Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? And is there even a place for aesthetics in twenty-first-century culture? This book explores genres ranging from techno to electroacoustic music, from glitch to drone music, and from dub to drones, and maintains that culturally and historically informed aesthetic theory is not only possible but...