Pink Noises: Women on Electronic Music and Sound, Duke University Press (2010). Twenty-four interviews with women who are electronic musicians, DJs, sound artists; with critical introduction on gender and audio cultures.
Essays on the cultural history of synthesized sound
“Toward a Feminist Epistemology of Sound: Refiguring Waves in Audio-Technical Discourse,” in Engaging the World: Thinking After Irigaray, edited by Mary Rawlinson, SUNY Press (2016).
“Tinkering with Cultural Memory: Gender and the Politics of Synthesizer Historiography,” Feminist Media Histories, 1:4 (Fall 2015), special issue: Women and Soundwork, edited by Michele Hilmes and Kate Lacey.
“Synthesis,” in Keywords in Sound, edited by David Novak and Matt Sakakeeny, Duke University Press (2015).
“‘What, for me, constitutes life in a sound?’: Electronic Sounds as Lively and Differentiated Individuals,” American Quarterly 63:3 (September 2011), special issue: Sound Clash: Listening to American Studies, edited by Kara Keeling and Josh Kun: 509-30.
“Into the Woods: A Brief History of Wood Paneling on Synthesizers,” Sounding Out! The Sound Studies Blog, May 30, 2011.
Other sound history & theory
“Cultivating Activist Lives in Sound,” Leonardo Music Journal 25 (2015), special issue: The Politics of Sonic Art. (Adapted from a keynote lecture at the 2nd Sound::Gender::Feminism::Activism conference, London College of Communication, October 2014.)
“Approaching Sound,” in The Routledge Companion to Media Studies and Digital Humanities, edited by Jentery Sayers (New York: Routledge, 2017, forthcoming).
“Toward a Feminist Historiography of Electronic Music,” in The Sound Studies Reader, edited by Jonathan Sterne, Routledge (2012), reprinted from the introduction to Pink Noises.
“The Poetics of Signal Processing” (co-authored with Jonathan Sterne), differences: A Journal of Feminist Cultural Studies 22:3 (Fall 2011), special issue: The Sense of Sound, edited by Rey Chow and James Steintrager, 31-53.
– Also published in German translation: “Poetik der Signalverarbeitung,” Zeitschrift für Medienwissenschaft (Media Studies Journal) 5:2 (2011).
“On the Process and Aesthetics of Sampling in Electronic Music Production,” Organised Sound 8:3 (2003), 313-20.
– Reprinted in Electronica, Dance and Club Music, edited by Mark J. Butler, The Library of Essays on Popular Music series (Ashgate, 2012); and published in Swedish translation (by Jim Jakobsson) in Mer än Ljud/More Than Sound, edited by Sara Arrhenius and Magnus Bergh (Stockholm: Albert Bonniers Förlag, 2013).
Editing & curating
Guest curator, Her Noise Archive (2012). Review of Daphne Oram’s An Individual Note of Music, Sound and Electronics.
Guest curator, Sounds Like Now! CD to accompany a special issue on improvisation and technology, Leonardo Music Journal 20 (2010).
Guest editor, “Sound and the Social Organization of Space,” Leonardo Music Journal 16 (2006). A curated special section featuring artist statements from Carrie Bodle, Beth Coleman & Howard Goldkrand, Chris Kubick & Anne Walsh, Trevor Paglen, and Matt Volla.
“Patterns of Movement: Landscapes, Data + Sound,” Fembot Collective: Gender, New Media, and Technology blog (2012).
“How Art and Research Inform One Another; or, Choose Your Own Adventure,” Canadian Journal of Communication 37:1 (2012), special issue: Media Arts Revisited, edited by Kim Sawchuk, 155-61.
On the audiovisual installation “Places I’ve Lived and Traveled To, 1973-2005,” Tools of Mind, special issue of FO A RM curated by Matt Marble (2007).
“Butterfly Effects: Synthesis, Emergence, and Transduction,” Leonardo Electronic Almanac 14:7-8 (2006), special issue: Wild Nature and the Digital Life, edited by Sue Thomas and Dene Grigar. On a quad sound installation, written in SuperCollider, inspired by behaviors of migrating butterflies.