oh, i though that was a real thing, but it seems like it's just eno flogging some apps..... these days computing is visceral (touch screens), predominantly social tools and have graphic interfaces. which is the point in time in which computing can intergrate itself into the language of pop; functioning as social music, body music and music with aesthetic resonance.
i did an interview with Steve Malkmus recently about his new 'rock'n'roller gets into electronics' solo album Groove Denied, which he made using Ableton Live, Pro Tools, soft synths etc etc, and he used this analogy for the process of track-construction - that it was similar to the way his kids “used to make these girls on my iPhone - choosing hair colour, dresses, etc. That intuitive swipe and grab thing. Chop and move the waves. Apple computer scroll style of thinking"
so very different from the way he would normally write a song, ie. messing around with chord progressions, feeling his + backing band's way to a groove.
That's tactile, but making the solo album - just him + tech - involved a different kind of tactility, a much reduced, restricted form. Perhaps better describe as digitality, in both the code, zeroes and ones sense, but also because it does still involve your digits, and muscle memory - but is not as physical or as sensual as playing piano or guitar or drums, more about using fingertips to make a series of choices (an infinite recession of them, potentially)
Eno has been banging on for ages about generative music as the next frontier of music, arguing that in 50 years the idea that people used to listen to a piece of music that stayed the same on each repeat listening would seem absolutely ludicrous... but so far there's been no takers, it's not caught on, it's just his own pet obsession.