Signal processing and noise in both visual and audio worlds hold a lot of interest for me. I was studying dithering as a part of my shaders class last semester and learned about the introduction of noise patterns to prevent inorganic banding. Similarly, noise helps add an organic texture to a lot of visual work too. In the mastering stage of music production similarly, noise is added to dither the audio and prevent frequency bands that usually generate in electronic music generation. I like how the author’s interest in noise in computer-generated audio even expands to note/pitch order and such. Entropy, chaos, and randomness in the arts are concepts that we have been building upon through previous art movements like abstract expressionism (Pollock’s splattering), Informel, Gutai (Shiraga’s feet paintings or Saburo’s running through paper screens). Hence, the notion of mathematically/computationally introducing them into electronic music synthesis is an exciting one.