Alves, Bill. “Digital Harmony of Sound and Light.” Computer Music Journal 29/4 (Winter 2005) “Visual Music,” p. 54.
Anderson, Joseph D. and Barbara Fisher Anderson (Eds.). Moving Image Theory: Ecological considerations. SIU Press, 2007.
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ: A Journal of Performance and Art 84 (2006), pp. 1–10.
_____. Liveness: Performance in a mediatized culture. Second edition. Routledge, 2008.
Ben-Tal, Oded, and Diana Salazar. “Rethinking the Musical Ensemble: A model for collaborative learning in higher education music technology.” Journal of Music, Technology & Education 7/3 (December 2014), pp. 279–294.
Bowers, John. “Improvising machines: Ethnographically informed design for improvised electro-acoustic music.” ARiADATexts 4 (September 2002). Available online at http://cid.nada.kth.se/pdf/CID-195.pdf [Last accessed 1 April 2016]
Bowers, John and Phil Archer. “Not Hyper, Not Meta, Not Cyber but Infra-Instruments.” NIME 2005. Proceedings of the 5th International Conference on New Instruments for Musical Expression (Vancouver: University of British Columbia, 26–28 May 2005). http://www.nime.org/2005
Cascone, Kim. “The Æsthetics of Failure: ‘Post-digital’ tendencies in contemporary computer music.” Computer Music Journal 24/4 (Winter 2000) “Encounters with Electronica,” pp. 12–18.
Chion, Michel. Audio-Vision: Sound on Screen. Trans. Claudia Gorbman. New York: Columbia University Press, 1994.
Di Scipio, Agostino. “‘Sound Is the Interface’: From interactive to ecosystemic signal processing.” Organised Sound 8/3 (December 2003), pp. 269–277.
Ferguson, John Robert. “Imagined Agency: Technology, unpredictability, and ambiguity.” Contemporary Music Review 32/2–3 (2013) “Resistant Materials in Musical Creativity,” pp. 135–149.
Gibson, James J. The Ecological Approach to Visual Perception. Classic Edition. Psychology Press, 2014.
Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Colin Smith. Delhi: Motilal Banarsidass Publishe, 1996.
Parkinson, Adam. Embodied Listening, Affordances and Performing with Computers. Ann Arbor MI: Michigan Publishing, University of Michigan Library, 2013.
Tanaka, Atau. “Mapping out instruments, affordances and mobiles.” NIME 2010. Proceedings of the 10th International Conference on New Instruments for Musical Expression (Sydney, Australia: University of Technology Sydney, 15–18 June 2010). http://www.nime.org/2010 Available online at http://www.nime.org/proceedings/2010/nime2010_088.pdf [Last accessed 1 April 2016]
Tanaka, Atau, Alessandro Altavilla and Neal Spowage. “Gestural Musical Affordances.” SMC 2012. Proceedings of the 9th Sound and Music Computing Conference (Copenhangen, Denmark: Aalborg University, 11–14 July 2012), pp. 318–325. http://smc2012.smcnetwork.org
Sontag, Susan. “Film and Theatre.” The Tulane Drama Review 11.1 (1966), pp. 24–37.
Waters, Simon. “Performance Ecosystems: Ecological approaches to musical interaction.” EMS: Electroacoustic Music Studies Network, 2007. Available online at http://www.ems-network.org/IMG/pdf_WatersEMS07.pdf [Last accessed 1 April 2016]
_____. “Touching at a Distance: Resistance, tactility, proxemics and the development of a hybrid virtual/physical performance system.” Contemporary Music Review 32/2–3 (2013) “Resistant Materials in Musical Creativity,” pp. 119–134.
Whitney, John. “To Paint on Water: The audiovisual duet of complementarity.” Computer Music Journal 18/3 (Fall 1994) “Composition and Performance in the 1990s (2),” pp. 45–52.
References
References