Here is a very brief outline on the Ukraine and its current situation. If you’re only starting to notice all those news items, this should help you get up to speed. It’s faster than going to the public library, anyway. Looks like a little background will come in handy while you’re following this in the papers in the coming days.
Sometimes, you’re just not in the mood for hard-hitting or even chatty bloggery. In these times, perhaps recursive zoomable artwork or crackheaded Flash book reports are just the thing. Or not.
I’m reading at the moment, since there’s not a lot of listening I can do.
An ear infection I thought I’d whipped earlier returned in a pretty ferocious manner (it even set my ENT to clucking sympathetically and peering sympathetically), with the result being that my right ear is totally non-working (except for being a completely workable source of pain). My sensorium is panned hard left, I’m miserable, so guess what happens? I discover that having your ear vacuumed out sounds exactly like a Merzbow recording? Well, yeah, but the real annoyance is the music that keeps crossing the transom. My friend Jon loans me the recent Albert Ayler box to listen to, Kerry and John send me several tracks from their new recordings in progress, I get a great new disc from Robert Henke that I suspect I’ll really like a lot in stereo, and I have to put off critically listening to the live recordings from my last gig with my friend Tom. With luck, the internal and external antibiotics will do their job. Until then, I’ll read.
Since I finished Neal Stephenson’s Baroque Cycle (It was a very satisfying finish, by the way), I thought I’d stick to some music reading for a while. An acquaintance had suggested Audio Culture to me, saying that they were interested in using its collection of essays (or some of them, anyway) as a classroom text. Classroom text? Definitely? But something to have for oneself? You betcha.
If you’re at all familiar with Michael Bull’s “The Auditory Culture Reader,” you’ll probably recognize the basic approach-a collection of primary documents, essays, and excerpts from longer works that range widely across the intellectual terrain, connected by short explanatory/expository pieces by the authors.
Reading was a somewhat unexpected kind of pleasure-a chance to read again things that I’d not revisited in a long time, to actually go through pieces I’d only heard about but never actually read myself, and an arrangement that juxtaposed writings by lots of interesting people (Stockhausen, DJ Spooky, Ornette, Eno, Attali, Glenn Gould, and John Zorn, among others) that leaves you with the feeling that you’re eavesdropping on a large rambunctious conversation. Heck, even The Onion thinks it’s a great book-don’t take my word for it.
Dear Diary,
I think I’ve recovered enough from the ICMC (and the subsequent bout with an ear infection, replacing a wrecked car, and a few of the other shocks to which the mortal life is heir to say a few things about my trip to Miami….
For those of you who are acquainted with the ICMC, it’s an annual international conference, held in a different place each year, that lets you hear the latest technical papers, hang out and exchange recipes for sugar cookies, and generally sit through a whole lot of concerts of all kinds of music made using computers. As has been the case since the ICMC in Berlin several years ago, there’s also an off-ICMC (a kind of Salon des Refusées) just in case you need something to do during your evenings.
While I’d like to have just gone and watched and listened to everything, I was flying the Cycling ’74 flag. So this will, of necessity be fragmentary in nature; my apologies to anyone whose name I’ve butchered or omitted.
Practically speaking, I didn’t make it to all the concerts; someone with a question or suggestion would appear as I was preparing to pack up and go in, and politeness suggested that it’d be best to stay. I sure got to hear some interesting music, nonetheless.
The amount of music at these events is a bit daunting: three concerts per day. But my own impression is that this was a great ICMC in terms of the stylistic breadth of presented work, and that the concerts themselves were both well-ordered and varied in terms of content. As always, one did hear a bit of grousing here and there about “quality” (can’t you hear the quote marks there?), and in the midst of an election marked so strongly by “code language,” I confess that I may have heard that to mean “not enough wire whisk and breadboard music.” I could be wrong.
