v1.1.0

(** = backwards compatibility issue)
(* = deprecation issue)

- Rewritten using C++, STL, and Boost for added robustness and lower maintenance effort.

- Better cooperation with Max threading architecture (potential hangs eliminated, now using spinlocks).

- Uses Max5 attributes (there’s a csound~ tab in the inspector window).

- Can specify Max objects in the orchestra. Format is “<~> … </~>” where “…” is a Max script for creating an object.

- Messages printed to the Max window can now be traced back to a specific csound~ instance by double-clicking on a line in the Max window.

- Warnings are colored light orange in the Max window instead of red.

- Can save sequences as JSON or XML files (in addition to binary format).

- If @matchsr attribute is 1, csound~ will auto recompile Csound with sample-rate overrides whenever host sample-rate does not equal Csound sample-rate. ksmps will be preserved.

- Fixed deadlock issues when using outlet data to trigger other csound~ functions.

- Fixed memory deallocation bug when running debug build of csound~.

- If csound~ is in bypass mode, sending “start” or “bang” to compile the orchestra will not be followed by an automatic run of 1 k-cycle performance.

- If csound~ is in bypass mode, MIDI bytes are not queued.

- Non-editable attribute @nolatency tells you when csound~ is processing audio without latency.

** No longer Max4 compatible.

** rsidx output message format has changed to: “rsidx table# index value”.

* @start is deprecated. Please use @autostart instead.

* @scale and “noscale” is deprecated. Audio is automatically scaled when 0dBFS levels don’t match.

VR/Urban is a collective of public media inverntionistas founded in 2008 and since then more or less working together to create public media realtime installations.

The aim of all projects is to reclaim urban screen for the public. In tradition of situative art and graffiti culture, VR/Urban augments existing city structures with digital and interactive media-art. The collective strongly believes in embodiement, accessibility and the tangibilty of information, so that each installation has a very performative and challenging character.

The core persons behind the VR/Urban group is the media computer scien-/arttist patrick tobias fischer and the designer and design researcher christian zöllner. The team members are fluid elements of partners and friends in the fields of art, music, science, electronics, coding and architecture.

Pd & Max/MSP Externals – Beta 7

William Brent, Daniel Arias, Bryan Oczkowski, Trevor LeVieux and I have been spending some of the last two summers porting the SoundHack plugins to Pd and Max/MSP format. We have now ported 11 plugins to Pd (Macintosh, Windows and Linux) and Max/MSP (Macintosh and Windows).
Version 7 features binaural, morphfilter, spectralcompand, spectralgate, decimate, chebyshev, matrix, compand, delay, pitchdelay and bubbler.

Non ancora disponibile, ma ormai già ben documentata, la Milkymist One è una VJ workstation all-in-one con supporto completo DMX e MIDI, nonché video input ed output integrati. Sarà disponibile con licenza Creative Commons.

Già disponibile, invece, al prezzo di 149$ la BeagleBoard, al cui interno pulsa un processore ARM Cortex-A8. Se a prima vista può essere scambiata per una scheda tipo Arduino, è in realtà un vero e proprio computer.
Pure Data (Pd-anywhere) è già installabile su questa scheda.

Click here to view the embedded video.

Musiques formelles est à l’image de Xenakis : les huit premières pages et les deux dernières pages du livre, d’intérêt général (philosophico-esthétique), contrastent avec le corps de l’ouvrage, qui est très technique. Celui-ci est d’une importance capitale : si l’on excepte quelques rares publications ultérieures, c’est le seul document où Xenakis analyse sa musique. Musiques formelles qui, aujourd’hui encore, contribue à accorder à Xenakis l’image du compositeur “ mathématicien ”, détaille les théories que celui-ci utilisa de 1956 à 1962. L’ouvrage comprend cinq chapitres, dont les quatre premiers sont des versions remaniées d’articles parus in Gravesanner Blätter : 1) ” Musiques stochastiques (générales, libres) ” : une discussion générale sur le déterminisme précède l’analyse de l’application des probabilités dans Pithoprakta et Achorripsis ; 2) “ Musique stochastique markovienne ” : analyse des principes qui ont conduit à la composition d’Analogique A et B (et de Syrmos) ; 3) “ Stratégie musicale ” : la “ théorie des jeux ” appliquée à Duel et Stratégie ; 4) “ Musique stochastique libre, à l’ordinateur ” : les phases du programme informatique qui a servi aux ST (dans la réédition, on trouvera aussi en annexe le programme informatique) ; 5) “ Musique symbolique ” : explication de la “ logique symbolique ” qui a servi pour Herma et tentative de l’appliquer à Beethoven.