Actar, ISBN 8495951134 In his dual role as 'kind' and 'tool', electronic music has permeated musical culture to its roots in the past fifteen years. Fulfill her aspiration to work 'directly' on the sound material, it has implemented the production staff, concrettizzatasi thanks to PCs, which brought out by professional composition of most of the songs. This text, produced as a catalog of ' traveling exhibition of the same name sums up the voices of various writings hosted macro and micro factors that influenced the creation of digital sounds, such as the sharing of knowledge through the mailing list, the formation of small label run by the same artists, the central role of the listener, freed from the chain of distribution patterns through free trade across networks. How Elie During says in his essay "is the music of machines, whose echoes are scattered in the digital network." And so now widely debated issues such as the death of the author perpetuated in sampling, or the artist's role increasingly in the balance between technical skill and expressive, intersect with doubts (expressed, in this case, by David Toop) on 'use of laptops as a means of liberation deterritorialized production or as an instrument of approval in the tools used. And so the historical reconstruction and staff of the birth of techno in Detroit and its related social context as well as the innovation of musical semantics, described by Simon Reynolds, become another excuse to define the process contemporary sound. The latter has changed radically compared to that known until the eighties and screened in schizophrenic mode to a thousand streams that create an innovative liquid matrix of search paths in continuous experimentation.