The act of design changes how we experience the world. For example, I have created multiple music pieces with found sounds for class assignments inspired by Paul Lansky's "Homebrew," which is described on p. 182 of Artful Design. By processing and arranging recognizable, everyday sounds, Lanksy created a piece that makes magic out of the mundane. Whenever I have created a piece in this vein, I have used a process similar to that described on Artful Design p. 194. I go out with a microphone and headphones, listening to the world through the microphone's ears. I capture interesting, diverse sounds in the world around me, whether from my walk to class, from the dining room, or from my bathroom. Later, I arduously edit and prepare segments of those sounds before I begin the creative work of processing and arranging them into music. In that creative process, I listen to these segments over and over, and they slowly begin to take on aesthetic meaning, both for me personally and within the piece I am making. By the time I am done, the way I hear the sonic materials has completely changed. Their musical context has imbued them with beauty. Then, whenever I walk to class, have a meal, or use the bathroom, I am struck by musicality in the sounds that were once unremarkable to me. As is suggested on Artful Design p. 186, art gives us an example by which to experience beauty in the world, a notion that echoes in Nietzsche's "The Birth of Tragedy" and Oscar Wilde's "The Decay of Lying." As these authors suggest, we can use artistic tools, like the computer, to create aesthetic significance in our lives. As Wilde would have it, this is the purpose of any art made with any medium. In my experience, one way the computer can be used to achieve this artistic aim is by contorting and rearranging found sounds. Just as a painter uses visual composition and a composer uses harmony and melody, a computer musican can use timbre, repetition, panning, and temporal manipulation to manifest new ways to hear the sounds in our environments. Rather than trying to compose traditional acoustic music, to which I have found computer music languages are unsuited, I believe computer music should use computational methods like these to change how we experience the world in a way that other media could not. Artful Design Principle 4.5 states this belief, which occurred to me in my experience trying to make music with ChucK is MUSIC 220A and B. All technology affects how we experience the world, and artists' responsibility is to use it to make our experience more beautiful.