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! NMSAT Vol. 5 - Bibliographical References ''(more than 500 references)'' !!_______________________________________________________________________ A *Adams M. (Blast Theory and IPerG) and Giannachi G. (2007), ''Between the Public: Blast Theory’s Day of the Figurines'', keynote conference presentation, Paradoxes of the Public, Duisburger Akzente, Diusberg, Germany, 24-5 May, 2007. *Adrian R. (1999), ''The World in 24 Hours'', Timothy Druckrey (Hg.): Ars Electronica. Facing the Future, Cambridge 1999, pp. 346-351. *Aether (cont.), ''Art & Telematics Timeline'', ^http://societyofalgorithm.org/networktime/ *Alty J., Rigas D.I. (1998), ''Communicating graphical information to blind users using music: the role of context,'' In CHI’98: Proceedings of the SIGCHI conference on Human factors in computing systems, New York, NY, USA, 1998. ACM Press/Addison-Wesley Publishing Co. “audio data by means of the talking tactile tablet”. In I. Oakley, pp. 574–581. *Agamanolis S., Westner A. and Bove V.M. (1997), ''Reflection of Presence: Toward More Natural and Responsive Telecollaboration, ''Proc. SPIE Multimedia Networks, 3228A. *Amatriain, X. and Herrera, P. (2002), ''Transmitting Audio Content as Sound Objects''. 15-6-2002. Proceedings of the AES22 International Conference on Virtual, Synthetic and Entertainment Audio. *Appadurai A. (1995), ''The Production of Locality'', in R. Fardon ed. Counterworks : Managing the diversity of knowledge, London and New York, Routledge. *Arnheim, R. (1969), ''Visual Thinking'', Berkeley: University of California Press. 1969. *Arnheim, R. (1978), ''Space as an Image of Time'', Images of Romanticism, ed. Kroeber and Walling. New Haven: Yale Univ. Press, 1978. *Ascott R. (1984), ''Kunst und Telematik'', Heidi Grundmann (Red.): Art + Telecommunication, Wien 1984, pp. 24-67. *Ascott R. (1998), ''Art and Telematics: towards the construction of new aesthetics'', trans. ErimiFujiwara. Tokyo: NTT Shuppan. *Ascott R. (2003), ''Telematic Embrace: visionary theories of art, technology, and consciousness'', Berkeley/Los Angeles/ London: University of California Press. *Augoyard J-F. & al. (1985),''La production de l’environnement sonore, ''Grenoble: CRESSON. *Augoyard J-F., Torgue H. (1995),''À l’écoute de l’environnement – Répertoire des effets sonores'', Marseille : éditions Parenthèses, 174 p., isbn 2-86364-078-X *Auinger S., Huber R. (1997), ''Berliner Theorie. Musik und Internet'', Positionen 31/Mai 1997, pp. 23–26. *Auslander P. (1999), ''Liveness: Performance in a Mediatized Culture'', London: Routledge. !!_______________________________________________________________________ B *Bakhtin M.M. (1981),'' Forms of Time and the Chronotope of the Novel. The Dialogic Imagination'', trans. by Michael Holquist. Austin: University of Texas. *Baecker R., Harrison S., Buxton B., Poltrock S. & Churchill E. (2008), ''Media Spaces:Past Visions, Current Realities, Future Promise,'' Proceedings of the 2008 ACM Conference on Human Factors in Computing Systems, CHI'08, pp. 2245-2248. *Barbosa, A. and Kaltenbrunner, M. (2002), ''Public Sound Objects: A shared musical space on the web''. 2002. IEEE Computer Society Press. Proceedings of International Conference on Web Delivering of Music (WEDELMUSIC 2002) - Darmstadt, Germany. *Barbosa, A., Kaltenbrunner, M. and Geiger, G. (2003), ''Interface Decoupled Applications for Geographically Displaced Collaboration in Music''. 2003. Proceedings of the International Computer Music Conference (ICMC2003). *Barbosa A. (2003), ''Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation'', Leonardo Music Journal 13-1, pp. 53-60. *Barbosa A., Gresham-Lancaster S., Freeman J., Bencina R. (2005), ''Networked Music Workshop'', ICMC 05 Barcelona. *Barbosa, A., Cardoso, J. and Geiger, G. 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