megrimm

mydailyjob

megrimm — Thu, 29 Oct 2009 15:19:32 +0000

10.29.2009

I created a database of several hundred entries of’ duties’ I do each week for my full-time employment.

Utilizing twitter under the handle of ‘mydailyjob’, I randomly send a job function that applies directly to my daily duties every 15-20 minutes as well as breaks such as “bathroom break”.

I also send tweets at 12:00pm and 1:00pm signaling my “lunch break” as well as when I return. At 8:00am each morning I “clock-in” and at 5:00pm each afternoon I “clock-out”. Tweets are sent this way each day from 8:00am to 5:00pm Monday through Friday.

This project experiments with the idea of a computer automated and randomized mirror of daily job activities.

The Twitter account can be viewed at:

https://twitter.com/mydailyjob

Below is an RSS feed of the last 15 entries:

Shadow Streams: Redhouse Art Radio

megrimm — Fri, 10 Jul 2009 15:41:09 +0000

07.10.09

This project is an interactive art/performance/presentation on “Redhouse Art Radio” redefining and broadening the definition of radio in its existing form.

Through this project we are investigating new methods for distributing open content through networked radio. “Redhouse Art Radio”, under the umbrella of the non-profit Redhouse Arts Center, utilizes streaming technologies and open content to create new forms of urban information access and interactivity. “Redhouse Art Radio Shadow Streams” is conceptualized as a situational based technologies art project.

Utilizing the “Redhouse Art Radio Shadow Streams” as an interactive technology, we created a segment of interactive content utilizing Puredata and open source streaming methods. One example: participants can send text messages to the radio station that will be intercepted by Puredata for users to interact with the station content. This, therefore, will build new content and new forms of content through participatory collaborations.

Radio modules will be distributed in strategic locations around Syracuse, NY (or other urban areas) and low-bandwidth FM transmitters will keep the signal on the air and under the legal transmission limit. Urban participants can call the radio station and or send text messages to create interactive maps and topologies that help to redefine the urban landscape in its audible form.

Using Puredata, interactive net-based radio will be possible to create this urban scenario. We have described this process as a type of “Reactable”, only using decentralized participants and audio modules through net-radio to create audible forms.

For PDCon09, modular radios were placed around the convention area. Convention goers were able to text message to the radio station and alter the content and sound components of the radio via their cell phones.

get some info about PDCON09 here:

http://blog.pdcon.org/

Convention Program here

Convention program and Map here

Redhouse Art Radio explores audio as an art-form and communication platform. It celebrates the cultural life of Syracuse and surrounding areas and seeks to connect local, national, and international audiences though its unique programming schedule, eclectic mixes of modern and contemporary audio forms, and rich cultural exchanges.

[Show as slideshow]

[View with PicLens]

Babies – 01.30.2009

megrimm — Fri, 30 Jan 2009 16:26:15 +0000

[Show as slideshow]

[View with PicLens]

Trees and Roots v.01

megrimm — Fri, 30 Jan 2009 16:08:04 +0000

01.23.2008
A series of variations on ‘Trees’ and ‘Roots’ utilizing generative image processes.

Exhibited at Fayetteville Plubic Library in Fayetteville, NY.

[Show as slideshow]

[View with PicLens]

All images printed digitally on Arches White.

Timearts FND: Fall 2008: Syracuse University

megrimm — Sun, 04 Jan 2009 21:50:48 +0000

01.04.09

A course on art as a time-based from.

Time-based art forms are an increasingly important part of contemporary art and design practices. While conventional understandings of art and design focus on perception of space (how something is composed on a surface, is “read” as an image, or is perceived as a form), time-based arts focus how things (objects, audio, images) unfold as time progresses.

Artists have always been engaged in time-based cultural practices—how we think about and experience life. Time-based technologies are closely aligned to our sense of time not only because they can record it, but also because it affects how we experience it.

We will be exploring different media in this class: image sequences, video, audio, performance, and web-based work. We will be using the computer as our main medium for audio-visual, time-based creations and manipulations. We will think about works in time, experience them, compose them, and address new ideas and research that can be incorporated into your work.

How are these different media related? How are they different? What are other ways of working in time? What way of working is most appropriate to your idea? How do you develop your ideas? These are the questions for this course.

