"Simulation and Computer Experimentation in Music and Sound Art"
21 03 2019
Luc Döbereiner, David Pirrò
A key aspect of our [iteration] is to use an iterative method. We iterate this model (the Kuramoto model) over and over again, in different languages and different media. That is possible because these models can be formulated very compactly. We can take this very compact formulation and put it in a visual rendering tool, or in a SuperCollider Ugen, or in C or in Fortran language, etc. It's not only the mechanical repetition of the same thing, but it is a way of highlighting, or trying to get in contact with different aspects of the same thing, while confronting it with different media and different tools. The hope is that we can gain a different sense of the underlying computational material itself through the interference of all the different instances and tools we are using. And therefore, through the interference, get a glimpse of the aesthetic object, the object we are trying to get knowledge of. We use iterativity as a method to get to the epistemic object.