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Re: pd-archive announcements
by unknown＠example.com 19 Nov '99

19 Nov '99

"F.Ernst" wrote: > > Hello, hi > > What happen when using at the same time externals that have the same > opcodes ? > > For instance, streamin~ /streamout~ are both in ggext and zexy > Or tabread4~ from zexy is already in pd .. > The library that was loaded first has higher priority, so if you FIRST load "ggext" and THEN "zexy" the streamin~/-out~ from zexy will be ignored (this makes hardly any difference, because I used GÃ¼nters code and added some features for interpolating missed data packages away which is still *very* beta); the same goes for built-in functions (which are, of course, always loaded previous to any external); therefore the "tabread4~" from zexy would be completely obsolete::: :::on the other hand, "tabread4~" is not included in zexy, but "tabread4", note the missing tilde that indicates that this is a message-object and not a signal-object (e.g. it eats floats as input, which makes it different from the "tabread" object, that will only swallow integer values (although you might not be aware of it), and interpolates to get the missing outputs, just like the "tabread4~" does) mfg.fe hannes

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urban multimedia festival in france *******
by integer＠www.god-emil.dk 18 Nov '99

18 Nov '99

l!f4rm(a)cicv.fr ekr!t hi This mail to inform you that a new tech-art festival is born: it's called 'nuits savoureuses' and will take place in the east of france, a city called Belfort from 17 to 26 dec.1999. check this: www.nuits-savoureuses.net online the 11-16-99 ( we hope so) it owns a 'net-art' section where you are linked, because your work moves us. let me know if informations concerning you are incomplete, or false. let me know if you want fewer details to appear upon your linkz let others know, if you got their directions, that they are linked here. we plan to use that server for an online reference upon net-art after the festival, so please submit Urls you would like to be presented, that way helps us a lot, and spares time By the way, we will do live broadcast of all events during the festival, and we would like you to participate online. We offer you direct access to the audience (by public giant screen) for your acts, or wired-performances online. let us know! you can check this: www.cicv.fr, this is our introduction CICV Pierre Schaeffer 1 - The CICV is a centre for art and creation with an international vocation, placing questions of image, sound, media and networks at the heart of its activity. It is too vast for us to pretend, by ourselves, to be able to explain fully... but at the same time, it is very precise and induces a terrain on which artists, scientists and philosophers have a critical role to play, if we do not wish for them to be forced to weather (as is already largely the case) market and fashion fluctuations. 2 The founding role in artistic and cultural creation and experimentation. - The Residences of Creation The residences allow artists to experiment, produce or learn. Artists, utilising New Technologies for Information and Communication (NTIC), discover at the CICV a wide range of facilities, from which they are able to obtain an idea of technical potentialities, and to grasp the training required for further development of one or other field. The residence of creation is a privileged moment (quality of welcome and surroundings, performance of technical facilities, and availability of the team of professionals), allowing artists to hone their points of view and to marry their competencies with other creative teams. The Residence of Creation fits into a global dynamic which implies a "before", a "during" and an "after". The "before" corresponds to preliminary contacts centred on the nature of the artistic project, the manner in which it fits into the general movement of ideas and works, the expertise of human means, and techniques to be adopted for its completion. The "during" applies to the residence itself. Cut into several stays or punctual, from a few days to several weeks, it takes the form in all cases of a close working relationship with the team (administrative, technical or artistic) as well as with the other artistic projects in the development stage. The residence is, at the same time, a moment of intense concentration on the project and of confrontation with other artists present. The "after" implies a follow-up in terms of diffusion (festivals and diverse events allowing the work to be seen by the public). - Experimentation It is now understood that in the realms of NTIC, artists take the form of experimenters. They must be given a chance (through liberties, financing and perspectives) to exercise their talent, to deploy their critical spirit, to confront their visions and to participate in social debate. Whether it be through the choice of technical tools (in which they contribute to a continued progress beyond the applications conceived by the designers, developers and manufacturers) or their utilisation (which they explore independently of the "protocols" generally allowed), the artists represent a powerful factor of innovation and creativity. Their role goes way beyond that of "dressing" or "wrapping", of decorating or "soul supplementing": it is considered as