that user interfaces suggest specific working conditions, which, in turn, determine working methods. I can’t form a basic criticism of this kind of optimizing logic. In any case, it would be totally useless to program software that didn’t function economically and effectively. In this field you should quickly forget about any thoughts of sabotage. You have to keep in mind that you’re the one optimizing the interface to the height of misuse.

Each statement stays in the optimizing logic and is represented by only another entertainment character. At times it was more interesting to simply freeze certain processes, or slow them down until only a small structure or surface was left for a period of time. Since the music is processed with software and caused through the simulation of software, it should also be evaluated, at least in part, in accordance to software criteria. In less interesting cases, these are work environments that act time-based, meaning from left to right, and use as many music metaphors as possible from the analog world; or generative networks, or even toolboxes – but one thing is clear: the music is stimulated, and what I called a mission is capturing the

music at all, without simply leaving it up to the programming.

Translation: Karl Edward Johnson