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Priručnik O Upotrebi Slobodnog Softvera U Umetničkom Muzičkom Radu

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Priručnik O Upotrebi Slobodnog Softvera U Umetničkom Muzičkom Radu PRIRUČNIK O UPOTREBI SLOBODNOG SOFTVERA U UMETNIČKOM MUZIČKOM RADU Autor: Vedran Vučić 1 Sadržaj: Predgovor 3 Zahvale 5 Tipografske konvencije 6 Slobodan softver - nastanak i značaj 7 Upotreba GNU/Linuxa za audio i muzičke aktivnosti 8 Open SuSe 11.2 GNU/Linux 9 Tipovi audio i drugih muzičkih aplikacija 11 Osnove digitalnog snimanja audio signala ± Istorijski kontekst 13 Digitalno snimanje audio signala personalnim kompjuterom 22 Upotreba programa Audacity i Rezound 29 Kompresija audio signala: MP3, OGG, TAU - Početak razvoja 33 MP3 kompresija 34 OGG standard 35 TTA - Kodiranje bez gubitaka 36 MIDI - komunikacija između digitalnih muzičkih instrumenata 37 GM standard 38 MIDI komunikacija 38 MIDI poruke - muzički aspekti 39 MIDI predstavljanje visine tona 41 Rosegarden - razvijena MIDI i audio aplikacija 41 Napredna upotreba i razvoj MIDI standarda 46 SMPTE - sinhronizacija rada uređaja i audio-video signala 46 MIDI Time Code i SMPTE 49 Sinteza zvuka 49 Wavetable sinteza 52 Aditivna sinteza 53 Sinteza odbircima zvuka 56 Upotreba soundfontova u programu Rosegarden 59 Subtraktivna sinteza 66 Oponašanje analognih sintetizatora zvuka 70 Snimanje datoteka na CD i DVD: Kako je nastao CD? 72 Tehnički podaci 74 Vrste kompakt diskova 75 Metode snimanja na CD i CD ± RW 77 Sistemi datoteka na kompakt disku 78 Upotreba programa ISO Master 80 DVD - Savremeni medij za podatke 81 Video DVD 82 Audio DVD 82 Upotreba programa K3B 82 Baze podataka 87 Priprema za kreiranje baze podataka 88 Kreiranje baze podataka u programu OpenOffice 90 Upravljanje bazom podataka putem web interfejsa 98 Kompjuterske mreže i mrežni servisi 103 Detalji tehnologije TCP/IP 104 Internet servisi 107 Istovremena distribucija informacija na više kompjutera 109 Načini povezivanja na Internet 112 2 Predgovor: Umetnički rad savremenih umetnika je stavljen pred mnogobrojne izazove. Umetnici u svom školovanju najčešće nisu imali prilike da uče o savremenim tehnologijama i mogućoj upotrebi naučnih i tehnoloških istraživanja u savremenim umetničkim delima. Međutim, sloboda eksperimentisanja i umetnički napori umetnika širom sveta pokazuju da se savremene tehnologije i naučna istraživanja mogu uspešno koristiti u umetničkom radu. Ubrzan tehnološki i naučni razvoj u mnogim zemljama je proizveo veći broj tehnoloških sredstava i stavio ih umetnicima na raspolganje. Kompjuterski programi, razni uređaji, složene mašine i upravljački mehanizmi omogućavaju umetnicima nove načine izražavanja. Međutim, interdisciplinaran pristup se nije ostvario samo u sferi realizacije umetničkog dela nego je postavio nove teorije i upostavio nove medije, koncepcije i promenio ulogu umetnika i prirodu umetničkog djela. Iako ova oblast sama po sebi prevazilazi namere ovog priručnika izazove koje savremena tehnologija i naučna istraživanja postavljaju pred društvo i njegove kulturološke, tehnološke, metodološke i socijalne aspekte. Inertnost razvoja društava i promene političkih i pravnih sistema je na tim osnovama stvorila niz otpora i predrasuda. U skladu s time umetnici osećaju povećan otpor na te predrasude što u njima budi nove izazove i želju da se u celosti odupru tim predrasudama. Izazove i otpore predrasudama možemo podeliti na: kulturološke tehnološke metodološke socijalne. Ovi izazovi su međusobno povezani i postavljaju veoma ozbiljna pitanja za uspešnu i kreativnu umetničku aktivnost umetnika. Zapostavljanje ovih pitanja ne samo da ne dovodi do pronalaženja odgovora na pitanja koja muče umetnike nego dovodi do smanjenja kvaliteta umetničkog rada, a umetnike dovodi do osećanja apatije i potrebe da se znanje potraži izvan ustaljenih institucija i načina umetničkog rada. Kulturološki izazovi su zasnovani na otporu sledećim predrasudama: - nauka i tehnologija nemaju svoje uporište u umetnosti - komponovanje, sviranje, snimanje muzike, razni oblici umetničkog rada nisu povezani sa tehnologijom - učenje tehnoloških i informatičkih predmeta oštećuje umetničku autentičnost umetničkog stvaranja i izraza - spoznaja oblasti iz prirodnih nauka je lakše muškarcima nego ženama pa upotreba tehnologije i nauke ne odgovara ženama u umetnosti. - upotreba informacionih i komunikacionih tehnologija u umetnosti nije dala zadovoljavajuće umetničke rezultate pa samim time nije potrebna u umetničkom obrazovanju i radu. Tehnološki izazovi su zasnovani na otporu prema sledećim predrasudama: - upotreba kompjutera, kompjuterskih programa, savremenih tehnologija u umetničkom radu je tehnološki suviše kompleksna i komplikovana i postavlja suviše 3 komplikovane tehnološke zahteve za umetnike - merne jedinice i tehnološki standardi su često konfuzni i teški za razumevanje što onemogućava jasno razumevanje tehnologija