In this article, the author examines the borders and the points of intersection and crossover between electroacoustic art music and popular music, from musical, aesthetic and cultural perspectives. He suggests that musically there is partial crossover occurring, in that there are popular artists who are creating interesting sounds that would not be out of place in an electroacoustic composers sonic palette. However, aesthetically and culturally there remains a mutual exclusiveness as the two musical cultures are far too independent idealistically and aesthetically.