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.

The author gives a brief history of his work with musical process, describes the convergence of scientific visualization and computer-human interface in his work, and makes prognostications about the future of interactive computer music.