On extended, boundless, vibratory and in-the-now sympathy music

http://jeromejoy.org/


  || NEWS                 || BIO   | SHOWS   | CATALOG                 || PROJE(C)TS   | MP3s   | CDs   | VIDEOS                         || BIBLIO   | STUDIES   | DOCUMENTATION   | PH.D.   | EDU                 | COLLECTIVE JUKEBOX   | NOCINEMA.ORG   | CONCERTS FILMS   || AUDITO   | QWAT?                   || home   | contact  |     |    🔎  |

  Last changed - French time: 2012/06/08 04:00     > Recent changes

 


SOMMAIRE / CONTENTS
NMSAT PDF DOWNLOADS NMSAT PRESENTATION


NMSAT — Networked Music & Sound Art Timeline

A Panoramic View of Practices & Techniques Related to Sound Transmission and Distance :

Archeology, Genealogy and Sound Anthropology of the Internet Auditoriums and the Distance Listening


A Locus Sonus project (2008-2012)Access to the database : (not yet complete) http://locusonus.org/nmsat/







NMSAT Vol. 5 - Bibliographical References(Edit)

(more than 500 references)

_______________________________________________________________________ A             (Edit)

  • 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             (Edit)

  • 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. (2005), Network Latency Adaptive Tempo in the Public Sound Objects System. 2005. Proceedings the International Conference on New Interfaces for Musical Expression (NIME 2005); Vancouver, Canada.
  • Barbosa A. (2006), Displaced Soundscapes - Computer-Supported Cooperative Work for Music Applications – PhD Thesis - Music technology Group; Pompeu Fabra University, Barcelona.
  • Barbosa A. (2008), Ten-Hand Piano: A Networked Music Installation, Proceedings of the International Conference on New Interfaces for Musical Expression (NIME 2008); Genova.
  • Barbosa A. (2008), Displaced Soundscapes - Computer Supported Cooperative Work for Music Applications, VDM Verlag.
  • Barger R., Church S., Fukada A., Grunke J., Keisler D., Moses B., Novak B., Pennycook B., Settel Z., Strawn J., Wiser P., and Woszczyk W. (1998), Networking Audio and Music Using Internet2 and Next Generation Internet Capabilities, AES White Paper, New York: Audio Engineering Society.
  • Bargar R., Dechelle F., Choi I., Betts A., Goudeseune C., Schnell N., and Warusfel O. (2000), Coney Island: Combining jMax, Spat and VSS for acoustic integration of spatial and temporal models in a virtual reality installation, Proceedings of the International Computer Music Conference. Berlin, Germany: ICMA 2000, pp. 149-53.
  • Barthelmes B., Osterwold M. (1996), Musik Performance Kunst, Akademie der Künste (Hg.): “Klangkunst”, München, pp. 233–239.
  • Bässler H. (2000), Musik im Netz. Impuls für oder Abwehr durch die Musikpädagogik?, Musikforum 36:92/2000, pp. 26–34.
  • Bastien D., Hostager T. (1988), Jazz as a Process of Organizational Innovation, Communication Research, 15, 5 (1988) pp. 582-602.23.
  • Baumgärtel T. (2001), On History of Artistic Work with Telecommunications Media, In net_condition: art and global media. ed.by Peter Weibel and TimothyDruckerey. Cambridge: The MIT Press pp.152-160.
  • Baumgärtel T. (2001), Net Art. On the History of Artistic Work with Telecommunications Media,Peter Weibel, Timothy Druckrey (Hg.): net_condition. art and global media, Cambridge 2001, pp. 152–161.
  • Baus J., Wasinger R., Aslan I., Krüger A., Maier A., and Schwartz T. (2007), Auditory Perceptible Landmarks in Mobile Navigation, in Proceedings of IUI’07, January 28–31, 2007, Honolulu, Hawaii.
  • Benford S., Greenhalgh C., Reynard G., Brown C., Koleva B. (?), Understanding and constructing shared spaces with mixed-reality boundaries”, ACM Trans. on Computer-Human Interaction, 5: pp.185–223
  • Benford S. (2005), Future Location-Based Experienced, JISC Report, 2005. http://www.jisc.ac.uk/uploaded_documents/jisctsw_05_01.pdf
  • Benford S. (2005), Pushing the Boundaries of Interaction in Public, Interactions, July-August, 57-8, 2005.
  • Benford S. (ed.) (2006), WP12: City as Theatre Deliverable D12.4 Evaluation of the first City as Theatre Public Performance, Contributors: M. Capra, S. Benford, M. Flintham, A. Drozd, A. Crabtree, M. Räsänen, E. Tallyn, N. Tandavanitj, M. Adams, J. Row Farr, L. Opperman, E. Kanjo, J. Fischer Version2 Release date: 10th February 2006. http://www.pervasive-gaming.org/index_swf.html
