Strangely, the authors chose to skip all aspects of Logic in which one interacts via music notation. In a book so exhaustive on, say, user-interface options, it was surprising and disappointing to encounter, "The Score editor depends upon an understanding of traditional music notation... [this book] does not cover the Score editor."

I wonder if they felt that including information on the Score editor would have kept people from buying the book. The other editors (Hyper, Matrix, Event List) have about 10 pages each. Would another 10 pages in a 538-page tome have broken the bank? Dare I say, they could easily have trimmed ten elsewhere (3 pages on "how to name a track" to start).

I laugh that its subtitle is "Professional Music Creation and Audio Production," and consider that it might have more correctly concluded "Without Covering Aspects a Professional Might Use."

The book's premise is that parody is a genre fundamental to 20th century art forms. The works cited come from a wide range of disciplines, and are both modern and postmodern. The language is rather straight-forward and clear, a welcome diverson from many contemporary theorists. In fact, I found the book perhaps too repetitive, too focused on making a single point. Still, Hutcheon provides a thoughtful viewpoint from which to enjoy - and to make - art.

It is clear and concise. It is very well organized. And nothing about it cheats the subject by skimming over difficult concepts.

Unfortunately, this critical eye didn't find its way into the remainder of the book. I consider "Interface Culture" to be a history of computer interfaces rather than an interpreter of the way our perceptions have changed.