An essay that focuses on the interest in "unique sounds in and for themselves" as the thread connecting a variety of approaches to sound art. Beginning with efforts in the mid-1880s at imitating cannon fire and the like, Tyranny traces a line through Erik Satie, the Futurists, early electronic instruments, chance, drones, computer algorithms, the internet and beyond. A thorough and entertaining explication of one idea of the history of the genre.

The director of Diapason describes how the space emerged and continues to evolve, with views on curatorial practice, interactive art and algorithmic composition.

A collection of descriptions and quotations revealing the wide range of interests and practices encompassed by the term Sound Art. Major "topics" include sound in architectural space, manipulation of media and acoustic ecology.

Microsound is an emerging approach to music composition and analysis which places emphasis on extremely brief time-scales, usually a tenth of a second or less, as well as an integration of this micro-time level with the time-levels of sound gestures, sections, movements and whole pieces. This paper summarises some of the technical issues involved in microsonic analysis/composition, traces a history of microsonic techniques in contemporary music, and examines some of its aesthetic implications in a social context.

This is one of the texts that accompanied the show "10ms - perspectives on microsound", October 2009.

An interview with the founder of the .microsound mailinglist, about 10 years of microsound, rhizomatic formations, the shadows and the ghosts of signals, post-digital consumerism and the craft of world-making.

This is another one of the texts that accompanied the show "10ms - perspectives on microsound", October 2009.