  • Benford S., Giannachi G. (2008), Temporal Trajectories in Shared Interactive Narratives, CHI (Computer Human Interaction), April 5-10, 2008, Florence.
  • Bennett J. BMB con. (1999), Collaborative Experiences with Sound, Image and Space, Leonardo Music Journal 9/1999, pp. 29-34.
  • Berry R. (2000), In Search of Vital Presence - Evolving Virtual Musics, Virtual Worlds 2000: pp. 185-191.
  • Berry R. (2001), Inhabited Musics, ICME 2001
  • Berry R., Tadenuma M. (2002), Augmented Reality for Music. Proceedings of 2002 ICMC, 2002.
  • Berry R., Poupyrev I., Tadenuma M., Tetsutani N. “Inside the score: music and augmented reality”, IWEC 2002: 423-429
  • Berry R., Makino M., Hikawa N., Suzuki M. “The Augmented Composer Project: The Music Table”. ISMAR 2003: 338-339
  • Berry R., Makino M., Hikawa N., Suzuki M. “The Bush Telegraph: Networked Cooperative Music-Making”, ICEC 2004: 120-123
  • Berry R., Makino M., Hikawa N., Suzuki M., Inoue N. “Tunes on the table”, Multimedia Syst. 11(3): 280-289
  • Beyst S. “Bill Fontana's musical sculptures - the shadows of John Cage”, 2004
  • Biocca F. “The Cyborg’s Dilemma: Progressive Embodiment in Virtual Environments”, in: Journal of Computer-Mediated Communication, Volume 3, No. 2, 1997 http://jcmc.indiana.edu/vol3/issue2/biocca2.html
  • Bischoff J., Gold R., and Horton J., “Microcomputer Network Music.” Computer Music Journal 2(3):24–29, 1978.
  • Bischoff J., Gold R., Horton J.. “Music for an interactive network of microcomputers”. Computer Music Journal, 2:24–29, 1978. Music Journal, 1:103–105, 1991.
  • Bischoff J., Brown C., Perkis T. “Bringing Digital Music to Life”, Computer Music Journal 20:2/Summer 1996, 28-32.
  • Black A. “Userradio”, MM'04, October 10-16, 2004, New York, New York, USA. 2004.
  • Blaine T., Perkis T., “The Jam-O-Drum interactive music system: a study in interaction design”, Proceedings of the DIS ’00 conference on Designing Interactive Systems: processes, practices, methods, and techniques, p.165-173, August 17-19, 2000, New York City, New York, United States
  • Blaine T., Forlines C. “JAM-O-WORLD: Evolution of the Jam-O-Drum Multi-player Musical Controller into Jam-O-Whirl Gaming Interface”.17-22. Conference onNew Interfaces for Musical Expression (NIME). 2002.
  • Blaine T., and Fels S. “Contexts of Collaborative Musical Experiences”. In Proc. of the 2003 Conference on New Interfaces for Musical Expression (NIME-03) (Montreal, Canada, 2003), 129-134.
  • Blauert J., Braasch J. “Acoustical communication: the Precedence Effect”, Proc. Forum Acusticum Budapest 2005, HU-Budapest, 2005.
  • Blesser B., Salter L.R., “Spaces Speak, Are You Listening? Experiencing Aural Architecture”, MIT Press, 2007, http://www.blesser.net/spacesSpeak.html
  • Bly S., Irwin, S. “Media Spaces: Bringing people together in a video, audio and computing environment.” Comm. ACM 36,1, 28-47, 1993.
  • Boehner K., DePaula R., Dourish P., and Sengers P. , “Affect: from information to interaction.” In Proceedings of the 4th Decennial Conference on Critical Computing: between Sense and Sensibility, Aarhus, Denmark, August 20 - 24, 2005
  • Bolleter R., Hammond R., “Improvising with synchronistic experiences”, New Music Articles 9, 1991, pp31-40, http://www.rainerlinz.net/NMA/repr/Synchronistic.html
  • Bonafous R., Bouillot N., Locher H.-N., Berthelin J., Dechelle F.et Gressier-Soudan E. “The Distributed Virtual Orchestra Project”. Rapport scientifique CEDRIC, 2003.
  • Bongers B. “An interview with Sensorband.” Computer Music Journal 22, 13-24, 1998.
  • Borchers J. WorldBeat: Designing a baton-based interface for an interactive music exhibit, in Proc. CHI'97, ACM press, 1997
  • Bosma J. “Net-Radio”, 1997, http://giardini.sm/radio/net-radio.htm
  • Bosma J. “From net.art to net.radio and back again. Rediscovering and enlarging the entire radio spectrum,” 11.7.1998, http://amsterdam.nettime.org/
  • Bosma J. “The Legitimacy of Illegality”, 1999 http://laudanum.net/cgi-bin/media.cgi?action=display&id=945604187
  • Bosma J. “Musik und das Internet ~ Musaic”, Crossfade, SFMoma, the Walker Art Centre, ZKM and the Goethe Institute, 2000 http://crossfade.walkerart.org
  • Bosma J. “The Interior of Net Art”, Staatliche Akademie der Bildenden Künste Stuttgart, 2001 http://laudanum.net/cgi-bin/media.cgi?action=display&id=993983463
