The
invention
and
development
of
simulation
devices
gives
space
to
ambiguous
interpretations
of
the
ontological
nature
of
simulation
itself
:
Cembali
were
invented
as
a
mechanical
simulation
of
a
lute
,
pianos
simulated
cembali
,
synth
keyboards
simulated
pianos
,
…,
each
time
focussing
on
the
emulation
of
the
previous
,
yet
almost
inadvertently
opening
up
unforseeable
possibilities
that
extended
the
known
musical
spectrum
.