A note on bifurcation from the essential spectrum by Badiale M.

By Badiale M.

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No writer has described it better than novelist Joyce Carol Oates (1973): ‘‘Machines are not evil, or even ‘unnatural,’ but simply extensions of the human brain. The designs for our machines are no less the product of our creative imaginations than are works of art, though it might be difficult for most people—especially artists—to acknowledge this’’ (38). As Ferguson (1978) notes, ‘‘nobody denies the contributions of science to technology, but crucial non-scientific decisions are always involved in the designing or shaping of any technological object’’ (451).

Denby says, ‘‘Old recordings, with their slightly, honking bleat, their flattened high-frequency tones and muddied middle, can also be satisfying’’(64, 66). The characteristics being extolled in the old recordings are precisely the ones we sought to eliminate before the advent of the new technology. Prestige accrued to the committed audiophile with a very high-priced turntable (and not a proletarian changer) and other expensive, technologically superior equipment that produced a cleaner, more accurate sound, a task that was matched by studio engineers who sought to produce a recording for the discriminating listener.

The designs for our machines are no less the product of our creative imaginations than are works of art, though it might be difficult for most people—especially artists—to acknowledge this’’ (38). As Ferguson (1978) notes, ‘‘nobody denies the contributions of science to technology, but crucial non-scientific decisions are always involved in the designing or shaping of any technological object’’ (451). Some of the older technologies, such as that of the Gothic cathedrals, are sometimes romanticized and treated as achievements of the spirit.

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