Table of contents
- S D Freeman PhD thesis
- 1: Introduction
- 2: Looking at sound
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3: In software, on screen
- 3.1 Pixels
- 3.2 Visyn
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3.3 Sub synth amp map
- 3.3.1 Live Coding with MaxMSP
- 3.3.2 From passing thoughts to pivotal theories
- 3.3.3 Names and numbers
- 3.3.4 Looking at sub synth amp map
- 3.3.5 Three layers, three mappings
- 3.3.6 Input selections
- 3.3.7 Lamp-light, Laser beams, and Laptop screens
- (3.3.7.a) Lissajous figures
- (3.3.7.b) Lamp-light
- (3.3.7.c) Laser beams
- (3.3.7.d) Projected oscilloscopes
- (3.3.7.e) Laptop screens
- 3.3.8 Connections and comparisons between study pieces
- 3.4 Conceptual model of a gramophone
- 3.5 Gramophone_005g
- 3.6 saw~onepole~noise~click~
- 3.7 Software as substance
- 4: Spiroid
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5: CirSeq
- 5.1 CirSeq and thisis
- 5.2 CirSeq inception
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5.3 CirSeq Zero
- 5.3.1 Playing (with) the piece: an overview of CirSeq Zero
- 5.3.2 Technical structure
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5.3.3 Making decisions to organise the soundmaking
- (5.3.3.a) Similar concepts at different layers of abstraction
- (5.3.3.b) An additional aspect to the piece
- (5.3.3.c) The cascade of randomised decisions
- (5.3.3.d) To unravel the cascade
- (5.3.3.e) Deciding the duration of the cycle period
- (5.3.3.f) Contextualising the blurring of lines on the time-domain continuum
- (5.3.3.g) Running the cascade with pitch-like durations of the cycle period
- 5.3.4 Meta-patch: an example of external control
- 5.4 Aesthetic analogies in the exploration of CirSeq patterns
- 5.5 Critique and chapter conclusion
- 6: Sdfsys
- 6.3 Beta
- 6.4 Composing with sdfsys
- 6.5 Evaluating sdfsys