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The censor in Turing’s game receives only typescripts, making the simulation of individuality a typist’s hazard.

The phonograph produces a primal sound not by notation but as a metaphor, an absolute transfer of anatomical traces.

Alphabetic individuals find their exteriority in the continuous flow of ink and letters, making books into film and record surrogates.

The symbolic is the world of the machine; writing is no longer surrogate sensuality but tautology of technicians.

Noise is the price media pay for delivering effects that are at the same time reproductions; bodies themselves generate noise.

Record grooves dig the grave of the author; Wildenbruch's immortal soul is reduced to noise that speaks as a corpse.

Media reconstruct bodies beyond symbolic grids; photography and phonography are authenticated reproductions of the bodily real.

With technical sound storage, the realm of the unconscious becomes publicly accessible, recorded in indiscriminate babble.

The phonograph stores indices, not poems, revealing the 'hidden' truths that evade the symbolic and imaginary.

The symbolic order is enforced by libraries, while media technology distributes power by registering particulars beyond self-representations.

The machine’s materiality cannot be ignored indefinitely; only musicians possess the necessary capacity for phonographic illusion.

Phonography is the real in psychoanalysis; once optics, acoustics, and writing differentiated, Man escaped into apparatuses.