Digital machines cover up meaning, disrupt sense, delete historic markings and traces. They do not distinguish, they do calculate. Everything is determined and can be calculated. Sampling already evades the cut-up method which permanently confirms the unity of its system by cutting up and adding texts.

The surfaces of these machines no longer show pictures, but models where music cuts out the aesthetic connotation and becomes purely operational. Only in this way is music able to grow metastatically.

Clicks and Cuts are its symptoms, omnipresent and without reference. Here we can hear the in-between, the leap which links loops, the transitions, and even where clicks simulate the essence of a metronome, the continuous beat, they are also phrase, where the predictable order of emphasis gives way to a permanent shift of emphasis.

Clicks and Cuts are conjunctions as permanent ecstasy, and ... and ... and ...

Their medial implication consists of the permanent ability to connect. Their potential can only develop as the context of an event, a musical event, a consistent coupling with musical forms like Clickhouse, Clicktechno, R&B Click, Glitchfunk, Clickhop, etc. Clicks and Cuts works as the either or maybe as the other, as well. Their vagueness is the vagueness of the digital media, which is represented in the trivalent topology of the computer. In the binary logic of connections, there is not only the on and off mode, but also the switch which transfers the connection states. It is the non-representable symbol, the medium or the Ab-Ort which makes the one and zero state possible. Clicks and Cuts everywhere connections, shifts, transfers, transductions—trans.