As western audiences increasingly switch off from generic reporting of the wars in Iraq and Afghanistan, Imogen O'Rorke finds the news-unworthy testimonies at Tate Modern a much needed corrective

3-5pm, Sunday 3 August 2008. Upstairs at Publish And Be Damned self-publishing fair, Rochelle School, Arnold Circus, London E2. Free, no booking required.

Does private-public funding and management of culture mark the death of institutional and critical autonomy? And is direct censorship an anomaly, the most visible form of a wider constriction of cultural freedom, or the shape of cultural policy to come?

Variant, one of the few magazines covering the grim process of stealth privatisation of Glasgow's cultural assets, appears to have been specifically targeted by one of the very privateers it criticised, and who has banned its distribution at Tramway gallery, in a highly defensive abuse of power:

The recent London performance of Luigi Nono's composition for orchestra and live-processing, Prometeo, was presented as an apotheosis of the Italian composer's work. John Wollaston essays a paraphrase of this complex 'super-capsule' of the untransmittable

In the 1960s and '70s musicians devised innovative forms of notation and protocol to liberate themselves from aesthetic and social conventions. Today's digital devotees of code based production and improvisation are continuing this tradition, argues Simon Yuill*

The comic 'Staabucks Fukkee is Your Enemy' ran between articles by John Cunningham and Stewart Martin in the print edition of Mute Vol 2 #8