Pd-announce

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physical modelling for Pure Data, version 0.14.0
by cyrille henry 26 Jun '24

26 Jun '24

Hello, pmpd version 0.14 is ready on deken! It offer multiple audio channel support, thanks to Benjamin Wesch. cheers, Cyrille

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Pd 0.55-0 released
by Miller Puckette 11 Jun '24

11 Jun '24

To Pd-announce: Pd version 0.55-0 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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Pure Data 0.55-0 test 3 released
by Miller Puckette 31 May '24

31 May '24

Test 3 is out. This should resolve all the trouble we've had with test2 except that one tester on MacOS is still finding that Pd 0.55 loads way more slowly than 0.54 - I don't see that happening on my machine and I don't know how many machines will be affected... it might take a while to track this one down, but hopefully it won't affect many people. If you _do_ notice longer startup times on MacOS please let me (or the Pd list) know - with more data points it migth be easier for me to replicate the problem for myself. as usual: http://msp.ucsd.edu/software.htm OR https://msp.ucsd.edu/software.htm source on github: https://github.com/pure-data/pure-data cheers Miller

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Pd 0.55-0 test version released
by Miller Puckette 14 May '24

14 May '24

To Pd-announce: Pd version 0.55-0 test2 is available from http://msp.ucsd.edu/software.htm or (source only) via github: https://github.com/pure-data/pure-data There was no "test1" - it never made it through the release process. Also, for Mac users, the app will show up as "Pd-0.55-0test2c" but in fact it's just test2. cheers Miller

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Extended Deadline: Speculative Sound Synthesis Symposium 2024 - Call for Contributions
by David Pirrò 02 May '24

02 May '24

Extended Deadline for contributions: 2024-05-12 Speculative Sound Synthesis Symposium 2024, 26 - 28 September 2024, Graz, Austria Institute of Electronic Music and Acoustics, University of Music and Performing Arts Graz https://speculative.iem.at/symposium/ Dear colleagues, The submission deadline for the Speculative Sound Synthesis Symposium 2024 has been extended to May 12, 2024. This extension is intended to give potential contributors more time to prepare and submit their proposals. Speculative Sound Synthesis deals with the relationship between technology and artistic thinking in computer music. It attempts to productively destabilize this relationship by artistically questioning the standards of sound synthesis. Call for Contributions We are looking for artistic research contributions that investigate speculative approaches to sound synthesis, computation, and music technology. These contributions should explore aesthetic positions that offer alternative perspectives to standardized ways of thinking and creating. The symposium aims to unite speculative approaches that make computational processes perceptible and address the tension between contingency and control in artistic practice. Contribution Formats We welcome proposals that use a variety of formats, such as (but not limited to) live-performance, lecture-performance, paper presentation, fixed-media, installation, workshop, exhibition of objects/sounds etc. For more information on how to submit your contribution, please visit: https://speculative.iem.at/symposium/docs/call_for_contributions/ Updated important dates: - Deadline for submissions: 2024-05-12 - Notification of acceptance: 2024-05-31 - Registration closes: 2024-06-16 - Camera-ready submissions: 2024-06-30 - Symposium starts: 2024-09-26 - Symposium ends: 2024-09-28 The symposium will take place in Graz as part of the artistic research project Speculative Sound Synthesis, funded by the Austrian Science Fund (FWF) within the program for Arts-based research PEEK (AR 713-G). It is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz (KUG). Best regards, The Speculative Sound Synthesis Symposium Organizing Committee

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shmem v1.2
by cyrille henry 06 Apr '24

06 Apr '24

hello, shmem is an external that allow to share memory between pd instance. It is specially useful when working with pd~. New feature was sleeping on github for years. I just made the v1.2 released. It is on deken, compiled for most architecture. cheers Cyrille

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pmpd
by cyrille henry 06 Apr '24

06 Apr '24

Hello, pmpd v0.13.2 in now on deken! it include 2 new examples and input sanitizing bug-fix. cheers Cyrille

