[PD] Binfile (was Turning non-audio data feeds into audio)

[alan.dubdub at googlemail.com]

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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