fix before proofreading

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}