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!!!References {small}Augoyard, Jean-François. 2005. “Vers une esthétique des ambiances.” In ''Ambiances en débats (Ambience in debate)'', edited by Pascal Amphoux, Jean-Paul Thibaud and Grégoire Chelkoff, 17-34. Bernin: La Croisée.{/small} {small}Augoyard, Jean-François and Henry Torgue. 1995. ''À l'écoute de l'environnement. Répertoire interdisciplinaire des effets sonores''. Marseille: Éditions Parenthèses.{/small} {small}Barthes, Roland. 2002. ''Comment vivre ensemble: Cours et séminaires au Collège de France, 1976–1977 (How to Live Together: Classes and seminars from the College of France, 1976–1977)'', edited by Claude Coste. Paris: Seuil/IMEC.{/small} {small}Barthes, Roland. 2012. ''How to Live Together: Novelistic Simulations of Some Everyday Spaces'', translated by Kate Briggs. New York: Columbia University Press.{/small} {small}Bergson, Henri. 1998. ''La Pensée et le Mouvant'' (1938). Paris: Quadrige-Presses Universitaires de France.{/small} {small}Bergson, Henri. 2007. ''The Creative Mind: an Introduction to Metaphysics'', translated by Mabelle L. Andison. Mineola, N.Y.: Dover Publications.{/small} {small}Berleant, Arnold. 1992. ''The Aesthetics of Environment''. Philadelphia: Temple University Press.{/small} {small}Berleant, Arnold. 2005. “Ideas for a Social Aesthetic.” In ''The Aesthetics of Everyday Life'', edited by Andrew Light and Jonathan Smith, 23-38. New York: Columbia University Press.{/small} {small}Berleant, Arnold. 2009. “What Music Isn’t and How to Teach It.” ''Action, Criticism, and Theory for Music Education'' 8 (1): 54-65. {/small} {small}Blesser, Barry and Linda-Ruth Salter. 2007. ''Spaces speak, are you listening? Experiencing aural architecture''. Cambridge MA: MIT Press.{/small} {small}Böhme, Gernot. 2000. “Acoustic Atmospheres: A Contribution to the Study of Ecological Aesthetics.” ''Soundscape: The Journal of Acoustic Ecology'' 1 (1): 15.{/small} {small}Böhme, Gernot. 2013. “The art of the stage set as a paradigm for an aesthetics of atmospheres.” Paper delivered at the international Conference ''Understanding Atmospheres - Culture, materiality and the texture of the in-between'', University of Aarhus, Denmark, March 16-17, 2012. Accessed March 7, 2014. http://conferences.au.dk/fileadmin/conferences/Understanding_Atmospheres/abstracts.pdf and http://ambiances.revues.org/315 .{/small} {small}Brady, Emily. 2009. “Environmental Aesthetics.” In ''Encyclopedia of Environmental Ethics and Philosophy'', Vol. 1, edited by J. Callicott and Robert Frodeman, 313-321. Detroit: Macmillan Reference USA.{/small} {small}Chafe, Chris. Network Delay Studies and Internet Acoustics: series of papers. Accessed March 14, 2014. https://ccrma.stanford.edu/~cc/shtml/research.shtml {/small} {small}Collins, Nicolas. 1976. ''Experimental Music''. BA Thesis. The Honor College, Wesleyan University. Accessed on March 14, 2014. http://www.nicolascollins.com/texts/Collins_BA_thesis.pdf {/small} {small}Collins, Nicolas. 1974; revised 2002-2011. ''Pea Soup'', series of papers (instructions, history, etc.). Accessed on April 14, 2014. http://www.nicolascollins.com/aboutpeasoup.htm {/small} {small}Collins, Nicolas. 2007. ''Composing Inside Electronics''. PhD thesis, University of East Anglia. Accessed on March 14, 2014. http://www.nicolascollins.com/texts/Collins_BA_thesis.pdf {/small} {small}Cowley, Julian. 2003. “Annotations for Sound Art.” Accessed on April 13, 2014. http://www.diapasongallery.org/texts.html {/small} {small}Davies, Hugh. 2001. “Gentle Fire: An Early Approach to Live Electronic Music.” Leonardo Music Journal, 11, 53–60.{/small} {small}Gallet, Bastien. 2005. ''Composer des Étendues – L'art de l'installation sonore (Sonic Expanses Composing – The Art of Sound Installation)''. Genève: Éditions École Supérieure des Beaux-Arts de Genève.