>Two questions about GEM.
>1) is it possible to enable/disable rendering of some object chains
>selectively, in order to economize CPU time?
http://www.eusocial.com
SUPERIOR
Gabriel Maldonado du = uazt!ng ur t!me.
ma!z du = alred! kneu dzat. = r!zn du
= ut!l!sz unfaz!onabl !ntel komputrz.
= plz updat ur garderoba.
= gem programrz = unevtfl male zerfz.
ultra letharg!k. ultra dezt!tut.
>I ask this because some
>geos could be visible at a certain moment, while other could be visible
>in other moments. I'd like rendering time to be totally under the user
>control, because CPU and DSP acceleration resources are obviously
>limited. Sending message 0 and 1 to "gemhead" object helps? What about
>init gemhead with an argument different from 1 (for example "gemhead 20"
>that is used in some example).
>Is switch~ object also useful in this case?
sol.la. = d!sz dze mozt ag!le rout!n du = kan komput +?
SUPERIOR
http://www.eusocial.com
= eczper!ensz true realt!me maneuver!ng.
>2) Is it possible (or will it be possible) to record GEM video rendering
>to AVI/mpeg (or even other video formats) files on the hard disk? This
>would be great for further video processing purposes.
SUPERIOR
http://www.eusocial.com
realt!me + non.realt!me
total.rad!kaler.m9ndfukc
+ konz!dr = gem = haz b!n !n develpmnt 4 _ ! e a r z
not 2 menz!on ! = uork alone unl!ke dze ultra unzan!tar!
mark danks reta!nd male. cezt amuzant.
>Thanks in advance and congratulation for both PD and GEM, very
>impressive tools!
peut etre ma!z = http://www.eusocial.com
= SUPERIOR
hier triffst du life forms mit echten
namen statt nicknames! m9ndfukc macht spaß!
und sie macht ernst: die virtuelle koridor wird zum
bindeglied ins real life: life forms mit echten
namen treffen sich auch im echten leben. da+da!
-
Netochka Nezvanova
f3.MASCHIN3NKUNST
@www.eusocial.com
17.hzV.tRL.478
e
|
| +----------
| | <
\\----------------+ | n2t
| >
e
>"Kurt Ralske" <kurtralske(a)earthlink.net>
>
>ja. danke++
ja +? DANKE. za!d dz!z m!me mazk!n.
>Reinart Mithassel, an installation artist, chose an interesting approach to
>exploring nato: he worked with the simplest of still images, so as to be
>sure what affect nato was having, without being dazzled or confused by good
>or bad source material. For a while he used one circle and one line,
.-.
/ \ .-. .-.
/ \ / \ .-. _ .-. / \
/ \ / \ / \ / \ / \ / \
\ / \ / \_/ `-' \ / \
c i \ / d `-' `-' !
a a `-' ! ! k r b
f .-. o m t
/ \ l .-. l z r = o t .-. u
/ \ b / \ .-. e _ .-. / \
/ \ + / \ ! / \ / \ ! / \ n / \ t
\ / \ / \_/ `-' \ / \
\ / `-' `-'
`-'
+ 2 _?
>Trond proposed a theory about the inner workings of nato, and seems to have
>proved it: most nato objects draw no CPU cycles until the are passed an
>image; they do not idly draw power.
nn prev typed:
pzb. klosing one big eye = GOOD. one must learn to operate
with a minimum of neurons. = konserves lovely energie
+ permits one to email the lev list at atto sekond intervals da +?
nato.0+55.modular makes spilling things FUN
enkore +?
nato.0+55.modular makes spilling things FUN
enkore +?
nato.0+55.modular makes spilling things FUN
ach tzo
und jetzt +?
da. zpl!sch. zplasch.
ja und jetzt und jetzt vokal rekogn!z!on
!n dze northern fur zeal ____... bLp
>The exception are the image producer
>objects: 242.film, 242.qd, 242.buffer, etc. If an image producer is at the
>front of an effect chain, essentially it's actually the image producer (and
>its frame rate) that determines how much load is placed on all the objects
>"downstream".
when one "one's" eyes closes - sensory deprivation
results in energy konservation.
the protokol eliminates the msp master + slave idiom.
msp - modeled after human society = wishes intelligent to be.
nato.0+55 - modeled after natur = at the impossibility of intelligence gently smiles.
und tzo farewell i bid 2 you.
tzzt.