  • Bosma J. “NET ART: BUILDING SOMETHING OUT OF NOTHING - Self Education, Collaboration and Networking, in aRt&D, Research and Development in Art, published by V2_NAi in Rotterdam, 2005 http://laudanum.net/cgi-bin/media.cgi?action=display&id=1118750062
  • Bosma J. “Constructing Media Spaces - The novelty of net(worked) art was and is all about access and engagement”, in mediaartnet.org, ZKM Karlsruhe, 2005 http://laudanum.net/cgi-bin/media.cgi?action=display&id=1118748617
  • Bosma J. “Art as Experience: Meet the Active Audience”, in Network Art, ed. Tom Corby, Routledge, 2006. http://laudanum.net/cgi-bin/media.cgi?action=display&id=1142851121
  • Bosser A-G. “Réplications Distribuées pour la Définition des Interactions de Jeux Massivement Multi-Joueurs.” PhD thesis, université Paris 7 - Denis Diderot, 2005.
  • Bouillot N. “Une architecture pour le jeu musical virtuel réparti avec jMax et RTP.” InMajecstic'03 Manifestation des Jeunes Chercheurs STIC. Marseille, Octobre, pp. 71, 2003 http://cedric.cnam.fr/
  • Bouillot N. “Un algorithme d’auto synchronisation distribuée de flux audio dans le concert virtuel réparti.” In Proc. of The Conférence Française sur les Systemes d’Exploitation (CFSE’3), La Colle sur Loup, France, October 2003. http://rainbow.essi.fr/events/cfse3/papier/Sa-1.zip
  • Bouillot N. “The auditory consistency in distributed music performance: a conductor based synchronization.” ISDM (Info et com Sciences for Decision, 13(0): 129-137, Pr. H.Dou, Pr. Ph.Dumas, Dr Y., 2004. http://isdm.univ-tln.fr/PDF/isdm13/isdm13a123_bouillot.pdf
  • Bouillot N. “Fast event ordering and perceptive consistency in time sensitive distributed multiplayer games.” In CGAMES’2005 7th International Conference on Computer Games, pages p.146–152, Angouleme, Nov. 2005.
  • Bouillot N. “Le Modèle de Cohérence Perceptive pour les Applications Multimédia Interactive et Distribuées.” InJournées Francophones sur la Cohérence des Données en Univers Réparti, Paris - CNAM, Novembre, pp. 15-20, 2005.
  • Bouillot N. “La cohérence dans les applications multimédia interactives : du concert réparti sur Internet aux jeux multi-joueurs en réseau.” Thèse CEDRIC, pp. 210, 2006.
  • Bouillot N. “nJam User Experiments: Enabling Remote Musical Interaction from Milliseconds to Seconds.” InNew Interface for Musical Expression (NIME'2007). New York. Juin., 2007.
  • Bowers J. "The Work to Make a Network Work: Studying CSCW in Action." Proceedings of CSCW '94, pp. 287-298, 1994.
  • Braasch J. “A loudspeaker-based 3D sound projection using Virtual Microphone Control (ViMiC)”, Convention of the Audio Eng. Soc. 118, pp. 968–979, 2005.
  • Braasch J., Woszczyk W. “An immersive audio environment with source positioning based on virtual microphone control”, 119th AES Convention, Oct. 7–10, 2005, New York, NY, USA, Preprint 6546.
  • Braasch J., Woszczyk W. “A “Tonmeister” approach to the positioning of sound sources in a multichannel audio system”, in: 2005 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA 05), Mohonk Mountain House, New Paltz, New York, October 16–19, 2005.
  • Braasch J., Tranby N. “A sound-source tracking device to track multiple talkers from microphone array and lavalier microphone data”, 19th International Congress on Acoustics, Madrid, Sept 2-7, paper ELE-03-009, 2007.
  • Braasch J., Valente D., Peters N. “Sharing Acoustic Spaces over Telepresence using Virtual Microphone Control”, Convention of the Audio Eng. Soc., October 5-8, 2007, New York.
  • Braasch J. “Limited Connectivity for Small Co-Located Ensemble and Live Electronics”, ISIM’07, December 14-16, Northwestern University, Evanston, Illinois USA, 2007.
  • Braasch J. “Telematic Music - Restrictions and Advantages compared to traditional one-site music events”, Proceedings of ICMC’08 SARC Belfast, pp. 538–539, 2008.
  • Bregman Albert S. “Auditory Scene Analysis: The Perceptual Organization of sound.” Cambridge, Massachusetts: The MIT Press. 1990
  • Breiteneder C., Gibbs S. and Arapis C., “TELEPORT - An Augmented Reality Tele-conferencing Environment”, 3rd Eurographics Workshop on Virtual Environments, Monte Carlo, Monaco, February 1996.
  • Breitsameter S. “Instrument Internet.” Audiovisionen im Netz-Zeitalter, Neue Zeitschrift für Musik 4/2000, 53–55.
  • Broeckmann A. “Are You Online? Presence and Participation in Network Art”, Timothy Druckrey (Hg.): Ars Electronica. Facing the Future, Cambridge, MA, 1999, 438-441.