Every week, for the first 12 weeks, a concept will be presented in class. You will then have one week to complete an assignment in relation to that concept. You should spend at least five hours on this assignment. I realize that this is not a lot of time, so I am looking for how you engage with that concept which does not necessarily have to be a masterpiece. Your weekly work should show your understanding of the concept, your own idea(s) in relation to it, your experiments, and ability and carry it out competently in the medium chosen. Your process is important. Ideas and experimentation are more important than being a computer wiz in this class. At the end of class, you will have one month to complete a final project of your choice. This will be a chance to go into more depth and make your masterpiece.

Your weekly assignments should be archived in 3 ways:
1) post it on your blog and/or other meathods to be discussed. This should be done before the class on which it is due.
2) save it in a high quality format (I’ll go over this) that can later be used to compile all on a DVD [remember to do this]
3) back-up your material to you external hard-drive

Course Objectives
In this class, we will explore ways in which to make art with time as its foundation. Various media and many approaches will be investigated in relation to conceptual, formal and technical ways in which to shape a work that unfolds in time.

The goals of this course are:
• To understand how time can be a basis for art and design through the use of performance, sound, animation, video and computer technology.
• To understand and use the concepts of time-based art and design. (sequence, simultaneity, narrative, motion, interactivity and perception)
• To understand the nature of aesthetic experience in time.
• To develop creative skills through the use of digital and analog equipment.
• To develop critical awareness of technology’s role in society.
• To develop critical thinking and research methods.
• To understand how cultural, formal and technical issues inform and shape works of art and design.

Content:
Specific time-based forms used by artists will be presented, such as sequential imagery, photo sequence and text, language, performance, audio works, film theory, video and multimedia. Technical, historical and theoretical material will be covered to give students a broad base from which to work. The class will include lectures, discussions, technical workshops, critique and studio time.

Requirements
• A Macintosh Laptop Computer is REQUIRED. All of the work that we will be doing will be computer related and you will need to have access to your own personal computer system ‘in’ AND ‘out’ of class.
• Attendance and participation in discussions (more than 2 absences will drop your grade a letter, you will fail if you have more than 3 absences)
• Participation in workshop / laboratory sessions. Students will participate in other students’ events, group activities, and create their own in-class projects.
• On-time completion of homework assignments and projects.
• An open mind and a willingness to explore!!
• Plan on approximately five hours of work per week outside of class.

Grading and Evaluation
Overall evaluations will be based on quality of class participation, comprehension of ideas presented, and successful completion of projects as well as level of work accomplished. In evaluating individual projects, I will pay attention to your ability to develop and work through ideas, what criteria you have set up for yourself (including how you challenge yourself) and how your intention for a piece relates to its format and construction. When an assignment is given, I will give you a written sheet that outlines its objectives. These will be used in the criteria for grading. In addition to class discussion, I will give written critiques for each project completed, and will attempt to give these to you in a timely fashion.

If you like numbers, here is how I figure out your grade:
• Weekly Assignments [5.5% each]: 55%
• Independent project: 15%
• Blog and DVD portfolio: 10%
• Participation: 10%
• Overall growth and experimentation: 10%

Late projects and absences
For every day (including weekends) past the due date that an assignment is late, I will deduct 10 points from your grade. Assignments will not be accepted after one week, unless you have discussed it with me. No more than 3 absences are allowed for the class. Three latenessess to class will equal one absence. If you have an health problem or an excused absence please make sure to give me the paperwork. Do not skip class if you don’t have your homework done. I would rather you came, otherwise you will fall more behind. Talk to me if you are experiencing difficulties, I am wiling to work with you in a reasonable manner.

Information and Readings
Technical information (how to do things) is available at http://vpa.syr.edu/foundation/111reader
A link to this site is on Blackboard. Whatever your level of technical proficiency, I hope that you will become comfortable with technology; part of this process involves frustration and problem-solving, and learning how to look up how to do things.

Readings will be posted at a designated web address that will be given ASAP. I will also assign readings that I will photocopy for you. Please keep these in a binder—I am a fan of the three-hole punch.

