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[Csnd] How does this orchestra make music ?

Date2010-05-20 14:54
FromNutri Cumulus
Subject[Csnd] How does this orchestra make music ?
Homo sapiens' present stage in evolution is grounded in the
exceptionally developed human abilities of information
manipulation, knowledge extraction, and knowledge application.
 

<CsoundSynthesizer>

<CsInstruments>

sr = 44100
ksmps = 128
0dbfs = 1
nchnls = 2

git1 ftgen 0, 0, 1024, 10, 1, 1, 1
git2 ftgen 0, 0, 1024, 10, 1, 1, 1, 1, 1

opcode md, aaa, aaa

 a1, a2, a3 xin

 aa1 = a2 * a3
 aa2 = a1 * a3
 aa3 = a1 * a2

 xout aa1, aa2, aa3

endop

instr 1

 a1 oscil3 1, 1, git1 
 a2 oscil3 1, .1, git1
 a3 oscil3 1, 6, git1 

     a1, a2, a3 md a1, a2, a3
     a2, a3, a1 md a3, a1, a2
     a3, a1, a2 md a2, a3, a1
     a1, a2, a3 md a1, a2, a3

 a1 oscil3 1, p5 + (a1 + a2) * 10000, git2
 a2 oscil3 1, p5 + (a1 + a3) * 3000, git2
 a3 oscil3 1, p5 + (a2 + a3) * 5000, git1

 aR3 nreverb a3, 5, 1

 outs (a3 + aR3) * .1, (a2 + aR3) * .1

endin


</CsInstruments>
<CsScore>

i1 0 98

</CsScore>

</CsoundSynthesizer>

It is convenient to stress that for this process to take place, it has to
be viable in the most basic sense of the term. This viability has to be
understood as a mechanism of interlevel circular causality, which is what
functional selection consists of. Therefore, the apparition of functional
selection is not produced by any kind of constraint but only by these ones
that give raise to some elements of a certain set to finally reproduce
their very conditions of appearance. In other words, functional are the
constraints that reproduce themselves: i.e., they self-generate. This
action is selective because it implies to discard all the non-viable
interactions, and it is functional because the emergent level so created
contribu tes to its own genesis

 


Date2010-05-20 15:08
FromVictor Lazzarini
Subject[Csnd] Re: How does this orchestra make music ?
Chaotic systems?

Victor

On 20 May 2010, at 14:54, Nutri Cumulus wrote:

> Homo sapiens' present stage in evolution is grounded in the
> exceptionally developed human abilities of information
> manipulation, knowledge extraction, and knowledge application.
>
> 
>
> 
>
> sr = 44100
> ksmps = 128
> 0dbfs = 1
> nchnls = 2
>
> git1 ftgen 0, 0, 1024, 10, 1, 1, 1
> git2 ftgen 0, 0, 1024, 10, 1, 1, 1, 1, 1
>
> opcode md, aaa, aaa
>
>  a1, a2, a3 xin
>
>  aa1 = a2 * a3
>  aa2 = a1 * a3
>  aa3 = a1 * a2
>
>  xout aa1, aa2, aa3
>
> endop
>
> instr 1
>
>  a1 oscil3 1, 1, git1
>  a2 oscil3 1, .1, git1
>  a3 oscil3 1, 6, git1
>
>      a1, a2, a3 md a1, a2, a3
>      a2, a3, a1 md a3, a1, a2
>      a3, a1, a2 md a2, a3, a1
>      a1, a2, a3 md a1, a2, a3
>
>  a1 oscil3 1, p5 + (a1 + a2) * 10000, git2
>  a2 oscil3 1, p5 + (a1 + a3) * 3000, git2
>  a3 oscil3 1, p5 + (a2 + a3) * 5000, git1
>
>  aR3 nreverb a3, 5, 1
>
>  outs (a3 + aR3) * .1, (a2 + aR3) * .1
>
> endin
>
>
> 
> 
>
> i1 0 98
>
> 
>
> 
>
> It is convenient to stress that for this process to take place, it  
> has to
> be viable in the most basic sense of the term. This viability has to  
> be
> understood as a mechanism of interlevel circular causality, which is  
> what
> functional selection consists of. Therefore, the apparition of  
> functional
> selection is not produced by any kind of constraint but only by  
> these ones
> that give raise to some elements of a certain set to finally reproduce
> their very conditions of appearance. In other words, functional are  
> the
> constraints that reproduce themselves: i.e., they self-generate. This
> action is selective because it implies to discard all the non-viable
> interactions, and it is functional because the emergent level so  
> created
> contribu tes to its own genesis
>
>