This time out, I heard pieces that were not afraid to sit still for an instant, pieces that were perfectly happy to straddle genre boundaries or to start their audible lives as one thing and joyously morph into something else (Jenny Bernard’s “Hallucination” and Jon Gibson’s “Detour” come to mind right away here). For the first few days, it seemed like this it was Flute Week at the ICMC-not that I minded the chance to hear some absolutely amazing performances of stunning pieces in a bewilderingly wide range of styles by wonderful performers (Margaret, Lancaster and Elizabeth McNutt? Yikes.) for a single instant either, either. It didn’t occur to me until later that I really wasn’t listening to pieces to spot Our Software in action at all, so my own set of surprises were more about individual listening experiences. Jesse Allison’s simple and well-conceived piece for harmonica and live processing, a really modest and stunning piece for bass clarinet by Jeff Herriot, some new video work from Christopher Penrose (who turned me onto a whole website chock full of cockamamie commercials done by big western movie stars for Japanese television-including the commercial that had Arnold Schwarzenegger pimping for some kind of nicotine-based energy drink that was used to generate his piece, “My First Electric Dragon.” Check out Japander.com. Really.), Timothy Polashek’s one-minute bit of candied ginger for the ear, and David Kim-Boyle’s piece for piano, resonant glasses (the piece involved having the miked glasses hover right at the edge of feedback all the way through the piece. Paul the sound guy gets oak-leaf clusters for that one), and video projection that seemed waay too short for me.
Looking at that quick listing from memory, it occurs to me that I really wasn’t listening to pieces to spot Our Software in action at all. But there was plenty of it-there’s not much I can really say about the ubiquity of Max/MSP/Jitter at festivals such as these. It cuts both ways-some part of you is always worried whenever you see those GUI objects on the glowing screen to the right of the mixing board, and then elated when it works well. I guess that beyond some statistical increase in Max use live, it’s hard not to notice the number of pieces that now include visual information this time out (I was particularly particularly taken by Michael Theodore’s “Sivel”).
Outside of the conferences, a sort of funny thing that happened with regard to Max/MSP/Jitter visibility-due, in part, to my own indolence. I decided that I didn’t want to drag two laptops to the festival every day, so I started alternating machines. No one noticed, which I thought was a little odd. My own personal experience is that I run Jitter on my Windows box, and stick to my old trusty Powerbook for noises, but it’s clearly not the case. And the relative ubuiquity at this point of third-party objects for both platforms has really contributed to the idea that, for some people, it’s not really a question of what machine you’re running on. It’s Max/MSP/Jitter either way.
I encountered something at the ICMC that I also ran into at the AES, but probably didn’t mention in my blog entry-it seems to puzzle some people out there when I pass up the opportunity to dis other people’s software, and to puzzle some people even more by praising the stuff I didn’t dis. It’s puzzling to contemplate that one would face a world in which there are now numerous alternatives to people who want to make music with software (some of which are created or produced by people who are friends and acquaintances) with anything other than pleasure and relief. In the modern world, you’re free to choose the tool that best fits your circumstances (emotional, political, technological), and-as a personal matter-I guess that I think that steering people to the right alternative (given their situation) makes everyone happier. It was sort of interesting to chat with folks who began their lives using Pd and have since migrated to Max/MSP (they’re overwhelmingly Windows users, based on my admittedly unscientific sample and anecdotal experience), and to find out what their specific challenges are (or aren’t). They seem to have having a pretty easy time of it, and they are really crazy about being able to use Java and Javascript for object development.
There was more interest in pluggo for Windows at the ICMC than I might have expected, although it took a rather muted form; In the same way that some electroacoustic composers seemed to be sheepish about acknowledging their use of Metasynth several years ago, I think I detected a similar interest in using pluggo plug-ins; the question usually only appeared when I was alone with one other person. In one sort of funny situation, two people who were all in the same crowd came back separately and alone to inquire about pluggo for Windows. I dunno… maybe I’m hallucinating.
The off-ICMCs have really had a personality all their own over the last few years. This year’s off-ICMC was no exception, with a blistering election night Convolution Brothers fracas that featured Miller Puckette sitting in for the absent Zack Settle in Elvis wig and shades while Cort Lippe (in a fetching black balaklava that whispered “sonic terrorist”) streamed the election night returns with some ah… modification (metalflake, hydroflouric acid, and sprinkles). The next evening was my chance to catch Phonaecia live (they were wonderful), and sample the local Miami laptop scene. Friday evening was off-ICMC gig time for me, and an interesting and instructive experience. I completely sucked, rather than turning in either something that was good or even kind of pedestrian. On the good side, I went second and the evening concert ran a little late, which meant that not a lot of people were there. And Doug Geers (who preceded me) and Meg, Allison, and Charlie (who followed) were sufficiently interesting that everyone was distracted from my self-basting holiday Butterball turkey of a performance, I’m hoping. It’s an oddly liberating experience, I guess-if somewhat disappointing. I didn’t stay to the bitter end, but Eric Lyon reportedly tore the roof off the sucker rather late in the evening. Our hosts at the Titanic microbrewery were delightful. Great cheeseburgers, and my first introduction to the awesome Conch fritter (yummy), due to the encouragements of our hosts, Kristine Burns and Colby Leider. A superior bitter on tap, too. I hope we all drank enough to keep ‘em happy.