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Speculative Sound Synthesis Symposium 2024 - Call for Contributions
by David Pirrò 14 Mar '24

14 Mar '24

Speculative Sound Synthesis Symposium 2024 26 - 28 September 2024, Graz, Austria Institute of Electronic Music and Acoustics, University of Music and Performing Arts Graz https://speculative.iem.at/symposium/ Deadline: 2024-05-03 Speculative Sound Synthesis deals with the relationship between technology and artistic thinking in computer music. It attempts to productively destabilize this relationship by artistically questioning the standards of sound synthesis. The symposium program will feature two keynote presentations by invited speakers M. Beatrice Fazi (Contingent Computation, Rowman & Littlefield, 2018) and You Nakai (Reminded by the Instruments: David Tudor’s Music, Oxford University Press, 2020) Call for Contributions We are looking for artistic research contributions that investigate speculative approaches to sound synthesis, computation, and music technology. These contributions should explore aesthetic positions that offer alternative perspectives to standardized ways of thinking and creating. The symposium aims to unite speculative approaches that make computational processes perceptible and address the tension between contingency and control in artistic practice. Registration Registration to the Symposium is free and open to all. Authors, artists, and composers of accepted submission must register before 2024-06-16. General audience can register until 2024-09-01. Register by sending an email to speculative(a)iem.at. In case of need for family services and/or childcare, please indicate your interest when registering. Contribution Formats We welcome proposals that use a variety of formats, such as (but not limited to) live-performance, lecture-performance, paper presentation, fixed-media, installation, workshop, exhibition of objects/sounds etc. All submissions will be published online in a dedicated section of the project’s webpage. A selection of authors will be invited to contribute to an edition of “ECHO - journal of music, thought and technology” (https://echo.orpheusinstituut.be/) dedicated to Speculative Sound Synthesis, co-edited by organizers of the symposium and members of the Orpheus Institute. All information on how to submit is available at: https://speculative.iem.at/symposium/docs/call_for_contributions/ . Important dates Registration open: 2024-02-14 Deadline call for submissions: 2024-05-03 Notification of acceptance: 2024-05-31 Registration closes: 2024-06-16 Camera-ready submissions: 2024-06-30 Symposium starts: 2024-09-26 Symposium ends: 2024-09-28 The symposium will take place in Graz as part of the artistic research project Speculative Sound Synthesis, funded by the Austrian Science Fund (FWF) within the program for Arts-based research PEEK (AR 713-G). It is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz (KUG).

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Accademia Chigiana: Live-Electronics e Sound and Music Computing seminar Siena Italy July 15-27 2024
by Nicola Bernardini 12 Mar '24