-
nouakokakolamomentmal _\0- therapeut!kc klon!ng
do you want your software designs to end up in cardbored boxes
or G3O-Z!NKRONOUS 0RB!T +?
!
!
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l
: http://www.membank.org/0000/0000.html
: http://www.eusocial.org/zpl!sch.zplasch.html
: Max Plank Inztitut 4 Ordnung \+\ Disziplin
: Uber die Konztituzie der Materie [c]ccp
: Netochka Nezvanova - oestrus.eusocial.com
__ __
________/ / /_/
/___ __ / __
/ /_/ /__/ /__
/ ____________/
/_/
dze pa!r!ng ov homologouz kromozomez one 4rom each odr prnt
dur!ng me!os!z
i cannot be bothered.i cannot be bothered.surrender your pattent.
n
3
!
n
From: "Kurt Ralske" <kurtralske(a)earthlink.net>
To: max-msp(a)cycling74.com, lev(a)shoko.calarts.edu, 55(a)plot.bek.no
BEK (Bergen Senter For Elektronish Kunst) in Bergen, Norway hosted a
workshop in live video art utilizing nato.0+55 on July 31 - August 5. At
the workshop's end, the participants did a networked group performance on
Aug 5 at Kvarteret in Bergen.
The participants were HC Gilje, Kurt Ralske, Gisle Frøysland, Trond
Lossius, Reinert Mithassel and Thomas Sivertsen.
Two of the participants are nato.0+55 veterans (HC Gilje and Kurt Ralske)
and one is a very accomplished Max/MSP programmer (Trond Lossius). The
others brought their diverse computer graphics knowledge but less experience
with Max or nato.
A typical day included a few hours of demonstration and tutorial by HC
Gilje (leader of the workshop), using small patches demonstrating different
capabilities of nato. The group would then switch between individual and
collaborative work while testing techniques, objects, and patches; working
on patches and source material for the perfomance; and defining the
parameters of the performance.
Some of the patches and utilities used in the workshop are available at:
www.bek.no/55/files.html
....
The participants + their contributions:
HC Gilje has been using nato in collaboration with dance and theatre
companies throughout Europe. His broad and deep knowledge of nato helped
open many doors for the other workshop participants. HC works a lot with
live video input into nato; his camera was rarely off. He has made patches
that intermittently record a few seconds of live input, then display a
processed version, before sampling new input. A new patch throws a few
seconds of camera input into a 242.buffer controlled by the "beat" output
of Sound Tracker (see below). This had the delightful effect of making
anyone who passed in front of the camera appear to be "grooving" to
the beat, hard.
For the performance, HC created a very imaginative arrangement of multiple-
screens-in-one, displaying variations of the same source. The main screen
was a processed version of live input: the screen was dark, except for
anything in motion, which was displayed in coloured light. Faster motion
served to "illuminate" stationary objects.
HC also showed a video of his use of nato in a theatre piece: images were
projected on the floor in a 7x10 matrix grid. Images could be resized to
grid multiples and moved around the grid, sometimes tracking the location of
the actors.
