Atoms

A SuperCollider autonomous panic recovery is s.freeAll followed by a single inline graph needing no SynthDef, sample, pattern, or scale

A SuperCollider synth without doneAction:2 leaks nodes silently until CPU overload crackles

A SuperCollider SynthDef must be re-added after every edit or Synth plays the old cached graph

A SuperCollider UGen name that is miscased or not installed posts 'not understood' rather than playing

Actor-Network Theory reveals live coding as a network of human and nonhuman actors (code, hardware, venues, communities) whose associations constitute the scene

Adding .analyze('hydra') to a Strudel voice feeds it to the a.fft array that Hydra's audio-reactive mapping reads

Adopting the amateur mindset removes market pressure and restores intrinsic enjoyment of making music

Algorave's free tools and low entry barrier enact access politics, in tension with sustaining unpaid developers

Algorhythms are the microrhythmical structures underlying digital computation — making inaudible electromagnetic signals audible as political-aesthetic act

Algorithmic music can function as tactical media: temporary critical interventions in dominant technological and social systems

An instrument maker's role is to serve creative wishes, not to demand artists learn novel playing methods for novelty's sake

An unbounded loop or heavy per-frame work freezes the P5LIVE tab because p5 runs single-threaded on the main thread

An unknown sample name in Tidal produces no GHCi error but silences that voice via a SuperCollider post warning

An unknown Sonic Pi synth, sample, or fx name usually errors, though a bad sample name can just fall silent

An unknown Strudel sample name produces silence with no exception rather than an error

Analytical tools for microrhythm and groove are underdeveloped in music academia compared to harmony

Array arguments in Hydra step at the global bpm rather than animating smoothly

background() must be the first call in p5.js draw() to clear each frame; placing it after shapes wipes them

ChucK compile errors block shred addition while runtime errors remove only the offending shred

ChucK has no default master limiter, so many voices summed to dac clip unless gain is kept low

ChucK has no native scale, chord, or euclidean primitive; these must be hand-rolled from arrays and Std.mtof

ChucK sporked child shreds are killed the moment their parent shred exits

ChucK UGen names are exact CamelCase and must be verified against the rig's ugens list

Dance-centered genres carry a special obligation to tour, since the recording alone can't convey the live experience

Debug a GLSL compile error by reading its line number, then bisecting back to a known-good body

Defining two Sonic Pi live_loops with the same name does not create two voices — the second silently replaces the first

Each independent Strudel voice in a multi-pattern session must be on its own $: prefixed line

Early internet utopianism about decentralization faces structural pressure toward privatization — a cycle visible across every new communication medium

Electronic music genres have unrooted from their origin locations as global platforms make geography irrelevant to style

Estuary's ExoLang interface lets external JavaScript live-coding languages be loaded at runtime

Estuary's visual theme is controlled by a CSS file defining four core colour variables

Every >> in Glicol must sit between two nodes; a trailing or orphaned >> is a syntax error

Every GLSL fragment shader must define void main() and assign gl_FragColor at least once

Every Hydra chain must end with .out() or .out(oN) to be visible on the canvas

Every Sonic Pi live_loop body must call sleep or sync or it stops with a runtime error

Fear of algorithms comes from opacity; making processes visible turns algorave into algorithmic literacy

Field recordings function as time-and-location documents that reveal environmental change over decades

Free/open-source live-coding tools are an ethical stance about craft and collective ownership, not just a pragmatic choice

Fully improvised live techno requires approaching the stage with no prepared ideas — the music arises entirely from the performance moment

Glicol has no native scale or chord primitive; pitches must be hand-listed as frequencies or seq integers

Glicol keeps the last valid graph playing when a save introduces a parse error

Glicol requires exactly one named chain per line; multiple chains on one line cause a parse error

Glicol's sp sample set is separate from Strudel's dirt-samples and requires its own samples folder

GLSL requires explicit float literals and exact vector sizes; int/float mixing is a compile error

GLSL uniforms must be declared before use; only glslViewer-provided names are available without declaration

glslViewer keeps the last successfully-compiled shader on screen when a save fails to compile

hush() immediately silences every Strudel voice — it is the first step of autonomous recovery from a broken mix

Hydra errors either throw to the #err element or silently render a black/frozen/blown-out canvas

Hydra feedback with too much gain causes whiteout; add decay terms or reduce feedback amount

Hydra reactive values must be wrapped in () => thunks; bare expressions are evaluated once at boot

Hydra's audio FFT array has exactly 4 bands (indices 0..3); reading index 4 or higher produces NaN

Industrial music's own trajectory illustrates the recuperation dynamic it theorised — a self-referential case study

Integer division in ChucK silently truncates: 1/2 evaluates to 0, not 0.5

Live coding performances arc from empty to complex and back to silence, suggesting cyclic rather than linear revision control

Live coding's indifference to song structure and recording aligns it with a punk, process-centred ethos

Live modular sets can serve a dancefloor rather than dissolving into exploratory noodling

Long cycles of undirected studio exploration — not finishing tracks — build the palette that powers a live set

Making algorithmic music is following the material (code as medium) rather than imposing form — discovering music that could not be imagined before hearing it

Many p5.js bugs produce no exception and manifest only as wrong canvas output

Mixing audio-rate and control-rate UGens in SuperCollider fails the SynthDef build with a 'not audio rate' post message