NMSAT Index5 - Jerome Joy website

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!!_______________________________________________________________________ D Dabek F., Brunskill E., Kaashoek F., Karger D., Morris R., Stoica I., and Balakrishnan H. “Building peer-to-peer systems with Chord, a distributed lookup service”. In Proceedings of the 8th Workshop on Hot Topics in Operating Systems (HotOS-VIII), pages 81–86, 2001. Dannenberg R.B. “Software Support for Interactive Multimedia Performance”, Interface 22/1993, S. 213-228. Davis E. “Acoustic Cyberspace”, 1997, ^http://www.techgnosis.com/acoustic.html Dean R.T. “Hyperimprovisation: Computer-Interractive Sound Improvisations”, A-R Editions, 2003 Dechelle, F., De Cecco M., Maggi E., and Schnell N. “jMax recent developments”. In Proceedings of the International Computer Music Conference, 445–48. Beijing, China: ICMA, 1999. De Medeiros M. B., “Performance art and digital bodies (Corpos Informáticos)”, in Body, Space, Technology Journal, Volume 3, No. 2, Brunel University, 2003. ^http://people.brunel.ac.uk/bst/vol0302/mariabeatriz.html De Ritis A. “Cathedral: an interactive work for the Web” Proceedings of the International Computer Music Conference. pp. 224-7. Beijing, China: ICMA, 1999. Desloges S. “L’Espace de l’Écoute, l’Écoute de l’Espace”, Université Rennes 2 Haute Bretagne UFR Arts Lettres Communication, Maîtrise d’histoire de l’art / 2001-2002 Dipple K. “Remote Exchanges and Collaborative Working Methods”, Research and Access in High-speed Networks, AHRC ICT Methods Network Workshop, Centre for Computing in the Humanities, Kay House, King’s College, 19 March 2007 Didkovsky N. “Metamusic / Metatext: The Blurry Boundaries Around Distributed Compositional Systems”, Leonardo Music Journal 7/1997, 73-76. Dixon S. “Digital performance : a history of new media intheater, dance, performance art, and installation”, Massachusetts: MIT press, 2007 Douglas Y., HargadonA. “The Pleasure Principle: Immersion, Engagement, Flow.” Proceedings of Hypertext 2000, San Antonio, USA, pp. 153-160. In Caldwell, L. (ed.) Art, Creativity, Living, Chapter 5, pp. 75-96, 2000. DourishP., Bly S. “Portholes: Supporting awareness in a distributed work group”. CHI1992 Conference Proceedings. New York: ACM Press, 1992 Dourish P., Adler A., Bellotti V., Henderson, A. “Your place or mine? Learning from long-term use of audio-video communication”. Computer Supported Cooperative Work, v.5 n.1, p.33-62, 1996. Drefus H. “Telepistemology: Descartes's Last Stand”, in The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, edited by Ken Goldberg, Mass: MIT Press, pp. 48-63, 2001. Drever, J.L. 2002. Soundscape composition: the convergence of ethnography and acousmatic music. Organised Sound7(1): 21-27. Drewes T., Mynatt E., and Gandy M. “Sleuth: An Audio Experience”. In Online Proceedings of ICAD 2000, Georgia, USA, April 2-5, 2000 Druckrey T. “NETOPOS . . . NOTOPOS. The Fate of Reason in the Global Network: Teleology, Telegraphy, Telephony, Television, Teleaesthetics”, Timothy Druckrey (Hg.): Ars Electronica. Facing the Future, Cambridge 1999, 305-311. Dubost G., Tanaka A. “A Wireless, Network-based Biosensor Interface for Music”. Proceedings of International Computer Music Conference (ICMC),2002. Duckworth W. “Making Music on the Web”. Leonardo Music Journal 9, 13-17, 1999 Duckworth W. “Virtual Music – How the web got wired the sound”, Routledge Publishing, 2005 Durlach N. I. “PRESENCE: Teleoperators and Virtual Environments”. Volume 8. Number 1. February 1999. *Durlach N., Slater, M. “Presence in shared virtual environments and virtual togetherness”. Presence: Teleoperators and Virtual Environments, 9(2), 214-217, 2000.
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