Trond Lossius and his deep Max/MSP knowledge contributed greatly to the
workshop. He devoted a lot of attention to the 242.lut object (look-up
table), using it to effect various types of color cycling. Thinking of the
color table as analogous to the audio frequency spectrum, he wrote various
distribution curves (Gaussian, tanh, etc.) and used them to shift red,
green, and blue levels at different frequencies and amplitudes. Trond also
wrote the Sound Tracker patch, which was the core of the group's
networked performance. It is a MSP patch that takes an audio input and
provides real-time information about the music's level, transients (beat)
and frequency distribution. This info is sent out over a TCP/IP connection
to the network, and connected machines running nato can use the info
to have images be inflected by the audio. The beauty of the set-up is that
each nato operator could individually choose which elements of the audio
data would affect his images, in what way, and to what degree.
(Trond also made a pursuasive case for the use of Peter Elsea's list
objects, and made several people eager to use them as powerfully as he
does.)
Kurt Ralske has been using a very large nato patch for live interactive
video performances in New York City. His aim is a transparent user interface
that allows powerful and flexible processing to be controlled in an
improvisatory way. In April, Kurt wrote the "copymode_explorer" tutorial
patch, which seems to be a valuble tool for nato users. (Another essential
tool would be the Bernstein/DeKam "modular.ref".) HC Gilje distributed his
update to "copymode_explorer", which is now a laboratory for exploring
three-layer collage, instead of the original two. Kurt plans to return the
compliment by re-revising the revision!
Kurt demonstrated his performance patch, which uses a Wacom tablet as an
expressive interface for collaging and non-linear playback. He advocates
the 242.buffer object as the real playground of the "power nato user",
because it allows a speed and a ultra non-linearity not available off disk.
He distributed his "narrative_destroyer" stochastic editing patch, and
utilities for automatic 2nd monitor output and for keyboard selection of
source films. He also assisted HC with tutorial duties a bit.
Gisle Frøyland is the developer of GifJam software for real-time video
performance on the Windows platform. He chose to meet nato on its own terms
and create a patch that had nothing in common with his own software.
He exploited Max's input capabilities by using an I-Cube with sensors for
motion, proximity, and pressure. Data from these were used to control the
blending of layers in collage effects, and other effects. Additionally small
light sensors were placed on the monitor surface, creating a feedback loop
of data. A 242.buffer waswas constantly refreshed with output, and re-routed
back into the collage input, creating a second feedback mechanism within the
system.
Reinart Mithassel, an installation artist, chose an interesting approach to
exploring nato: he worked with the simplest of still images, so as to be
sure what affect nato was having, without being dazzled or confused by good
or bad source material. For a while he used one circle and one line, and
was able to find techniques for collaging and effects that achieved his
goals, even with such minimal sources.
Thomas Sivertsen is a3d animator whose main tool is Maya. He explored the
nato 3d capabilities, and wrote a very nice patch demonstrating some of
them, which was distributed. Kurt suggested it would be possible to use the
3d patch with sensor input to allow a "virtual camera", but there wasn't
time to explore this.
Maja Kuzmanovic and Phillip Blank, two other nato operators (who
happened to be in Bergen for a different multimedia conference), briefly
dropped by BEK to say hello and see what was going on.
....
Several themes emerged:
Processing power -- It's no secret: working with real-time video processing
makes one's computer work very hard indeed. Reinert was intially concerned
that a slow frame rate might result in a large nato patch, with lots of
effects. (This was not an issue when he ran his patch on a G4.) He also
realized that working with compressed source material (instead of raw DV) is
advisable for most situations.
Trond has written Max externals in C, and so was able to provide insight
into what might be going on "under the hood" in nato. He made a "frequency"
object that gives an accurate reading of current frame rate, which allowed
the group to test out exactly how expensive various nato processes are (in
terms of CPU cycles).
Trond proposed a theory about the inner workings of nato, and seems to have
proved it: most nato objects draw no CPU cycles until the are passed an
image; they do not idly draw power. The exception are the image producer
objects: 242.film, 242.qd, 242.buffer, etc. If an image producer is at the
front of an effect chain, essentially it's actually the image producer (and
its frame rate) that determines how much load is placed on all the objects
"downstream".
