Please fill out and submit the attached survey as a part of an research project in progress. You can turn the result in to me in class or place it in an envelope in Studios C or D. The survey is also available in hard copy in the studios.

As we discussed tody in lecture, the OSC protocol allows for complex communication to and from any device on the network and, by it address (/1-a/3, etc) and to any object within the device or application receiving it. The complete specification can be found here:

OpenSoundControl Spec 1.0

The most important section on the page tells us about address wild cards and groupings. Today we did things like:

/*/3 55

...which would send the message "55" to every "3" within every object. I mentioned that I was unclear about other methods of specifying the address so here are the answers.

* means all members

[1234] or [abc], "brackets" mean a match on each character

{23,45,56,456,1,2} comma separated groups are in curly brackets

Other methods are listed on the above-linked Spec page.

Also, I wanted to link you to some potential uses, others who are already using OSC to organize themselves and their material plus several technologies that have sprung up around it.

Some areas of use: http://opensoundcontrol.org/osc-application-areas

Hard/Soft implementations: http://opensoundcontrol.org/implementations

FLOSC: http://www.benchun.net/flosc (Flash to OSC for web interactive pieces)

Occam: http://www.mat.ucsb.edu/%7Ec.ramakr/illposed/occam.html (OSC to MIDI app)

There are hundreds of other tools floating around on the web and many implementations for commercial applications such as Live!, Max/MSP, Reaktor, and others.

Of course don't miss the monome.

Here it is again.

Here you go.

One of your colleagues (Music 659), artist/composer Elliot Hess, has an exhibition next week in Tjaden Galley (on the arts quad across from the Johnson Museum). His description is as follows:

"The show consists of paper sculpturesproduced from suspended fabric moulds and collages on paper. The opening will be on Thursday night from 6-9 pm in Tjaden Gallery."

I hope you can make it!

See the attachment. This is stage1 of a larger project to build a Pd-extended master patch. I'm hoping to just build a script that would automatically generate a master patch from libraries loaded at start up...that's the end goal, anyway.

The site has a new look, and several added features. It also cleans us several annoyances like the awkwardness of attaching images to posts, like so (now trivial...click the little tree in the post editor):

All data and user accounts was transfered but please do let me know if you have any trouble with functionality. Use the site Contact or post in the Troubleshooting Forum for your class.

Enjoy!

Following up on the "expr" expression object, you can find documentation here.

General docs for PD are here and there are several other resources here.

Several of you have asked for an example audio result for the delay patch, just to hear what it is "supposed" to sound like. Your results may vary depending on your feedback percentage and delay time, etc. But roughly, "just for reference, this is what your PD patch should sound like" (hear attached mp3).

Your reading assignment is now online as are links to the audio I mentioned today.  You can find it on the course page.

Also, a few details from today.  The Turkish composer I mentioned who was active with Davidovsky and others at the Columbia-Princeton studios was Bülent Arel (I said merely "B-A").  He is perhaps best known for having worked with Varèse on Deserts.  It is worth noting other composers who were active at Columbia-Princeton during the 60's and 70's; this is not a complete compilation by any means but shows how central these studios were for early electronic music.

Jon Appleton, Charles Dodge, Edgard Varèse, Vladamir Ussachevsky, Otto Luening, Milton Babbitt, Wendy Carlos, Harvey  Sollberger, Charles Wuorinen, Bülent Arel, Mario Davidovsky, Luciano  Berio, and Jacob Druckman

I also mentioned the first concert at the Center, one in particular with Davidovsky's first piece (it was his first study, not the third as I incorrectly said).

Ussachevsky’s Creation-Prologue
Arel’s Stereo Electronic Music No. 1
Halim  El-Dabh’s Leila and the Poet
Milton Babbitt’s Composition for Synthesizer
Mario Davidovsky’s  Electronic Study # 1
Otto Luening’s Gargoyles for Violin Solo and Synthesized Sound
Charles  Wuorinen’s Symphonia Sacra

A more thorough overview of the Center's development and details of what equipment and means were available during this time can be found here:

The Columbia-Princeton Electronic Music Center (links for PDF)