  • Brown C. “Talking Drum: A Local Area Network Music Installation”, Leonardo Music Journal 9/1999, 23–28.
  • Brown C., Bischoff J. “Eternal Network Music”, 2003 http://crossfade.walkerart.org/brownbischoff2/eternal/
  • Bryan-Kinns N., Healey P., Thirlwell M., Leach, J., “Designing for Group Creativity.” In Supplementary Proceedings of HCI International 2003. 2003.
  • Bryan-Kinns N., Healey P., Thirlwell M., “Gudar – A Novel Group Music Instrument.” In Supplementary Proceedings of INTERACT 2003. 2003.
  • Bryan-Kinns N., Healey P., Thirlwell M., “Graphical Representation for Musical Improvisation.” In Proceedings of 2nd International Workshop on Interactive Graphical Communication 2003. 2003.
  • Bryan-Kinns N. “Striking a Collaborative Chord.” Interfaces, No. 61, pp. 19-20. 2004.
  • Bryan-Kinns N. “Daisyphone: The Design and Impact of a Novel Environment for Remote Group Music Improvisation.” In Proceedings of DIS 2004 Conference on Designing Interactive Systems, Boston, USA, pp. 135-144. 2004.
  • Bryan-Kinns N., Healey P. G. T., “Daisyphone: Support for Remote Music Collaboration.” In Proceedings of NIME 2004, Hamamatsu, Japan, pp. 27-30. 2004.
  • Bryan-Kinns N. “Mobile group music improvisation.” In Proceedings of Engagability and Design 2004, Birmingham, UK. 2004.
  • Bryan-Kinns N., Healey P. G. T., Lee, J. “Persistence in web based collaborations.” In Proc. of International World Wide Web Conference 2005, Chiba, Japan. 2005.
  • Bryan-Kinns N., Healey, P. G. T., “Decay in Collaborative Music Making.” In Proceedings of NIME 2006, Paris, France, pp. 114-117. 2006.
  • Bryan-Kinns N., Healey P. G. T., Leach J., Brooker A. “Mutual Engagement in Collaboration.” Presented at About-Face Workshop, CHI 2006, Montreal, Canada. 2006.
  • Bryan-Kinns N., Healey P. G. T., “Exploring Mutual Engagement in Creative Collaborations.” In Proceedings of Creativity and Cognition 2007, Washington, USA, pp. 223 - 232. 2007.
  • Bryan-Kinns N., Healey P. G. T., Papworth D., Vaduuva, A., “Cues to Mutual Knowledge.” In Proceedings of ECSCW 07 , Limmerick, 2007.
  • Bull M. Sound connections: an aural epistemology of proximity and distance in urban culture, Environment & Planning D: Society & Space, 22(1), 103-116, 2004
  • Bull M. ''Sounding out the City: Personal Stereos and the Management of Everyday Life”. Publisher: Berg. Place of Publication: Oxford, England, 2000
  • Bunz M. “Kulturrevolution im Internet. Auf einer Tagung im Wiener Musikinstitut Mica wurden umfassend die verschiedenen Aspekte von MP3 und Musik im Netz diskutiert”, 21.4.2000, http://www.heise.de/tp/deutsch/inhalt/konf/3515/1.html
  • Burk P., “Jammin' on the web – a new client/server architecture for multi-user performance.” Proceedings of the International Music Conference (Berlin, Germany). International Computer Music Association, ICMC 2000, 117-120.
  • Buscher M., Hughes J., O'Brien J., Rodden T. “Presence and Representation in Multimedia Art and Electronic Landscapes”, eSCAPE -D1.1 Deliverable, 1998 http://www.comp.lancs.ac.uk/computing/research/cseg/DIGITAL-LIBRARY/Escape/Escape-D1.1.pdf
  • Buxton W. “Masters and slaves versus democracy: MIDI and local area networks”, Proceedings of the 5th International Conference on Music and Digital Technology, Audio Engineering Society, Anaheim, CA, May 1-3, 207-219, 1987 http://www.billbuxton.com/papers.html
  • Buxton W. “Telepresence: Integrating shared task and person spaces.” In Proc. Conf. on Graphics Interface ’92, pages 123–129, 1992.
  • Buxton W. “Ubiquitous Media and the Active Office.” Published in Japanese (only) as, Buxton, W. (1995). Ubiquitous Video, Nikkei Electronics, 3.27 (no. 632), 187-195, 1995
  • Buxton W. “Integrating the Periphery and Context: A New Model of Telematics”, Proceedings of Graphics Interface '95, 239-246, 1995
  • Buxton W. “Absorbing and Squeezing Out: On Sponges and Ubiquitous Computing”, Proceedings of the International Broadcasting Symposium, November 13-16, Tokyo, 91-96, 1996
  • Buxton W. “Living in Augmented Reality: Ubiquitous Media and Reactive Environments.” In K. Finn, A. Sellen & S. Wilber (Eds.). Video Mediated Communication. Hillsdale, N.J.: Erlbaum, 363-384, 1997
  • Buxton W. “Space-Function Integration and Ubiquitous Media.” In M. Shamiyeh (Ed.). Towards and Interactive and Integrative Design Process.Linz, Austria:DOM Publications, 248-271, 2006

