Arts of the Spectrum: In the nature of electromagnetism (under contract, University of California Press).
Mainframe Experimentalism: Early Digital Technologies and the Experimental Arts, edited with Hannah Higgins (in preparation).
The Source Book: Music of the Avant-garde, 1966-1973, edited with Larry Austin (under contract, University of California Press).
Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 1999).
Wireless Imagination: Sound, Radio and the Avant-garde, coeditor (MIT Press, 1992).
Ernst Friedrich, War Against War (Berlin, 1924), initiated reprint project (Real Comet Press, 1987).
John Heartfield: Art & Mass Media (Tanam Press, 1985).
Cultures in Contention, coeditor (Real Comet Press, 1985).
ESSAYS IN BOOKS:
“Where Does Sad News Come From?” (on the history of satirically re-edited news), Collage as Cultural Practice, edited by Rudolf Kuenzli and Kembrew MacLeod (forthcoming).
“VLF and Musical Aesthetics” in proceedings from the Sound and Science workshop, edited by Julia Kursell, Max-Planck Institute for the History of Science, Berlin (forthcoming).
“Joyce Hinterding and Parasitic Possibility,” Radio Revisited, edited by Heidi Grundmann (forthcoming).
“Radio was discovered before it was invented,” Relating Radio: Communities, Aesthetics, Access, edited by Golo Fölmer and Sven Theirmann (Leipzig: Spector Books, 2007).
“Radio of the Sphere”, Radio Territories, edited by Erik Granley Jensen and Brandon LaBelle (Errant Bodies Press, 2007).
“Between a Bach and a Bard Place: Productive Constraint in Early Computer Arts,” MediaArtsHistory, edited by Oliver Grau (MIT Press, 2007).
“Plénitudes vides et espaces expérimentaux: La postérité des silences de John Cage,” (Empty Plenitudes and Specialized Spaces: The Legacy of John Cage’s Silences) Sons & Lumières: Une histoire du son dans l’art du Xxe siècle, edited by Sophie Duplaix and Marcella Lista (Paris: Éditions Centre Pompidou, 2004), 79-89.
“Art and Sound,” Hearing History: A Reader, edited by Mark M. Smith (Athens, GA: University of Georgia Press, 2004), 36-50.
“Ether Ore: Mining Vibrations for Modernist Music,” Hearing Culture: New Directions in the Anthropology of Sound, edited by Veit Erlmann (London: Berg, 2004), 107-130.
“The Sound of Music,” The Auditory Cultures Reader, edited by Michael Bull (London: Berg Publishers, 2003), 77-90.
“Surround Sound,” Christian Marclay, edited by Russell Ferguson (Steidl Press and Hammer Museum, 2003).
“Concerning the Line,” From Energy to Information: Representation in Science, Literature and the Arts, edited by Linda Dalrymple Henderson, et. al. (Stanford University Press, 2002).
“Nigel Helyer’s Silent Forest,” Installation Art in Australia, edited by Ben Genocchio (Sydney: Power Institute Press, 2001).
"Three Receivers: Burroughs and Radio," Experimental Sound and Radio (reprint of special issue of The Drama Review, T151), edited by Allen Weiss (MIT Press, 2001).
“Writing Noise Out of Seeing and Hearing,” Value Added Goods, edited by Stuart Koop, (Melbourne: Center for Contemporary Photography and Coach House Press, 2001).
“Artaud in America,” 100 Years of Cruelty, edited by Edward Scheer (Sydney: Power Institute Press, 2000).
“The Sound of Music,” Ars Electronica: Facing the Future, edited by Tim Druckery and Ars Electronica (Cambridge: MIT Press, 1999).
“High-Speed Nature: Rosemary Laing’s Greenworks,” 25 years of Photofile (Sydney: Power Institute Press and Australian Center for Photography, 1999).
"Wasser und die Auflösung des Mediums: New York um die Jahrhundertmitte” (Water and the Dissolution of the Media: New York at Midcentury), Klangkunst , edited by Golo Fölmer, et. al. (Munich: Prestel, 1996).
"Track Organology," Critical Issues in Electronic Media, edited by Simon Penny (Albany: S.U.N.Y. Press, 1995).
