Miller Puckette 先生將『物件命名』區分為有無

『波浪號』 ~

Tilde

The tilde (/ˈtɪldə/;^[1] ˜ or ~)^[2] is a grapheme with several uses. The name of the character came into English from Spanish, which in turn came from the Latin titulus, meaning “title” or “superscription”.^[1]

The reason for the name was that it was originally written over a letter as a scribal abbreviation, as a “mark of suspension”, shown as a straight line when used with capitals. Thus the commonly used words Anno Domini were frequently abbreviated to A^o Dñi, an elevated terminal with a suspension mark placed above the “n”. Such a mark could denote the omission of one letter or several letters. This saved on the expense of the scribe’s labour and the cost of vellum and ink. Medieval European charters written in Latin are largely made up of such abbreviated words with suspension marks; only uncommon words were given in full. The tilde has since been applied to a number of other uses as a diacritic mark or a character in its own right. These are encoded in Unicode at U+0303 ◌̃ combining tilde and U+007E ~ tilde (as a spacing character), and there are additional similar characters for different roles. In lexicography, the latter kind of tilde and the swung dash (⁓) are used in dictionaries to indicate the omission of the entry word.^[3]

……

Diacritical use

In some languages, the tilde is used as a diacritical mark ( ˜ ) placed over a letter to indicate a change in pronunciation, such as nasalization.

Pitch

It was first used in the polytonic orthography of Ancient Greek, as a variant of the circumflex, representing a rise in pitch followed by a return to standard pitch.

………

 

也許並不只是表現『訊號』之『象形』 ~ 而已，實指這是『聲音』處理『功能物件』。所以在為各種『補丁』命名時，最好持守此一『慣例』。方便自己和他人日後之閱讀。如果一開始就瀏覽一下『原始風格指南』

PrimordialStyleGuide

Realms of Style

Dollar arguments, Abstractions, Subpatches, Inlets/Outlets, Trigger, Visual Layout, Patch organization, Filesystem organization, Send/Receive/Value/Table naming conventions, Abstraction/Subpatch naming conventions, interfacing (e.g. APIs? and inter-patch communication), general “Programming Recommendations” (e.g. counters, initialization, negation, and other everyday stuff)

………

 

或將有助於了解範例，以及閱讀他人寫作的 Pd 程式。

假使從『箱子模型』之角度，來看『 inlet 』入口和『 outlet 』出口 ，入出口間流動的『數據』有『訊號』 signal 、『訊息』 message 、『符號』 symbol 與『事件』 event …多種『型態』，這些『型態 』決定了箱子『入出口』可否『連接』，以及『連接』的『意義』 。因此對各種『型態』『數據』的功能描述務須精讀細讀。舉例而言，『 number 』數字與『 symbol 』符號為什麼是種『 GUI 』元件 ？如果認真了解它們的說明

【 gatom 】

 

嘗試編寫所有『入口』數據型態

【編輯模式】

 

執行驗證各種操作方式

【執行模式】

 

達於能夠解釋每個操作訊息輸出

【主訊息窗】

 

或許方可說我們對某個『箱子』之『功用』略知一二的了！能夠講對此一『箱子 』之初始『狀態』有些了解的耶！！

 

 

 

 

 

 

 

 

 

 

 

『箱子』 boxes 是一個『奧秘』的觀點，有如《打開黑箱！！》之所言︰

科學追求真理，為的是打開大自然的黑箱；然而真理明白若昭，就是透明的白箱。我們總在求真的旅途上一知半解，努力化灰箱為白箱。如果偵錯就是科學，除錯即求真理，那這一段話用在『偵錯』與『除錯』上來講依然合適。這也說明為什麼人們喜歡用不同的灰度，來表達對『箱內之物』的認識與了解了。

………

千萬不要隨便對

Black box

In science, computing, and engineering, a black box is a device, system or object which can be viewed in terms of its inputs and outputs (or transfer characteristics), without any knowledge of its internal workings. Its implementation is “opaque” (black). Almost anything might be referred to as a black box: a transistor, algorithm, or the human brain.

The opposite of a black box is a system where the inner components or logic are available for inspection, which is most commonly referred to as a white box (sometimes also known as a “clear box” or a “glass box”).

