diff --git a/content.tex b/content.tex index 97dac0e..099f46e 100644 --- a/content.tex +++ b/content.tex @@ -478,28 +478,7 @@ appearance may resemble the ideal he originally envisioned, its lack of extensibility through programming renders it merely a device for media consumption \citep{kay2019}. -Although programming environments as tools for music production are not -widely used, the UGen concept serves as a premise for today's popular -music production software and infrastructure, such as audio plugin -formats for DAW softwares and WebAudio. It is known that the concept of -Unit Generators emerged either simultaneously with or even slightly -before modular synthesizers \citep[p.20]{park_interview_2009}. However, -UGen-based languages have actively incorporated metaphors from modular -synthesizers for their user interfaces, as Vercoe noted that the -distinction between ``ar'' (audio-rate) and ``kr'' (control-rate) -processing introduced in MUSIC 11 is said to have been inspired by -Buchla's distinction in plug types -\citep[1:01:38--1:04:04]{vercoe_barry_2012}. - -However, adopting visual metaphors comes with the limitation that it -constrains the complexity of representation to what is visually -conceivable. In languages with visual patching interfaces like Max and -Pure Data, meta-operations on UGens are often restricted to simple -tasks, such as parallel duplication. Consequently, even users of Max or -Pure Data may not necessarily be engaging in forms of expressions that -are only possible with computers. Instead, many might simply be using -these tools as the most convenient software equivalents of modular -synthesizers. +Musicians have attempted to resist the consumeristic use of those tools through appropriation and exploitation \citep{kelly_cracked_2009}. However, just as circuit bending has been narrowed down to its potential by a literal black box - one big closed IC of aggregated functions \citep[p225]{inglizian_beyond_2020}, and glitching has been recovered from methodology to a superficial auditory style \citep{casconeErrormancyGlitchDivination2011}, capitalism-based technology expands in a direction that does not permit users to misuse. Under these circumstances, designing a new programming language does not merely provide musicians with the means to create new music, but is itself contextualized as a musicking practice following hacking, an active reconstruction of the technological infrastructure that is allowed to be hacked. \section{Context of Programming Languages for Music After 2000}\label{context-of-programming-languages-for-music-after-2000} diff --git a/main.bib b/main.bib index e1aaa20..6d6070c 100644 --- a/main.bib +++ b/main.bib @@ -380,7 +380,7 @@ year = {2006}, journal = {Talk given at EMS 2006, Beijing}, urldate = {2025-01-17}, - howpublished = {https://disis.music.vt.edu/eric/LyonPapers/Do\_We\_Still\_Need\_Computer\_Music.pdf}, + howpublished = {\url{https://disis.music.vt.edu/eric/LyonPapers/Do\_We\_Still\_Need\_Computer\_Music.pdf}}, file = {/Users/tomoya/Zotero/storage/SK2DXEE8/Do_We_Still_Need_Computer_Music.pdf} } @@ -708,7 +708,7 @@ author = {Ostertag, Bob}, year = {1998}, urldate = {2025-01-17}, - howpublished = {https://web.archive.org/web/20160312125123/http://bobostertag.com/writings-articles-computer-music-sucks.htm}, + howpublished = {\url{https://web.archive.org/web/20160312125123/http://bobostertag.com/writings-articles-computer-music-sucks.htm}}, file = {/Users/tomoya/Zotero/storage/9QAGQSVS/writings-articles-computer-music-sucks.html} } diff --git a/main.md b/main.md index be469d9..058409e 100644 --- a/main.md +++ b/main.md @@ -146,13 +146,11 @@ However, such divisions are not necessarily the result of differences in values This argument can be extended beyond electronic music to encompass computer-based music in general. For example, media researcher Lori Emerson noted that while the proliferation of personal computers began with the vision of a "metamedium"—tools that users could modify themselves, as exemplified by Xerox PARC's Dynabook—the vision was ultimately realized in an incomplete form through devices like the Macintosh and iPad, which distanced users from programming by black-boxing functionality [@emerson2014]. In fact, Alan Kay, the architect behind the Dynabook concept, remarked that while the iPad's appearance may resemble the ideal he originally envisioned, its lack of extensibility through programming renders it merely a device for media consumption [@kay2019]. -Although programming environments as tools for music production are not widely used, the UGen concept serves as a premise for today's popular music production software and infrastructure, such as audio plugin formats for DAW softwares or WebAudio. It is known that the concept of Unit Generators emerged either simultaneously with or even slightly before modular synthesizers [@park_interview_2009, p.20]. However, UGen-based languages have actively incorporated metaphors from modular synthesizers for their user interfaces, as Vercoe noted that the distinction between "ar" (audio-rate) and "kr" (control-rate) processing introduced in MUSIC 11 is said to have been inspired by Buchla's distinction in plug types [@vercoe_barry_2012, 1:01:38–1:04:04]. - -However, adopting visual metaphors comes with the limitation that it constrains the complexity of representation to what is visually conceivable. In languages with visual patching interfaces like Max and Pure Data, meta-operations on UGens are often restricted to simple tasks, such as parallel duplication. Consequently, even users of Max or Pure Data may not necessarily be engaging in forms of expressions that are only possible with computers. Instead, many might simply be using these tools as the most convenient software equivalents of modular synthesizers. +Musicians have attempted to resist the consumeristic use of those tools through appropriation and exploitation [@kelly_cracked_2009]. However, just as circuit bending has been narrowed down to its potential by a literal black box - one big closed IC of aggregated functions [@inglizian_beyond_2020,p225], and glitching has been recovered from methodology to a superficial auditory style [@casconeErrormancyGlitchDivination2011], capitalism-based technology expands in a direction that does not permit users to misuse. Under these circumstances, designing a new programming language does not merely provide musicians with the means to create new music, but is itself contextualized as a musicking practice following hacking, an active reconstruction of the technological infrastructure that is allowed to be hacked. ## Context of Programming Languages for Music After 2000 -Based on the discussions thus far, music programming languages developed after the 2000s can be categorized into two distinct directions: those that narrow the scope of the language's role by introducing alternative abstractions at a higher-level, distinct from the UGen paradigm, and those that expand the general-purpose capabilities of the language, reducing black-boxing. +Under this premise, music programming languages developed after the 2000s can be categorized into two distinct directions: those that narrow the scope of the language's role by introducing alternative abstractions at a higher-level, distinct from the UGen paradigm, and those that expand the general-purpose capabilities of the language, reducing black-boxing. Languages that pursued alternative higher-level abstractions have evolved alongside the culture of live coding, where performances are conducted by rewriting code in real time. The activities of the live coding community, including groups such as TOPLAP since the 2000s, were not only about turning coding itself into a performance but also served as a resistance against laptop performances that relied on black-boxed music software. This is evident in the community's manifesto, which states, "Obscurantism is dangerous" [@toplap_manifestodraft_2004]. diff --git a/main.pdf b/main.pdf index 8ea8442..dca1e8e 100644 Binary files a/main.pdf and b/main.pdf differ