{/small} {small}Gentle Fire. 1973. Radio interview, ‘Music in our Time’, recording of BBC Radio 3 broadcast. Hugh Davies Collection, C1193/35.{/small} {small}Goldstein, Malcolm. 1988. ''Sounding the Full Circle - Concerning Music Improvisation and Other Related Matters''. Self-published.{/small} {small}Holland, M.M.. 1988. “SCOPE/MAB technical consultations on landscape boundaries: report of a SCOPE/MAB workshop on ecotones.” ''Biology International'', 17:47-106.{/small} {small}Joy, Jérôme. 2010a. “Une Époque Circuitée — Réflexion sur l'organologie des arts en réseau: le passage de l'Internet à un état musical.” ''Intermédialités - Histoire et Théorie des Arts, Lettres et des Techniques, Programmer'' 13: 57-76.{/small} {small}Joy, Jérôme. 2010b. “Extended Music – Out in the Open/La Musique Étendue – ‘En Plein Air’.” In ''Around'', catalogue of the sound festival edited by Yang Yeung, 104-149. Hong Kong: Soundpocket.{/small} {small}Joy, Jérôme. 2013a. “Auditoria & Audiences – ‘Shakkei’ – The Out in the Open Listening Experience.” In ''On Listening'', edited by Angus Carlyle, 99-102. Axminster (Devon): Uniformbooks.{/small} {small}Joy, Jérôme. 2013b. “Introduction à une Histoire de la Télémusique.” Accessed September 9, 2013. http://jeromejoy.org/w/index.php?page=PubliTelemusA2010 {/small} {small}Joy, Jérôme. 2013c. “Anté-Bruit — Composer le Tout-Audible.” Last modified December 8, 2013. Accessed December 19, 2013. http://jeromejoy.org/w/index.php?page=PubliAnteBruit2013 {/small} {small}Joy, Jérôme. 2013d. “Musique à Niveau Sonore Élevé – Musique-Environnement.” Last modified August 26, 2013. Accessed September 9, 2013. http://jeromejoy.org/w/index.php?page=NOISEhigh {/small} {small}Joy, Jérôme. 2014a. “Les Étendues Sonores — Auditorium Terre-Mars” (Sonic Expanses — Earth/Mars Auditorium). In ''Soundspace – Soundscape — Espaces, Expériences et Politiques du Sonore'', Proceedings CNRS colloquium, edited by Claire Guiu and Marie-Madeleine Mervant-Roux, ESO Espaces & Sociétés Université de Nantes and Université de Rennes. Rennes: Presses Universitaires de Rennes.{/small} {small}Joy. Jérôme. 2014b. “Synema: Expanses through Connected Environments.” In Proceedings of the International Conference ''Remote Encounters: collapsing spaces and temporal ubiquity in networked performance'', edited by Garrett Lynch, University of Glamorgan - Cardiff - Wales (UK), published by ''Liminalities, A Journal of Performance Studies'', 10, 2.{/small} {small}Joy. Jérôme. “Auditoriums Étendus et Espaces Raccordés.” In Proceedings of the Conference ''Nouveaux Territoires'', Bourges, 9-10 April 2014, revue ''Prospective et Stratégie'', 2015. (forthcoming){/small} {small}Kaye, Lewis. 2012. “The Silenced Listener: Architectural Acoustics, the Concert Hall and the Conditions of Audience.” ''Leonardo Music Journal'' 22: 63–65. {/small} {small}Kennedy, Chris. 2013. “Akio Suzuki asks us to stop and to listen to the world.” ''Musicworks'' 115. Accessed on April 13, 2014. https://www.musicworks.ca/featured-article/featured-article/akio-suzuki {/small} {small}Lefebvre, Henri. 1992. ''Éléments de rythmanalyse: Introduction à la connaissance des rythmes''. Paris: Éditions Syllepse.{/small} {small}Lefebvre, Henri. 2004. ''Rhythmanalysis: Space, time and everyday life'', translated by Stuart Elden and Gerald Moore. New York, London: Continuum.{/small} {small}Maconie, Robin. 1989. ''Stockhausen, Lectures and Interviews'', compiled by Robin Maconie. London-New York: Boyars.{/small} {small}Mooney, James. 2014. “Technology, Process and Musical Personality in the Music of Stockhausen, Hugh Davies and Gentle Fire.” In ''The Musical Legacy of Karlheinz Stockhausen'', edited by I. Misch and M. Grant. Pfau-verlag.{/small} {small}Mooney, James. 2012. “Process in Gentle Fire‘s Group Compositions.” Talk given at ''Music and/as Process'' symposium, University of Huddersfield, UK, 8 December 2012. Accessed on April 14, 2014. https://www.academia.edu/3039771/Process_in_Gentle_Fires_Group_Compositions {/small} {small}Nyman, Michael. 