In this article, 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 addresses issues such as; how does a piece of computer network music reflect the virtual economy of the late twentieth century? And, was the “open form” music of the 1960s a bedfellow of organizational science?
Free Enterprise: Virtual Capital and Counterfeit Music at the End of the Century
Leonardo Music Journal 9: 19-22.