Those wax cylinders are a modern hack. The curved surface distorts the real artistic intent. The only way to appreciate the true beauty of sound is a the purity of soot etchings on a phonautogram.
It was a bit of humour. It would be much for feasible to have an LLM generate programs that solve those problems rather than solving directly. I tried to make a start, but I couldn't even vibe a simple tool that would let me reliably validate if generated solvers would halt or loop forever.
For the music application, Max Cooper uses items that appear in the OEIS catalogue pretty heavily. IMO, his works sound amazing. Tracks like Aleph 2 (https://vimeo.com/367747083) or Fibonacci Sequence (https://vimeo.com/991635293) stand out as immediate examples.
For something more mainstream even Tool lean into the Fibonacci sequence theme with Lateralus, almost to a meme level.
> Is thinking about music as applied mathematics a good way to create good music? Or is it just the most easily digestible model of music for the crowd on this site?
It's a great way to analyse music (e.g. to categorise, understand, and communicate detail), but that does not mean it's a good way to create it. There's a lot of beauty in finding those abstractions and I think that representation appeals to a lot of people here.
Discussions about timbre, instrumentation, and stylistic influence are often symmetric to those about math. When you have 90 minutes to spare, highly recommend strapping in for a listen to https://malwebb.com/notnoi.html.
There's a lot of really incredible musicians, composers, producers, and educators that go deep on the math. There's also plenty that don't. People build mental models in different ways. That's a good thing and a big part of what makes most art interesting.
Or do you mean a button that activates chunked recording, passes it to a speech-to-text model, forwards to an LLM to infer intent, which triggers HA to issue a command, over a wireless network, to the computer with the light attached, to tell the light to turn on.
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