As an artist and musician, David has presented creative work in Canada, the United States, the United Kingdom, Mexico, Russia, and on the web. An unmaintained archive of some of this work is available here. David currently performs and records as part of the musical group Bitstance, whose albums can be accessed through major streaming services; their real-time generative livestream project can be heard on Bitstance Radio .
"Four Experiments in Broadband Auralneirics," in symplokē. Vol. 23, no. 1-2 (2015), 111-118.
"The Sonic Effect: Aurality and Digital Networks in 'Exurbia'" in Evental Aesthetics. Vol. 2, no. 2 (September, 2013), 34-62.
"Nonsense Aesthetics: (Imaginary) Living After the Death of Falsity" (review essay) in CTheory.net (October, 2012).
“Deconstructing Affect: Posthumanism and Mark Hansen’s Media Theory” in Theory, Culture, and SocietyTheory, Culture, and Society. Vol. 28, no. 5 (Sept. 2011), 3-33.
“vagant(ana)music: Three (four) Plateaus of a Contingent Music” in Radical Musicology. Volume 2 (International Centre for Music Studies at Newcastle University, December 2007), c. 8,000 words (http://www.radical-musicology.org.uk/).
“The Auditory Hallucination,” authored with Marc Couroux, Ted Hiebert, Eldritch Priest, and Rebekah Sheldon (as The Occulture). In Unsound:Undead, edited by Steve Goodman, Toby Heys, and Eleni Ikoniadou, 109-112. UK: Urbanomic, 2019.
“An( )Alibic Aural Tetrad: A Fourfold Structure of Ecologicity.” In Plastic Blue Marble (Catalyst: Amanda Boetzkes), edited by Ted Hiebert, 141-158. USA: Noxious Sector Press (Catalyst Book Series), 2016.
“Algorithms, affect, and aesthetic listening.” In The Routledge Companion to Sounding Art, edited by Marcel Corbussen, Vincent Meelberg, and Barry Truax, 413-426. London: Routledge, 2016, 413-426.
“Modernism and Music in Canada and the United States” (co-author, Jeremy Strachan). In The Modernist World, edited by Allana Lindgren and Stephen Ross, 546-554. London: Routledge, 2015.
“Listening Aside: An Aesthetics of Distraction in Contemporary Music” (co-author, eldritch Priest). In Resonances: Noise and Contemporary Music, edited by Michael Goddard, Benjamin Halligan, and Nicola Spelman, 209-221. London and New York: Continuum-Bloomsbury, 2013.
“Melancholy and the Territory of Digital Performance.” In Collision: Interarts Practice and Research. Edited by David Cecchetto, Nancy Cuthbert, Julie Lassonde, and Dylan Robinson, 77-90. UK: Cambridge Scholars Publishing, 2008.
“Ethical and Activist Considerations of the Technological Artwork. In Transdiscplinary Digital Art: Sound, Vision, and the New Screen, edited by Randy Adams, Steven Muller Arisona, and Steve Gibson, 15-25. Communications in Computer and Communication Science Series. USA: Springer, June 2008.
For information about current and future teaching, please visit his York Faculty Page.
David Cecchetto is Professor of Critical Digital Theory in the Department of Humanities at York University in Toronto, where is also affiliated with several graduate programs and is a former Director of the Graduate Program in Social and Political Thought. He is also a Faculty Associate with Sensorium: Centre for Digital Arts and Technology. David is Past President (2020-2024) of the Society for Literature, Science, and the Arts, and co-organized the Tuning Speculation conferences and workshops as part of The Occulture. He was a Series Editor of the para-academic Catalyst book series (Noxious Sector Press) and is a Co-Editor (with Arielle Saiber) of the Proximities: Experiments in Nearness book series (University of Minnesota Press).