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'''PROJECT PARAMETERS'''

This is a humanities project, and much of it will be reading-based rather than directed towards producing an application. Its goal is to provide some scholarly infrastructure for future music collaborations with manuscript scholars.

* 1) An online tool that helps scholars use noise as a form of theoretical scholarship on visual images
* 2) a 3 to 5-page paper discussing the work’s theoretical implications

Learning objectives:

* To go from no experience at all with computer music to being competent in its discourses.
* To read widely in sound studies, music theory, computer music history, sound poetics, etc
* To learn to approach sound and music from a number of interdisciplinary angles.
* To build/solidify proficiency in ChuCK, P5.js, and Live/Max
* To think about music production as a form of practice for a scholar-practitioner

'''UPDATES'''

[updates to come -- they are cursory at the moment, as I am looking through my records to see what I read]

''' Week 8'''

I decide to focus on images of architecture, spatial constructions (such as maps), and other kinds of figurations of entanglements -- they are perhaps the optimal object of the tool. I spent this week building out the interface, making it possible for users to customize. I ran into problems while trying to "chromatize": i.e. it was difficult to allow people to choose base colors for parametrizations. The next step is to allow people to save "journeys" in the images.

'''Week 7'''
* Wang, G., P. R. Cook, S. Salazar. 2015. "ChucK: A Strongly-timed Computer Music Language." Computer Music Journal. 39(4):10-29.

After meeting with Kevin, I ported the code to P5.js, which took a lot more time than I had anticipated.

'''Week 6'''
* Parker VanValkenburgh, ''Alluvium and Empire: The Archaeology of Colonial Resettlement and Indigenous Persistence on Peru's North Coast'' (The University of Arizona Press, 2021)
* Edmund Husserl, ''The Phenomenology of Internal Time-Consciousness'', Fourth Printing edition (Indiana University Press, 1964);
* Edmund Husserl, ''Ideas: General Introduction to Pure Phenomenology'', Routledge Classics (London ; New York: Routledge, 2012).

I build out the interface I have in mind in Processing. I consider the idea of a "reduction" (reducción) in entangled histories of sound and space. I experiment with a trove of images from forthcoming article from ILAC professor to see what kinds of arguments can be mounted from the noise.

'''Week 5'''
* Jacob Gaboury, ''Image Objects: An Archaeology of Computer Graphics'' (MIT Press, 2021)
* Christoph Cox, ''Sonic Flux: Sound, Art, and Metaphysics'' (Chicago, IL: University of Chicago Press, 2018), https://press.uchicago.edu/ucp/books/book/chicago/S/bo27886631.html.

I finally have a project defined! I begin to consult with ILAC scholars. Selected project parameters, began to build Processing code -- built out lightboxes, etc. I work through tutorials on Processing, OSC, and try to hook it up to ChuCK.


'''Weeks 3 & 4'''

Readings

* Carolyn Kane, ''Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code'' (Chicago, IL: University of Chicago Press, 2014).
* Brian Kane, ''Sound Unseen: Acousmatic Sound in Theory and Practice'', Reprint edition (Oxford University Press, 2016)
* Douglas Kahn, ''Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts'' (University of California Press, 2013)
* Kim-Cohen, Seth. ''In the Blink of an Ear: Toward a Non-Cochlear Sonic Art''. Illustrated edition. New York: Continuum, 2009.


I experiment with the idea of ''chroma'', of color as a metaphor for sound. I spend the weekend at the studio experimenting with throwing colors onto sounds.

'''Week 2'''

Readings

* V. J. Manzo and Will Kuhn, ''Interactive Composition: Strategies Using Ableton Live and Max for Live'', 1st edition (New York, NY: Oxford University Press, 2015).
* Jan Schnupp, Israel Nelken, and Andrew J. King, ''Auditory Neuroscience: Making Sense of Sound'' (The MIT Press, 2012)
* Veit Erlmann, ''Reason and Resonance: A History of Modern Aurality'', First paperback edition (New York: Zone Books, 2014).

I participated in a studio orientation with Matthew on Wednesday and spent Saturday afternoon and evening working through how to get a DAW up and running up to the point where I can make basic ambient music through Ableton Live.

'''Week 1'''

Readings

* Ajay Kapur et al., ''Programming for Musicians and Digital Artists: Creating Music with ChucK'', 1st edition (Shelter Island: Manning, 2015).
* Andrew J. Nelson, ''The Sound of Innovation: Stanford and the Computer Music Revolution'', Illustrated edition (Cambridge, MA: The MIT Press, 2015).
* Ge Wang, ''Artful Design: Technology in Search of the Sublime, A MusiComic Manifesto'' (Stanford: Stanford University Press, 2018).

I have been giving myself a bootcamp education in ChuCK – I worked through a textbook and am now able to complete work up to MUSIC 220A and half of MUSIC 220B. I am also exploring other software ecologies (Max/MSP, PureData etc). I have also been reading up on the relationship between the sonic avant-gardes of mid-twentieth century America and contemporary discourse on poetics, sound studies, and art history to see what theoretical interventions made in music look like.