{"id":3893,"date":"2022-08-08T08:26:30","date_gmt":"2022-08-08T08:26:30","guid":{"rendered":"http:\/\/electropixel.org\/?p=3893"},"modified":"2022-08-08T08:26:30","modified_gmt":"2022-08-08T08:26:30","slug":"miller-puckette","status":"publish","type":"post","link":"https:\/\/electropixel.org\/index.php\/2022\/08\/08\/miller-puckette\/","title":{"rendered":"Miller Puckette"},"content":{"rendered":"

Miller Puckette a obtenu un BS en math\u00e9matiques du\u00a0<\/span>MIT<\/span><\/a>\u00a0(1980) et un doctorat en math\u00e9matiques de\u00a0<\/span>Harvard<\/span><\/a>\u00a0(1986), remportant une bourse d’\u00e9tudes sup\u00e9rieures de la NSF et la bourse du prix Putnam.\u00a0<\/span>Il a \u00e9t\u00e9 membre du\u00a0Media Lab<\/a>\u00a0du MIT depuis sa cr\u00e9ation jusqu’en 1987, puis chercheur \u00e0\u00a0l’IRCAM<\/a>\u00a0(l’Institut de Recherche et de Coordination Musique\/Acoustique), fond\u00e9 par le compositeur et chef d’orchestre Pierre Boulez.\u00a0\u00c0 l’IRCAM, il a \u00e9crit Max, un environnement logiciel de musique assist\u00e9e par ordinateur largement utilis\u00e9, commercialis\u00e9 en 1990 et maintenant disponible sur\u00a0Cycling74.com<\/a>\u00a0.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/a><\/p>\n

Puckette a rejoint le\u00a0d\u00e9partement de musique<\/a>\u00a0de l’\u00a0Universit\u00e9 de Californie \u00e0 San Diego<\/a>\u00a0en 1994, o\u00f9 il est maintenant professeur.\u00a0De 2000 \u00e0 2011, il a \u00e9t\u00e9 directeur associ\u00e9 du\u00a0Center for Research in Computing and the Arts<\/a>\u00a0(CRCA, aujourd’hui disparu) de l’UCSD.<\/p>\n

Il d\u00e9veloppe actuellement\u00a0Pure Data<\/a>\u00a0(“Pd”), un environnement de programmation artistique multim\u00e9dia en temps r\u00e9el open source.\u00a0Puckette a collabor\u00e9 avec de nombreux artistes et musiciens, dont Philippe Manoury (dont le cycle Sonus ex Machina a \u00e9t\u00e9 la premi\u00e8re \u0153uvre majeure \u00e0 utiliser Max), Rand Steiger, Vibeke Sorensen, Juliana Snapper et Kerry Hagan.\u00a0Depuis 2004, il se produit avec les\u00a0Convolution Brothers<\/a>\u00a0.\u00a0Il a re\u00e7u des dipl\u00f4mes honorifiques de l’Universit\u00e9 de Mons et de l’Universit\u00e9 de Bath Spa et le prix\u00a0SEAMUS Lifetime Achievement 2008<\/a>\u00a0.<\/p>\n

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Miller Puckette obtained a B.S. in Mathematics from\u00a0MIT<\/a>\u00a0(1980) and Ph. D. in Mathematics from\u00a0Harvard<\/a>\u00a0(1986), winning an NSF graduate fellowship and the Putnam Prize Scholarship. He was a member of MIT’s\u00a0Media Lab<\/a>\u00a0from its inception until 1987, and then a researcher at\u00a0IRCAM<\/a>\u00a0(l’Institut de Recherche et de Coordination Musique\/Acoustique), founded by composer and conductor Pierre Boulez. At IRCAM he wrote Max, a widely used computer music software environment, released commercially in 1990 and now available from\u00a0Cycling74.com\u00a0<\/a>.<\/p>\n

Puckette joined the\u00a0music department<\/a>\u00a0of the\u00a0University of California, San Diego<\/a>\u00a0in 1994, where he is now professor. From 2000 to 2011 he was Associate Director of UCSD’s\u00a0Center for Research in Computing and the Arts<\/a>\u00a0(CRCA; now defunct).<\/p>\n

He is currently developing\u00a0Pure Data<\/a>\u00a0(“Pd”), an open-source real-time multimedia arts programming environment. Puckette has collaborated with many artists and musicians, including Philippe Manoury (whose Sonus ex Machina cycle was the first major work to use Max), Rand Steiger, Vibeke Sorensen, Juliana Snapper, and Kerry Hagan. Since 2004 he has performed with the\u00a0Convolution Brothers<\/a>. He has received honorary degrees from Universit\u00e9 de Mons and Bath Spa University and the 2008\u00a0SEAMUS Lifetime Achievement Award<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Miller Puckette a obtenu un BS en math\u00e9matiques du\u00a0MIT\u00a0(1980) et un doctorat en math\u00e9matiques de\u00a0Harvard\u00a0(1986), remportant une bourse d’\u00e9tudes sup\u00e9rieures de la NSF et la […]<\/p>\n","protected":false},"author":6,"featured_media":3894,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":"","footnotes":""},"categories":[509],"tags":[591,624,625],"class_list":["post-3893","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-la-22","tag-coaxial-arts","tag-miller-puckette","tag-pure-data"],"_links":{"self":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts\/3893","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/comments?post=3893"}],"version-history":[{"count":1,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts\/3893\/revisions"}],"predecessor-version":[{"id":3895,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/posts\/3893\/revisions\/3895"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/media\/3894"}],"wp:attachment":[{"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/media?parent=3893"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/categories?post=3893"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/electropixel.org\/index.php\/wp-json\/wp\/v2\/tags?post=3893"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}