----- Original Message -----
From: Max abonnements@revolwear.com To: Jonathan Wilkes jancsika@yahoo.com Cc: Richie Cyngler glitchpop@gmail.com; pd list pd-list@iem.at; Ben Baker-Smith bbakersmith@gmail.com Sent: Wednesday, January 11, 2012 7:09 AM Subject: Re: [PD] no pd?? WTF ????
And that's not the end of the vicious cycle. Students who saved their money to buy a Max license are often unwilling to accept that their work could have been done as easy in Pd, and sometimes even better and/or easier.
If you think of free software as an ethical issue like I do and are talking about free programs that have a proprietary alternative, there is still an important division between those programs that are free and superior to their proprietary counterparts on practical grounds, and those that don't have the same feature set as their proprietary counterparts (but are still quite good).
In terms of ease of patching, Pd is clearly in the latter camp-- Max has infinite undo, a "Tidy Up" that actually _does_ something useful, and a set of externals that allows to make multiple connections at once and lots of other shortcuts (maybe these are part of the core now, I'm not sure). Plus tooltips, anchors to resize guis/boxes/messages, and probably lots of other things that make patching easier.
I use Pd and free software (almost) exclusively, but we should be clear about which features are available and which are not.
-Jonathan
Often they use and stick to Max simply because they have spent the money on it. They then keep paying for the updates. this is referred to as the concorde effect.
M
Am 11.01.2012 um 00:23 schrieb Jonathan Wilkes:
No, there really are music students out there looking at what they need in
order to be successful, and
when most of the voices around them are aggressively (and often ignorantly)
suggesting only
proprietary tools that cost lots of money, these students save up their
meager resources in order to
buy them. I'm talking about students who are probably already in debt
from loans, and it's quite common
that they max out on their technology budget and as a consequence are
unable to attend a
festival.
What's even worse is that these constrained options lead to a lot of
those students downloading
cracked copies of proprietary software (and the negative effects there
usually manifest themselves
more quickly and concretely).
-Jonathan
From: Richie Cyngler glitchpop@gmail.com To: Jonathan Wilkes jancsika@yahoo.com Cc: Ben Baker-Smith bbakersmith@gmail.com; pd list
Sent: Tuesday, January 10, 2012 5:53 PM Subject: Re: [PD] no pd?? WTF ????
Not a bad point... but, or more likely because they are supporting only
those artists able to afford such things as expensive software, travel and food.
On Wed, Jan 11, 2012 at 9:48 AM, Jonathan Wilkes jancsika@yahoo.com
wrote:
I can't think of a better example of the vicious cycle of software
lock-in than this.
They don't have money to offer financial support, so they have to rely
on the tools
that they know, which are proprietary and expensive, thus making it even
less likely
that a composer would be able to afford to travel to the concert (because
he/she
had to spend money on either Max/MSP or Kyma to composer the piece in the
first
place).
-Jonathan
----- Original Message -----
From: Ben Baker-Smith bbakersmith@gmail.com To: pd list pd-list@iem.at Cc: Sent: Tuesday, January 10, 2012 4:12 PM Subject: Re: [PD] no pd?? WTF ????
Hi list!
I got a more clear response from the organizers on this issue than anything I've seen in this thread so far - here it is:
Hi Ben,
thanks for your Interest in our Call.
We accepts only patches made with Kyma or Max/MSP due the fact we
are not
able to provide
financial support for the two selected composers. So it is
possible that
they will not be able to be in Milan for the concert.
To avoid technical issues we choose the plattforms we already use
in our
work or we are very familiar with.
This is the only reason. If the selected composer can assure us to be available for the
concert the
can be used any piece of software/hardware.
I hope this helps.
Many thanks
Federico Placidi
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