"Radio Space" in Radio Rethink, edited by Dan Lander and Daina Augitus (Banff, Alberta: Banff Centre of the Arts, 1994).
"The Latest: Fluxus and Music," In the Spirit of Fluxus, edited by Elizabeth Armstrong and Joan Rothfuss (Minneapolis: Walker Art Center, 1993), second edition translated into Spanish for Barcelona exhibition, third edition translated into French for Marseilles exhibition.
"Audio Art in the Deaf Century," Sound by Artists, edited by Dan Lander and Micah Lexier (Toronto: Art Metropole, 1990).
"A Resounding of Malcolm Goldstein," Fire Over Water, edited by Reese Williams (New York: Tanam Press, 1986).
• JOURNAL, REVIEW, CATALOG AND WEB ESSAYS
“I am sitting in a room: Spatial Mediation in the Music of Alvin Lucier,” OASE Architectural Journal, Dutch/English (forthcoming).
“Semiconductor’s Magnetic Movie,” publicity essay for commissioned animation, 2007.
“Riga’s Prehistoric Sound Art,” catalog essay, SKAN, sound art festival, Riga, Latvia, 2007
“Sound Art, Art, Music,” special issue on sound art, edited by Ben Basan, The Iowa Review Web, Vol. 7, No. 1 (August, 2005).
“Digits on the Historical Pulse, Being a way to think about how so much is happening and has happened in sound in the arts,” Programmatic Key Text for Refresh! First International Conference on the Histories of Media Art, Science and Technology (Sept. 28 - Oct. 3, 2005). www.mediaArtHistory.org/
“Atmospheric Signals as Cosmos,” FO A RM Magazine, Issue No. 4 (2005).
“Ginsberg on Laughing Gas,” in “Poetry and Theory: A Roundtable,” Publications of the Modern Language Association of America, Volume 120, Number 1 (January 2005), 97-107.
“A Musical Technography of John Bischoff,” Leonardo Music Journal, Volume 14 (2004), 75-79.
“Drugs and Sound,” Musae, special issue of Link, No. 9, (Baltimore, 2004), 66-77.
Mark Katz, Capturing Sound: How Technology has Changed Music (book review), Echo: A Music-centered Journal, Vol. 7, No. 1 (Fall 2005)
“The Early Years: Interview with Christian Marclay,” Leonardo Music Journal, Volume 13 (2003), 17-21.
“Digits on the Pulse of Sound,” web essay for exhibition Pulse Field, Georgia State University (Atlanta: 2003).
“Christian Marclay is Not a Sound Artist,” catalog essay on exhibition website, Museum of Contemporary Art, Chicago (May 2001)
“James Lastra, Sound Recording and American Cinema,” book review, Modernism/ Modernity, Volume 8, Number 2 (April 2001), 337-338.
“The Levitation Grounds: an installation by Joyce Hinterding and David Haines,” co-authored with Frances Dyson, Eyeline No. 43 (Spring 2000).
“James Tenney at Bell Labs,” interview with James Tenney, Leonardo Electronic Almanac, Vol. 8, No. 11 (February 2001)
“Introduction to James Tenney’s ‘Computer Music Experiences’” Leonardo Electronic Almanac , Vol. 8, No. 11 (February 2001).
“Sound Awake,” review essay, of Alain Corbin, Village Bells: Sound and Meaning in the Nineteenth French Countryside and Bruce Smith, The Acoustic World of Early Modern England, in The Australian’s Review of Books (July, 2000).
“The Revenge of the Nephew,” catalog essay for exhibition of Paul DeMarinis , Richared L. Nelson Gallery & The Fine Arts Collection, University of California-Davis (April-May, 2000).
“Squirming and Recoiling,” catalog essay, Artspace, Sydney (October-November 1999).
“Colin Duncan’s Sleeplessness,” catalog statement, Adelaide Biennial (March 1998).
“John Cage: Silence and Silencing,” The Musical Quarterly, Volume 81, No. 4 (Winter 1998).
“Cage und die technische Austrottung der Stille,” Positionen: Beiträge zur Neuen Musik, No. 31 (May 1997).
