[PD] Binfile (was Turning non-audio data feeds into audio)
alan.dubdub at googlemail.com
alan.dubdub at googlemail.com
Wed Oct 14 00:33:59 CEST 2009
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 at 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 at 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 at 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 at 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 at 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 at 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 at 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.
> >>>>>
> >>>>> »
> >>>>>
> >>>>> http://vimeo.com/5415629
> >>>>>
> >>>>>>
> >>>>>>
> >>>>> 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"
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