Computer macro introduces the electronic into the analog. Pi, to be representable, must always be rounded (off); same goes for “music” in general: sound always bound by technology’s inevitable failures in producing verisimilitude. Clicks become the ends of the diameter—touching the skipping, incomplete arcs of ringing noise at the supposed circle’s edge; identity, always incomplete, can only hope to touch its own laborious borders.  The digital is pitiless, but it’s still a system.