Ad (c): This exposition should cover the topic from the viewpoint of artistic research, which, though related to the other representations, is different. It speaks to a readership that is familiar with issues of art and philosophy, scientific methodology, and structures of working processes in different fields. 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, general self-reflexive documentation like 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 research documentation. In other words, (a) spans over the specialized discourses – (b) and (d) are addressing them – and this discourse that is general and specific at the same time. The challenge of (c) is to create a representation of essential thoughts of (b) and (d). Moreover, to create a relation to (a) in a form that can be perceived by an interested readership. I suppose that the structure of the artistic workflow in electro-acoustic music is quite common and correlated to other fields, where art and technology are twisting.
Update (summer 2020): As the project developed, I published a research paper (d) before completing this exposition up to the extent that I had planned at first. I have been formulating my current thoughts more generally on my website (Credo, short and long version) and another exposition in the Research Catalogue that is emerging as part of the ALMAT symposium. For all these reasons, I'm finalizing the exposition kitchen studies at this point. I'm looking forward to the upcoming ALMAT symposium that will contain several expositions of related content.