“The turntable, with its appendages, is a stalled computer: a head and an infinite tape. It can read stored material, it can reproduce any sound; but used in the standard way, it can only read, not store. Hip hop declared war on this nonfacility by throwing the disc into reverse, mutilating predetermined regimes of speed and frequency. Hip hop mobilized the third category of action of the computer; alongside reading and storing information, the universal machine must be able to act on itself, to calculate. The phase space of all possible sounds of the turntable is determined by the table drawn up at the intersection of speed and frequency. Turntablism opens this space up to
mutation outside of the regimes of melody, harmony, and voice by forming a copula between the two series, rhythm and noise. The endless tape of the Turing machine is imposed on the finite coil, causing it to leap from break to break. Feedback is "the property of being able to adjust future conduct by past performance,"" to reprogram: to alter its performance in the light of computation. The turntable invents the DJ in order to compute.”