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Date2010-05-20 15:19
FromA B C
Subject[Csnd] Re: Re: How does this orchestra make music ?

I first discuss the methodology of the construction of a system of nodes where both the contents of nodes, and their relation and organization are tightly interrelated. I propose to use the principle of stepwise formalization, on which the whole edifice of science is built. In science we start with intuitive and often imprecise concepts and on this basis create new models of the world which are more formalized and more precise. Formalization may go in rounds, or levels, becoming more intensive and extensive. Finally we reach a stage at which we reinterpret those intuitive concepts that were taken for granted at the beginning of the construction. Thus a clock, with its hands, becomes a structure of elementary particles.


Date2010-05-20 16:20
FromStéphane Rollandin
Subject[Csnd] Re: How does this orchestra make music ?
> Homo sapiens' present stage in evolution is grounded in the
> exceptionally developed human abilities of information
> manipulation, knowledge extraction, and knowledge application.

not to mention bogosity generation ...




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Date2010-05-20 17:11
From"A B (C)"
Subject[Csnd] Re: Re: How does this orchestra make music ?

/boh-go's*-tee/ The degree to which something is "bogus" in the hackish sense of "bad". At CMU, bogosity is measured with a bogometer; in a seminar, when a speaker says something bogus, a listener might raise his hand and say "My bogometer just triggered". More extremely, "You just pinned my bogometer" means you just said or did something so outrageously bogus that it is off the scale, pinning the bogometer needle at the highest possible reading (one might also say "You just redlined my bogometer"). The agreed-upon unit of bogosity is the microLenat.
Also, the potential field generated by a bogon flux; see quantum bogodynamics. See also bogon flux, bogon filter.

Here we face the most intriguing part of metaphysics: the concept
of `real existence'.
Cybernetic epistemology, according to which all meaningful statements
are hierarchical models of reality,
has a double effect on the concept of existence.
On the one hand, theoretical concepts, such as mechanical
forces, electromagnetic and other fields, and wave functions,
acquire the same existential status as the material things we see
around us. On the other hand, quite simple and trustworthy
concepts like a heavy mass moving along a trajectory, and even the
material things themselves, the egg we eat at breakfast, become
as unstable and hazy as theoretical concepts.


Date2010-05-20 21:35
FromStéphane Rollandin
Subject[Csnd] Re: Re: Re: How does this orchestra make music ?
> /boh-go's*-tee/ The degree to which something is "bogus" in the hackish
> sense of "bad". At CMU, bogosity is measured with a bogometer; in a
> seminar, when a speaker says something bogus, a listener might raise his
> hand and say "My bogometer just triggered". More extremely, "You just
> pinned my bogometer" means you just said or did something so
> outrageously bogus that it is off the scale, pinning the bogometer
> needle at the highest possible reading (one might also say "You just
> redlined my bogometer"). The agreed-upon unit of bogosity is the
> microLenat.
> Also, the potential field generated by a bogon flux; see quantum
> bogodynamics. See also bogon flux, bogon filter.

that's http://dictionary.reference.com/browse/bogosity

> Here we face the most intriguing part of metaphysics: the concept
> of `real existence'.

google "Here we face the most intriguing part of metaphysics"
--> http://pespmc1.vub.ac.be/papers/Turchin/dialog.pdf

> Cybernetic epistemology, according to which all meaningful statements
> are hierarchical models of reality,

google "cybernetic epistemology, according to which all meaningful 
statements are hierarchical models of reality"
--> http://pespmc1.vub.ac.be/Papers/Turchin/dialog.html

> has a double effect on the concept of existence.
> On the one hand, theoretical concepts, such as mechanical
> forces, electromagnetic and other fields, and wave functions,
> acquire the same existential status as the material things we see
> around us. On the other hand, quite simple and trustworthy
> concepts like a heavy mass moving along a trajectory, and even the
> material things themselves, the egg we eat at breakfast, become
> as unstable and hazy as theoretical concepts.

google "the egg we eat at breakfast"
--> http://pespmc1.vub.ac.be/meanmet.html



??









