Some readings: [1] Dean, Roger T. The Oxford handbook of algorithmic music. Oxford University Press, 2018. [2] Blackwell, Alan F., et al. Live coding: a user'

Some readings: [1] Dean, Roger T. The Oxford handbook of algorithmic music. Oxford University Press, 2018. [2] Blackwell, Alan F., et al. Live coding: a user's manual. MIT Press, 2022. [3] Kirkbride, Ryan Philip. Collaborative interfaces for ensemble live coding performance. Diss. University of Leeds, 2020. [4] Roberts, Charlie, et al. "Rethinking networked collaboration in the live coding environment Gibber." (2022). After experimenting with PD, Csound, SC, Tidal, and Glicol for several years, I am now working on a time-stretching/pitch-shift algorithm, together with some FM synthesis with LLM: https://github.com/chaosprint/glicol/discussions/139 https://github.com/chaosprint/glicol/discussions/139 What I want to say is that there are also many underlying algorithmic patterns in sound itself. In digital music, it's the sample-level pattern. It's fascinating to think about it, especially in the context of collaboration.