Materials
Materials will vary according to projects, but I suggest you have the following:

Required: An External Hard drive.
Bring this to every class!! You will be storing all your work in it. This may seem expensive, but you will be able to use this for years. You should have received a letter explaining what to get from Other World Computing [http://eshop.macsales.com]

If you don’t buy one the recommended drives, please try to get one with the following:
• Connects via FireWire (most drives connect via USB 2.0. On Macs, Firewire is faster.
• Spindle speed of 7200 rpm
• Cache of at least 8 mB

• Binder for keeping handouts
• sketchbook and drawing materials
• several DVD-R discs Optional
mini DV video tape
ipod or flash drive
CD-R, CD-RW discs

If you have your own computer use it, if you have a laptop, bring it to class. Although some software is cross platform, we will be using iMovie and iDVD, which is not available on Windows machines. There is no need to buy software; if we are using software you do not have, I will assist you in getting trial versions or freeware.

Software used in this class:
• Mac OS X
• Mozilla Firefox (cross-platform, free, at: http://www.mozilla.com/firefox/
• Audacity (cross-platform, free, at: http://audacity.sourceforge.net/)
• Adobe Photoshop (trial version (good for 30 days)at http://www.adobe.com/downloads/)
• Seashore is an alternative, open source image editing program (http://seashore.sourceforge.net/index.php)
• Apple iPhoto(comes with OS X)
• Apple iMovie (comes with OS X)* use iMovie HD6 NOT iMovie08 [http://www.apple.com/support/downloads/imovieHD6.html]
• Apple iDVD(comes with OS X)

Optional software
• Open source software: http://www.opensourcemac.org/
• Apple Final Cut Pro or Final Cut Express (for video editing)
• Dreamweaver (for website design) or Nvu
• Flash (for website design, animation, interactive things)
• Fetch (for uploading files to your website or other server)

Grimm | Fall ’08 | Student Blogs/Work

Elizabeth Josephine Stace
http://stacel.wordpress.com/

Minjea Yoon
http://mjy00214.wordpress.com/

Sarah Beth Schnurr
http://broccolischmoccoli.wordpress.com/

Erin Leigh Kidd
http://elkidd.wordpress.com/

Regina Doran
http://rdoran34.wordpress.com/

Emelia Natalicchio
http://eenatali.wordpress.com/

John Dominic Cardone
http://cafeteradactyl.wordpress.com/

Amabel Carolina Caba
http://amabelcaba.wordpress.com/

Elizabeth Mary Congdon
http://elizabethcongdon.wordpress.com/

Heather Alycia LaPeer
http://halapeer.wordpress.com/

Courtney Marie Winkler
http://cmwinkle.wordpress.com/

Guy Cornell
http://guycornell.wordpress.com/

PUREDATA PATCH: MailingList 0.3

megrimm — Thu, 31 Jul 2008 17:43:00 +0000

07.30.08

This patch visualizes a folder of text files in a Gem window. Originally it grab mailing list postings from a Mailman mailing list, specifically the mailing list ‘Cultura3′ (http://papaya.fruit.za.net/mailman/listinfo/cultura3), and visualized them in real-time as the mails were posted. This version reads from a local directory.

This patch is posted as an example only. I do not garentee that it will totally work without some custom modifications. This patch was originally exhibited as part of the ‘Souped Up Poniac’ show at the Museum of New Art (MONA) in Detroit (http://www.detroitmona.com/souped-up_pontiac.htm). It was entitles ‘Conversations’. Pictures of the display can be found here: http://megrimm.net/entry/78/artwork_conversations/bits#body

___________________________
MailingList_0.3.zip
___________________________

___________________________MailingList_0.3.pd
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;
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PUREDATA PATCH: Trees and Flies 0.2

megrimm — Thu, 31 Jul 2008 17:08:00 +0000

07.29.08

These simple programs where a part of the ‘Naturally’ show at University of Rochester in the Fall of 2007. They might be useful to someone else maybe…

These are fairly minimalistic examples of ‘L-systems’ to model the effect of trees and ‘Boids’ to model the effect of a swarm of flies. These were small parts of a installation of mine and may be useful to others.

