Comment by jcelerier | Hacker News Reader

Comment by jcelerier | Hacker News Reader

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> It's interesting that a lot of sound programming environments are primarily visual -- I'm thinking pd, Max/MSP, and Reaktor. Probably because many audio synthesis concepts trace back to when people literally had to wire hardware modules together with patch cords.

Visual sound environments are also tools that are taught to music students in conservatories, who don't have any programming ability. These are tools to make sound / art, and people who make sound / art aren't necessarily programmers.

> With text-based code I can read every single character and make sure it's all precisely how I want it.

and when you make art you aren't necessarily looking for the precise. Some people just throw random objects on their patches and wire them almost randomly until it sounds good ; writing the patch is entirely part of the artistic process. That's a completely different mindset that "client wants feature X in Y time, what's the most easy way for me to achieve it".

> and when you make art you aren't necessarily looking for the precise. Some people just throw random objects on their patches and wire them almost randomly until it sounds good ; writing the patch is entirely part of the artistic process. That's a completely different mindset that "client wants feature X in Y time, what's the most easy way for me to achieve it".

You're right in that art is guided by a different set of goals than client work -- it's inherently more exploratory.

But it's inaccurate (and unfair) to call it imprecise. (Also unfair to assume artists work "randomly.") If you're an artist who cares about your work, you put a tremendous amount of effort into achieving your vision just as you see it. If a tool fails to work as you need it to, you'll abandon the tool, whether it's a paintbrush, a chisel, or Max/MSP.

The fact that two major commercial sound programming environments are visual doesn't necessarily mean people who use them don't understand computers and are just randomly throwing crap at the wall: It means they work best for the professionals who use them to get their creative work done. They are, after all, relatively expensive pieces of software.

(It's also inaccurate to assume artists and musicians don't ever have programming ability. I'll point to myself as an example.)

I don't think that art and precision in the way that the comment you're responding to are compatible. I haven't experienced any artistic situations that haven't involved throwing random impressionistic shit at the wall, then precisely shaping, reducing, and exaggerating aspects of that random shit to make something new.

Precision comes in after the randomness, in the craftsmanship; that's what differentiates a skilled person from an unskilled person; both can do the first part.

When you're programming, or participating in any craft that doesn't prioritize uniqueness or expression, the precision starts from the beginning, though. The only randomness sometimes is where you start, not what you start.

also, ideally the precision in the statebox kernel is hidden from the user.. nobody needs to really know about profunctors or monoidal categories, unless you want to work on the language tooling itself.

anyway, interesting discussion

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