Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (forthcoming, University of California Press, 2013).

Mainframe Experimentalism: Early Computing and the Foundation of the Digital Arts, edited with Hannah Higgins (University of California Press, 2012).

Source: Music of the Avant-garde, 1966-1973, edited with Larry Austin (University of California Press, 2011).

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 of photo-text document of WWI front   (Real Comet Press, 1987).

John Heartfield: Art & Mass Media (Tanam Press, 1985).

Cultures in Contention, edited with Diane Neumaier (Real Comet Press, 1985).



 “Artistic Interoception: Let Me Hear My Body Talk, My Body Talk,” Relive: Media Art Histories, edited by Sean Cubitt and Paul Thomas (MIT Press, November 2013).

 “Noises of the Avant-garde,” The Sound Studies Reader, edited by Jonathan Sterne (New York: Routledge, 2012).

 “The Military-Arts Nexus: Two cases in the United States, c. 1970,” Studies in Material Thinking, Vol. 8 (11 May, 2012).

The Aelectrosonic, single author small book format, Kontraste Cahiers No. 1 (Amsterdam: Sonic Acts Press, 2011).

 “Prelude to Live Cinema,” Journal of Visual Culture (August, 2011); Spanish translation, Revista Experimenta (August, 2011).

 “Where Does Sad News Come From?” (on the history of satirically re-edited news), Cutting Across Media, edited by Rudolf Kuenzli and Kembrew MacLeod (Duke University Press, 2011).

 “Some Artworks by Paul DeMarinis,” Paul DeMarinis (Berlin: DAAD/Singhur, 2010).

 “Alvin Lucier, Edmond Dewan and Music for Solo Performer,” Klangsmaschinen zwischen Experiment und Medientechnik, edited by Daniel Gethmann (Bielefeld: transcript Verlag, 2010).

 “Long Sounds,” The Poetics of Space (Amsterdam: Sonic Acts, 2010).

 “Semiconductor’s Brilliant Noise and Black Rain,” catalog essay (Brisbane: Institute of Modern Art, 2010).

 “Alvin Lucier: I am sitting in a room, immersed and propagated,” OASE Architectural Journal, No. 78, Dutch/English (2009).

 “Zoom: Mining Acceleration,” with Frances Dyson, Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller (Cambridge: MIT Press, 2008).

 “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).

“Between a Bach and a Bard Place: Productive Constraint in Early Computer Arts,” MediaArtsHistory, edited by Oliver Grau (MIT Press, 2007).

“Sound Art, Art, Music,” special issue on sound art, edited by Ben Basan, The Iowa Review Web, Vol. 8, No. 1 (Feb/March 2006).

“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.

“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.

 “The Early Years: Interview with Christian Marclay,” Leonardo Music Journal, Volume 13 (2003), 17-21.

“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).

"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).

“The Sound of Music,” Ars Electronica: Facing the Future, edited by Tim Druckery and Ars Electronica (Cambridge: MIT Press, 1999).

“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).

"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). 

"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.

"Three Receivers:  Burroughs and Radio," TDR (The Drama Review, T151), Vol. 40, No. 3 (Fall, 1996).

"Track Organology," Critical Issues in Electronic Media, edited by Simon Penny (Albany:  S.U.N.Y. Press, 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).

"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. Reprinted in Sound, edited by Caleb Kelly (London: Whitechapel, 2011).

"The Body Lag," City Lights Review, special issue War After War (Winter 1992).

"Track Organology," October No. 55, New York (January 1991).

"Audio Art in the Deaf Century," Sound by Artists, edited by Dan Lander and Micah Lexier (Toronto: Art Metropole, 1990).

"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). 

"The Sound of Music," (German/English) Ars Electronica 1987 (August 1987).