___________________________
flies_0.2.zip
___________________________

___________________________
trees_0.2.zip
___________________________

__________________________ Flies_0.2.pd
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#X text -183 28 (c) 1995-98 Eric L. Singer (eric@ericsinger.com);
#X text -183 70 Based on Simon Fraser’s implementation of Craig Reynolds’
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;
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PUREDATA PATCH: HomeDefense 0.0.1

megrimm — Mon, 28 Jul 2008 02:00:00 +0000

07.29.08

This is a small program that is meant to be utilized as a low-budget home-defense system. Its motion recognition fires audio bursts from a synthesized Ak-47

- find a cheap computer (hopefully free off craigslist or freecycle)
- plug in monitor and face it toward entry way
- plug in web-cam, dv cam, etc and face it toward entry way
- plug the audio ‘out’ from the computer to a home stereo system and crank the volume
- install pd-extended from http://at.or.at/hans/pd/installers.html
- run ‘homedefense 0.0.1′ patch
- stand out of the way from the camera

The patch takes a background picture and stores it. If there is moment the computer will recognize the different in the picture and begin firing random bursts. The screen will light up giving the illusion of gun fire.

This will give you amble enough time to make your escape thought the back entrance.

___________________________
homedefense_0.0.1.zip
___________________________

___________________________ homedefense_0.0.1.pd
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#X connect 28 0 19 0;
#X connect 29 0 25 0;
#X connect 29 1 26 0;
#X connect 30 0 28 0;
#X connect 33 0 34 0;
#X connect 34 0 18 0;
#X connect 36 0 19 0;
#X connect 37 0 36 0;
#X connect 39 0 57 0;
#X connect 40 0 22 0;
#X connect 40 0 19 0;
#X connect 45 0 48 0;
#X connect 45 0 50 0;
#X connect 45 1 51 0;
#X connect 46 0 47 0;
#X connect 47 0 49 1;
#X connect 48 0 49 0;
#X connect 49 0 55 0;
#X connect 50 0 53 0;
#X connect 51 0 52 0;
#X connect 52 0 46 1;
#X connect 52 0 48 1;
#X connect 52 0 51 1;
#X connect 53 0 46 0;
#X connect 53 0 50 1;
#X connect 54 0 56 0;
#X connect 55 0 54 0;
#X connect 56 0 39 0;
#X connect 57 0 41 0;
#X connect 58 0 45 0;
#X restore 215 381 pd ak47;
#X obj 301 107 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0
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#N canvas 648 206 549 699 devise 0;
#X obj 72 337 outlet;
#X msg 192 17 open 0;
#X msg 189 -4 enumerate;
#X obj 189 -29 tgl 15 0 empty empty empty 0 -6 0 8 -262144 -1 -1 0
1;
#X msg 205 66 setup;
#X msg 205 88 dialog format;
#X msg 205 115 dialog crossbar;
#X msg 207 137 dialog source;
#X msg 206 160 dialog display;
#X msg 206 182 dv res full;
#X msg 206 202 dv res half;
#X msg 206 223 dv res quarter;
#X msg 206 243 dv res dc;
#X msg 198 41 close 0;
#X obj 72 -29 inlet;
#X obj 72 277 pix_video;
#X connect 1 0 15 0;
#X connect 2 0 15 0;
#X connect 3 0 15 0;
#X connect 4 0 15 0;
#X connect 5 0 15 0;
#X connect 6 0 15 0;
#X connect 7 0 15 0;
#X connect 8 0 15 0;
#X connect 9 0 15 0;
#X connect 10 0 15 0;
#X connect 11 0 15 0;
#X connect 12 0 15 0;
#X connect 13 0 15 0;
#X connect 14 0 15 0;
#X connect 15 0 0 0;
#X restore 301 157 pd devise;
#X obj 301 129 gemhead 10;
#X obj 301 206 pix_grey;
#X msg 333 249 reset;
#X obj 301 270 pix_background;
#X msg 495 252 \$1 \$1 \$1;
#X floatatom 495 236 5 0 0 0 – - -;
#X obj 301 291 pix_blob;
#X obj 301 181 separator;
#X floatatom 347 352 3 0 0 0 – - -;
#X floatatom 348 394 3 0 0 0 – - -;
#X floatatom 346 312 3 0 0 0 – - -;
#X obj 348 412 s pix_blob_X;
#X obj 347 370 s pix_blob_Y;
#X obj 346 330 s pix_blob_size;
#X obj 468 161 delay 1000;
#X msg 420 237 \; pd dsp \$1;
#X msg 420 213 1;
#X obj 212 414 declare -path abs;
#X obj 468 141 bng 15 250 50 0 empty empty empty 17 7 0 10 -262144
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#X obj 468 97 gemkeyboard;
#X obj 468 117 select 11;
#X obj 80 -31 loadbang;
#X obj 468 182 t b b b;
#X obj 395 116 t b;
#X obj 395 140 delay 500;
#X msg 80 56 dimen 1280 960 \, offset 0 -50 \, menubar 0 \, cursor
0 \, fullscreen 1 \, create \, 1;
#X obj 14 -8 delay 1000;
#X obj 13 13 delay 1000;
#X obj 13 34 delay 1000;
#X msg 13 162 0 \, destroy \, reset;
#X msg 495 217 0.1;
#X msg 19 247 create \, 1;
#X connect 1 0 0 0;
#X connect 2 0 0 0;
#X connect 3 0 0 0;
#X connect 4 0 2 0;
#X connect 4 0 5 0;
#X connect 5 0 3 0;
#X connect 6 0 1 0;
#X connect 7 0 9 0;
#X connect 8 0 10 0;
#X connect 9 0 6 0;
#X connect 10 0 4 0;
#X connect 11 0 4 0;
#X connect 14 0 16 0;
#X connect 15 0 23 0;
#X connect 16 0 15 0;
#X connect 17 0 19 0;
#X connect 18 0 19 0;
#X connect 19 0 22 0;
#X connect 20 0 19 1;
#X connect 21 0 20 0;
#X connect 22 1 25 0;
#X connect 22 2 24 0;
#X connect 22 3 26 0;
#X connect 23 0 17 0;
#X connect 24 0 28 0;
#X connect 25 0 27 0;
#X connect 26 0 29 0;
#X connect 30 0 38 0;
#X connect 32 0 31 0;
#X connect 34 0 30 0;
#X connect 35 0 36 0;
#X connect 36 0 34 0;
#X connect 37 0 41 0;
#X connect 37 0 42 0;
#X connect 38 0 18 0;
#X connect 38 1 46 0;
#X connect 38 2 32 0;
#X connect 39 0 40 0;
#X connect 40 0 38 0;
#X connect 41 0 0 0;
#X connect 41 0 39 0;
#X connect 42 0 43 0;
#X connect 42 0 41 0;
#X connect 43 0 44 0;
#X connect 43 0 45 0;
#X connect 44 0 41 0;
#X connect 45 0 0 0;
#X connect 46 0 21 0;
#X connect 47 0 0 0;

