On Sun, Jan 13, 2013 at 1:27 PM, <andrew_at_moso.com.au> wrote:
> To be fair David, the PL community isn't exactly huge.
Yet it's still large enough that nobody quite knows its extent. :)
> I have tried to write a little bit about audiovisual livecoding in a CS
> context in the past ("Programming with Time" OOPSLA 2010) and have more on
> the way.
Nice article on Impromptu. I think promoting and raising awareness of
temporal semantics is a great thing. ("Computing Needs Time" was one of the
better motivation articles I've read on the subject.)
>
> At the same time I would also suggest to David (sorry David I don't know
> your background enough to know if I'm telling you to suck eggs) that he do
> a thorough review of PL literature within the computer music community.
I've read a fair bit on the subject, and I've perused Max/MSP,
SuperCollider, and ChucK - but found nothing that would surprise anyone
familiar with synchronous reactive, FRP, FBP, and other models that tend to
apply functions over streams. My RDP model is of a similar nature, and
would almost directly be usable for livecoding.
In return, I'd suggest that anyone interested in alternative bases that
would seem promising and expressive for live coding of music read up on
Dedalus (temporal datalog), Dyna (weighted logic), and perhaps temporal
concurrent constraint models.
I've been contemplating use of speculative evaluation as a way to hide
latency for changes in code. Unfortunately, I've not found any sound APIs
(ALSA, JACK, etc.) that would effectively support speculative buffering.
It irritates me no end that the broader CS community is ignorant of very
> significant work done in PL within Computer Music
Yeah. They're all too busy arguing about OOP vs. FP. :)
Regards,
Dave
Received on Sun Jan 13 2013 - 22:22:38 GMT