Knakkergaard, M. (2016). Unsound sound: On the ontology of sound in the digital age. Leonardo Music Journal, 26, 64–67.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 01/11/2017, 06:44
Talking of digital 'sound', the "digital material", comparing it to natural sound that is formed by the laws of physics: "for what is this otherworldly form in which the [digital] material occurs, that makes it possible to readily evade the laws of physics . . .?"
"The digital bit is not in the world in the true sense [they] are organized in arrays that consist solely of the simplest possible difference: something or nothing."
Using Heidegger, he describes the uncovering of nature made possible by technology, a process driven by humans: the uncovering is ordered and, in its ordering, "is co-shaping our concept and understanding of what is uncovered and ordered [there is a ] formatting that the exercise of any technique applies to what is uncovered and made available."
"The assembly is manifested in enframing form, but is it the real as standing reserve the enframing uncovers? Hardly, as the possible "un-covering" seems petrified in the metaphorical tables that define and delimit actions in the digital domain."
Manning, P. (2003). The influence of recording technologies on the early development of electroacoustic music. Leonardo Music Journal, 13, 5–10.
Added by: Mark Grimshaw-Aagaard 12/07/2024, 10:21
Voegelin, S. (2013). Sonic possible worlds. Leonardo Music Journal, 23.
