| Knakkergaard, M. (2016). Unsound sound: On the ontology of sound in the digital age. Leonardo Music Journal, 26, 64–67. |
 
|
| Last edited by: Mark Grimshaw-Aagaard 01/11/2017, 07:44 |
|
| 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." |
| "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." |
| Knakkergaard, M. (2016). Music by numbers. In S. H. Klempe (Ed.), Cultural Psychology of Musical Experience (pp. 299–318). Charlotte NC. Information Age Publishing Inc. |
|
| Added by: Mark Grimshaw-Aagaard 01/10/2017, 13:00 |
|
| Discussing a particular rhythm in Michael Jackson's 'Give in to Me' from Dangerous (1991), Knakkergaard makes the point that the digital sequencer makes possible subdivisions of the beat that are unnatural, and possibly inconceivable, with standard musical notation. |
