.
Prior to this external I used to generate the side-chain file on an
[array] but I encounter the single precision limitation for files bigger
than 16777216 samples.
It has no attack/release time settings, that magic happens on the
side-chain file.
Files and brief explanation on:
https://github.com/Lucarda/pd-pulqui
Or get it from Deken. Search "pulqui".
:)
--
Mensaje telepatico asistido por maquinas.
Howdy, I have big updates to the ELSE library and my Live Electronics
Tutorial!
Raspberry Pi binaries for ELSE are still missing, but it'll be up soon.
Find available releases on github while they don't show up in deken.:
https://github.com/porres/pd-else/releases/tag/v1.0-beta18
<https://l.facebook.com/l.php?u=https%3A%2F%2Fgithub.com%2Fporres%2Fpd-else%…>
There are 30 new objects in ELSE. This is the first release over 300
objects and there's already 324 of them! I'm shocked on how much it's
growing... I realize now how this library is unique in the number of
objects towards DSP and audio processing. There are 219 tilde objects,
that's more objects than Pd itself has, or all of cyclone... So, what's the
most exciting new stuff?
- There's a bunch of reverb objects here - [mono.rev~], [stereo.rev~],
[echo.rev~], [giga.rev~], [free.rev~] (check also [fdn.rev~] which wasn't
really ready).
- There are a few dynamic processors as well: [compress~], [duck~] and
[expand~].
- A couple of FX like [chorus~] and [phaser~].
- A [spectrograph~] object.
- Some objects that deal with lists ([regroup], [pick], [sort],
[scramble], [merge], [unmerge] & [rand.seq]).
- A [trigger2] object that behaves like [trigegr] in Purr Data and Max,
that people from time to time request to be in Pd as well (if Pd's trigger
includes such functionalities, I'll delete this object).
Check complete changelog here:
https://github.com/porres/pd-else/releases/tag/v1.0-beta18
<https://l.facebook.com/l.php?u=https%3A%2F%2Fgithub.com%2Fporres%2Fpd-else%…>
.
As usual, I have breaking changes while we're at the beta stage.
As for my Live Electronics tutorial, which is based on this library, most
of the changes reflect the new objects from the ELSE library. So then, most
importantly, the reverb section just got a major upgrade. I'm also now
including an appendix with s quick start on Data Structures! Check it out
at
https://github.com/porres/Live-Electronic-Music-Tutorial/releases/tag/v1.0-…
<https://l.facebook.com/l.php?u=https%3A%2F%2Fgithub.com%2Fporres%2FLive-Ele…>
cheers
ICAD 2019 — Call for Submissions to the ICAD 2019 Algorave.
25th International Conference on Auditory Display
Northumbria University, Newcastle-upon-Tyne, UK
23–27 June, 2019
https://icad2019.icad.orghttps://twitter.com/ICAD2019
Theme/Special Focus of ICAD 2019 is "Digital Living: Sonification for Everyday Life".
Digital technology and artificial intelligence are becoming embedded in the objects all around us, from consumer products to the built environment. Everyday life happens where People, Technology, and Place intersect. Our activities and movements are increasingly sensed, digitised and tracked. Of course, the data generated by modern life is a hugely important resource not just for companies who use it for commercial purposes, but it can also be harnessed for the benefit of the individuals it concerns. Sonification research that has hit the news headlines in recent times has often been related to big science done at large publicly funded labs with little impact on the day-to-day lives of people. At ICAD 2019 we want to explore how auditory display technologies and techniques may be used to enhance our everyday lives. From giving people access to what’s going on inside their own bodies, to the human concerns of living in a modern networked and technological city, the range of opportunities for auditory display is wide.
ALGORAVE
For the first time at an ICAD meeting the conference programme includes an Algorave event. "Algoraves focus on humans making and dancing to music. Algorave musicians don’t pretend their software is being creative, they take responsibility for the music they make, shaping it using whatever means they have. More importantly the focus is not on what the musician is doing, but on the music, and people dancing to it. Algoraves embrace the alien sounds of raves from the past, and introduce alien, futuristic rhythms and beats made through strange, algorithm-aided processes. It’s up to the good people on the dancefloor to help the musicians make sense of this and do the real creative work in making a great party.” (https://algorave.com/about).
The ICAD 2019 committee seeks submissions to this event which will provide an exciting complement to the other conference categories. For details on proposal format, submission instructions, and additional conference information please visit https://icad2019.icad.org/call-for-participation.
IMPORTANT DATES:
Thursday 12th May 2019 — Deadline for submissions to the Algorave tracks.
Algorave Chair:
Shelly Knotts
icad2019algorave(a)icad.org
Conference Chairs:
Paul Vickers and Matti Gröhn
icad2019chairs(a)icad.org
ABOUT ICAD
First held in 1992, ICAD is a highly interdisciplinary conference with relevance to researchers, practitioners, artists, and graduate students working with sound to convey and explore information. The conference is unique in its specific focus on auditory displays and the range of interdisciplinary issues related to their use. Like its predecessors, ICAD 2019 will be a single-track conference, open to all, with no membership or affiliation requirements.
--
Dr Paul Vickers BSc PhD CEng MIEE FHEA
Co-chair of ICAD 2019: https://icad2019.icad.org
This message is intended solely for the addressee and may contain confidential and/or legally privileged information. Any use, disclosure or reproduction without the sender’s explicit consent is unauthorised and may be unlawful. If you have received this message in error, please notify Northumbria University immediately and permanently delete it. Any views or opinions expressed in this message are solely those of the author and do not necessarily represent those of the University. Northumbria University email is provided by Microsoft Office365 and is hosted within the EEA, although some information may be replicated globally for backup purposes. The University cannot guarantee that this message or any attachment is virus free or has not been intercepted and/or amended.
---------- Forwarded message ---------
From: 'Monty Adkins' via CEC-Conference <cec-conference(a)googlegroups.com>
Date: Wed, 3 Apr 2019 at 10:42
Subject: [cec-c] Marie curie
To: cec-conference(a)googlegroups.com <cec-conference(a)googlegroups.com>
The School of Music, Humanities and Media invites expressions of interest
for the Marie Curie Post-Doctoral Fellowship at the University of
Huddersfield.
We have world-leading resources for Music and Music Technology focused
around the Centre for Research in New Music.
We are interested in receiving applications in all areas of Music and Music
Technology.
Please make sure to read the weblinks to ensure your eligibility to the two
schemes.
Many thanks
Prof. Monty Adkins
University of Huddersfield
UK
University of Huddersfield inspiring tomorrow's professionals.
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Dear all,
Andrew McPherson and I are writing a paper on the relationships between music programming languages and the digital instruments, compositions and performances they support. As part of that, we'd like to invite your participation in an online survey about your digital tools and musical practices. The survey contains 27 questions, and we expect it will take around 20 minutes of your time.
https://sopi.aalto.fi/dmiip/idiomaticity/survey/ <https://sopi.aalto.fi/dmiip/idiomaticity/survey/>
Thanks for your participation, apologies for cross-posting, and please feel free to share the link with any other designers and musicians you think might be interested.
best,
Koray
-------------------------------------
M.Koray Tahiroğlu
Department of Media,
Aalto University
School of Arts, Design and Architecture
http://sopi.aalto.fi/http://mlab.taik.fi/~korayt
tel. +358 50 4088441