The ICMC banquet was positively stunning, complete with some kind of DEA black helicopter and interdiction boat chase thrown in. You can see some pictures of the excitement here (Choose Day 7 and head for photos 15-18). We all quickly recovered from looking out the big picture windows or from the deck and seeing the opening footage for many episodes of CSI: Miami. Man, whatta view! What an evening! At the banquet, we found out that Ajay Kapur’s paper on digitizing North Indian performance had won the “best paper” award. I was glad to get this news, since I might have missed the paper (as I did the paper on Audiosculpt 2). It didn’t disappoint, although I was in and out of the session much quicker than I would have liked (prior appointment). My own personal interest had something more to do with looking at the kinds of sensing and control they’d worked with in order to gather data without strait-jacketing performers. It was a pretty extraordinary presentation, in part because I’ve gone to ICMCs for years and wondered at what I thought was a dearth of interest in non-western musics and performance practice. This one more than made up for those years in the desert.
I’d first met Jason Freeman during our last Cycling ’74 booth time in Frankfurt; he’d taken the train up (or down) from his then working gig, and mentioned that he was working on something with Max Neuhaus. At the AES the week before, I’d run into Phil Burk, who’d also been on the project (and who was, apparently, surprised that anyone remembered that he’d done any recording at all). His presentation on the implementation of the Auracle project (particularly the kind of data capture it does, and how the data is analyzed and used over long spans of time) was fascinating. NOW I get it. Taken alongside another session paper looking at the use of spectral morphing in the film “Blackhawk Down” by Paul Rudy (it made me want to scamper off immediately, rent the film, and listen to it in the dark with the sound turned waaaaay up) it was time well spent.
But it wasn’t all sitting in the dark taking notes, nosirree. This time out, there was gear to fool around with! One of the interesting things about this particular ICMC for me was the chance to see a couple of new sensor interface products up close-Eric Singer’s Miditron, and the Electrotap Teabox. I’d spent a little time during the previous week at the AES with both the Kroonde Gamma wireless sensor interface and the Eobody, and the week gave me a chance to hear presentations by both Eric Singer (Mr. Miditron) and Tim Place and Jesse Allison (Tea importers to the Royal Family). The availability of all of these different products at different prices is great news-you’ve got a wide choice of possible solutions that work in different ways and all interface quite nicely with Max/MSP/Jitter. I even sweet-talked Tim and Jesse into spiriting a demo Teabox back to my hotel room on Tuesday evening. My pre-Cycling ’74 life is partially in the teledatacomm industry, so I tend to take things apart for amusement. The Teabox is beautifully engineered, I am happy to report. Works a treat, too.
Hmm. What might I have forgotten? Comments on the use of high-powered air conditioning units as the semiotic for success in Miami? Trying to explain the minutiae of the American political system through my tears to my European colleagues? Discovering that the Mochito does not in any way, shape, or form taste like the pondwater it resembles? Naaah. This is long enough already.
Dear diary:
Well, I’m finally back home after having survived two major-league spanking machines–the annual AES convention, and the annual International Computer Music Association conference, hosted this year in sunny Miami. It was a wild, exhaustive and fun couple of weeks. Perhaps I should talk about them both. Let’s start with the AES….
It’s that time when Trade Show Fever grips the Cycling ’74 microculture. I know you must imagine it’s a gay mad whirl of demo-munging, new product polishing, and shopping for the perfect frock. But for those of us on the inside, it’s quite a different affair. Rather than throwing book titles or arcane facts about the annual Canary Harvest in Montenegro at you in the name of blogging, I thought I’d touch on a few of the exciting things you might miss, and touch on a few gear-ish things that I found to be of interest.
Secret Trade Show Rituals #1. The Zen of Getting to There From Here
The AES this year was in Cycling 74′s backyard-just about literally. It was held in the Moscone Center, just about a block or so from Cycling 74 World Headquarters, which means that you might imagine we’d be sneaking off to the local Giant Crab Supermarket to um, borrow some shopping carts to use as transporters of our booth stuff, swag, etc.