───

□ □ 『性質』與 ○ ○『內涵』隨意假設。最好本著

知之為知之，不知為不知

的精神，『如實』的探索這些『箱子』的『功能』以及其『出入』之連接『方式』，如是或可避免某些『誤解』的吧！無須發生

……

派︰《 λ 運算︰概念導引之《補充》※真假祇是個選擇？？ 》文中講︰作者不知義大利羅馬的『真理之口』將會如何來決定『何謂是真 ？』而『什麼又是假』的呢？？

又為什麼『真』與『假』的 λ表達式是

的呢？如果我們將『運算』看成『黑箱』，用『實驗』的方法來『研究』輸入輸出的『關係』，這一組有兩個輸入端的黑箱，對於任意的輸入『二元組』pair  ，有︰

，於是將結論歸結成︰貼『真』標籤的箱子的『作用』是『選擇』輸入的『第一項』將之輸出；而貼『假』標籤的箱子的『作用』是『選擇』輸入的『第二項』將之輸出。

假使一位『軟體』工程師在函式『除錯』時，可能會採取在那個『函式』內『輸出』看看得到的『輸入』參數值是否正確？

於是將結論歸結成︰『真』標識符的函式『作用』是『選擇』輸入參數的『第一項』；『假』標識符的函式『作用』是『選擇』輸入參數的『第二項』。

那麼對一個已經打開的『白箱』，又知道作用的『函式』，怎麼會概念上『一頭霧水』的呢？？如果細思一個邱奇自然數『 0 』， ，這跟『假』的 λ表達式有什麼不一樣的呢？那難道我們能說『0』就是『假』的嗎？在《布林代數》中的『0』與『1』其實是未定義的『兩態』基元概念── 就像歐式幾何學裡的『點』、『線』和『面』是『基本』概念一樣 ──，因此不管說它是『電壓高低』或者講它是『電流有無』的『數位設計』可以應用布林代數。要是我們將『0』『1』與『假』『真』概念連繫起來看，『布林邏輯』就是『真假』是什麼的『系統化』之概念內涵開展，它的『整體內容』呈現『兩態邏輯』的『方方面面』，縱使至於『孤虛』NAND 一個邏輯概念就足夠了，對於『 0 與 1 』概念本身還是『三緘其口』。……

『孤虛者』有言︰

物有無者，非真假也。苟日新，日日新，又日新。真假者，物之論也。論也者，當或不當而已矣。故世有孤虛者，言有孤虛論。

可以『中行獨復，以從道也。』，不至『迷復，凶』矣！

試 問彼此井通，『彼』之『出』為『此』之『入』；『此』之『出』為『彼』之『入』。若以『此』觀『出入』者，實乃『彼』之『入出』也。故知所謂『出入』，相 對『己我』所定之『名義』 ，存立論之所也。因而推知『有無』者『天地』之『然或不然』；『真假』者『理則』之『當或不當』。倘將『有無』匹配『真假 』，終有『正反』兩說，『正言正說』── 真有，假無 ── 以及『正言若反』── 真無，假有 ── ，各站其『立場』者耶！！

生︰《  》網上說︰

The terms positive logic and negative logic refer to two conventions that dictate the relationship between logical values and the physical voltages used to represent them. Unfortunately, although the core concepts are relatively simple, fully comprehending all of the implications associated with these conventions requires an exercise in lateral thinking sufficient to make even the strongest amongst us break down and weep!

Before plunging into the fray, it is important to understand that logic 0 and logic 1 are always equivalent to the Boolean logic concepts of False and True, respectively (unless you’re really taking a walk on the wild side, in which case all bets are off). The reason these terms are used interchangeably is that digital functions can be considered to represent either logical or arithmetic operations (Fig 1).

1. Logical versus arithmetic views of a digital function.Having said this, it is generally preferable to employ a single consistent format to cover both cases, and it is easier to view logical operations in terms of “0s” and “1s” than it is to view arithmetic operations in terms of “Fs” and “Ts”. The key point to remember as we go forward is that logic 0 and logic 1 are logical concepts that have no direct relationship to any physical values.

Physical-to-abstract mapping (NMOS logic)
OK, let’s gird up our loins and meander our way through the morass one step at a time. The process of relating logical values to physical voltages begins by defining the frames of reference to be used. One absolute frame of reference is provided by truth tables, which are always associated with specific functions (Fig 2).