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Date2010-05-20 21:58
FromAndres Cabrera
Subject[Csnd] Re: Re: Re: Re: How does this orchestra make music ?
A variation...



sr = 44100
ksmps = 128
0dbfs = 1
nchnls = 2
git1 ftgen 0, 0, 1024, 10, 1, 1, 1
git2 ftgen 0, 0, 1024, 10, 1, 1, 1, 1, 1
opcode md, aaa, aaa
 a1, a2, a3 xin
 aa1 = a2 * a3
 aa2 = a1 * a3
 aa3 = a1 * a2
 xout aa1, aa2, aa3
endop
instr 1
aenv linen 0.1, 0.5, p3, 0.5
 a1 oscil3 1, 1, git1
 a2 oscil3 1, .1, git1
 a3 oscil3 1, 6, git1
     a1, a2, a3 md a1, a2, a3
     a2, a3, a1 md a3, a1, a2
     a3, a1, a2 md a2, a3, a1
     a1, a2, a3 md a1, a2, a3
 a1 oscil3 1, (a1 + a2) * 10000, git2
 a2 oscil3 1, (a2 + a3) * 3000, git2
 a3 oscil3 1, (a2 + a3) * 5000, git1
 aR3 nreverb a3, 5, 1
 outs (a3 + aR3) * aenv * 0.1, (a2 + aR3) * aenv
endin
instr 2
aenv linen 0.1, 0.5, p3, 0.5
 a1 oscil3 1, 1, git1
 a2 oscil3 1, .1, git1
 a3 oscil3 1, 6, git1
     a1, a2, a3 md a1, a2, a3
     a2, a3, a1 md a3, a1, a2
     a3, a1, a2 md a2, a3, a1
     a1, a2, a3 md a1, a2, a3
 a1 oscil3 1, (a1 + a2) * 10000, git2
 a2 oscil3 1, (a1 + a3) * 3000, git2
 a3 oscil3 1, (a2 + a3) * 5000, git1
 aR3 nreverb a3, 5, 1
 outs (a3 + aR3) * aenv, (a2 + aR3) * aenv * 0.1
endin



i1 0 15
i2 12 15
i1 25 30
i2 30 30
i1 40 30
i2 45 35



Cheers,
Andrés

2010/5/20 Stéphane Rollandin :
>> /boh-go's*-tee/ The degree to which something is "bogus" in the hackish
>> sense of "bad". At CMU, bogosity is measured with a bogometer; in a
>> seminar, when a speaker says something bogus, a listener might raise his
>> hand and say "My bogometer just triggered". More extremely, "You just
>> pinned my bogometer" means you just said or did something so
>> outrageously bogus that it is off the scale, pinning the bogometer
>> needle at the highest possible reading (one might also say "You just
>> redlined my bogometer"). The agreed-upon unit of bogosity is the
>> microLenat.
>> Also, the potential field generated by a bogon flux; see quantum
>> bogodynamics. See also bogon flux, bogon filter.
>
> that's http://dictionary.reference.com/browse/bogosity
>
>> Here we face the most intriguing part of metaphysics: the concept
>> of `real existence'.
>
> google "Here we face the most intriguing part of metaphysics"
> --> http://pespmc1.vub.ac.be/papers/Turchin/dialog.pdf
>
>> Cybernetic epistemology, according to which all meaningful statements
>> are hierarchical models of reality,
>
> google "cybernetic epistemology, according to which all meaningful
> statements are hierarchical models of reality"
> --> http://pespmc1.vub.ac.be/Papers/Turchin/dialog.html
>
>> has a double effect on the concept of existence.
>> On the one hand, theoretical concepts, such as mechanical
>> forces, electromagnetic and other fields, and wave functions,
>> acquire the same existential status as the material things we see
>> around us. On the other hand, quite simple and trustworthy
>> concepts like a heavy mass moving along a trajectory, and even the
>> material things themselves, the egg we eat at breakfast, become
>> as unstable and hazy as theoretical concepts.
>
> google "the egg we eat at breakfast"
> --> http://pespmc1.vub.ac.be/meanmet.html
>
>
>
> ??
>
>
>
>
>
>
>
>
>
> Send bugs reports to the Sourceforge bug tracker
>           https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
>
>