1999. ''Experimental Music. Cage and Beyond''. Cambridge: Cambridge University Press.{/small} {small}Oliveros, Pauline. 2010. ''Sounding the Margins: Collected Writings 1992-2009''. Lawton Hall, ed. Kingston, New York: Deep Listening.{/small} {small}Oliveros, Pauline. “Echoes from the Moon.” Accessed September 9, 2013. http://www.orbit.zkm.de/?q=node/409 {/small} {small}Rebelo, Pedro. “Netrooms The Long Feedback, a participatory network piece.” Accessed March 14, 2014. http://netrooms.wordpress.com/ {/small} {small}Rebelo, Pedro. “Nethalls.” Accessed March 14, 2014. http://pedrorebelo.wordpress.com/2009/11/25/performance-of-nethalls-hamburg/ {/small} {small}Schütz, Alfred. 1964. “Making music together: a study in social relationship.” In ''Collected Papers II. Studies in Social Theory'', edited by A. Brodersen. Dordrecht, 159-178. The Netherlands: Martinus Nijhoff Publishers. First published in ''Social Research'', 18 (1) (1951): 76-97.{/small} {small}Seel, Martin. 1992. “Aesthetic Arguments in the Ethics of Nature.” ''Thesis Eleven'' 32: 76-89.{/small} {small}Stockhausen, Karlheinz. 1989. “Intuitive Music.” In ''Stockhausen, Lectures and Interviews'' edited by Robin Maconie, 112-25. London-New York: Boyars.{/small} {small}Straus, Erwin. 1966. “The Forms of Spatiality” (1930). In ''Phenomenological Psychology: The Selected Papers of Erwin W. Straus'', translated, in part, by Erling Eng, 3-37. New York: Basic Books.{/small} {small}Suzuki, Akio. “Biography.” Akio Suzuki Website. Accessed January 20, 2015. http://www.akiosuzuki.com/web/profile01-en.html {/small} {small}Tanaka, Atau and Kasper T. Toeplitz. “The Global String.” Accessed March 14, 2014. http://ataut.net/site/Global-String {/small} {small}Tanaka, Atau and Bert Bongers. 2001. “Global String – A Musical Instrument for Hybrid Space.” Paper delivered at the international Conference ''cast01 // Living in Mixed Realities, Conference on artistic, cultural and scientific aspects of experimental media spaces'', Sankt Augustin (Bonn, Germany), September 21-22, 2001. Accessed March 14, 2014. http://netzspannung.org/version1/cast01/index.html ; and also: Accessed March 14, 2014. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.5.9050&rep=rep1&type=pdf {/small} {small}Tansley, Arthur G. 1935. “The use and abuse of vegetational concepts and Terms.” ''Ecology'' 16 (3): 299.{/small} {small}Thibaud, Jean-Paul. 2004. “De la qualité diffuse aux ambiances situées.” In ''La croyance de l'enquête: aux sources du pragmatisme'' edited by Bruno Karsenti and Louis Quéré, 227-253. Paris: Éditions de l’EHESS.{/small} {small}Thibaud, Jean-Paul. 2010. “La Ville à l'Épreuve des Sens.” In ''Écologies urbaines: états des savoirs et perspectives'' edited by Olivier Coutard and Jean-Pierre Lévy, 198-213. Paris: Economica Anthropos. {/small} {small}Thibaud, Jean-Paul. 2011. “The Sensory Fabric of Urban Ambiances.” ''The Senses & Society'' 6 (2): 203-15.{/small} {small}Thibaud, Jean-Paul. 2012. “The City through the Senses.” ''Cadernos PROARQ 18, Revista de Arquitetura E Urbanismo do PROARQ''. Post-Graduate Program in Architecture from FAU-UFRJ, Faculdade de Arquitetura e Urbanismo, Universidade Federal do Rio de Janeiro. Accessed March 12, 2013. http://www.proarq.fau.ufrj.br/revista/public/docs/Proarq18_TheCity_JeanThibaud.pdf {/small} {small}Thibaud, Jean-Paul. 2012. “Petite Archéologie de la Notion d'Ambiance.”'' Communication'' 90: 155-74.{/small} {small}De Vinci, Léonard. ''Traité de la Peinture''. p. 55 & 295. Paris: Deterville, 1796.{/small} ** {small}Da Vinci, Leonardo. ''Teatrise on Painting''. Translated by John Francis Rigaud. London: Nichols & Sons, 1835.{/small} {br}{br}{br}{br}{br}{br}{br}{br} ---- {br}{br}
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