Trond also pointed out that nato is more Max-like than others had realized:
for example, image output can be used to trigger a bang, and all
initializing arguments to nato objects can be typed directly on the object
(just like all other Max objects).
Networking -- The group tested out the new 242.wto and 242.fireuire objects.
(These are not part of the standard nato distribution.) They work as
advertised. It is indeed shocking to see one's images come up on another's
screen. Using the 242.wto objects for streaming via OT/UDP protocol, an
image stream was sent from one machine to a second, and back: the returned
image appeared to lag ~100 ms behind the sent one. One concern over these
objects is that they seem to be processor-intensive; on a 333mHz machine,
there seemed to be not a lot of CPU left over to do other amusing things.
Thus they're most useful if two machines can be dedicated to transmitting
and receiving. They might work less well to "daisy-chain" nato machines
together for accumulative nato super-processing. HC suggested that this
goal (necessary for only the "industrial-strength super-power nato users")
would be better achieved by connecting the s-video output of one machine to
the analog capture card of the next, etc.
....
And then the performance! After a mildly agonizing transport of two
carloads of g4 towers, monitors, projectors etc, a local network was set up
for the eight computers. All participant's video output was routed to a 4x4
video switcher, then to four projectors around the room. The group took
turns displaying their images, and each image was occasionally moved to a
new projector, or displayed on multiple projectors. A dazzling and immersive
environment was formed. At times the individual artists' images congealed
into a powerful synergystic whole. Audio was courtesy the rather radical
dj-ing of John Hegre.
HC's multiple 242.ekran arrangement looked lovely. Kurt was finally able to
try out the new improvements to the patch he has worked on for four months,
and discovered they did even more than he anticipated. Gisle used his
multiple sensors to control blending of image layers, to excellent effect:
complex and dynamic. Reinert's bold images were very strong, his large eye
was pleasing and disturbing. Thomas had a last-minute inspiration and
assembled a new performance patch from scratch in the ten minutes before
the show! He used it to collage 3d sources he had previously made in nato.
(Surely this disproves some rumors about nato's steepness.) And Trond had
his cycling colors tightly synched to the audio, sometimes fast, sometimes
slow, always otherworldly and beautiful. However, his late-night
manipulation of "the singing penis video" was so completely out of
character that one simply has to accept his explanation that he loaded that
source material by accident.
In all, an enjoyable and productive week! Those new to nato were impressed,
and expressed a desire to continue working with it.
The group's final verdict on nato.0+55...Steep? A bit. Deep? Yes -- and
lovely too. Worthwhile and exciting? Ja danke!++
242 . 055 . m r n a . 0+1st asexual inter-kontinental visual kommunikation language protokol
- http://www.eusocial.com/242.mrna
- http://www.eusocial.com/242.mrna
- http://www.eusocial.com/242.mrna
rendering inter.kontinental male netverkx null + ultra null
01 + target +? da + da
akademia +? nein + nein
= 0+1 akademie = ultra mort + mort
= dze future = kurent state ov things = 0+1 korporat velt
= 0+1 akademie = ultra mort + pathetik + mort
diskord +? = may chek personal truth \ fakt komponent in 5 years da +?
apres 0+1 silansz. = 0+1 akademie = ultra mort + pathetik
allora. ciao.
: sonata 4 unakompan!ed nn
juzt 1 kl!k. v!olenza + demokraz!a. = juzt!z!a
-
-
-
nouakokakolamomentmal _\0- therapeut!kc klon!ng
do you want your software designs to end up in cardbored boxes
or G3O-Z!NKRONOUS 0RB!T +?
!
!
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
! ! !