2. Absolute relationships between truth tables and functions.Another absolute frame of reference is found in the physical world, where specific voltage levels applied to the inputs of a digital function cause corresponding voltage responses on the outputs. These relationships can also be represented in truth table form. Consider a logic gate constructed using only NMOS transistors (Fig 3).

3. The physical mapping of an NMOS logic gate.With NMOS transistors connected as shown in Fig 3, an input connected to the more negative Vss turns that transistor OFF, and an input connected to the more positive Vdd turns that transistor ON. The final step is to define the mapping between the physical and abstract worlds; either 0v is mapped to False and +ve is mapped to True, or vice versa (Fig 4).

4. The physical to abstract mapping of an NMOS logic gate.Using the positive logic convention, the more positive potential is considered to represent True and the more negative potential is considered to represent False (hence, positive logic is also known as positive-true). By comparison, using the negative logic convention, the more negative potential is considered to represent True and the more positive potential is considered to represent False (hence, negative logic is also known as negative-true). Thus, this circuit may be considered to be performing either a NAND function in positive logic or a NOR function in negative logic. (Are we having fun yet?)

─── 引自《 M♪o 之學習筆記本《卯》基件︰【䷗】正言若反》

 

和

……

傳說在機械化的黃金時代，流傳著一則故事︰

那時每一根小『螺絲釘』和小『螺絲帽』都是獨特的，不要說從這個工廠到那個工廠，就算在同一個工廠內，它們也都各有各的不同。只有那些沒有螺絲帽可以匹配的螺絲釘或沒有螺絲釘可以匹配的螺絲帽，才會被歸類成不好的。就這樣過了很多年，直到有一天艾索 ISO 出現了，推動『標準化』運動，自此一切都改變了 …。傳聞，最後一根獨特的小螺絲釘說︰『艾索，你這個老狐狸！…』。終究這些風塵往事早已被世人遺忘。

無獨有偶 ── 發生過的事，總會再次發生 ──，其後，Douglas McIlroy 先生在寫命令列的外殼程式的時候，提出了管線 pipline 的概念，並用『 | 』符號代表。比如說『甲命令 | 乙命令』，講的是把甲命令的輸出結果當成乙命令的輸入來使用。之後於 1973 年 Ken Thompson 把它擴大為 『管子』pipe 的標準，寫進了 Unix 作業系統，影響至今，於是開起了一個標準串流的時代。那什麼是標準串流呢？它就是之前在『除蟲！除錯？終端機。』一文中 IPO 模型抽象化後的相容性輸出入結構，應用於命令列的各個相容的指令的輸出入檔案 ── 當然也可以是裝置檔 ── 可串接性 chainable 的標準化。它定義了『標準輸入』stdin、『標準輸出』stdout、『標準錯誤』stderr，打開了程式間溝通的橋樑。舉例來說，假如 more 代表一頁一頁的讀，cat /boot/config.txt | more 就是一頁一頁的讀取樹莓派的開機組構檔 config.txt。

─── 引自《瑪利歐的水管 Pipe 》

 

『懸念』的乎？此事就像如何『解讀』 Pd 主視窗輸出的『內容』︰

 

如果此 Pd 的程式是︰

 

，假設也知道了『編輯模式』與『執行模式』可用

Alt + Ctrl + E

來作切換

 

，同時又已經『閱讀』了打開各個『黑箱』之文件

………

 

協助的矣？？或許人類的『感覺』不止長於『忽略』！那個人類之『大腦』也善於『補足』的耶！！

 

 

 

 

 

 

 

 

 

若說誰最有資格談論『純數據』之設計理念，當然自屬 Pd 的創造者 Miller Puckette 先生本人的了。非但如此，他還寫了一本獨一無二之好書

The Theory and Technique of Electronic Music

DRAFT: December 30, 2006

Miller Puckette

闡述『理論』以及『實務』。首先援引該書的『前言』與『序言』作為 Pd 程式語言介紹串講隨筆之始︰

 

Foreword

The Theory and Technique of Electronic Music is a uniquely complete source of information for the computer synthesis of rich and interesting musical timbres. The theory is clearly presented in a completely general form. But in addition, examples of how to synthesize each theoretical aspect are presented in the Pd language so the reader of the book can immediately use the theory for his musical purposes. I know of no other book which combines theory and technique so usefully.

