How do we know what we know about the history of electronic music, and how does this knowledge frame, and sometimes limit, approaches to the creative, technical, and social possibilities of music-making in the present? What knowledge might sound itself give us to live more mindfully and create more expansively?

This lecture draws upon feminist theories and archival research to explore these questions in the context of the CTM festival's theme of "discontinuity," which calls for challenging and presenting alternatives to existing histories of electronic music.