a critical viewpoint that they have on the media, thus encouraging a clear approval (or rejection) of these technologies by the citizens. Facilitating access by artists to the potentialities of NTIC thus represents an essential stake. - The fields of operation of the CICV: The technical base of the CICV, while neither being perfect, nor complete, allows one to work on an ensemble of procedures concerning the treatment of images, sound and networks. The difficulty that remains lies in the reduction of artificial barriers between the different platforms and to privilege projects implying a broader integration of the different tools for the purpose of joint projects. - Audiovisual creation: The boom in digital technologies has profoundly shaken the procedures of recording, editing and broadcasting. Artists are able to proceed with styles of visual exploration never possible until now. The range of expression has been considerably enriched, even though the results, in aesthetic terms, and the "senses" often remain problematical. - The plastic arts: The domains of painting and sculpture were first shuddered by the arrival of photography, and following this, by moving images. The arrival of electronic images, computers and networks has accelerated the explosion of these traditional artistic practices. The current lack of critical intellectual productions on these developments and on the works themselves deprives us of having points of reference which would allow us to better understand the stakes of current developments with regard to the entire history of art and civilisations. A radical change of paradigms for some, simple effects of fashion for others. For other still, a natural and logical evolution. This massive shake-up of the Contemporary Art world, under the effect of NTIC will no doubt have major repercussions on the art market, already "in a spin", as well as on the nature of what is taught in art schools. - Live performance: Artists who "perform live" integrate an increasing quantity of new technologies into their "scenic machinery". This is a logical step forward for arts which are essentially based on scenic, magical, illusory and "trompe l'oeil" effects. Somewhat fouled by cinema, television and multi-media, the stage finds itself confronted with new challenges with the arrival of virtual actors, dancers and musicians blended into the dramatist's play alongside "real" actors, dancers and musicians. Theatre, dance and opera have become the natural settings for experimentation and new writings. Moreover, it could in fact be that the settings of live performances, being the only places conserving the requirement of an assembled group in one place, and at one given time, to share an "unparalleled sensitive experience" become the centre of artistic experimentation with NTIC's. - Music: Alongside the classic range of instruments, a set of new tools is constantly expanding. Ahead of times in comparison to other artistic domains, musicians have integrated and experimented with digital technologies, going as far as imagining the programmes and machines they needed to explore new worlds of sound. In these domains, co-operation between composers and computer scientists are already well established and have allowed the perfection of tools that are now used in all realms of artistic creation. - Virtual Environments in immersion: The "Stars" of specialised artistic events of these past years, so-called works of "Virtual Reality" or, by a strange audacity of language "Augmented Reality", appear to be "levelling off" a little... either because the works in question do not have enough inherent potential in order to "re-enchant" people, or perhaps more likely that these prototypes fit more into the category of "transitory experiments". The machinery used remains extremely complex, fragile and expensive. This being said, the new ideas proposed by artists investing their efforts into virtual environments "in immersion" are still rich in promise and development. - Interactive environments without immersion: This appears to be a major growth area. Their interest is in facilitating attempts of synthesis between "installations", classical "environments" of Contemporary Art, and current scientific research on man/machine interactivity. The particularity of this research lies in the new-found "problematical" situation regarding the body of the spectator and the social space at the heart of the artistic process. - Artistic performances and on-line actions: The electronic networks have been rapidly invaded by diverse artistic communities: - firstly, for their potential for virtual conversations, with discussion forums, for their capacity to disseminate new ideas and bring together groups of players around centres of common interest; - secondly, as tools for the promotion of their research and work, in the form of specialised web sites; - thirdly, and increasingly, as stamping grounds for experimentation in the place of "real", "classic" places, such as galleries and museums. The "net", as a gallery, as we know, has become a place where ferocious economic interests clash. Here, as elsewhere, artists have a critical contribution to be made. Artists intervene in the networks, not as simple consumers or spectators, but as veritable operators installing their works in this gallery, where new artistic situations are proposed allowing creators who are geographically very distant to participate in a common work or event. - Advertising, communication and design: The frontiers between "pure" art and the world of advertising, communication and design are becoming more and more hazy as many artists pass without a problem from one to the other. Creativity and innovation are actively deployed, in particular in the different categories of multimedia, as its development is occurring through a blending of technical, creative, legal and financial competencies. - Hypertext creations on-line Far from being threatened by the development of "on-line" communication, writing and language is opening up to new artistic and cultural experimentation concerning, at the same time, the authors and the readers. 