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l l
l l
: http://www.membank.org/0000/0000.html
: Max Plank Inztitut 4 Ordnung \+\ Disziplin
: Uber die Konztituzie der Materie [c]ccp
: Netochka Nezvanova - oestrus.eusocial.com
__ __
________/ / /_/
/___ __ / __
/ /_/ /__/ /__
/ ____________/
/_/
dze pa!r!ng ov homologouz kromozomez one 4rom each odr prnt
dur!ng me!os!z
i cannot be bothered.i cannot be bothered.surrender your pattent.
n
3
!
n
Netochka Nezvanova
f3.MASCHIN3NKUNST
@www.eusocial.com
17.hzV.tRL.478
e
|
| +----------
| | <
\\----------------+ | n2t
| >
e
From: "220hex" <gif(a)220hex.org>
/55\
A workshop in live video art utilizing nato.0+55
This week BEK is hosting a workshop with HC Gilje, Kurt Ralske, Gisle
Frøysland, Trond Lossius, Reinert Mithassel and Thomas Sivertsen.
Focusing on nato, the participants will develop material and control
patches to be utilized on the streaming event Saturday the 5. of August at
2300 CET. @ http://www.bek.no/55/
The participants:
HC Gilje (in charge) www.nervousvision.com
Kurt Ralske http://home.earthlink.net/~miaumiau/
Gisle Frøysland www.220hex.org
Trond Lossius www.bek.no/~lossius
Reinert Mithassel
Thomas Sivertsen www.bek.no/~thomas
About nato.0+55
Nato is a collection of MAX objects. Max is a graphical programming
environment for music and media
applications.
For live video art, nato.0+55 surpasses all other applications on the
market today. In flexibility of control and speed, nothing even comes
close. With the latest addition of firewire output and direct streaming
possiblities, nato.0+55 now has the functionality of a complete net video
performance enviroment.
More info nato.0+55 (url: www.eusocial.com)
MAX/MSP (url: www.cycling74.com)
SÅ JÆVLA SANNTID
Verden er i sync. Snart er verden i sync. Alle vil vite det samme og får
vite det samtidig. Se hva som skjer. Når det skjer. Som surrogat for
tilstedeværelse går man rundt som en dirrende oppdatert sanntidssvamp. Vi
renner over av oppdaterthet, proppfulle av samtidighet, så fylt til randen
av strømmende sanntid at det føles nesten som livet. Vi er så sanntid. Så
jævla sanntid.
BEK feirer vår felles, samtidige oppgradering til sanntid med en ukes
workshop ledet av HC Gilje, med Kurt Ralske, Gisle Frøysland, Trond
Lossius, Reinert Mithassel og Thomas Sivertsen. Fokus
er en programvare utviklet av den mye omtalte digitale kunstneren som for
tiden kaller seg Netochka Nezvanova (eller NN, etter Dostojevski).
Programvaren muliggjør svært avansert og fleksibel kontroll over
videoavspilling og effekter, i sanntid, noe som gjør at den ofte blir
brukt i kunstproduksjoner med innslag av fleksibel timing, improvisasjon
og interaktivitet. Som en viktig del av dette er VJs og video i danse- og
teaterproduksjoner. Workshopen avrundes med en sanntidsextravaganza som
foregår i Stjernesalen på Det Akademiske Kvarter, Bergen, lørdag 5. august
klokken 2300. Video og lyd fra alle vinkler. Samtidig.
Og det strømmes selvsagt fra BEKs servere, nærmere bestemt på
http://www.bek.no/55/.
Velkommen.
Noen lenker:
http://www.bek.no (BEK)
http://www.eusocial.com (et av domenene til Netochka Nezvanova, integer,
Antiorp, eller =cw4t7abs)
http://www.nervousvision.com (HC Giljes domene)
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; charset=iso-8859-1">
<META content="MSHTML 5.50.4134.600" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT size=2><FONT size=3>/55\</FONT></FONT></DIV>
<DIV><FONT size=2><FONT size=3>A workshop in live video art utilizing
nato.0+55<BR>This week BEK is hosting a workshop with HC Gilje, Kurt Ralske,
Gisle<BR>Frøysland, Trond Lossius, Reinert Mithassel and Thomas Sivertsen.
