I agree. A good heuristic for interesting music: create an expectation model, and exceed it with an unexpected but inventive twist that's consistent with the surrounding grammar but adds unexpected entropy.

Building representational models of that process is hard. So most people don't bother - they mush stuff up at random and keep the bits they like.

Like this.

Unfortunately this music prof is ignoring 60-odd years of computer music history and reinventing the glitch-with-Max thing that was big 10-15 years ago.

Autechre, Amon Tobin, and many many others have been making music like this for a while now. The sound/sample world is different, but the techniques are very similar.