By far the most popular music and sound synthesis programs in use today are block diagram compilers with graphical interfaces. These allow the composer to design instruments by displaying the “objects” of his instrument on a computer screen and drawing the connecting paths between the objects. The resulting graphical display is very congenial to musicians. A naive user can design a simple instrument instantly. He can rapidly learn to design complex instruments. He
can understand how complex instruments work by looking at their graphical images.

The first graphical compiler program, Max, was written by Miller Puckette in 1988. Max dealt only with control signals for music synthesis because the computers available at the time were not fast enough to deal with sound. As soon as faster computers which could compute soundwave samples in real-time were available, Puckette and David Zicarelli appended MSP to Max (Max/MSP) thus making the computer, usually a laptop computer, into a complete musical instrument capable of live performance.

Development of Max/MSP was done by Puckette and Zicarelli at IRCAM in the period 1993 to 1994 . Both have now moved to California. Zicarelli commercialized and sells Max, MSP, and JITTER (an extension to video synthesis) as products. Puckette, now a professor at UCSD, wrote Pd (Pure Data). It is an open source program which is a close equivalent to Max/MSP.

Max and Pd allow almost anyone to synthesize uninteresting timbres almost instantly. Making interesting timbres is much more difficult and requires much additional knowledge. The Theory and Technique of Electronic Music is that body of knowledge. The theory is important for any synthesis program. The Theory and Technique of Electronic Music gives copious examples of how to apply the theory using Pd. The combination of theory plus Pd examples makes this book uniquely useful. It also contains problem sets for each chapter so it is a fine textbook.

I expect Puckette’s book to become THE essential book in any electronic musician’s library.

Max Mathews

 

Preface

This is a book about using electronic techniques to record, synthesize, process, and analyze musical sounds, a practice which came into its modern form in the years 1948-1952, but whose technological means and artistic uses have undergone several revolutions since then. Nowadays most electronic music is made using computers, and this book will focus exclusively on what used to be called “computer music”, but which should really now be called “electronic music using
a computer”.

Most of the computer music tools available today have antecedents in earlier generations of equipment. The computer, however, is relatively cheap and the results of using one are easy to document and recreate. In these respects at least, the computer makes the ideal electronic music instrument—it is hard to see what future technology could displace it.

The techniques and practices of electronic music can be studied (at least in theory) without making explicit reference to the current state of technology. Still, it’s important to provide working examples. So each chapter starts with theory (avoiding any reference to implementation) and ends with a series of examples realized in a currently available software package.

The ideal reader of this book is anyone who knows and likes electronic music of any genre, has plenty of facility with computers in general, and who wants to learn how to make electronic music from the ground up, starting with the humble oscillator and continuing through sampling, FM, filtering, waveshaping, delays, and so on. This will take plenty of time.

This book doesn’t take the easy route of recommending precooked software to try out these techniques; instead, the emphasis is on learning how to use a general-purpose computer music environment to realize them yourself. Of the several such packages available, we’ll use Pd, but that shouldn’t stop you from using these same techniques in other environments such as Csound or Max/MSP.

To read this book you must understand mathematics through intermediate algebra and trigonometry; starting in Chapter 7, complex numbers also make an appearance, although not complex analyis. (For instance, complex numbers are added, multiplied, and conjugated, but there are no complex exponentials.) A review of mathematics for computer music by F. Richard Moore appears in
[Str85, pp. 1-68].

Although the “level” of mathematics is not high, the mathematics itself is sometimes quite challenging. All sorts of cool mathematics is in the reach of any student of algebra or geometry. In the service of computer music, for instance, we’ll run into Bessel functions, Chebychev polynomials, the Central Limit Theorem, and, of course, Fourier analysis.

You don’t need much background in music as it is taught in the West; in particular, Western written music notation is not needed. Some elementary bits of Western music theory are used, such as the tempered scale, the A-B-C system of naming pitches, and terms like “note” and “chord”. Also you should be familiar with terms of musical acoustics such as sinusoids, amplitude, frequency, and the overtone series.

Each chapter starts with a theoretical discussion of some family of techniques or theoretical issues, followed by a series of examples realized in Pd to illustrate them. The examples are included in the Pd distribution, so you can run them and/or edit them into your own spinoffs. In addition, all the figures were created using Pd patches, which appear in an electronic supplement. These aren’t carefully documented but in principle could be used as an example of Pd’s drawing capabilities for anyone interested in that.