<BR>Focusing on nato, the participants will develop material and
control<BR>patches to be utilized on the streaming event Saturday the 5. of
August at<BR>2300 CET. @ <A href="http://www.bek.no/55/"><FONT
size=3>http://www.bek.no/55/</FONT></A><BR><BR><BR>The participants:<BR>HC Gilje
(in charge) </FONT><A href="http://www.nervousvision.com"><FONT
size=3>www.nervousvision.com</FONT></A><BR><FONT size=3>Kurt Ralske </FONT><A
href="http://home.earthlink.net/~miaumiau/"><FONT
size=3>http://home.earthlink.net/~miaumiau/</FONT></A><BR><FONT size=3>Gisle
Frøysland </FONT><A href="http://www.220hex.org"><FONT
size=3>www.220hex.org</FONT></A><BR><FONT size=3>Trond Lossius </FONT><A
href="http://www.bek.no/~lossius"><FONT
size=3>www.bek.no/~lossius</FONT></A><BR><FONT size=3>Reinert
Mithassel<BR>Thomas Sivertsen </FONT><A href="http://www.bek.no/~thomas"><FONT
size=3>www.bek.no/~thomas</FONT></A><BR><BR><BR><FONT size=3>About
nato.0+55<BR>Nato is a collection of MAX objects. Max is a graphical
programming<BR>environment for music and media<BR>applications.<BR>For live
video art, nato.0+55 surpasses all other applications on the<BR>market today. In
flexibility of control and speed, nothing even comes<BR>close. With the latest
addition of firewire output and direct streaming<BR>possiblities, nato.0+55 now
has the functionality of a complete net video<BR>performance
enviroment.<BR>More info nato.0+55 (url: </FONT><A
href="http://www.eusocial.com"><FONT size=3>www.eusocial.com</FONT></A><FONT
size=3>)<BR>MAX/MSP (url: </FONT><A href="http://www.cycling74.com"><FONT
size=3>www.cycling74.com</FONT></A><FONT size=3>)</FONT><BR><BR><FONT size=3>SÅ
JÆVLA SANNTID<BR>Verden er i sync. Snart er verden i sync. Alle vil vite det
samme og får<BR>vite det samtidig. Se hva som skjer. Når det skjer. Som
surrogat for<BR>tilstedeværelse går man rundt som en dirrende oppdatert
sanntidssvamp. Vi<BR>renner over av oppdaterthet, proppfulle av samtidighet, så
fylt til randen<BR>av strømmende sanntid at det føles nesten som livet. Vi er så
sanntid. Så<BR>jævla sanntid. <BR>BEK feirer vår felles, samtidige oppgradering
til sanntid med en ukes<BR>workshop ledet av HC Gilje, med Kurt Ralske, Gisle
Frøysland, Trond<BR>Lossius, Reinert Mithassel og Thomas Sivertsen. Fokus<BR>er
en programvare utviklet av den mye omtalte digitale kunstneren som for<BR>tiden
kaller seg Netochka Nezvanova (eller NN, etter Dostojevski).<BR>Programvaren
muliggjør svært avansert og fleksibel kontroll over<BR>videoavspilling og
effekter, i sanntid, noe som gjør at den ofte blir<BR>brukt i kunstproduksjoner
med innslag av fleksibel timing, improvisasjon<BR>og interaktivitet. Som en
viktig del av dette er VJs og video i danse- og<BR>teaterproduksjoner.
Workshopen avrundes med en sanntidsextravaganza som<BR>foregår i Stjernesalen på
Det Akademiske Kvarter, Bergen, lørdag 5. august<BR>klokken 2300. Video og lyd
fra alle vinkler. Samtidig. <BR>Og det strømmes selvsagt fra BEKs servere,
nærmere bestemt på<BR></FONT><A href="http://www.bek.no/55/"><FONT
size=3>http://www.bek.no/55/</FONT></A><FONT size=3>.