3 The international dimension of activities - Questions concerning the development of innovation and research are raised on an international level. This reality was taken into account from the outset of the CICV, whether it concern programming or the composition of the new association. It constitutes a decisive factor in terms of networking competencies, energies and projects. In this sense, the animation and valorisation represented by the network of members of the new association constitutes a priority for the team at the Centre. - The CICV regularly participates in professional meetings and international conferences in Europe and America (Austria, Canada, the United States, Greece, Finland, etc.), undertakes study and expertise missions at the request of the Foreign Affairs Ministry (the latest were to Peru and China in 1999), the Council of Europe, UNESCO, and is currently also playing host to a number of foreign missions. The CICV has thus made close ties with the artists and institutions of countries visited and delegations received. - Training and Accompaniment Activities The CICV is an approved training centre. Our activities in this field take on several forms: - Long and specialised training: the "Nursery" for Young Entrepreneurs - Accompaniment: training "in the field". - The Nursery for Young Entrepreneurs Prefigured with the aid of the ADAPT programme of the Franche Comté regional council, this training programme has already allowed the accompaniment of 12 young people in multimedia careers, and as a result, all have found work heading new projects. The second promotion (6 persons) began in September 1999, and the third promotion (6 persons) begins in January 2000. This singular training is characterised by added contributions of a technical, management and cultural nature, as well as a heightened awareness of artistic creation. - Short Training sessions for specific publics. This type of training is taken-on "on demand". It concerns publics coming from homogeneous sectors (local authorities, professional associations, special cultural events, etc.) - Accompaniment: Since its inception, the CICV has been accompanying young people for training of different periods, wishing to receive global, personalised training in all areas: administrative, legal, production, audiovisual editing, 3D simulation and internet. Around ten young people are involved in this way each year. - The Learning Environment The debates that accompany the development of digital arts raise a number of questions related to the legal environment, production strategies, the distribution of works, critical accompaniment, particularities of processes and to the "cross-breeding" of competencies. In this maze of questions, we privilege four axes of thought: - the relationship between digital creation and live performance, which implies experimenting with new forms of scenography and cinematography; - "the art of the network", or in other words, the processes of creation which are not restricted to producing all current art forms on the net, but which experiment with the particularities of the net as a "space", as a "flow", as a "gesture"; - the support for creation and experimentation in the fields of digital arts, implying a rethinking of the nature of structures to be put into place, the analysis of their objectives, their modes of operation, their involvement in the dynamics of local development, their relationship with the economic world, and finally, the way in which the different structures involved may work in tandem; - the pursuit, with all the players concerned, of studies on the evolution of author's rights; - the participation in group reflection on ethics and ecology of new media. - The CICV team The CICV team (25 persons) essentially composed of management, is centred on three interdependent poles of interest: - the "administrative" side, bringing together all the competencies required for the running of the centre, the management of personnel, and the fiscal and legal landscapes; - the "technical" side, bringing together competencies allowing the development of the use of video, sound, multimedia, network and software; - the "relationship" side, bringing together competencies and facilitating the development of local, national or international partnerships, both in the private and public sectors, to promote the initiatives and productions of the Centre, to conceive and organise external events, both specialised (seminars, conferences, research groups), and general public (festivals, school and association interventions).