But that’s not how it works in the professional world of the Modern Trade Show. Instead, Joshua and I went and got a rental van that we took over to C74WH. The plan was to pull it into the deluxe parking garage, load it with our stuff, and then leave it overnight. Hélas! The van was sprung like a bunny on meth, and was, as a result, too tall to fit into the garage by a matter of several inches.
So we regrouped the next morning, loaded on the street, and set off for the marshalling yard, which was waaaaaaay out in China Basin (Joshua, ever the helpful tour guy, drove us by the Beta Lounge for a quick gape on my part) at Pier 80. The idea is that in order to move things a block we need to drive out to the edge of the Bay (with a lovely view of a smokestack/scrubber and the Bay Bridge in the distance, along with the filigree of Industrial metalwork), weigh our vehicle and get some papers, then drive all the way back to the Moscone Center, unload our stuff in a place where the electric-carted Teamsters can move it for us, then drive all the way back to Pier 80 and weigh the empty truck.
Waiting our turn at the scales was restful, and broken by Richard Dudas’ ad-hoc lesson in horticulture. As the line of semis interspersed with smaller vans advanced to the single open truck scale, Richard and I took a moment to take in the aforementioned view, and to take note of our surroundings. Apparently, balsamic vinegar or some kind of wine mysteriously bubbles up spontaneously from the landfill on which the marshalling yard is built. None of us were in any mood to inquire more seriously about just what the stuff was, or its origins. Mr. Dudas stunned me by pointing out the presence of a single actual Fennel plant, decorated around its base with empty plastic bottles and various forms of jetsam. I am somewhat partial to braised Fennel, but somehow the sight of this one has rather put me off the idea for a while.
Trade show setup is simply something that, although pleasant, is perhaps best witnessed or described as a stop-action film of workpersons swarming over a pile of stuff, and the booths magically emerging from the flurry of activity. I suppose that even the Cycling 74 booth might look like this with enough time-lapse between the frames, but I find myself reflecting on the process and remarking more on the calm and patience with which Mr. Zicarelli and my other co-boothists went about their work.
Secret Trade Show Rituals #2. I get to open for Double Dutchess and we throw a party
My personal Anxiety Top Ten for the week was dominated by my doing a set for the official Cycling 74 AES party at the end of the first day. Performing my patient and restrained one-trick-pony act for my friends is always nerve-wracking enough, but to be on the same bill as people like Double Dutchess/Les Stuck, Sue Costabile, Sutekh, and Laetitia Sonami should have had me racing for the Benedryl. I hope and believe that I acquitted myself well, avoided being some sort of Mediatic Incursion, and left a clean campsite. And since I went first in the proceedings, I could relax and enjoy everyone else after finishing. I think, too, that the party was precisely the sort of thing I enjoy. Rather than a brain-frying sequence of “gigs” separated by breathless product-placement announcements from the Marketing Department, this felt like a place for people to get together and meet and talk, gorge themselves on Cheese Nips (real ones. Not those Trader Joe’s knock-offs, either), let in a little (Anchor) Steam, and to hear some interesting things. And jhno’s loft was just about the perfect place for it, too.
One of the interesting things about doing things like this is that you get to actually meet the real people attached to the names in your email in box. I tend to enjoy that, since I create the people after a certain point as I read their email anyway. I suppose that this particular AES was my chance to hang out with Peter Nyboer a little bit, and to discover that he’s as nice a person in 3-space as he is in this space (he even gave me a lift back to my hotel after the Cycling 74 bash). And our friend Yuki Sakamoto from Cameo Interactive also honored us with his presence during my gig. My mom’s little hometown Kentucky paper always ends these sorts of reports with the sentence, “A good time was had by all.” I think that was the case here-was for me, anyway.
Secret Trade Show Rituals #3. The view from the floor
Talking about being at a trade show as a part of the dazzling caravan of Cycling 74 talent is quite different from actually visiting the trade show and walking about, of course. With a little luck-no, with a little planning, you get to do both. Happily, thanks to some wizardry with a schedule by my colleague Darwin, I did get to run around just a little (more on this anon) this time. The other nice bit of this is that the booth is staffed with my um… smarter colleagues. So when some low-level Java stuff came up in conversation with a visitor, I could simply direct them to the genial Josh and Topher duo, for whom Java arcana is as meat and drink. David Z. was around to greet and answer questions about the new multi-band dynamics processor plug-in for TDM systems we’ve developed with the folks from Octiv Systems (I’m not entirely helpful here, since I don’t have a surround system either in my modest little studio or in my living room.), and so on.