“Paul DeMarinis un der ‘Edison Effekt’,” Positionen: Beiträge zur Neuen Musik, No. 30 (February 1997).
"The Lyre’s Island: Some Australian Music, Sound Art and Design," compact disc and accompanying special section, Leonardo Music Journal, Volume 6 (December 1996). Includes Percy Grainger, Rainer Linz/Stelarc, Sherre DeLys, Joyce Hinterding, Jody Rose, Frances Dyson, and Paul Carter.
"What Now the Promise?" Burning the Interface: International Artists' CD-ROM, catalog essay (Sydney: Museum of Contemporary Art, 27 March-30 June, 1996).
"Nigel Helyer's Silent Forestß,” catalog essay (San Francisco: San Francisco Art Institute, April 1996).
"Three Receivers: Burroughs and Radio," TDR (The Drama Review, T151), Vol. 40, No. 3 (Fall, 1996).
"The DeMarinis Effect,” essay accompanying compact disc of works by Paul DeMarinis, Het Apollohuis, Eindhoven (July 1995)
"An Unheard-of Organology," editorial for Leonardo Music Journal, Vol. 5, 1995.
"Noise, Dada War Drums and Russolo’s Art of It,” Midwest, No. 8 (New Zealand) (December 1995).
"A Grotesque Time," Photofile #46 (November 1995).
"Unheard-of Organology," (English version) InterCommunication Annual, (September 1995).
"Cellular Phones: Corporeal Communications in William Burroughs and L. Ron Hubbard," Essays in Sound (September 1995).
"High Speed Nature: Rosemary Laing," Photofile #45 (August 1995).
"CRASH! SPLASH! Colliding and Colluding Arts," Agenda #41 (March 1995).
"Unheard-of Organology" (Japanese), InterCommunication, No. 9, (Tokyo, May 1994).
"A Short History of Amplification," (French) Java (Paris, 1994).
"Christian Marclay's Lucretian Acoustics," catalog essay (Berlin: daadgalerie and Freiburg Kunsthalle, February 1994) and Parachute (Montreal, Spring 1994).
"One Sound, All Sound" (Japanese), special sound issue of Music Today Biannual (Tokyo), Volume 19 (Fall 1993).
"Satellite Skirmishes: An Interview with Paper Tiger West's Jesse Drew" in Afterimage, Vol. 20, No. 10 (May 1993).
"Ron Kuivila's Electric Entertainments,” catalogue text for L'informatique appliquée aux arts: Ron Kuivila, Obscure, Québec City (January 1993).
"Eisenstein and Cartoon Sound," Contemporary Sound Arts, Sydney (Winter 1993).
"Vibration, Inscription, Mostly Transmission," West: An Interdisciplinary Journal of the Arts, Sydney (Fall 1992).
"The Tatters of their Bodies: Drifting through Dead Letters," Performing Arts Journal #41 (Summer 1992).
"John Cage and John Zorn on Record," Musicworks #53, Toronto (Fall 1992).
"The Body Lag," City Lights Review, special issue War After War (Winter 1992).
"Track Organology," October No. 55, New York (January 1991).
"Cage, Music, Fluxus" Fluxattitudes, exhibition catalogue, (Buffalo: Hall Walls and NY: The New Museum, Fall 1991).
"Acoustic Sculpture, Deboned Voices," Public, Nos. 4/5, Toronto (September 1990) and New Musical Articles #8, Melbourne (Fall 1990).
"Conceptual Instruments," Experimental Musical Instruments (October 1990).
"A Better Parasite," Art & Text, Sydney (December 1988).
"Vertov's Ear Galvanized," Cinematograph: Journal of the San Francisco Cinematheque, Vol. 3 (Fall 1988).
"Interview with Marvin Minsky," Ear Magazine (September 1988).
"The Sound of Music," (German/English) Ars Electronica 1987 (August 1987).
"The Tradition of Audio Art," Ear Magazine (February/March 1987).
"The Talking Heads: Africanism and Avant-garde in Mass Culture" (Serbo-Croatian), Lica, Sarajevo (December 1987).
"The Non-Histories of John Heartfield," Spot: Journal of the Houston Center for Photography (December 1986).