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Re: starting gem in windows
by eric feremans 18 Nov '99

18 Nov '99

> >I tried on several computers with windows 98 windows nt4 windows 2000 to >run gem. >In vain. I must say that I get pd running on all of them. >while typing f:pd\bin\pd -lib f:/pd/gem/Gem >I just go back to the cursor. >Some people are talking about "puting pd or gem/Gem 'to the path'". >I do not know how to do that and where to do it. >I put in win98 something like path=f:\pd but it didn't help me a bit... >could you please help me? >eric Feremans > > > >

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SGI bug
by Peter Lunden 18 Nov '99

18 Nov '99

Hi I have found the reason to my problems. The default audio input on the Octane was set to ADAT and when there is no clock on that input PD hang in a select system call. The problem is solved by switching to analog input in the audio panel. --PLu

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-path vs. -open
by unknown＠example.com 16 Nov '99

16 Nov '99

Since pd-0.27 I found it impossible to use the "-open" start-up argument on Win95. When using p.e. "pd -open hallo", pd is looking for "hallo.dll" which cannot be found (that's because I want to open "hallo.pd"; trying "pd -open hallo.pd", pd looked for "hallo.pd.dll", which makes me laugh on one hand and cry on the other. I thought of it only as a Win32 problem, so I tried it on debian, getting "hallo : can't load library" vs. "hallo.pd : can't load library" Am I missing something really important ? mfg.bws.aeg hannes

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leftshift/rightshift
by s_medge 16 Nov '99

16 Nov '99

IÅ½m running pd 0.27 on a windows95 system. I would like to use or look at the left/rightshift objects included in the fft-examples. for any reason they do not appear on my computer, has anyone compiled them for w95? or can I do that myself!? probably not... marius

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OSS/Commercial vs. Free
by Benjamin Israel 16 Nov '99

16 Nov '99

What are the advantages of the commercial OSS drivers opposed to the free ones? Particularly for the SB64. Ben,

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OSS: drop ADC buf
by Bill Sack 16 Nov '99

16 Nov '99

Sometime back around pd-0.23 or so, i had more-or-less duplex operation happening - that is, i was able to use bonk~ and run some other patches requiring both audio input and output. This was on a Dell PII 350 w/ RH 5.0 and commercial OSS drivers. At some point, Very Bad Things happened to the filesystem on that machine - so i installed RH 6.0, the current OSS package and pd-0.26. Now, audio output works fine, but if i start pd without the -noadc flag the following appears: OSS: device Nr. 1 on /dev/dsp pd: OSS: requiring extra adc handles pd: OSS: requiring extra adc handles OSS: failed to open /dev/dsp2 read only and the terminal window is flooded with this message: OSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC bufOSS: drop ADC buf etc. ad quasi-infinitum. i've messed around with various other startup flags (buffersize, frags) and none of them help. pd w/ audio out only is great, but in AND out would be outstanding. Has anyone seen similar strangenesses? seems like if it worked once it _should_ be able to work again. thank you -- _________ Bill Sack bsack(a)toast.net wsack(a)acsu.buffalo.edu ------------------------------------------------------------------ "'Michael Gilhaney,' said the Sergeant, 'is an example of a man that is nearly banjanxed from the principle of the Atomic Theory. Would it astonish you to hear that he is nearly half a bicycle?'" -Flann O'Brien, "The Third Policeman" ------------------------------------------------------------------

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pd-archive announcements
by unknown＠example.com 15 Nov '99

15 Nov '99

Hi pd'ers 1.) To provide some support for all those, who ever tried to find anything specific in the pd-mailinglist-archive, I added a search-engine to the web-page of the mailinglist :: http://iem.mhsg.ac.at/mailinglists/pd-list 2.) There are about 4 libraries of pd-Externals known to me. Maybe there are more; to make all (or some) of these libs available for the rest of the world, I will try to collect them at the iem and put it on the web :: ftp://iem.mhsg.ac.at/pd/Externals 3.) To stay up-to-date, it might be helpful, if anyone who publishes or updates his own (or another) library could contact me (mailto:zmoelnig@iem.mhsg.ac.at), so I can update our server. 4.) Maybe sometimes, our pd-homepage will have full online-help ;-), but then, there were rumours that there are hundreds of informative pd-pages spreaded over the web (at least, if you're believing everybody who joins this list full of enthusiasm...) mfg.fads.nr Hannes

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ALSA - OSS emulation and full duplex
by Guenter Geiger 15 Nov '99

15 Nov '99

Just found out that ALSA OSS emulation works in full duplex ! The problems has been , that the OSS emulation code just lies about it's ability to do full duplex when queried. I removed the line in s_linux, started pd with the old interface (command line: pd -frags 4), and pd is running happily in full duplex on my Hoontech Soundtrack 4Dwave. Guenter PS: Miller, if you want to fix that it's the test for DSP_CAP_DUPLEX in oss_open_audio , maybe we should just try to open it in full duplex and look if it fails instead of using the DSP_CAP_DUPLEX flag --

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