Keys and concept by Michael Koch.
To be a bit more precise: It is my opinion that dissonant chords in the baroque sense can't be detached from the contrapuntal environment they emerged from. There are some rather typical or characteristic situations where those chords occur and these situations are usually dynamic continua: preparation - actual chord - resolition PLUS the syntactical function to which this fabric is bond to individually: which creates a very specific schema or "micro-schema".
On the approach of generating chords from dissonant two-voice-fabrics/suspensions: I stumbled upon this strategy already years ago when writing my master thesis and found it pretty exotic but as well fascinating and illuminating the same way. It then reappeared in Johannes Menke's "Kontrapunkt II" and since then the penny somewhat dropped as in the meantime I witnessed this approach, kind of sneaked in implicitely in a bunch of Partimento- or Partimento-inspired sources I was browsing through or worked on, such as Durante's Regole, Händel's Princess-Ann-Exercises up to 19th-century examples like Czerny's Generalbass-treatise (Op. 838). My impression is that this approach conveys a lot more horizontal spirit then the more common term "chord progression" (that still implies a thinking from "chord to chord" as their defining atomic entities). And hands down: in a lot of situations - e.g. the Doppia upon the tied bass - the term "chord progression" doesn't really capture the actual ongoing at all, although you still can break it down into individual chords.

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