The Role of Sound Art in Soundscape Design. Proceedings of the 10th Convention of the European Acoustics Association (September 2023).
“Artistic Research – The Difference That Makes a Difference.” (co-authors: Heloisa Amaral, João Carlos Santos, Alieksey Vianna, and Carlos Eduardo Soares). Debates/UniRio 26/1 (2022): pp. 74-91.
The Sonic Turn: Towards a Sounding Sonic Materialism.” New Sound 60/2 (2022): pp. 11-24.
“Is geluid nog altijd een bijzaak?” Geluid 45/1 (March 2022): pp. 6-8.
“Sounds, Soundscapes, and Sound Art.” Proceedings of the INTER-NOISE 2019 Conference (June 2019).
“Musical Performances Are (Not) Artistic Research.” IMPAR 1/1 (December 2017): pp. 5-15.
“Improvising (with) Sounds: A Sonic Postcard from Belgrade.” New Sound 50 (2017): pp. 269-284.
“Noise, Sounding Art, and Urban Ecology” Proceedings of the INTER-NOISE 2017 Conference (August 2017).
“Towards a’New’ Sonic Ecology.” Inaugural lecture, Leiden University (2016).
“Dialogue on Improvisation, Composition, and Performance: On Singularity, Complexity, and Context.” (co-author R. Costa). Revista Música 15/1 (2015).
“Reflexiones sobre entornos sonorous.” (co-author V. Meelberg, trans. Iván Ordóñez) (June 2013).
“Towards a Material Spirituality (and Beyond).” Die Tonkunst Heft 4 (October 2012): pp. 430-438.
“Reflections on Sonic Environments.” (co-author V. Meelberg). Journal of Sonic Studies 1/1 (October 2011).
“The Field of Musical Improvisation.” Konturen: Interdisciplinary Journal for German Cultural Analysis 2 (May 2010).
“Defending the Uncanny. On the Postmodern, the Art World, and the Turn towards Complexity.” (May 2009).
“Introduction.” New Sound 32 (December 2008): pp. 5-7.
“Improvisation. An Annotated Inventory.” New Sound 32 (December 2008): pp. 9-22.
“Improvisation: Between the Musical and the Social.” Dutch Journal of Music Theory 14/1 (February 2008): pp. 48-55.
Het “Grote Luisteren” ontluisterd. Unpublished text (2007).
“Music and Spirituality – 13 Meditations Around George Crumbs Black Angels” CR: The New Centennial Review 7.1 (2007): pp. 181-211.
“The Trojan Horse. Epistemological Explorations Concerning Practice Based Research.” Dutch Journal of Music Theory 12/1 (February 2007): pp. 18-33.
“In(-)formations. The Meaning of Paratextual Elements in Debussy’s Syrinx.” Musicological Annual volume XLI/2 (2005): pp. 55-70.
“Noise and Ethics: Alain Badiou and Evan Parker.” Culture, Theory and Critique 46/1 (April 2005): pp. 29-42.
“Ethics and/in/as Silence.” Ephemera 3/4 (November 2003).
“Music and Deconstruction. The Jacques Derrida – Gerd Zacher Encounter.” New Sound 21 (May 2003): pp. 45-55.
“De ethiek van jazz” [The Ethics of Jazz]. Nederlandse Jazzdienst (2003).
“Between Self and Other – A Deconstructive Sea.” (2003).
“John Zorn’s muziek bestaat niet” [John Zorn’s Music Doesn’t Exist]. Holland Festival Program (2003): pp. 1-2.
“Creativity and Ethics – in Deconstruction – in Music. Intermezzo.” (co-author G. Finn). Echo 4/2 (2002).
Music and Ethics.Dutch Journal for Music Theory 7/3 (November 2002).
“Seven Times Around a Future of Musicology. Seven Times Around Music and Ethics” Dutch Journal of Music Theory 7/3 (2002): pp. 159-164.
“Verkenningen van/in een muzikale ruimte. Over Peter Sloterdijk en Edwin van der Heide” [Explorations of/in a Musical Space]. Interacta 5 (September 2002): pp. 208-211.
“Dutch Ensemble Culture.” New Sound 15 (April 2000): pp. 33-44.
“Met zinnen spelen: verdeel en heers? Over intermedialiteit” [Playing With Sen(ten)ses: Divide and Rule? On Intermediality]. Interacta 2 (2000): pp. 70-91.
“Deconstruction and Comprovisation.” New Sound 13/14 (April 1999): pp. 41-49.
“Naar een Centrum voor Actuele Muziek in Rotterdam. Idealisme versus pragmatisme” [Towards A Center For Contemporary Music In Rotterdam. Idealism vs. Pragmatics]. Centrum voor Filosofie en Kunst (1999).
Rereading Howard Becker’s Art Worlds. Unpublished text (1998).
“Dionysos’ dans in Blauwbaards Burcht” [Dionysus’ Dance In Bluebeard’s Castle]. Jonas 3 (1996): pp. 16-17.
“Een intellectueel Disneyland. Postmodernisme als kritisch pluralisme” [An Intellectual Disneyland. Postmodernism as Critical Pluralism]. Mens en Melodie (June 1996): pp. 284-288.
“Postmoderne muziek: kritisch pluralisme en positieve aandacht voor de geschiedenis.” Mens en Melodie (June 1996).
“De terreur van het oog” [The Terror of the Eye]. De Groene Amsterdammer (January 1996): pp. 18-19.
“Habermas als Scheidsrechter van de postmoderne muziek” [Habermas As the Arbiter of Postmodern Music]. Mens en Melodie (January 1996): pp. 18-23.
“Deconstructie in hedendaagse muziek” [Deconstruction In Contemporary Music]. Rumor Reader 3 (July 1994).
“Acceptatie van nieuwe kunstvormen.” Opossum 3 (September 1991).