We had plenty to talk about and show this time out. I think that some of the biggest buzz for the most persons would have to be pluggo for Windows. But it’s an interesting situation, in that we’ve worked as hard as we can to make sure that It Just Works. This means that those few Windows-only types who have never beheld pluggo in any form are amazed and delighted by demonstrations that are old hat to Macintosh types eager to have their old favorites on the new machine. While it’s not necessarily the whizziest message, I find that telling a pluggo fan that there won’t be any surprises when they switch platforms to be a satisfying experience.
We also brought a Kroonde wireless sensor interface with us, which was fun. David and Dudas and Joshua quickly knocked together some nice things that yanked faders and distorted Jitter renderings using a wireless flex sensor. At some point, Dudas took the transmitter and the flex sensor and scampered off in an attempt to see precisely what the range on the little dude was. He was gone for a long time before things stopped jumping. The only difficulty was that trying to establish line of sight over a goodly distance at a Trade show chockablock with booths and milling crowds is a little problematic. So my answer for the next several days on range was “It’s pretty far.”
Doing the booth thing is a cocktail composed of equal parts exhiliaration (meeting lots of interesting people who are really interested in and happy about what you do) and exhaustion (meeting about 6 squillion of them at once). Our encounters with our customers and would-be customers was and is becoming increasingly varied in terms of the sorts of questions one is faced with; it’s just not like manning a guitar pick manufacturer’s booth and telling people that you have new titanium fuschia metalflake plectrums over and over and over. As you might imagine, this is a good thing in terms of staving off glassy-eyed boredom, but you have to be on your toes.
Secret Trade Show Rituals #4. Gregory cases the joint
For me, the most interesting thing about the AES as a whole would have to be what wasn’t there. Lots of us were wondering after the initial buzz about M-audio being acquired by Digi what changes might be afoot. This AES provided us with one answer: They moved all the M-audio stuff offsite to Digiworld, leaving a still nice-sized booth behind. But you have to imagine having all the stuff M-audio distributes suddenly vanishing from the face of the trade-show earth. As a personal matter, this meant that it simply wasn’t simple to go visit my Ableton, Audioease, and Tassman buddies during my floor-roaming “free” period. Additionally, there was quite a lot of Remix Hotel action, which further relocated some things. I found the Hotel a pretty interesting place, (although I did feel a trifle radiocarbon-datable while there) especially the Technics SL-DZ1200 digital turntable. While it’s a bit um… expensive for my tastes and my wallet, the thing feels just like the canonical Technics table, and their granular pitch-shifting sounds pretty cool (nice artifacts rather than crufty ones). It was a lovely piece of hardware, complete with gen-you-wine wheels of steel.
An interesting side effect of this was that the trade show floor seemed a bit well… quieter. At the end of the day, my larynx wasn’t sandpapered from bellowing at booth visitors all day long. Kind of a nice change from some previous Trade Show experiences.
Secret Trade Show Rituals #5. Won’t you be my neighbor?
Sometimes, we wind up in at trade shows in interesting booth configurations. The one that comes immediately to mind was an AES where we were across the aisle from the Gibson booth, where Slash showed up one day to sign autographs for his legion of fans. The non-surprise there was that he looked just like his pictures, and the surprise was this whole long queue of scary looking guys transformed in an instant into Wayne and Garth-style mugging for the camera (We are not worthy….). We had great neighbors. Our booth back was to the Apogee folks (whose mini-DAC positively rules both for sweet live performance and for days when you’re working long hours with headphones on), and next to the Gefen folks, who were as intrigued by us (and our visitors) as we were with their steady queue of extender/connector box customers. And we had this amazing woman, Vicki Genfan performing in a kind of hybrid Michael Hedges/Chapman Stick style tapping technique acoustic guitar gig kitty-corner from our booth in aisle 700 who turned in some amazing performances (sure beats the same old Salsa or Grindcore licks day in and day out).
