Reading this chapter was really helpful to understanding how to think about writing in Chuck and I wish that I'd gotten to read it sooner. While it answered a lot of vague, not super formed questions I had about the language it also opened up even more questions and terms that I feel the need to dive into deeper and understand more (like what timbre actually means, comb filters, and all the different types of synthesis). It's both overwhelming and exhilarating.
The chapter talks a lot about how the design of Chuck as a tool frames how the programmer thinks about audio and time. I would argue in that way Chuck goes beyond a tool, it's also a medium that computer musicians design within. Within computer programming, I see different languages as mediums that can produce different outputs. And just as a painter might be great with oil but helpless with bronze sculpting, I can also be convinced that certain languages are easier for some than others (or at least that what I tell myself as I stare at Chuck).
Lastly, I really loved the section on using found every day sounds to create new compositions, taking advantage of computer music processes. It reminds me of a technique I learned from an avante garde film class I took in undergrad. The professor showed us the film Saute ma ville by Chantel Akerman which used non-diagetic sound to convey a sense of foreboding and pressure within the domestic household and everyday feminine chores. We then had to create a similar type of film ourselves using a conflict between image and sound to convey our message. I'm sure the fields of experimental film and computer music intersect in some ways that I probably haven't learned about yet, so I'm curious and want to explore how each might have influenced each other and what might have resulted.