EDM Theory and Fiction: The Conceptual Dimension of Musical Waves. A Conversation with Steve Goodman/Kode9

Albiez, Sean. “Post-Soul Futurama: African American Cultural Politics and Early Detroit Techno.” European Journal of American Culture 24, no. 2 (2005): 131–52.

AUDINT, Unsound:Undead, edited by Steve Goodman, Toby Heys and Eleni Ikoniadou. Falmouth: Urbanomic, 2019.

Beyer, Rick and Elizabeth Sayles. The Ghost Army of World War II. New York: Princeton Architectural Press, 2015.

Bottin, Guglielmo. “Il progetto della hauntology: forme e pratiche dell'artefatto musicale in un presente nostalgico.” Rivista di Analisi e Teoria Musicale 28, no. 1 (2022): 103–36.

———. “Six Popular Music Albums as Allegories of the Future.” Mosaic 56, no. 2 (forthcoming).

Brown, Richard and Kevin S. Decker, ed. Terminator and Philosophy: I’ll be back therefore I am. Hoboken: John Wiley & Sons, 2009.

Brunner, Christoph. “The Sound Culture of Dubstep in London.” In Musical Performance and the Changing City, edited by Fabian Holt and Carsten Wergin, 256–70. London: Routledge, 2013.

CCRU, Writings 1997–2003. Falmouth: Urbanomic, 2017.

De Seta, Gabriele. “Sinofuturism as Inverse Orientalism: China’s Future and the Denial of Coevalness.” SFRA Review 50, no. 2–3 (2020): 86–94.

Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998.

Fisher, Mark. “Is pop undead?” In K-Punk: the Collected and Unpublished Writings of Mark Fisher, edited by Darren Ambrose, 317–20. London: Repeater, 2018.

Foucault, Michel. La pensée du dehors. Montpellier: Fata Morgana, 1986.

Gibson, William. Distrust That Particular Flavor. New York: Putnam, 2012.

Goodman, Steve. “Audio Virology: on the Sonic Mnemonics of Preemptive Power.” In Sonic Mediations: Body, Sound, Technology, edited by Carolyn Birdsall and Anthony Enns, 27–42. Newcastle: Cambridge Scholars Publishing, 2008.

———. “Fei Ch’ien Rinse Out: Sino-Futurist Under-Currency.” Warwick Journal of Philosophy, no. 7 (1998): 155–72.

———. “Sonic Anarchitecture.” In Autumn Leaves: Sound and the Environment in Artistic Practice, edited by Angus Carlyle, 63–5. Paris: Double Entendre, 2007.

———. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge: MIT Press, 2009.

———. “Speed Tribes: Netwar, Affective Hacking and the Audio Social.” In Cultural Hacking: Kunst des Strategischen Handelns, edited by Thomas Düllo and Franz Liebl, 139–55. Vienna: Springer, 2005.

———. “The Ontology of Vibrational Force.” In The Sound Studies Reader, edited by Jonathan Sterne, 70–2. London: Routledge, 2012.

———. Turbulence: A Cartography of Postmodern Violence. PhD diss., University of Warwick, 1999.

Ikoniadou, Eleni. “A Sonic Theory Unsuitable for Human Consumption.” Parallax 23, no. 3 (2017): 252–65.

Kane, Brian. “Sound Studies without Auditory Culture: A Critique of the Ontological Turn.” Sound Studies 1, no. 1 (2015): 2–21.

McLeod, Ken. “Outer Space, Futurism and the Quest for Disco Utopia.” In Global Dance Cultures in the 1970s and 1980s, edited by Flora Pitrolo and Marko Zubak, 281–301. Cham: Palgrave Macmillan, 2022.

Merchant, Brian. “Fully-automated luxury communism.” The Guardian, March 18, 2015. https://www.theguardian.com/sustainable-business/2015/mar/18/fully-automated-luxury-communism-robots-employment.

Na, Girish. “Military-Industrial Complex in the Science Fiction Films of James Cameron.” Al-Shodana 10, no. 1 (2022): 74–82.

O’Sullivan, Simon. “Accelerationism, Hyperstition and Myth-Science.” Cyclops, no. 2 (2017): 11–44.

Parisi, Luciana. Philosophy, Bio-Technology and the Mutations of Desire. London: Continuum, 2004.

Parisi, Luciana and Steve Goodman. “Extensive Continuum: Towards a Rhythmic Anarchitecture.” INFLeXions, no. 2 (January 2008). https://www.inflexions.org/n2_parisigoodmanhtml.html.

Reynolds, Simon. “Adult hardcore.” The Wire 182, April 1999, 54–8.

———. “(No) future music?” New Perspectives 8, no. 3 (2020): 305–13.

———. “The History of Our World: The Hardcore Continuum Debate.” Dancecult 1, no. 2 (2010): 69–76.

St. John, Graham. “The difference engine: Liberation and the rave imaginary.” In Rave Culture and Religion, edited by Graham St. John, 17–44. London: Routledge, 2004.

Stelfox, Dave, Vivian Host, Steve Goodman. “Dubstep: burning down the 2-step garage.” XLR8R 60, July–August 2002, 32–9.

Vason, Francesca. “Dal rumore al noise: breve excursus di un'invasione estetica,” Kabul Magazine, no. 1 (2016), https://www.kabulmagazine.com/dal-rumore-al-noise-pt-1-breve-excursus-di-uninvasione-estetica-ed-etica/.

Toernatzky, Cyane and Brendan Kelley. An Artistic Approach to Virtual Reality. London: Taylor & Francis, 2024.

Tolfo, Davide e Nicola Zolin. “Affetti, soggettività e ritornelli: l’impercettibile suono del Cosmo nel campo di battaglia acustico.” La Deleuziana, no. 10 (2019): 239–59.

Vendryes, Thomas. “Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music.” Dancecult 7, no. 2 (2015): 5–24.

Vermeulen, Timotheus and Robin van den Akker, “Notes on Metamodernism,” Journal of Aesthetic & Culture 2, no. 1 (2010).

Zhexi Zhang, Gary. “Sinofuturism and Its Uses: Contemporary Art and Diasporic Desire.” Verge: Studies in Global Asias 7, no. 2 (Fall 2021): 86–92.

Discography

Various Artists. Diggin in The Carts (A Collection Of Pioneering Japanese Video Game Music). Hyperdub HDBLP038. 2017, double LP.

Fisher, Mark and Justin Barton. On Vanishing Land. Flatlines FLAT001, 2019, LP.

Kode9. Astro-Darien. Flatlines FLAT002, 2022, 12” record.

———. Nothing. Hyperdub HYPCD003. 2015, CD.

Kode9 & Daddy Gee. Sine of the Dub/Stalker. Hyperdub HYP001, 2004, 10” record.

Kode9 & Fulltono. TKO. self-released, 2016, file.

Kode9 & The Spaceape. Black Sun. Hyperdub HYPCD002, 2011, CD.

———. Memories of the Future. Hyperdub HYPCD001, 2006, CD.

Prince. Sign “O” The Times. Paisley Park 20648, 1987, 12” record.