Secret Trade Show Rituals #6. The intensely personal attack of gear lust
So I did run around a little bit. New stuff? Well, my old pals the Rocket Science bundle from Audioease are back, for starters-I’m as delighted to have Orbit back in my OSX life as I was with Periscope from their Nautilus bundle (it being one of the lowercase world’s great secret Swiss Army Knife plug-ins). I saw and fiddled with Arturia’s new virtual ARP 2600. Just what you’d expect, too-beautifully recreated (minus the dirty pots, shorted patch cords, and drifty oscillators) with some very nice little new additions (um… MIDI control? polyphony? Some interesting tracking generators? You betcha.) in the bargain. One of their guys came over and beheld the kind of Max/MSP control mayhem I’ve been doing by hosting their Moog Modular V using the vst~ object and then routing all kinds of control stuff to us, and he appeared somewhat interested (although I’m sure that the particular formant filter bank violence I was doing might not have been his personal choice), and he didn’t strike me or pelt me with empty coffee cups, so hey. I have officially begun a campaign of pesteration about what should be their next product-a virtual Synthi AKS 100! Am I shameless or what?
The Electro-Harmonix booth included a very quiet new addition in their display case (they were busy with their Bi-filter and tubes, but I was not distracted): a digital 16-second delay. Didn’t see it hooked up, and I’ll wager that those old Reticon 1024 analog bucket-brigade chips are looooong gone, but I looked at it and wondered quietly whether it would do as lovely a job at shaving high frequencies off of an input signal as my trusty old-school hardware box. Maybe I’ll find out next time.
Given that I am not working much with this and perhaps more seduced by the technology as an idea than with any personal projects at the moment, I spent some time checking out single-point surround microphones and found one company that was adding their product to little motorized radio-controlled bomb sniffers. So you can, presumably, hear the ticking in 5.1 surround, along with the lifelike hum of the servos.
Let’s see… what else? Oh, right: there was a some gear-lust buzz on two product fronts, one of which (the Smart Console, with its Jean-Luc Picard control broadband control panel vibe) remains a distant fantasy, and one of which-this really whizzy wireless Tranzport DAW controller (AA batteries not included) from Frontier Design is not.
People seemed interested in Nuendo 3, but I’m not in a position to say much about it. My colleague Ron (with whom I worked on the newest Cycles release and who has emerged in my estimation as the total audio monster that everyone else already knows he is) seems pretty impressed with it. Given his Surround mixing chops, I’m prepared to accept his verdict.
Since I had to be in Miami for the ICMC and since it appeared to be nearly impossible to get out of San Francisco on a Hallowe’en flight, I scampered off early Sunday morning for a lengthy set of flights to Miami, where I was destined to be the sole corporate standard bearer in the surround-sound hive of scum and villainy more commonly known as the International Computer Music Assocation’s annual conference. Well, there’s very little scum (unless you count the way that a Mochito looks. It’s a drink made with rum that tastes much better than it looks, trust me), and even less villainy. But a good writer creates mystery and interest by the clever use of language. So I’ll go sit quietly for a while and try to distill my week in Sunny Miami for the next outing.
FTM is a shared library for Max/MSP providing a small and simple real-time object system and optimized services to be used within Max/MSP externals.
FTM = data structures
The basic idea of FTM is to extend the data types exchanged between the objects in a Max/MSP patch by complex data structures such as sequences, matrices, dictionaries, break point functions, tuples and whatever might seem helpful for the processing of music, sound and motion capture data.
FTM home page: http://ftm.ircam.fr/index.php/Main_Page
FTM intro: http://ftm.ircam.fr/index.php/A_brief_introduction_to_FTM
Sukandar Kartadinata writes:
please note the website update regarding the gluion sensor interface: http://www.glui.de/prod/gluion.html
The gluion interfaces sensors to your computer via OSC so can be used with Max/MSP, pd, or SuperCollider (among others). One special feature of the gluion is its ability to connect digital sensors – be it simple rotary encoders, ultrasound distance measurement, or intelligent sensors with serial interfaces. The gluion is now available in limited quantities. Pricing depends on enclosure version and starts at 444 Euros.
jasch writes, ” i’m happy to announce the release of version 0.2.1 of my externals and the port of the objects to windows.”
Juha Vehviläinen writes “Fingerworks have released a new firmware and sdk for their multi-touch devices that allow output of raw finger position data. I’ve made an external to grab this data, available here:
http://pinktwins.com/iGesture.zip (OS X compiled).”
Related links: http://fingerworks.com
Recently there’s been a lot of talk about this new multitouch LCD controller. JazzMutant website.
“LEMUR is a handy and modular touchpanel based controller designed for audio and multimedia real-time applications. Our technology associates multitouch capabilities with visual display. LEMUR is provided with an extensible library of User Interface Objects such as faders, switchs, pads, keyboards, strings, etc.”
