SuperCollider is one of the most important domain-specific audio programming languages; with potential applications that include real-time interaction; installations; electroacoustic pieces; generative music; and audiovisuals. The SuperCollider Book is the essential reference to this powerful and flexible language; offering students and professionals a collection of tutorials; essays; and projects. With contributions from top academics; artists; and technologists that cover topics at levels from the introductory to the specialized; it will be a valuable sourcebook both for beginners and for advanced users. SuperCollider; first developed by James McCartney; is an accessible blend of Smalltalk; C; and further ideas from a number of programming languages. Free; open-source; cross-platform; and with a diverse and supportive developer community; it is often the first programming language sound artists and computer musicians learn. The SuperCollider Book is the long-awaited guide to the design; syntax; and use of the SuperCollider language. The first chapters offer an introduction to the basics; including a friendly tutorial for absolute beginners; providing the reader with skills that can serve as a foundation for further learning. Later chapters cover more advanced topics and particular topics in computer music; including programming; sonification; spatialization; microsound; GUIs; machine listening; alternative tunings; and non-real-time synthesis; practical applications and philosophical insigh"s from the composers and artists perspectives; and "under the hood;" developers-eye views of SuperColliders inner workings. A Web site accompanying the book offers code; links to the application itself and its source code; and a variety of third-party extras; extensions; libraries; and examples.
#1405668 in eBooks 2013-09-03 2013-09-03File Name: B00EKJKAAM
Review
15 of 17 people found the following review helpful. Great subject matter; but.....By Gene BDont you just hate it when a writer reviews or appraises an historical subject; using modern day values and judgements?Thats the problem here: the authors political correctness permeates almost every page - showing no understanding of; nor making any allowances for the very different social mores and moral attitudes of the time period when these classic movies were made. Therefore; instead of focusing on any artistic merits these films have; were constantly reminded by the author that horror movies of the 1930s are full of sexism; racism and misogyny.... It reads like a university students dissertation from the feminist viewpoint.The past is a strange place....They do things differently there.5 of 7 people found the following review helpful. Interesting pointsBy SashaFascinating read and collection of inspired essays about 1930s Horror movies beyond "Dracula" - author is a known University lecturer and her intention was apparently to scratch under the surface and to point at other movies made in aftermath of "Dracula" success; many of different directors; actors and film-makers in general who worked in than-new genre still uncluttered with what today we recognize as formulaic. Peirse purposely avoids any discussion about "Dracula" since tons of material was already written about it and goes on into detailed analysis of its successors; like "Mummy"; "Island of Lost Souls"; "The Black Cat; "White Zombie" and such.Authors love for these old movies is infectious and I found myself making notes and making my own internet research immediately - not to mention getting back to movies that I already have in my collection; as "The Black Cat" where Peirse interestingly points at importance of architecture (modern architecture seems to have been accepted at work places but people still prefer traditional-style houses; on the screen modern architecture is significant as a sign of something decadent and dangerous) or use of classical music (negative characters love classical music). Perhaps the most interesting is insight about lesser known British Horror production of 1930s and how British cinematography in general was seen as something amateurish and provincial compared to far more advanced Hollywood (even American guest stars in British production would often give disparaging comments about their experiences when "on loan" in UK) - did you know that Brits actually had "Wolf Man" long before Americans made it to the screen? Yes; "Werewolf of London" was made some six years before famous; now classic "The Wolf Man". The book has seven chapters and I would gladly have double amount of this; its really enlightening and inspiring read.