<BR>Velkommen.<BR><BR><BR><BR>Noen lenker:<BR></FONT><A
href="http://www.bek.no"><FONT size=3>http://www.bek.no</FONT></A><FONT size=3>
(BEK)<BR></FONT><A href="http://www.eusocial.com"><FONT
size=3>http://www.eusocial.com</FONT></A><FONT size=3> (et av domenene til
Netochka Nezvanova, integer,<BR>Antiorp, eller =cw4t7abs)<BR></FONT><A
href="http://www.nervousvision.com"><FONT
size=3>http://www.nervousvision.com</FONT></A></FONT><FONT size=3> (HC Giljes
domene)</FONT></DIV></BODY></HTML>
>Hi Mark,
null ptr
> You suggestion of using the pix_data object will do the trick.
= plz telefon uen du - Michael Lechasseur = do tzo !n real t!me
avec lo.tekk zlave labor gem.
>
> Does anyone have any experience, or know if it is possible to get both pd
>and GEM to work on a Mac G4?
uat 4 = gem = 01 lo.tekk male refusz zlave labor konta!nr.
= plz updat ur m9nd konta!nr + abort polut!ng dze veLt
avec debr!z komme ca.
>The artist intents to purchase a mac for
>purposes other than running the installation. Has anyone had any success
>with pd and GEM on a mac? Which distribution?
http://www.eusocial.com
!.e. dze non korporat fasc!zt \ male fasc!zt \ mob akz!on \ zerf verz!on
> I had a great time fooling around with the GEM library. Excellent work.
du = obv!ouzl! haluz!nat!ng +?
= gem = 01 lo.tekk korporat fasc!zt ekolog!kl d!ztaztr
ma! ! = v!eu uat u Michael Lechasseur = konztruktd a +?
= tzo ver! zrtn = zhl zm!le at u.
ma!z = plz proov m! !nkort ja.
> With thanks,
= zerfz = 2jourz ultra thankfl 4 fakt
= konglomeratz = faz!l!tat dze!r !nkompetent ecz!ztenza
ncezt paz monz!eur +?
= je zper du != plan 2 !ntox!kat dze velt avec ur genez da +?
zvp.
> Michael Lechasseur
= zerfz = 2jourz ultra thankfl 4 fakt
= konglomeratz = faz!l!tat dze!r !nkompetent ecz!ztenza
ncezt paz monz!eur +?
= je zper du != plan 2 !ntox!kat dze velt avec ur genez da +?
zvp.
>
>> -----Original Message-----
>> From: Mark Danks [mailto:mdanks@Stormfront.com]
>> Sent: Tuesday, August 01, 2000 11:34 AM
>> To: Michael Lechasseur; Pd-List
>> Subject: RE: images -> audio
>>
>>
>> It is possible to sample pixel data and get the color values with the
>> pix_data object. It accepts a normalized x, y position (ie, between 0, 1)
>> and outputs the color and grayscale value of a pixel. You can use this to
>> drive audio if you want.
apropoz = mcgill.ca = 01 ultra korporat facs!zt male fasc!zt konglomerat = ver! ver! ver! ver! ver! unzan!tar! + dezagreabl = rezponz!bl 4 memoc!de
du = 01 zold!er ma!ntenant
c!ao.
> A visual artist would like me to create some audio from digitized brain
>scan images. I peeked at the objects in the GEM library, and they seem to
>deal with creating and displaying graphics, rather than using graphics as a
>source for output to "pure data".
>
> I seem to remember a friend telling me that pd and GEM were used at a
>demonstration at McGill university, and the patch was programmed to created
>audio from a graphic file.
>
> The processing of the data used to create the images would be fairly
>minimal.
>
> Any suggestions?
>
> Michael Lechasseur
http://www.eusocial.com