Hi Gary - Thanks for posting This! I've been searching for months for patches or tutorials that work with alpha masks. Unfortunately , it has been very hard to locate tutorials or patches relevant to what I am hioping to accomplish, which is: blending more than one video image with alpha masking, and have one image "melt" into the next by the first image developing progressive alpha windows based on pixtel shading progression where a particular color tone begins to become transparent and then the transparent specific shade expands to include similar tones (in order to open the window more) until finally the first image melts completely. I am new enough to Max that I cannot always understand what is happening patches such as yours. You mentioned fractals - and seemed to indicate your could import "legacy" objects from prior Max versions, but I have no idea how to do that. Also, why hasn't any C74 developed a rotary device or a preset object to be able to automate the selection of the drop down items in a menu list, such as the fractal options shown in your patch. Also, are you willing to share this patch? Sounds like you placed it on the c74 site (?) but I cannot find it. Did you ever post it there, and if so, what name did you use (or link)? You mentioned names in your patch, but using these as a search term on the c74 site, I get no hits, in order to be able to pursue the people you mentioned had been so helpful to you. I would be ever so grateful if you had time to respond to any of the many questions I've posed. All the best, and Great Patch! -Paul PS You are so right about the usefulness of showing what the patch does, and then explaining it!
Lovely demo of an interface between Jitter and Artmatic Gary - Thats where I'm venturing at the moment (I got Artmatic after seeing one of your pieces at Oscilloscope in Bangor North Wales - Lovely artistic software)
The poem... verdant meadows ashen plain tarragon almonds bell and bombard together born decay poisonous pigment silken azure crystals [they're really blue] emerald patina [that's green] it passes
This piece represents a reflection on the past in a small sense. My career as a composer began at the same moment that my career as a professional tuba player came to an end in Holland in 1966. Lately, like many of my colleagues in computer music, my appetite for performance has been rekindled. "Verdigris" is the first attempt to satisfy that appetite. The pitch and rhythmic material were worked out with the aid of a computer program, which emphasized certain intervallic structures. A computer-controlled plotter was used to transfer this material to paper in a nearly conventional form of notation. The interpretive markings and extra-musical elements were added as part of the process of learning to play the piece. The title refers to the greenish substance, which results from contact between acetic acid and copper. Since many brass players prefer instruments without lacquer or plating, the green marks which appear on the instrument and on the player are strong occupational identifiers. In ancient times these copper carbonates were thought to have medicinal value and were prized as pigments for paints and dyes. The "green of Greece" was also the hallmark of fine metallic objects. The irregular blue/green tint was a clear indicator that a vessel or art object was made of copper, brass, or bronze and not some less valuable and more perishable metal. Poets and philosophers did not miss this point either. Verdigris was used as a reference to great worth and to slow decay. It became a symbol of inevitable demise - not just of individuals - but of all things. The tuba - an instrument that is at once comic and noble - seemed a fitting vehicle for a reflection on life and death. The music fluctuates rapidly between humorous, sarcastic, angry, pompous, lyric, and a variety of other characters, which are meant to represent the moods and follies of man. A short poem is fragmented and sprinkled throughout the work.
While I love your MIDI rendition of this piece and the piece itself, the image you provide is not the music to what you are playing. This image comes from the third part of Morley's treatise, but the piece which you are playing comes from the first part of the treatise, and these are not the same piece at all. The resolution of the cross canon pictured above is a rather short four-voiced exercise with far less rhythmic complexity. Were you aware of this incongruence?
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I added the link for you. In five years, you are the only one to express interest in my post. My program no longer works and I don't really have the time or inclination to update for current Mac operating systems. I was paid nicely for it by BMS and they own it. If they come back with more money, I'll rework it. There used to be several interactive web sites that let you play with the idea but a brief search revealed nothing this morning. A link to an “applet” came up 404. Nothing in the App Store. The original app that came on a disk with book has long since been made obsolete by Apple OS updates. The last time I remember using it was in the late 80s. It is a technique that I have used along with other ‘scientific’ methods (fractals, chaos, etc) to make music and video for more than thirty years. Google “gary lee nelson timara” if you want to see it. You’ll find my contact information if you want to talk further about this off RU-vid. The technique now goes by “evolutionary” or “generative” programming. I using to make still images seen here… ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0qK5Y_JWwDY.html
Gary Nelson Thanks -- I hadn't spotted the link in the description, so I'll look at what's there. Intriguing. Is there a PC/Windows version available for experimentation..?
This is a sample of the sounds and images I used in Wanderings that I premiered at Currents 2014 in Santa Fe. Both sound and image are derived from photos taken by the Hubble telescope.
