The definition of genres within electroacoustic music, electronic music orcomputer music is extremely difficult. In recent times it seems that, forsome, the term electroacoustic music has become a euphemism for acousmaticcomposition; computer music has so many different categories that it hasbecome a generic term hardly used at all but replaced by interactive,algorithmic and the many other sub-genres which now predominate. This isprobably a natural and expected evolution through the development andglobalisation of technologies and the dissemination of aesthetics, butwhen Organised Sound issued a call for articles relating to the use andapplication of computers and technology in ‘popular music’, wemay have, inadvertently, guaranteed that no one would understand what wemeant. We had imagined that there were many people using what to date hadbeen seen as largely academic research tools and applications and applyingthem in exciting ways to new forms of commercial experimental music andelectronica. We had imagined that the potential of ‘glitch’,‘électroacoustique’ or ‘microsound’ and themany other genres of contemporary electronica would yield articlesabout the desires, methods and techniques of young composers andlaptop performers.