How does a piece of computer network music reflect the virtual economy of the late twentieth century? Was the “open-form” music of the 1960s a bedfellow of organizational science? The author conjectures about the nature of distributed composition and the socioeconomic implications of its application in a composition for networked credit card readers.

This content is only available as a PDF.
© 1999 ISAST
1999
You do not currently have access to this content.