I would like to thank some people who have made it possible for me to write this. Barry Vercoe is almost entirely responsible for my music education. Meanwhile I was taught mathematics by Wayne Holman, Samuel Greitzer, Murray Klamkin, Gian-Carlo Rota, Frank Morgan, Michael Artin, Andrew Gleason, and many others. Phil White taught me English and Rosie Paschall visual composition. Finally, my parents (one deceased) are mighty patient; I’m now 47.

Thank you

 

雖然這本書寫於十年之前，至今依舊魅力不減。作者不過嘗試註解部份 Miller Puckette 篇章，希望能為讀者起個頭而已。由於 Pd 是個『動態』 dynamic 、『即時』 real-time 以及『互動』 interactive 的程式環境，總是得從『實作』中『學習』。假使還沒閱讀過

Johannes Kreidler 之

《 Chapter 2. Programming with Pd for the first time 》文本

的讀者請先閱讀。最好能補之以 Miller Puckette 書中第一章

《 Sinusoids, amplitude and frequency 》

對 Pd 之總論︰

Quick Introduction to Pd

Pd documents are called patches. They correspond roughly to the boxes in the abstract block diagrams shown earlier in this chapter, but in detail they are quite different, because Pd is an implementation environment, not a specification language.

A Pd patch, such as the ones shown in Figure 1.10, consists of a collection of boxes connected in a network. The border of a box tells you how its text is interpreted and how the box functions. In part (a) of the figure we see three types of boxes. From top to bottom they are:

• a message box. Message boxes, with a flag-shaped border, interpret the text as a message to send whenever the box is activated (by an incoming message or with a pointing device). The message in this case consists simply of the number “21”.

Figure 1.10: (a) three types of boxes in Pd (message, object, and GUI); (b) a simple patch to output a sinusoid.

• an object box. Object boxes have a rectangular border; they interpret the text to create objects when you load a patch. Object boxes may hold hundreds of different classes of objects—including oscillators, envelope generators, and other signal processing modules to be introduced later— depending on the text inside. In this example, the box holds an adder. In most Pd patches, the majority of boxes are of type “object”. The first word typed into an object box specifies its class, which in this case is just “+”. Any additional (blank-space-separated) words appearing in the box are called creation arguments, which specify the initial state of the object when it is created.

• a number box. Number boxes are a particular type of GUI box. Others include push buttons and toggle switches; these will come up later in the examples. The number box has a punched-card-shaped border, with a nick out of its top right corner. Whereas the appearance of an object or message box is fixed when a patch is running, a number box’s contents (the text) changes to reflect the current value held by the box. You can also use a number box as a control by clicking and dragging up and down, or by typing values in it.

In Figure 1.10 (part a) the message box, when clicked, sends the message “21” to an object box which adds 13 to it. The lines connecting the boxes carry data from one box to the next; outputs of boxes are on the bottom and inputs on top.

Figure 1.10 (part b) shows a Pd patch which makes a sinusoid with controllable frequency and amplitude. The connecting patch lines are of two types here; the thin ones are for carrying sporadic messages, and the thicker ones (connecting the oscillator, the multiplier, and the output dac~ object) carry digital audio signals. Since Pd is a real-time program, the audio signals flow in a continuous stream. On the other hand, the sporadic messages appear at specific but possibly unpredictable instants in time.

Whether a connection carries messages or signals depends on the box the connection comes from; so, for instance, the + object outputs messages, but the *~ object outputs a signal. The inputs of a given object may or may not accept signals (but they always accept messages, even if only to convert them to signals). As a convention, object boxes with signal inputs or outputs are all named with a trailing tilde (“~”) as in “*~” and “osc~”.

 

How to find and run the examples

To run the patches, you must first download, install, and run Pd. Instructions for doing this appear in Pd’s online HTML documentation, which you can find at

http://crca.ucsd.edu/ ̃msp/software.htm.

This book should appear at

http:/crca/ucsd/edu/ ̃msp/techniques.htm,

possibly in several revisions. Choose the revision that corresponds to the text you’re reading (or perhaps just the latest one) and download the archive containing the associated revision of the examples (you may also download an archive of the HTML version of this book for easier access on your machine). The examples should all stay in a single directory, since some of them depend on other files in that directory and might not load them correctly if you have moved things around.