-- 


Andrés


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Date2010-05-20 22:12
FromRory Walsh
Subject[Csnd] Re: Re: Re: Re: Re: How does this orchestra make music ?
Interesting, part of it sounds like a set of bagpipes getting a
thorough seeing to!


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Date2010-05-20 23:20
From"A (B C)"
Subject[Csnd] Re: Re: Re: Re: Re: Re: How does this orchestra make music ?
(google --> csound --> google --> csound --> google --> csound)
 
I think google is a good example of the famous P NP solver.
You can find semantic of the answer faster than i can synthesize existense of the question.
But csound can be very long time without updates - constancy.
---------------------------------------------------------------------------------------------------------------------------------------------------
In morphological point of view humans are slower than clouds.
Csound is a cloud. What is google ?
 

 


Date2010-05-21 00:16
From"(A B C)"
Subject[Csnd] Re: Re: Re: Re: Re: How does this orchestra make music ?
Try to change
 
a1 oscil3 1, p5 + (a1 + a2) * 10000, git2
a2 oscil3 1, p5 + (a1 + a3) * 3000, git2
a3 oscil3 1, p5 + (a2 + a3) * 5000, git1
 
to
 
a1 oscil3 1, p5 + (a3 + a2) * 10000, git2
a2 oscil3 1, p5 + (a3 + a1) * 3000, git2
a3 oscil3 1, p5 + (a2 + a1) * 5000, git1
 
I think there is exists some similarity between syntax (actually semantics) and the morphology of the sound (actually semantics). But this is the case not for all systems, we can see many systems where composer cannot construct meta-meaning of the operational element, often he is restricted to the well defined understanding of the object.
Here i mean that he should think about: oscilator as oscilator, filter as filter, opcode as opcode. Recently i discover that i can think about the instrument statement as about kernel in the parallel programing environment such CUDA. This is not the same, because csound is not really parallel environment, but polyphony can make illusion of this, and instruments can be revealed as very well indexed parallel kernels. And in this context parallel stacking of the instruments it is not the same, than with the traditional understanding of polyphony as merging by standart sum in the core of the application or soundcard.
 


Date2010-05-21 00:22
From"(A B) C"
Subject[Csnd] Re: Re: Re: Re: Re: How does this orchestra make music ?
S A T O R
A R E P O
T E N E T
O P E R A
R O T A S
 
Does google accept matices. ;-)
 

 


Date2010-05-21 00:24
From"(A B) C"
Subject[Csnd] Re: Re: Re: Re: Re: How does this orchestra make music ?
sorry MATRICES


Date2010-05-21 00:30
From"(A B) C"
Subject[Csnd] Re: Re: Re: Re: Re: How does this orchestra make music ?
Only rows
 
SATOR AREPO TENET OPERA ROTAS
 
Feel the difference. Additional information is needed to represent our vision of the subject.

 

Date2010-05-21 08:33
FromStéphane Rollandin
Subject[Csnd] Re: Re: Re: Re: Re: Re: How does this orchestra make music ?
> S A T O R
> A R E P O
> T E N E T
> O P E R A
> R O T A S
> Does google accept matices. ;-)

mu





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Date2010-05-21 08:51
From"(A B) C"
Subject[Csnd] Re: Re: Re: Re: Re: Re: Re: How does this orchestra make music ?

kookaareekoo