Ad (c): This exposition should cover the topic from the viewpoint of artistic research, which,
though related to the other representations, is different: it is dedicated to a readership,
which is familiar with issues of art and philosophy, scientific methodology, structures of
working processes in different fields and reflexive thoughts of artists and audience, in summary:
familiar with a deeper thought in a general field. Here one cannot suppose familiarity with
specialized topics of sound synthesis and software design, for which purpose there exist
representations (b) and (d).
On the other hand a general self-reflexive documentation as here wouldn't be appropriate in
those discourses. Besides the piece of music itself (a), to a certain extent, speaks for itself,
I wouldn't want it to be received only in the context of a research documentation.
In other words (a) spans over the specialized discourses, for which (b) and (d) are thought and
this discourse, which is general and specific at the same time.
The challenge of (c) would be creating a representation of essential thoughts of (b) and (d) and
their relation to (a) in a form that can be perceived by an interested readership.
I'd like to point to an artistic workflow, from which I suppose that in its structure it is
quite common and related to other fields, where art and technology are interwoven.
I would also like to emphasize the structural parallelism between feedback processes in
science and art production, that might be overlooked when focussing the
very subjective motivation of art production – which shouldn't be denied either.