Formal coding practices and a self-bootstrapping workflow
Building Grimes became an experiment in formal coding standards, logic maps and a self-bootstrapping agent workflow.
Lynn Cole / Laboratory
Experiments, research notes, mad science, and things in progress.
Building Grimes became an experiment in formal coding standards, logic maps and a self-bootstrapping agent workflow.
The song-generator project needs music represented as machine logic. That requirement led me toward another notation language.
Crunchy treats compositions as executable logic, with a two-way path between sheet music and code that can transform the performance.
A proposal to turn musical notation into parsable code, with a new language for transforming and exchanging compositions.
Two models transform, critique and revise musical compositions. The process produces new arrangements, explanations of the revisions, and a richer training record.
A music-data flattener joins compositions, metadata and similarity records into structured training material—with a few late-night bugs still to fix.
Planning a comparison between a large Suno corpus and human-created music means solving data quality first and letting the results lead the argument.
Preparing music-theory training data means organizing genres, generating explanatory material and checking the result before the first training run.
A plan for turning historical music sources into structured essays, contemporary genre variations and a training corpus.
Music generation needs structural context: songwriting, orchestration and genre combinations grounded in more than a tag list.
Noise painting began with FaceApp experiments and moved through visual diffusion into sound. Multi-tasking brings those experimental processes together in an album.
A keyboard sketch becomes a series of Udio arrangement experiments, with changes to similarity, source audio, genre and noise along the way.