Ryoji Ikeda’s sonic composition has often been considered to prioritise a physical, immersive experience of space over temporal musical progression. This article challenges this commonly held view, arguing that the static nature of his work should be understood in terms of complex interactions between space and time rather than in dualistic terms. By analysing a large-scale sonic transformation within his 2005 album Dataplex, the article uncovers complex rhizomatic networks of materials that expand across multiple tracks. The links between the album tracks leads to an unconventional quality of musical time that contains a high degree of statis yet nevertheless presents a non-linear progression, which is created through repetition (loops), variation and re-contextualisation of sounds. The analysis suggests that experiencing the ordered series of tracks in the album means accumulating information and exploring memory within a non-interchangeable process of sonic flow and metamorphosis. Despite the fragmentary nature of these internal continuities, the resulting rhizomatic networks provide a means to understand and even to listen structurally to Ikeda’s sonic composition.

Within computer-based and live electronic music, the values of competition, power, control and innovation dominate. Women continue to be under-represented in technical roles across production, management and software development. To address this imbalance, I examine how feminist frameworks and values can be applied to challenging the biases that influence uneven gender distribution within music technology development. Focusing on live embodied composition and computing where performative and design roles intersect, I explore the work of women composers who design or co-create bespoke systems that feature the body, reimagining the norms of music technology development while exposing insights about gender, race and body types in the sound and music industries. Referencing the work of Laetitia Sonami and Lauren Sarah Hayes, I argue that their embodied design practices constitute a type of activism that promote the feminist values of human computer interaction (HCI), including collaboration, transparency and empathy, countering dominant audio equipment and software design values oriented towards precise, perfected and disposable designs created in a hierarchical fashion.

This paper examines Smalley’s preliminary taxonomy of the sound shape and the subsequent application of graphical notation in electroacoustic music. It will demonstrate ways in which spatial categorisations of the morphological sound shape have remained relatively untouched in academia, despite a codependency of frequency, space and time. Theoretical examples and existing visualisations of the sound shape will be considered as a starting point, to determine why the holistic visualisation of space is warranted. A notational system addressing the codependency between spatial and spectral sound shapes will be presented, with reference to its context in Cartesian-coordinate sound environments. This method of electroacoustic notation will incorporate the visualisation of Smalley’s categorisation of spatial sound shapes and ideas of spatial gesture, texture and distribution within Smalley’s composed and listening spaces. This visualisation and notation of composed and listening spaces will demonstrate that audio technologies are imperative drivers in the future analysis and understanding of the sound shape. It will measure the modulation of spatial sound shape properties for Cartesian (height, width, depth) and spherical (azimuth and altitude) across linear temporality, to better represent the complete form of Smalley’s sound shape. This spatial notation will aid the rounded visualisation of Smalley’s morphology, motion, texture, gesture, structure and form. Use of this notational framework will illustrate ways in which a new tool to score electroacoustic sound shapes can inform new practices in computer music composition.