Wings of Eros on Birds of Prey: notes on the poetics and politics of radio art (forthcoming in Listen Up!, CUP, edited by Regine Beyer and Anna Thurmann-Jajes)
Almanach de plais insensées, Van Dieren, 2016
Confessions of a Terminal Schizophoniac, in Sonores, Catalog, edited by Benjamin Brejon and Manuel Neto, 2012.
Mainly the Mysteries, PAJ 100, 2012.
Let Us Lay On Splendid Nights, The Transom Review, volume 9, issue 3, 2009.
The Bottom of the Mind, Documenta Magazine, number 1-3, 2007 Reader, Taschen.
Here Comes Everybody, for the Vera List Center for Art and Politics, November 29, 2006
On One Lost Hair, Cabinet, issue 16, The Sea, 2005.
America in Autumn, Cabinet, issue 10, 2003.
Everything I Know About Glossolalia, Omnivore, Autumn, 2003.
Hungry for God, Cabinet, issue 7, 2002.
So, You Wanna Talk About Squid?, in Writing Aloud, edited by Brandon Labelle and Christof Migone, Errant Bodies Press, 2001.
The Bone Trade, Cabinet, issue 1, 2000.
Radio Silence, Merge number 4, Spring 1999.
Display Wounds: Ruminations of a Vulnerologist, in When Pain Strikes, Theory Out of Bounds volume 14, University of Minnesota Press, 1999.
Chowderhead, in Taste Nostalgia, edited by Allen S. Weiss, Lusitania Press, 1997.
Impossible Voices, Unmakeable Beings, Resonance, Volume 5, issue 2, 1997.
Radio Play is No Place, TDR Experimental sound and radio issue, volume 40, number 3, 1996.
Le théâtre d’operations: proposition pour une pièce radiophonique future, JAVA, numéro 12, hiver, 1994/95.
Shake, Rattle and Roll, P-form 33, Fall 1994.
How to Pronounce ‘Prosthesis’, ALEA, number 3, Fall 1993.
Mrs. Schliemann’s Treasury, ALEA, number 3, Fall 1993.
General Custer’s Pinky, in Abject America, Lusitania, volume 1, number 4, 1993.
How to Squeeze a Living Language from a Dead White Head, TRANSIT On The Air symposium, Katalog, Vienna, 1993.
Degenerates in Dreamland, manifesto, Musicworks 53, summer 1992.
Dead Letters, Performing Arts Journal, number 41, 1992.
Pressures of the Unspeakable: A Nervous System for the City of Sydney, Continuum, volume 6, number 1, 1992.
Holes in the Head, Performing Arts Journal, number 39, 1991. Reprinted in Radio Rethink, Banff Center for the Arts, 1994.
The Forensic Theatre: memory plays for the post-mortem condition, Performing Arts Journal, number 35/36, 1990. Reprinted in The Politics of Everyday Fear, edited by Brian Massumi, University of Minnesota Press, 1993.
Out of the Dark: notes on the nobodies of radio art, in Wireless Imagination, edited by Kahn/Whitehead, MIT Press 1991.
Radio Art Le Mômo: Gas Leaks, Shock Needles and Death Rattles, Public 4/5, 1990. Reprinted in the V2 Book For The Unstable Media, 1991.
Bodies, Anti-Bodies and Nobodies, in Sound By Artists, edited by Lander/Mexier, Art Metropole, 1990
Principia Schizophonica: on noise, gas and the broadcast disembody, Art & Text, number 37,1990.
Who’s There? Notes on the Materiality of Radio Art, Art & Text number 31, 1989.
Beyond the Pleasure Principle: Towards a Body Without Organs, in Apocalypse Culture, edited by Adam Parfrey, Amok Press, 1987.
Bones Have Their Fates, Performing Arts Journal, issue 26/27, 1986.
This Radio is Out of Order, EAR, volume 10, number 4, 1986.
Radio Voices: Dead on Arrival, EAR, volume 10, number 3, 1986.
Body Fluids and Other Mobile Homes, Semiotext(e), Oasis, Volume 4, number 3, 1984.
Speleology, EAR, volume 8, number 5, 1984.
Modell Deutschland, (writing as Ona Zukumpft) Semiotext(e) 11, The German Issue, 1982.