i nauke - razvoj informacionih i komunikacionih tehnologija je suviše brz pa svaki rezultat zastari u veoma kratkom roku Metodološki izazovi se zasnivaju na otporu sledećim predrasudama: - upotreba kompjutera, kompjuterskih programa, tehnologija i nauke u nastavi u umetničkim školama i fakultetima je tehnološki suviše kompleksna i komplikovana i prevazilazi spoznajne kapacitete studenata umetničkih škola i fakulteta - upotreba kompjutera, kompjuterskih programa, tehnologija i nauke u nastavi informatike u umetničkim školama i fakultetima je nedokumentovana pa je teško realizovati nastavu i odgovarajuću pripremu za realizaciju časova - upotreba kompjutera, kompjuterskih programa, tehnologija i nauke u umetničkom radu je preterano skupa što dovodi u pitanje mogućnost realizacije umetničkog rada i smisla takvih umetničkih dela - upotreba kompjutera, kompjuterskih programa, tehnologija i nauka u umetnosti je u metodološkoj suprotnosti sa drugim umetničkim aspektima i zahteva primenu metodološki suprotnih pristupa koji zbunjuju umetnike i publiku Socijalni izazovi su zasnovani na otporu sledećim predrasudama: - upotreba kompjutera, kompjuterskih programa, tehnologija i nauke je skupa i dovodi u neravnopravan položaj umetnike i publiku koja nema priliku da ih koristi i razume - nepostojanje alternativa za tehnologije čija upotreba je definisana restriktivnim licencama kao i teške zaprečene kazne prema važećim zakonima dovodi umetnike u opasnost od vršenja krivičnih dela vezanih za intelektualnu svojinu prilikom realizacije umetničkih dela Gore navedeni izazovi i suočavanje sa navedenim predrasudama nisu uvek lako rešivi i nisu uvek uzrokovani tehnologijama već predubeđenjima zasnovanim na nedostatku tehnoloških, pravnih i drugih informacija neophodnih za uspešno i odgovorno realizovanje umetničkog obrazovanja i umetničkog rada. Međutim, otvoreni standardi, dostupnost naučne literature i slobodan softver1 kao i intenzivna saradnja sa naučnim institucijama daju pozitivne perspektive da se nađu rešenja za veliki deo pitanja i problema koji se nameću u svakodnevnom umetničkom radu. Autor je svestan da je potrebno mnogo vremena i truda da se uspostavi praksa koja je naprednija od sadašnje. Iskustvo pokazuje da proces učenja koliko god bio intezivan manje opterećuje nego apatija i daje uspešnije umetničke rezultate. Ovaj priručnik opisuje načine korišćenja slobodnog softvera operativnog sistema GNU/Linux u umetničkom radu u audio i drugim muzičkim aktivnostima te pospešivanju komunikacionih i drugih aktivnosti umetnika. Autor se odlučio za slobodan softver jer način licenciranja slobodnog softvera omogućava uspešniju edukaciju, pravno i finansijski slobodnu upotrebu, te 1 Više informacija o slobodnom softveru možete pronaći u poglavlju "Slobodan softver - nastanak i značaj" 4 potencijalnu tehnološku superiornost. Slobodan softver omogućava slobodu invencije, slobodu radoznalosti i podstiče korisnike i programere na razne otvorene socijalne oblike razmene informacija, znanja i solidarnu tehničku podršku. Samim time slobodan softver nije isključivo tehnološki fenomen već i veoma raširen socijalni fenomen u kojem učestvuju i brojni umetnici kao i neki proizvođači profesionalne audio studijske opreme i muzičkih instrumenata. Linux audio konzorcijum (Linux Audio Consortium) je asocijacija koja okuplja korisnike audio i drugih muzičkih aplikacija u GNU/Linuxu, programere, akademsku zajednicu i proizvođače profesionalne audio opreme i muzičkih instrumenata. Određene koncepte i teorije sam ilustrovao konkretnom upotrebom u nekom kompjuterskom programu gde god je to bilo moguće. Vežbanje postupaka i procedura će zasigurno pomoći savladavanju tehnologija i metoda rada. Ukoliko je neko od imena tehnologija, kompjuterskih programa, standarda upotrebljeno u tekstu bez prethodne spoznaje o potrebi posebnog naglašavanja da se radi o zaštitnom znaku ovim putem se priznaju sva autorska prava nosioca zaštitnih znakova i drugih oblika zaštitnih znakova i sadržaja predstavljenih u ovom priručniku. Autor ovog priručnika podržava slobodan softver, otvoren pristup dokumentima, naučnim publikacijama, otvorene standarde i otvoren hardver. Autor u skladu s time dozvoljava da se ovaj priručnik slobodno koristi i kopira uz obavezu da se uvek navede originalni autor i sačuvaju prava nosioca zaštitnih znakova pomenutih u ovom priručniku. Višegodišnje iskustvo u radu sa GNU/Linux operativnim sistemom i projektima nevladine organizacije Linux Centar su mi pomogli u sticanju znanja, koja sam u malom deluizneo u ovom priručniku. Sve kritike, sugestije i komentari se mogu uputiti autoru ovog priručnika, koje će sa entuzijazmom biti razmotrene i prihvaćene ukoliko se zasnivaju na osnovnim principima slobode pristupa znanju i informacijama. Zahvale Ovaj priručnik je nastao kao moj odgovor na specifično teške okolnosti i nerazumevanja na koje nailazim
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