____________________ once.pd

#N canvas 353 206 435 326 10;
#X obj 58 65 inlet;
#X obj 58 251 outlet;
#X obj 262 73 bang;
#X msg 262 92 1;
#X obj 58 176 spigot;
#X msg 230 93 0;
#X text 13 289 (c) 2006 IOhannes m zmoelnig \, licensed under GnuGPL
v2.0;
#X obj 262 53 inlet reset;
#X text 48 12 [once]: better than [oneshot];
#X obj 200 133 int 1;
#X obj 58 94 trigger anything bang;
#X obj 58 202 trigger anything bang;
#X connect 0 0 10 0;
#X connect 2 0 3 0;
#X connect 3 0 9 1;
#X connect 4 0 11 0;
#X connect 5 0 9 1;
#X connect 7 0 2 0;
#X connect 9 0 4 1;
#X connect 10 0 4 0;
#X connect 10 1 9 0;
#X connect 11 0 1 0;
#X connect 11 1 5 0;

_______________ oneshot.pd

#N canvas 233 201 475 294 10;
#X obj 149 40 inlet;
#X obj 221 176 outlet;
#X text 10 7 [oneshot];
#X text 249 98 reset;
#X obj 149 75 route clear;
#X text 271 175 whatever;
#X text 40 215 (c) 2006 IOhannes m zmoelnig \, licensed under GnuGPL
v2.0;
#X text 44 238 original abstraction (c) 2005 Hans Christoph Steiner
;
#X obj 221 113 once;
#X connect 0 0 4 0;
#X connect 4 0 8 1;
#X connect 4 1 8 0;
#X connect 8 0 1 0;

PUREDATA PATCH: MidiMutator 0.0.1

megrimm — Sun, 27 Jul 2008 22:38:00 +0000

07.27.08

This patch takes a midi stream from a hardware sequencer, records the stream, and then adds randomization to a certain percentage of the incoming notes sending a new semi-randomized stream to a external hardware synthesizer.

