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AM

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  1. AM

    maxmsp and lisp?

    for my needs it's not necessary to use opusmodus in MAX. for me it's just easier to code LISP then in other languages (i need no library) i will not do algorithmic comp... there, i will simply manage my "real-time/virtual-conducting/modular-form THING" from the POLYTEMPO-NETWORK in ONE language (lisp)... (i also found a solution for me without MAX, lisp only. a bit steam-punky, but works will be my next ensemble piece) thanx to you! andré
  2. AM

    maxmsp and lisp?

    i received the following message from julien vincenot for maxmsp+lisp greetings andré
  3. it could work like this... because of the RANGE of the "chromatic mapping of your gen-sin", you have to set :root d3, otherwise you will get pitches like "a-1", which is not possible. so you have to shift your root to d3. (tonality-map '(phrygian :root d3) pitchvec) i never used <tonality-map> before, i just read the documentation of the function - so it's quiet simple greetings andré
  4. you could do it like this, check the function TONALITY-MAP (pitch-transpose 2 (tonality-map '(phrygian :map step) pitchvec)) but mapping on (other) tonalities could be musically a bit tricky - perhaps you have to "eliminate some pitch repetitions" (has to do with quantification), or sometimes you have some troubles with the ambitus (that's the reason why i added <pitch-transpose>)... but perhaps there are some other solutions...? greetings andré
  5. a speculation... example 1: because the SUM is 0!! so it will never go up to 'e6 example 2: sum is 1, it will work
  6. ;;; ...an idea ;;; how to import some TEXT and translate it to integer-sequences to use this data ;;; for LIVE-CODING. also possible without .txt, but i tried to IMPORT it. perhaps ;;; in your live-coding session a friend of you is writing the text in a different ;;; location and you could share it (the path) via CLOUD :-D ;;; i know, this kind of data... is not very smart, but a little bit steam-punky :-) (defparameter *map-integer1* '(((a à á â ã ä å æ ą) 0) (b 1) ((c ç ć) 2) (d 3) ((e è é ê ë ę) 4) (f 5) (g 6) (h 7) ((i ì î ï) 8) (j 9) (k 10) ((l ł) 11) (m 12) ((n ñ ń) 13) ((o ò ó ô õ ö) 14) (p 15) (q 16) (r 17) ((s ś ß) 18) (t 19) ((u ù ú û ü) 20) (v 21) (w 22) (x 23) ((y ý ÿ) 24) ((z ż ź) 25))) ;;; 1) open/write a .txt-file ;;; 2) define your path (inside the loop) ;;; 3) start the loop ;;; 4) write/change your .txt, and SAVE it ;;; => every 2 seconds it will be read by the code (loop repeat 60 do (progn (print (progn (setf x (string-to-list (let ((in (open "/Users/meierandre/Desktop/test.txt"))) ;; use your own path!! (read-line in)))) (text-map *map-integer1* (loop for i in x append (explode i))))) (print x)) do (sleep 2)) ;;; every 2 seconds the loop is reading your .txt, change variable x and PRINT it for this example i used PRINT (so you see what is happening), but you could also "rewrite" a variable inside your sound-live-coding-CODE/FUNCTION Bildschirmvideo aufnehmen 2019-11-02 um 23.16.58.mov
  7. LISP... any solution? i want to DIVIDE a seq into sublists -> when it's asc into a list, "rest" into single-listed values - thanx a lot for some help ;;; input (divide* '(14 12 3 13 15 8 4 10 17 2 16 0 1 6 7 5 11 9)) ;;; output => ((14) (12) (3 13 15) (8) (4 10 17) (2 16) (0 1 6 7) (5 11) (9))
  8. thanks, torsten! i know hanspeter kyburz (i almost studied with him - and because of him i started working with algorithms) and i know some of his works (CELLS / PARTS / ....). if you have the article of ERES HOLZ as pdf, would be nice (the link seems to be dead)... only some short thoughts - not on an scientific research level isn't it - in general - a question about complexity and information? and complexity/information changes when you are changing/crossing the MEDIA. that means: from algorithms/code/mathematics to sound/music or visuals... also the complexity itself changes, it's like transforming... "the complexities" are different - the manifestation of it. so it's quite simple - and you feel so important and intelligent and "arty" - when you TAKE a really advanced mathematical/algorithmic grammar/process as a TOOL, ...but in accoustic perception the result could be quite "noise", because the musical complexity is different and depends - in my opinion - a lot on "how you map these things", on which musical parameters and objects, in which dimensions... of course, it's also interesting to use such things - like algorithms - in a way of "creative misunderstanding" (as i think ferneyhough once mentioned in different context), but we should be aware of the GAPS: algorithmic complexity - effective complexity. what do you think? greetings andré HEINZ VON FöRSTER had some really good thoughts on such things - in an abstract way... here is an article.... disorder:order.pdf and an article from DAVID GALANTER... Galanter_2003_What is Generative Art Complexity theory as a context for art theory.pdf
  9. thanks! a. p.s. ... that's why i have some other solutions for my needs...
  10. thank you, torsten! (at the moment, I'm thinking about what the GAP is between visual visual l-systems (images, you see the whole "gestalt") and acoustic ones (which more has to do with the PROCESS in time, musical grammar...). the handling / perception / .... is a completely different one)
  11. my colleagues from the computermusic laboratory advised me not to steer external things via internal SLEEP, but also to control the TIME / delay via OSC. perhaps also has to do with the fact that for me different things must be controlled in parallel and synchronized. i don't know...
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