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Knakkergaard, M. (2016). Unsound sound: On the ontology of sound in the digital age. Leonardo Music Journal, 26, 64–67. 
Added by: Mark Grimshaw (30 Sep 2017 15:36:06 Europe/Copenhagen)   Last edited by: Mark Grimshaw (30 Sep 2017 16:34:08 Europe/Copenhagen)
Resource type: Journal Article
Peer reviewed
BibTeX citation key: Knakkergaard2016
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Categories: General
Keywords: Ambiguity, Ontology
Creators: Knakkergaard
Publisher: MIT Press (Cambridge, Massachusetts)
Collection: Leonardo Music Journal
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URLs   http://www.mitpres ... s.org/toc/lmj/-/26
Abstract
"This article discusses the change in premise that digital produced sound brings about and how digital technologies more generally have changed our relationship to the musical artifact, not simply in degree but in kind. It demonstrates how our musical conceptions are thoroughly challenged by the digital production of sound and, by questioning the ontological basis for digital sound, turns our understanding of the core term substance upside down."
  
Quotes
p.64   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 to evade the laws of physics . . .?"   Added by: Mark Grimshaw
Keywords:   Digital Physics
p.64   "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."   Added by: Mark Grimshaw
Keywords:   Digital Ambiguity
p.65   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."   Added by: Mark Grimshaw
Keywords:   Physics Heidegger
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