On October 18, 2000, the richest man in the world addressed an audience of Silicon Valley's technological elite at the "Creating Digital Dividends" conference. The conference, according to its press release, was "aimed at finding private business solu . . .

While this was definitely not the first time that the "death of vinyl" had been announced in the history of recorded music, there is little question that 2010 marked an important technological crisis in electronic dance music history, particularly for . . .

This project is an inquiry into the rhetorical nature and dimension of warfare in the twenty-first century. It is my contention that U.S. public policy responses to terrorism that have emerged since September 11th have fundamentally misapprehended the . . .

Mady Schutzman and Heather Raikes offer works that operate at the interstices of textual performance and scholarship. These exhibits explore various possibilities of cyberspace and hypertext for scholarly communication. The following speculations aros . . .

This script is a work of detournement, in which confrontations are staged among various voices through the juxtaposition of elements from other texts. Most of the passages are quoted verbatim, although in some cases minor changes have been made to the . . .

Musicians, journalists and academics often hold up the Velvet Underground as the paragon of authenticity in rock music, and the band indeed portrayed itself this way from the outset. While much ink has been spilled explaining the original and authenti . . .

To produce a “book review” of Trinh T. Minh-ha’s most recently published text, Framer Framed, is to enter into that economy in a particularly inappropriate manner, for it is precisely the “book” and the “review” that much of Trinh’s work throws radica . . .

This essay is an attempt to understand the discursive apparatus surrounding sexual consent in the broader context of the history of the Anglo-American juridico-legal repression of sexuality. The goal of this essay is to make a few observations about t . . .

In part two of this conversation concerning the role of technology in DJ performance and electroniculture, scholars and DJs tobias c. van Veen and Bernardo Alexander Attias explore theways in which various technologies change the means as well as the . . .

In this exchange, Los Angeles electronic dance music DJ and communications studies Professor Bernardo Attias (aka dj professor ben) discusses the question of turntablism in the 21st century with tobias c. van Veen, techno-turntablist and scholar in ph . . .