[PD] elitism, software and academia (was GEM FTGL Sadness)

[Hans-Christoph Steiner]

Some of my favorites along this line are the pmpd examples.  In the  
Help Browser, check out examples->pmpd.  Watch out, they can use a  
lot of CPU time, so it's best to check on "defeat real-time  
scheduling" in the Startup preferences when playing with those.

.hc

On Jun 7, 2007, at 11:30 AM, Patco wrote:

> Hello,
> are there any project where we can see almost all externals in action,
> at least all externals that doesn't require particular hardware, and
> that could be run with a 'one clic' or 'one command' pd installation
> like pd-extended for example ?
>  I mean by this kind of project, a workstation where we could meet all
> the different externals and some comments with navigating through  
> patches.
> ( net-pd is one kind of this project obviously but I've found it  
> misses
> documentation for having a real idea on how it is functionning,  
> maybe I
> didn't go deeply enough through the available files...)
>  By this way, any new user of pd would be able to use pd tools,  
> without
> having any knowledge of the functionning of the patches, and with the
> comments on how object are used, the new user would also learn a  
> lot faster.
>  I believe that the 'elitist' point of view would be seriously  
> dammaged
> by this kind of enterprise.
> It was my 0.5 cent question.
> Patko.
>
> john saylor a écrit :
>> hi
>>
>> On 6/7/07, jared <microcosm11 at msn.com> wrote:
>>
>>> All of the work done (out of love, not money) by the pd community  
>>> should
>>> be applauded.  With that said, there is a sense of elitism.
>>>
>>
>> how does this perceived elitism affect your ability to make music? to
>> learn about digitial synthesis? is it an excuse to avoid the work
>> required?
>>
>> i've seen lots of beginner questions answered here- sometimes with
>> sarcasm, but mostly with patience [and sometimes with both].
>>
>>
>>> I think academia needs to recognize that there are many composers  
>>> who
>>> use computers as a means to an end; who make music with the AID of
>>> computers; not to make music WITH computers.
>>>
>>
>> this seems like an arbitrary line you are drawing. are you talking
>> about people who use presets as opposed to people who can generate
>> their own 'presets'?
>>
>> and why is academia some kind of measuring stick? in my experience,
>> academia is not the ivory tower you seem to be implying- it is filled
>> with people, some more creative, some less creative, some as  
>> greedy as
>> any industrialist you could find in the private sector.
>>
>>
>>> There is still a rigid
>>> line that separates the composer and the programmer.
>>>
>>
>> the rigidity is mostly in your mind. composing is very much like
>> programming. instead of working in perl, beethoven worked with staff
>> paper [think punch cards]. how is a repeat sign in a score different
>> than a 'while' loop? how is a fugal theme different than a variable
>> that gets subjected to a certain kind of treatment?
>>
>>
>>> What about today's composers who are
>>> interested in classical compositional techniques and forms, but  
>>> who are,
>>> at heart, electronic music composers and want to apply these  
>>> classical
>>> techniques and forms to their electronic compositions with the  
>>> AID of
>>> technology, yet have no interest in programming?
>>>
>>
>> they are out of luck.
>>
>> what about someone who wants to perform bach's wtc and has no  
>> interest
>> in learning the piano?
>>
>> also, as an aside, forget about classical forms: what do *you*  
>> have to
>> say? [although if you want make a career out of being an anachronism,
>> maybe the academies of the world will support you]
>>
>>
>>> :-)
>>>
>>
>> :-P
>>
>>
>
>
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