READING

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Becker, B. (2003) ‘Marking and crossing borders: bodies, touch and contact in cyberspace’. In Body, Space & Technology 3:2. London: Brunel University.

 

Blesser, B., Salter, L. R. (2007) Spaces Speak, Are You Listening?: Experiencing Aural Architecture. Cambridge (Massachusetts): MIT Press.

 

Braasch, J. (2009) ‘The Telematic Music System: Affordances for a New Instrument to Shape the Music of Tomorrow’. In Contemporary Music Review 28:4/5. Abingdon: Routledge.

 

Collins, N. (1998) ‘Ubiquitous Electronics: Technology and Live Performance 1966-1996’. In Leonardo Music Journal Vol. 8. Cambridge (Massachusetts): MIT Press.

 

Collins, N. (2006) Handmade Electronic Music: The Art of Hardware Hacking. Abingdon and New York: Routledge.

 

Cook, P. R. (2009) ‘Re-Designing Principles for Computer Music Controllers: A Case Study of SqueezeVox Maggie’. In Proceedings of the International Conference on New Interfaces for Musica Expression (NIME). Pittsburgh, Pennsylvania: Carnegie Mellon University.

 

Cox, C., Warner, D. (eds.) (2004) Audio Culture: Readings in Modern Music. New York and London: Continuum.

 

Croft, J. (2007) ‘Theses on liveness’. In Organised Sound 12:1. Cambridge:  Cambridge University Press.

 

Dixon, S. with Smith, B. (2007) Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge (Massachusetts): MIT Press.

 

Echard, W. (2006) ‘Sensible Virtual Selves: Bodies, Instruments and the Becoming-concrete of Music’. In Contemporary Music Review, 25:1/2. Abingdon: Routledge.

 

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Emmerson, S. (1999) ‘Aural Landscape: Musical Space’. In Organised Sound, 3:2. Cambridge: Cambridge University Press.

 

Emmerson, S. (2000) ‘Losing touch?: the human performer and electronics’. In Emmerson, S. (ed.) Music, Electronic Media and Culture. Aldershot and Burlington: Ashgate.

 

Emmerson, S. (2001) ‘New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art’. In Organised Sound, 6:2. Cambridge: Cambridge University Press.

 

Emmerson, S. (2006) ‘In what form can “live electronic music” live on?’. In Organised Sound, 11:3. Cambridge: Cambridge University Press.

 

Emmerson, S. (2007) Living Electronic Music. Aldershot and Burlington: Ashgate.

 

D'Escriván, J. (2006) ‘To sing the body electric: Instruments and effort in the performance of electronic music’. In Contemporary Music Review, 25:1/2. Abingdon: Routledge.

 

Eskelinen, M., Tronstad, R. (2003) 'Video Games and Configurative Performances'. In Wolf, M. J. P., Perron, B (eds.) The Video Game Theory Reader. New York and London: Routledge.

 

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Hunt, A., Wanderley, M. M., Paradis, M. (2003) ‘The Importance of Parameter Mapping in Electronic Instrument Design’. In Journal of New Music Research 32:4. Lisse: Swets & Zeitlinger.

 

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Kahn, D. (1999) Noise Water Meat. Cambridge (Massachusetts): MIT Press.

 

Kim-Boyle, D. (2009) ‘Network Musics: Play, Engagement, and the Democratization of Performance’. In Contemporary Music Review 28:4/5. Abingdon: Routledge.

 

LaBelle, B. (2006) Background Noise: Perspectives On Sound Art. New York and London: Continuum.

 

Lalitte, P. (2006) ‘Towards a semiotic model of mixed music analysis’. In Organised Sound 11:2. Cambridge: Cambridge University Press.

 

Lewis, G. E. (2000) ‘Too Many Notes: Computers, Complexity and Culture in Voyager’. In Leonardo Music Journal. Vol. 10. Cambridge (Massachusetts): MIT Press.

 

Licht, A. (2007) Sound Art: Beyond Music, Between Categories. New York: Rizzoli International Publications.

 

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Magnus, C. (2006) ‘Aesthetics, Score Generation, and Sonification in a Game Piece’. In ICMC Proceedings 2006. International Computer Music Association.

 

McNutt, E. (2003) ‘Performing electroacoustic music: a wider view of interactivity’. In Organised Sound 8:3. Cambridge: Cambridge University Press.

 

Miranda, E. R., Wanderley, M. M. (2006) New Digital Musical Instruments: Control and Interaction Beyond the Keyboard. Middleton (Wisconsin): A-R Editions, Inc.

 

Nichols, C. (2002) ‘The vBow: a virtual violin bow controller for mapping gesture to synthesis with haptic feedback’. In Organised Sound 7:2. Cambridge: Cambridge University Press.

 

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Overton, A. (2006) ‘Invisible Performance and the Virtuosic Body’. In Contemporary Music Review 25:1/2. Abingdon: Routledge.

 

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Rebelo, P. (2009) ‘Dramaturgy in the Network’. In Contemporary Music Review 28:4/5. Abingdon: Routledge.

 

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Schloss, W. A. (2003) ‘Using Contemporary Technology in Live Performance: The Dilemma of the Performer’. In Journal of New Music Research 32:3. Lisse: Swets & Zeitlinger.

 

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Smalley, D. (2007) ‘Space-form and the acousmatic image’. In Organised Sound, 12:1. Cambridge: Cambridge University Press.

 

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Stuart, C. (2003) ‘The Object of Performance: Aural Performativity in Contemporary Laptop Music’. In Contemporary Music Review 22:4. Abingdon: Routledge.

 

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Trochimczyk, M. (2001) ‘From Circles to Nets: On the Signification of Spatial Sound Imagery in New Music’. In Computer Music Journal, 25:4. Cambridge (Massachusetts): MIT Press.

 

Ulyate, R. And Bianciardi, D. (2002) ‘The Interactive Dance Club: Avoiding Chaos in a Multi-Participant Environment’. In Computer Music Journal 26:3. Cambridge (Massachusetts): MIT Press.

 

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