Pure Data (PD)

In this study, psychological perspectives are used to discuss the emotional impact of music. The main aim of this research is to define a set of compositional elements that can influence, in a predictable manner, the emotional state of the listener. Those elements are then applied to a compositional method used by a digital instrument which are programmed for this experiment to generate music patterns based on the emotional impact the composer wants to create. To succeed in this, the findings have to be subjectively tested using self-report analysis and through data collection translated into more objective data. The resultant instrument represents a strong compositional tool offering more clarity and universality, with a new language for compositional purposes based on the emotional character of musical elements, which can be similarly interpreted from different listeners perspectives.
To achieve this, elements biologically connected to our emotional system need to be defined, selected, and tested individually with appositely designed surveys, whereas  the results are essential to define the correlation between the different elements of the digital instrument programmed with Pure Data. Once the determinate of the correlation between the elements has been identified, the instrument should be able to contextualise the elements previously tested individually and provide a more natural and powerful controlled emotional impact on listeners.

Despite the wealth of alternative peripherals available, electroacoustic composers often limit themselves to just a mouse and keyboard. This paper outlines various applications of gesture recognition available to electroacoustic composers. This is achieved through analysis of both historical and contemporary applications, as well as the presentation of a new suite of tools developed in Pure Data for the Leap Motion device.

(This dissertation was submitted in partial fullfilment of the requirements for the degree of BMus)

Proyecto aplicado que ha producido una pieza de cine de exposición que reconfigura su narrativa mediante una programación con Pure Data basada en random, además se muestran la soluciones expositivas que tiene. Se complementa con un desarrollo teórico que busca solucionar el problema del
loop en este tipo de obras mediante el Random Cinema
LINK http://mariscus.es/WORKS/El-Cadencioso-Movimiento-de-los-Vagos

Virtual Reality (VR) is on the edge of becoming the next major delivery plat- form for digital content. Technological progress has made accessible a variety of new tools, allowing development of the necessary hardware and software for VR interaction. The importance of audio in this process is increasing. Audio can intensify the three dimensional experience and immersion of game players and users in other applications.
This research focuses on determining and implementing the necessary ele- ments for a system able to deliver Virtual Auditory Display (VAD). The system structure is adapted to fit a new emerging gaming platform: smart- phones. Developing for mobile platforms requires consideration of many con- straints such as memory, processor load and development components.
The result is a real-time dynamic VAD, manageable by mobile devices, and able to trigger spatial auditory perception across the azimuthal plane. In this study it is also shown how the VAD developed following custom imple- mentation of selected Head Related Transfer Function (HRTF), is able to generate azimuthal localization of sound events in VR scenarios.

While brass pedagogy has traditionally focussed on
sound output, the importance of bodily posture to
both short-term performance and longer-term injury
prevention is now widely recognized. Postrum II is a
Linux-based system for trumpet players that
performs real-time analysis of posture and uses a
combination of visual and haptic feedback to try to
correct any posture issues that are found. Issues
underpinning the design of the system are discussed,
the transition from Mac OS X to Ubuntu detailed,
and some possibilities for future work suggested.

While other sound synthesis systems have made the switch to 64-bit floating point values for signal processing a while ago, Pure Data (Pd) seems to be stuck with single precision numbers. An initial port to 64-bit precision has been presented in 2011, but 5 years later little progress has been made. One of the alleged showstoppers for switching to 64-bit precision is the plethora of available 3rd party externals, many of which might start malfunctioning in subtle ways. In this work we try to solve this problem by means of automatic object verification.

This paper describes the logic and process behind the development of the RSVP preset library for the Pure Data programming environment. The library aims to tackle the lack of a native preset system in Pure Data. Projects like Kollabs 1 , CREAM 2 , ss-sad 3 and others, have produced different solutions for this issue. However, after experimenting with these, it became clear that a different approach was required to fit personal needs. This led to the creation of the RSVP library which will be described in detail. During the development of this project, a feature request for PD was identified, and that will also be shared here. This paper will offer a detailed description of how the system works, but will not go into extensive Pure Data patch descriptions. Instead it will focus on how the code is structured and will describe how the system functions with the users' own projects.