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.
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