This movements towards abstraction has a twofold effect. By reiterating this act of abstraction the original behaviour is gradually shaded, and the process becomes more open to deviations. As Figure 1.6 demonstrates, the ZeroCrossing Ugen could originally only output a sinusoidal signal. After its reformulation, the sinusoid becomes a possibility: sinusoidal segments can be observed in the waveform, but they are exceptions within a richer articulation. Nevertheless, the output maintains a general similarity with its initial reference. In particular, the frequency of the signal remains completely unaffected. Indeed, in the process of abstraction, a crucial step is deciding which characteristic are to be preserved and which others can be opened up for divergence. These are compositional decisions which depend upon the system’s dynamics, and that are often devised after empirical evaluation.
A second effect is that of shading the original intention that was embodied in the initial implementation. The more a process is abstracted, the more aesthetic results appear which were not contained in the former formulation. Moreover, these byproducts are ofter not inferable nor predictable from a direct analysis of the functioning of the process. This excess could be understood as the byproduct of the interplay between a compositional intention and its algorithmic formulation. The genuine novelty which is produced needs to be understood from an inclusive perspective and often requires a movement of adaptation in the composer who, in the next algorithmic interaction, needs to react in order to balance his aesthetic intentions and desires with the mechanics of the system he is developing. In composing a feedback system through a non standard approach, the articulation and stratification in time of the little adjustments, suspensions, collisions and divergences between myself and the system, punctuated by the desires (old and new) that emerge out of these interactions, is what shapes the overall artistic work.