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  1. ;;; ...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
  2. good approaches, thank you!!
  3. 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))
  4. 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
  5. thanks! a. p.s. ... that's why i have some other solutions for my needs...
  6. 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)
  7. 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...
  8. the NUMBER is precise, but ... ...but the great thing is, you are very flexible (and open) in OPMO/lisp... and you can trigger also other software/externals from OPMO/lisp via OSC, i LOVE IT
  9. but SLEEP is not very precise - would be nic to have in OPMO a real precise trigger, like with OSC (for external players...)
  10. it's not necessary for me, just an idea
  11. ;;; a little extension for lsystems, i needed all generations, not only the final one. i think for in-time-processes it's more interesting, because you will hear/see the way of "growing/developing" ;;; perhaps JANUSZ could extended the original OPMO-function. keep attention about stack-overflow if you have LARGE DEPth :-) ;;; function (defun all-gen-lsystem (ls &key depth ) (loop repeat (1+ depth) for i from 0 to depth collect (rewrite-lsystem ls :depth i))) ;;; setup (defclass sieve_1 (l-system) ((axiom :initform '(1)) (depth :initform 10))) (defmethod l-productions ((ls sieve_1)) (choose-production ls (1 (--> 2 1)) (2 (--> 4)) (4 (--> 2 6)) (6 (--> 1)))) ;;; example ; new => all gen (all-gen-lsystem 'sieve_1 :depth 3) => ((1) (2 1) (4 2 1) (2 6 4 2 1)) ; original => only last gen (rewrite-lsystem 'sieve_1 :depth 3) => (2 6 4 2 1)
  12. because in such a fast "basic tempo" they were too close to "17" and "23" i think in slower tempo it makes sense to work with numbers they are close/closer to each other. then the perception compares the tempi, when the GAPS are to large it's only "SLOW/FAST".... depends on your ideas... THANKS FOR THE HINT, i will look at it!! andré
  13. polytemporal fall - algorithmic study [with tempo relations 3:5:7:11:17:23:29] https://soundcloud.com/andr-meier-1/algorithmic-study-polytemporal-fall this is a small example: i coordinate and play MIDIs (in this case this are simple scales) in OPMO via OSC -> maxmsp_player. you can here how precise you can coordinate simple [but polytemporal] scales => all the MIDIs coincide (?) - 30000ms after the evaluation of the code - in an unsiono pitch!!! in that way you can coordinate different scores/midi's (which have individual tempos (!)) very precise. with OSC/maxmsp_player you can change/manipulate the tempi of the midi's (directly from OPMO) so you can be variable with pre-produced midis (perhaps produced in OPMO)... greetings a.
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