diff nime2012/mtriange.tex @ 37:92ba14bc6db4

finnished new draft through section 2.

--- a/nime2012/mtriange.tex	Tue Feb 07 22:41:45 2012 +0000
+++ b/nime2012/mtriange.tex	Tue Feb 07 23:04:31 2012 +0000
@@ -129,10 +129,10 @@
  
  
 
-   When the Melody Triangle is used, regardless of whether it is as a screen based system, or as an interactive installation, it involves a mapping to this statistical space. Then a transition matrix corresponding to this position in statistical space is returned. As can be seen in figure \ref{TheTriangle}, a position within the triangle maps to different measures of redundancy, entropy rate and predictive information rate.  
+   When the Melody Triangle is used, regardless of whether it is as a screen based system, or as an interactive installation, it involves a mapping to this statistical space.  When the user, through the interface, selects a position within the triangle, the corresponding transition matrix is returned. Figure \ref{TheTriangle} shows how the triangle maps to different measures of redundancy, entropy rate and predictive information rate.  
  
 %%%paragraph explaining what the different parts of the triangle are like.
-Each corner corresponds to three different extremes of predictability and unpredictability, which could be loosely characterised as periodicity, noise and repetition. Melodies from the `noise' corner have no discernible pattern; they have high entropy rate, low predictive information rate and low redundancy. These melodies are essentially totally random. A melody along the `periodicity' to `repetition' edge are all deterministic loops that get shorter as we approach the `repetition' corner, until it becomes just one repeating note.  It is the areas in between that provide the more interesting melodies, those that have some level of unpredictability, but are not completely random and conversely that are predictable, but not entirely so.  This triangular space allows for an intuitive exploration of expectation and surprise in temporal sequences based on a simple model of how one might guess the next event given the previous one.     
+Each corner corresponds to three different extremes of predictability and unpredictability, which could be loosely characterised as `periodicity', `noise' and `repetition'. Melodies from the `noise' corner have no discernible pattern; they have high entropy rate, low predictive information rate and low redundancy. These melodies are essentially totally random. A melody along the `periodicity' to `repetition' edge are all deterministic loops that get shorter as we approach the `repetition' corner, until it becomes just one repeating note.  It is the areas in between the extreems that provide the more `interesting' melodies. That is, those that have some level of unpredictability, but are not completely random.  Or, conversely, that are predictable, but not entirely so.  This triangular space allows for an intuitive exploration of expectation and surprise in temporal sequences based on a simple model of how one might guess the next event given the previous one.