[PD] Binfile (was Turning non-audio data feeds into audio)
Hans-Christoph Steiner
hans at at.or.at
Wed Oct 14 06:11:05 CEST 2009
In Pd-extended 0.41.4, just load it like this: [mrpeach/binfile].
Its included.
.hc
On Oct 13, 2009, at 10:49 PM, Jerome Covington wrote:
> Done, I the file named binfile.pd_darwin in the PD app package in
> the directory path you provided. Should I name the file something
> else? I'm on an Intel Mac. Still no audio though I can see in the
> log window that messages are being sent when I use your binDATApayer
> program.
>
> On Tue, Oct 13, 2009 at 3:33 PM, <alan.dubdub at googlemail.com> wrote:
> 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"
> >
> >
> >
>
>
>
> --
> Regards,
> Jerome Covington
> . . . . : . . . . :
> "define audio development"
> _______________________________________________
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Using ReBirth is like trying to play an 808 with a long stick. -
David Zicarelli
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