Specifically for Windows, the Intel 2001 Guidelines and Microsoft WHQL (Windows Hardware Quality Labs) which prohibit the use of MPU401-style interfaces, as well as direct driver access to either the serial or parallel ports.
Doing Direct-To-Bus MIDI handling can't be replicated in modern architecture like the ST was configured.
That said, given the popularity in analog semi-modulars to be used as DAW outboard with MIDI over USB implementations that add latency and jitter, is it even a consideration for most users?
Ableton and other performance oriented DAWs automatically compensate for MIDI and audio latency caused by plugins and devices; in Ableton's case it will delay the audio by the overall system latency, and/or bypasses plugin delay compensation only for armed/monitored tracks, making them more responsive.
The real answer to the question is, as always, to use hardware sequencers and control voltage triggered off your master clock or DAW. SQ-64 is as rock solid as an Atari ST for CV work, although the 64ppqn limit doesn't match the Atari ST' 384pqqn capabilities. That said, standard MIDI Beat Clock is much lower at 24 PPQN. If you want to go all Autechre/Aphex Twin there's plenty of ways to skin that cat.
If you care about timing over Midi, use MTC not Midi Clock. Because receivers have to derive clock frequency by counting pulses, Midi clock is inherently unstable.
Picking a language is a matter of selecting the best fit given the constraints of the project.
For stuff I like to work on on my own time, "how I like to work" is a major forcing constraint. So it's no surprise that I have a large number of Lisp projects sitting around. Maybe it's because I'm auDHD, but the ability to evolve a program through active dialogue with the machine (and not of the sloppotron variety) just fits better with how I think through a problem and its solution.
When I was a teenager we had the Living Books edition of Arthur's Teacher Trouble on CD-ROM as part of a "multimedia kit". Every page had short animations that would play by clicking on random things with your cursor, in addition to following along with the story, clicking on single words to hear them pronounced and spelled, etc. It was incredible and paved the way for similar phenomena like clickable Easter eggs in Homestar Runner cartoons.
I also got a gmail during the invite only. I was so stoked, I drew a picture of Link (from Wind Waker) holding a Gmail icon over his head in his triumphant "got a new item!" pose.
Some ISPs from back in the day did offer a few megs of space for a web site with a ~username url that you could use to build a personal site. But by the late 90s this practice began to wane as services like GeoShitties became the norm.
Perhaps my favorite example of a citogenesis-like process is the legendary arcade game Polybius, which originated as an entry on some German guy's web compendium of arcade games (coinop.org), perhaps as a "paper town", or fake entry that acts as a copyright canary when duplicated elsewhere. Gamer news and special-interest blogs and sites, and even print publications like GamePro picked it up, and I think it was even listed on Wikipedia as an urban legend whose actual existence was unknown. Then the retrogaming YouTuber Ahoy did an in-depth documentary (https://m.youtube.com/watch?v=_7X6Yeydgyg) which concluded that Polybius didn't exist and was never even mentioned before the aforementioned coinop.org reference and, for me anyway, that settled it. Polybius, in its urban legend form, never existed.
(Norm Macdonald voice) Or so the Germans would have us believe...!
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