If you do want to copy one of the examples to another directory so that you can build on it (which you’re welcome to do), you should either include the examples directory in Pd’s search path (see the Pd documentation) or else figure out what other files are needed and copy them too. A good way to find this out is just to run Pd on the relocated file and see what Pd complains it can’t find.

There should be dozens of files in the “examples” folder, including the examples themselves and the support files. The filenames of the examples all begin with a letter (A for chapter 1, B for 2, etc.) and a number, as in “A01.sinewave.pd”.

The example patches are also distributed with Pd, but beware that you may find a different version of the examples which might not correspond to the text you’re reading.

 

，就此展開『箱子世界』之旅的耶！

 

 

 

 

 

 

 

 

 

 

 

由於『純數據』 Pure Data 程式語言功能強大，所寫的程式稱作『補丁』 patch ，所用『物件』仿效物理實物『連線』。實非可用幾篇文章完整說明。因此特先介紹 Johannes Kreidler  之『公開書』

《 Programming Electronic Music in Pd 》

，引用其《 Chapter 1. Introduction to Pd 》中一小段文本，作個 Pd 起點︰

……

In precise terms, Pd is a “real-time graphical programming environment for audio processing“. Traditionally, programmers work with text-based programming languages. They create what is called “code“, which is processed by a computer to produce a result. To carry out its programming functions, Pd uses visual objects that the user places and alters on the screen. These visual objects — small boxes that can be connected to each other — are a throwback to analogue studios that were used to produce electronic music before the advent of computers: various devices — today symbolized by our little boxes — are connected to each other using lines that — like cables — symbolize physical connections between the boxes. (Due to this type of connection, Pd is referred to as a datastream-oriented programming language.)

---

---

---

One major advantage of Pd is the aspect of “real-time”. This means that, in contrast to most programming environments where a text is first entered that must be separately processed by the computer before obtaining a result, changes in Pd can be made during performance. Like on a classical instrument, the user hears the result instantaneously and can change it immediately. This makes Pd especially well suited for use in live performance.

Pd has become much more than a programming language for electronic music. Since users across the globe can participate in the project, there are user-programmed modules for what are called “externals”: video, Internet connection, joystick integration, etc. Whole libraries of these modules even exist (“external libraries”). Some of these externals have been integrated into the regular version of Pd.

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從 Johannes Kreidler 的簡介裡，或許可以感覺『補丁』的奧妙！也許能夠想像『插頭』 JACK 之魅力乎？

因為 Johannes Kreidler 已於

《 Chapter 2. Programming with Pd for the first time 》文章中

，對這個圖形界面環境之『初學者』的『操作』做了詳細的圖說，作者將不再多作贅敘，還請讀者自己先行閱讀的了。同時告知喜歡讀書的讀者，『絲棉手冊』網上有一本 Pd 的書，可以下載，也可以線上閱讀。

 

 

 

 

 

 

 

 

 

 

 

 

雖然說目前樹莓派 Jessie 發行版上有原生的『純數據』 Pure Data 『香草』 vanilla ︰

【香草版本訊息】

pi@raspberrypi ~  more /etc/apt/sources.list
deb http://mirrordirector.raspbian.org/raspbian/ jessie main contrib non-free rpi
# Uncomment line below then 'apt-get update' to enable 'apt-get source'
#deb-src http://archive.raspbian.org/raspbian/ jessie main contrib non-free rpi

deb http://vontaene.de/raspbian-updates/ . main

# deb http://www.deb-multimedia.org jessie main non-free

# 注意︰是 wheezy, 不是 jessie
deb http://apt.puredata.info/releases wheezy main

pi@raspberrypi ~  sudo apt-get install pd-extended

 

【純數據擴張版本訊息】

pi@raspberrypi ~  

 

【選單編修】

請使用主選單編輯器，修改預設內容為︰

 

【啟動 jack 】

用 QjackCtl 啟動 jack ，按下『 Start 』。

 

【啟動 pd-extended 】

 

【選擇媒體‧設定 jack 】

 

【測試安裝】

可用《黑傑克的咔嗎！！明暗之交》文本一樣的方法作安裝測試。