12 Mar '24

https://www.chigiana.org/en/live-electronics-2024/ LIVE ELECTRONICS SOUND AND MUSIC COMPUTING Performance and interpretation of electronic music in concert ALVISE VIDOLIN instructor NICOLA BERNARDINI co-instructor 15 JULY / 27 JULY GENERAL INFORMATION The course is aimed at composers, performers, and interpreters of electronic music, as well as sound engineers who wish to delve into theoretical, technical, and creative aspects related to the production of live electronic concerts. The online lessons are preparatory for the in-person course and will take place from 10:00 AM to 1:00 PM / 3:00 PM to 6:00 PM on the following days: May 10th, 17th, 24th, and 31st, as well as June 14th and 21st. 1. COMPOSITION TRACK For the admission exam, candidates must submit the scores of two recent compositions with electronic music parts, attaching any audio files and recordings of a performance (to be uploaded on YouTube in “unlisted” mode). The scores must reach the Secretariat of the Chigiana Academy through the online registration form by April 30. At the same time, the registration-exam fee must be paid. The Chigiana Academy will communicate the results of the selection made by the examining committee to all candidates. The course will have an analytical/theoretical nature in online lessons and laboratory sessions with daily meetings in face-to-face lessons. For a limited number of candidates, the possibility of enrolling as listening students is allowed. Actual students are required to submit, by the date of the first online meeting, a score (or sketches) of an original composition for voice and/or solo instrument with live electronics. The electronic part will be created during the lessons and performed in concert (July 27) by a student from the courses of the Chigiana Academy. 2. PERFORMANCE TRACK For the entrance exam, candidates must present the technical-performance plans for two pieces from the repertoire for voice or instrument or ensemble and live electronics by a well-known author, to be chosen by each candidate. These must be sent with the application form by April 30. The technical-performance plans must be finalized for performance in a hall of roughly 250 seats and approximate dimensions of m. 50 x 10 x 5(h), with live electronics preferably to be performed by a single person. To perform the work, the candidate may make use, as necessary, of components from the following audio system: 9 independent amplification channels with 9 full-range loudspeakers positioned on the boom at variable height and orientation; 1 subwoofer speaker positioned on the ground with independent amplification channel; wide variety of dynamic condenser, proximity, radio, microphones with rods and various supports; 1 analog or digital mixer of the candidate’s choice; 1 reverb generator of the candidate’s choice; 1 personal computer with multichannel audio interface and MIDI controller of the candidate’s choice, software chosen by the candidate (preferred: Max / MSP, PD, Supercollider, Csound, or Faust, which may also be interconnected with each other) power supply, audio and power cables, technician for installation support. The plan must include: data sheet; diagram of the connections between the various devices and their location in the Hall and/or in neighboring environments; detailed configuration of the mixer (inputs/outputs, internal programming); performance environment created by the computer using the chosen software; text describing the actions that the performer must perform during the performance, possibly accompanied by additional instructions inserted in the score. COURSE DETAILS Lessons on theory will deepen the student’s knowledge of the following topics: – the temporal eco-sustainability of musical works with electronic parts – the choice of technological equipment suitable for sustainability – the adaptation of past works made with technologies that are no longer available – the various semiographic notations useful for the reading, interpretation and reconstruction of electronic parts – the use of scripting and automation systems for the systematic creation of highly complex electronic scores These topics present challenging aspects that are still open to emerging research and will be addressed by highlighting the research and investigating the know-how and components necessary for in-depth realizations of past and future works. LESSONS AND WORKSHOPS IN-PERSON COURSE The practical lessons provide for the active participation of students in the performance of the electronic parts of the compositions listed below that will be performed within the concerts of the Chigiana International Festival & Summer Academy 2024: Dashow Soundings in pure duration n. 10 / Ipiece per Arturo Tallini Momi Vuoi che nel fuori for percussion trio and electronics Nono Omaggio a György Kurtàg / Post Praeludium n. 1 per Donau / Interludio Primo dal “Prometeo” Ligeti Artikulation Romitelli Natura morta con fiamme (1991) Ligeti Glissandi Manoury Pluton (1988) Letort Nautipoulpe ONLINE PREPARATORY LESSONS In the on-line preparatory lessons, the works with electronic parts to be performed in the aforementioned concerts will be analyzed and the executive environments planned. In the on-site laboratories, in addition to the execution of the electronic parts, the problems of recording, processing and spatialization of live sounds will be addressed, also as a function of documentation work to be carried out in post production. Through the preparation, rehearsal and performance of the pieces with electronics listed above, different playing techniques will be studied, using the SaMPL electroacoustic system based on d & b audiotechnik amplification, Yamaha DM1000 digital mixer and multi-channel spatialization in 8-channels.

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pmpd v 0.13
by cyrille henry 11 Mar '24

11 Mar '24

Hello, Thanks to all the help provide by Benjamin Wesch, pmpd (Physical Modelling for Pure Data) version 0.13 is ready. pmpd aim to provide physical modelling (mass/spring system) simulation to control data in natural ways. Audio synthesis is also possible, now in 2d or 3d thanks to the new objects : pmpd2d~ and pmpd3d~. It's on deken. Cheers Cyrille

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Pd-announce