Im on a mac so everything is hidden inside the app package, which is a
folder really.
I go to application> right click/ ctrl click on the file and select "show
content" then put the binary in contents/resources/extra
If you on linux it should be work the same (being Unix and all) but not
sure about windows i am afraid
Does anyone have any suggestions to get binfile.pd working on windows /
linux??
marius.
On 13 Oct 2009 02:21, Jerome Covington info@thespacebetweenthewords.org
wrote:
I can't seem to find this directory.
~/pd/contents/resources/extra
Should I create that directory structure myself? And if so where does it
go?
On Mon, Oct 12, 2009 at 3:54 PM, alan brooker alan.dubdub@googlemail.com>
wrote:
darn! I think it may have something to do with the binfile.pd which is
an external from Mr.Peaches-for some reason the binary doesn't get
found by PD- I attach a copy for OSX- if you add it to
~/pd/contents/resources/extra (don't put in in the the mrpeach folder
because cant find it). I m not too sure where binaries are for other
os
Basically If the binfile gets working it is a good way to make sound
based on computer data, as opposed to just playing the raw file of a
jpeg -thank for looking :)
On 10/12/09, Jerome Covington info@thespacebetweenthewords.org> wrote:
Hey, I can get the visualization to work, but not the "audioization".
On Sun, Oct 11, 2009 at 4:53 PM, The Space Between the Words info@thespacebetweenthewords.org> wrote:
Thanks, Alan!
I will take a look at your binary conversion patch first chance I get.
Regards,
Jerome
On Oct 11, 2009, at 7:40 PM, alan brooker alan.dubdub@googlemail.com>
wrote:
it's better if you can recognise the stock price in the music,
because if you can't, you could have taken that data from anywhere
else and it wouldn't matter, so why would you call it stockmarket
music then?...
I agree fully- the point in which the output is true to it's source
and making something sound good is tricky and down to skill-
I worked on a simple patch that created audio from binary data from
loaded files and I am trying to make good sounds from the patch in
different ways continually- half the fun though!(a work in progress!
contains osx app and pd patch for other os- uses Mr.Peaches binfile):
http://databodega.googlecode.com/files/bin_data_application.macosx%20.zip
On 10/11/09, Jerome Covington info@thespacebetweenthewords.org> wrote:
Excellent, Mathieu.
I have a lifetime of experience in music to inform the aesthetics
well.
Now I just need more on the "how", and to that extent I am very
interested
in process within this community.
--
Regards,
Jerome Covington
. . . . : . . . . :
"define audio development"
On Sun, Oct 11, 2009 at 3:05 PM, Mathieu Bouchard matju@artengine.ca
wrote:
On Sun, 11 Oct 2009, Jerome Covington wrote:
Is anyone interested in sharing their process for turning real-time,
> non-audio data feeds, into music? See a great example of one
possible
> direction, here.
>
>
Coïncidentally, I wrote some thoughts about it in the Pd chatroom a
few
hours before your email, because of a similar topic there:
«
musical meaningfulness comes from meaningfulness of the data
beforehand...
basically, if you put garbage in, you get garbage out.
the exception to that is that a programme is a kind of data in
itself,
so
the programme can be considered a kind of meaningful input... and if
the
programme imposes itself as the source of the meaning and
successfully
downplays the incoming garbage, it can make the output meaningful;
but unless one is very skilled at understanding the information
theory
standpoint of music, using random values gives you just more
meaningless
music like what you are talking about... sort of like picking a
random
book
from the library of babel.
»
>
>
now this is what I add to my above thoughts, this time in
relationship
to
the video: without necessarily explicitly thinking about information
theory,
one can get to interesting results intuitively... one essentially
has
to
focus on getting beautiful results for likely inputs instead of
being
content with whatever fits with the description of a certain art
concept.
Any former stock-market music I had listened to sounded like crap.
What
Patrick did was to make his programme insert so much beauty and
coherence
in
the market's noise, that it made it sound meaningful... actually,
it's
more
like this: the programme can only output music that sounds
reasonably
good
no matter the input, and the meaningless input selects one of the
possible
nice-sounding outputs. Overall, the music is more shaped by
Patrick's
æsthetic decisions than by the stock market, and it's perfect like
that.
so, Jérôme, I would mostly just suggest that you make patches so
that
the
results sound fairly good no matter the input you give them, and
optionally,
if you can make the input also recognisable in the output, it's a
bonus
feature that can feel very rewarding, but it depends on the
context...
for
feeding stockmarket data it may not matter as much, but for live
interactive
data from performers or visitors, they have to recognise their own
impact
on
the music, else the point is going to be lost on them, really. but
even
for
stockmarket data, it's better if you can recognise the stock price
in
the
music, because if you can't, you could have taken that data from
anywhere
else and it wouldn't matter, so why would you call it stockmarket
music
then?...
so maybe you wanted people to explain their actual processes, but I
hope
that you will also enjoy this reflexion on the question of what
might
make
processes be good or not.
_ _ __ ___ _____ ________ _____________ _____________________ ...
| Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801
--
Regards,
Jerome Covington
. . . . : . . . . :
"define audio development"
-- Regards, Jerome Covington . . . . : . . . . : "define audio development"