This worked well for a while and I have used it in performances. I have not used it in a while and am not sure if it still works or even how it works anymore! It was sort of inspired by a option in Ableton live that randomized midi streams…. if I remember correctly. If anyone is interested in this patch and makes it better (which I’m sure would not be hard seeing that it probably would require some improvement to work correctly) – please send me back improvements, suggestions, ideas or even new patches that work better than mine!

__________________________
MidiMutator_0.0.1.zip
__________________________

________________________ midimutator_0.0.1.pd

#N canvas 1012 71 165 139 10;
#X declare -path abs;
#N canvas 492 124 494 418 midimutator-guts 1;
#N canvas 73 416 472 260 notes 0;
#X text 36 120 this will collect numbers for a list. must first only
acept a certain amount of number and no repetition.;
#X text 34 62 number comming in filtered for no rep.;
#X text 34 88 accetps a certain amount of nuber to pass on left and
then sends single bang left.;
#X text 35 38 also measue time between bangs try “timer”;
#X restore 312 23 pd notes;
#X obj 142 144 t b;
#X obj 142 300 makenote 99 200;
#X text 368 199 %rnd durration;
#N canvas 155 151 510 623 randomnotes 0;
#X text 230 50 clear all;
#X obj 160 351 tgl 15 0 empty empty empty 0 -6 0 10 -262144 -1 -1 1
1;
#X obj 179 288 t b b b;
#X obj 160 317 loadbang;
#X text 347 426 list length;
#X msg 256 248 1;
#X msg 220 220 3;
#X msg 288 248 2;
#X obj 111 33 select 54;
#X obj 77 157 random 100;
#X obj 92 238 moses;
#X msg 241 84 1;
#X msg 269 92 2;
#X obj 241 334 t b b b b b;
#X obj 77 136 t b;
#X obj 149 197 clip 0 100;
#X obj 111 8 inlet;
#X obj 50 10 inlet;
#X obj 27 511 outlet;
#X obj 6 9 inlet;
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#X obj 221 510 outlet;
#X obj 269 511 outlet;
#X obj 315 510 outlet;
#X obj 184 7 inlet;
#X obj 234 7 inlet;
#X obj 367 510 outlet;
#X obj 270 70 r reset;
#X obj 272 187 r reset;
#X obj 179 262 r reset;
#X obj 234 31 s reset;
#X obj 111 56 s reset;
#X obj 346 449 select 15;
#X obj 104 377 spig 1;
#X obj 103 407 collect;
#X obj 240 394 count-bang;
#X obj 77 115 2gate;
#X obj 103 475 list_unique;
#N canvas 117 534 245 199 listcollection 0;
#X obj 24 13 inlet;
#X obj 24 135 outlet;
#X msg 24 45;
#X connect 0 0 2 0;
#X connect 2 0 1 0;
#X restore 103 443 pd listcollection;
#X connect 1 0 26 0;
#X connect 1 0 33 1;
#X connect 2 1 13 0;
#X connect 2 2 34 1;
#X connect 3 0 1 0;
#X connect 5 0 22 0;
#X connect 6 0 21 0;
#X connect 7 0 23 0;
#X connect 8 0 31 0;
#X connect 9 0 10 0;
#X connect 10 0 7 0;
#X connect 10 1 5 0;
#X connect 11 0 36 0;
#X connect 12 0 36 0;
#X connect 13 0 11 0;
#X connect 13 1 5 0;
#X connect 13 2 38 0;
#X connect 13 3 35 1;
#X connect 13 4 1 0;
#X connect 14 0 9 0;
#X connect 15 0 10 1;
#X connect 16 0 8 0;
#X connect 17 0 36 1;
#X connect 19 0 33 0;
#X connect 24 0 15 0;
#X connect 25 0 30 0;
#X connect 27 0 12 0;
#X connect 28 0 6 0;
#X connect 29 0 2 0;
#X connect 32 0 13 0;
#X connect 33 0 18 0;
#X connect 33 0 34 0;
#X connect 33 0 35 0;
#X connect 34 0 38 0;
#X connect 35 0 32 0;
#X connect 36 0 14 0;
#X connect 37 0 20 0;
