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

[Patco]

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
>
>