#X connect 38 0 37 0;
#X restore 158 110 pd randomnotes;
#X obj 217 70 r ctlknob1;
#X text 286 69 %rnd note;
#X floatatom 282 87 5 0 0 0 – - -;
#X obj 334 95 bng 15 250 50 0 empty reset empty 0 -6 0 10 -262144 -1
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#X obj 329 127 tgl 15 0 collecting empty empty 0 -6 0 10 -262144 -1
-1 1 1;
#X text 265 111 Clear ALL!!!;
#X obj 357 260 r ctlknob2;
#X obj 299 277 * 3;
#X obj 357 215 r ctlknob3;
#X obj 142 275 +;
#X obj 167 194 bendin;
#X obj 167 237 – 12;
#X obj 167 258 int;
#X obj 167 216 / 660;
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#X obj 290 253 t b;
#X obj 345 283 random 250;
#X obj 134 43 stripnote;
#X obj 134 22 notein 1;
#X obj 142 358 noteout 1;
#X obj 8 161 timer;
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#X obj 41 146 t b;
#X floatatom 8 193 5 0 0 0 – - -;
#X obj 249 358 declare -path abs;
#X obj 312 43 oxygen8;
#X obj 109 127 3gate;
#X obj 142 165 series;
#X obj 290 232 rndpercabs;
#X msg 35 26 65 56;
#X msg 75 26 56 64;
#X text 34 10 to test;
#X text 9 210 to do;
#X connect 1 0 32 0;
#X connect 2 0 24 0;
#X connect 2 0 27 0;
#X connect 2 1 24 1;
#X connect 4 0 14 0;
#X connect 4 1 32 1;
#X connect 4 2 31 0;
#X connect 4 3 31 0;
#X connect 4 4 31 0;
#X connect 4 5 9 0;
#X connect 5 0 4 3;
#X connect 5 0 7 0;
#X connect 8 0 4 4;
#X connect 11 0 12 0;
#X connect 12 0 2 2;
#X connect 13 0 33 1;
#X connect 14 0 2 0;
#X connect 15 0 18 0;
#X connect 16 0 17 0;
#X connect 17 0 14 1;
#X connect 18 0 16 0;
#X connect 19 0 14 0;
#X connect 20 0 2 2;
#X connect 21 0 2 2;
#X connect 22 0 4 1;
#X connect 22 0 4 2;
#X connect 22 0 26 0;
#X connect 22 0 31 1;
#X connect 22 0 33 0;
#X connect 23 0 22 0;
#X connect 23 1 22 1;
#X connect 25 0 28 0;
#X connect 26 0 25 0;
#X connect 27 0 25 1;
#X connect 31 0 14 0;
#X connect 31 1 1 0;
#X connect 31 2 4 0;
#X connect 32 0 14 0;
#X connect 33 0 20 0;
#X connect 33 1 21 0;
#X connect 34 0 22 0;
#X connect 35 0 22 0;
#X restore -6 39 pd midimutator-guts;
#N canvas 0 22 470 320 midimutator-gui 0;
#X obj 93 95 bng 15 250 50 0 reset empty empty 17 7 0 10 -262144 -1
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#X obj 92 130 tgl 15 0 empty collecting empty 17 7 0 10 -262144 -1
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#X text 91 171 Never got around to building this!!!;
#X restore -6 15 pd midimutator-gui;
#X msg -5 61 version 0.0.1;
#X text -4 82 mark edward grimm;

PUREDATA EXTERNAL: Ratts 0.07 Binaries for OSX

megrimm — Sun, 27 Jul 2008 22:21:00 +0000

06.07.08

Ratts 0.07 “Realtime Analog Text-to-Speech” externals library for Puredata. Binaries Compiled for OSX Intel and PPC. Originally implemented for Puredata by Bryan Jurish.

“Realtime Analog Text-to-Speech” externals library for Pd, built on code by Nick Ing-Simmons and Jon Iles, based on work by D. H. Klatt, L.C. Klatt, J. N. Holmes, I. Mattingly, and J. Shearme.

Let me know if these work! I complied them some months ago for OSX and have been using them with Extended with no know problems.

__________________________
ratts_0.07_osx_binaries_PPC.zip
__________________________

__________________________
ratts_0.07_osx_binaries_Intel.zip
__________________________