_______________________________________________________________________ C           (Edit)

  • Cabrera D. “Resonating Sound Art and the Aesthetics of Room Resonance”, Convergence 3:4/1997, 108–137.
  • Careri F. “Walkscapes: Walking as an Aesthetic Practice”. Land&Scape series. Editorial Gustavo Gili Barcelona, Spain, 2002
  • Carlyle A. “Positive Soundscape Project: A re-evaluation of environmental sound”, CRiSAP, London. 2007.
  • Carôt A., Jens H., Kraemer U., Schuller G., Wabnik S., Werner C. “Network Music Performance with ultra-low-delay audio coding under unreliable network conditions”, Proceedings of the 123rd AES Convention, New-York, 2007.
  • Casey M., Smaragdis P. “NetSound”, ICMC96 Paper, Proceedings of the International Computer Music Conference 1996, Hong Kong 1996.
  • Casserley L., “Plus ça change: Journeys, Instruments and Networks, 1966–2000”, Leonardo Music Journal December 2001, Vol. 11: 43–49
  • Castro M., Druschel P., Kermarrec A-M., Nandi A., Rowstron A., and Singh A. “Splitstream : High-bandwidth multicast in a cooperative environment.” SOSP’03,Lake Bolton, New York, October 2003.
  • Catlow R. “VisitorsStudio: From Passive Audience to Networked Co-producers”, AHRC ICT Methods Network Workshop, Centre for Computing in the Humanities, Kay House, King’s College, 19 March 2007
  • Chadabe J. “Electric Sound. The Past and Promise of Electronic Music”, Upper Saddle River, NJ, 1997.
  • Chafe C. “Distributed Internet reverberation for audio collaboration”. In AES 24th Intl. Conf. on Multichannel Audio, Banff, 2003.
  • Chafe C., Wilson S., Leistikow R., Chisholm D., Scavone G. “Simplified Approach to High quality Music and Sound over IP.” In Proc. COST-G6 Conf. on Digital Audio Effects (DAFX). 2000.
  • Chafe C., Leistikow R. “Levels of Temporal Resolution in Sonification of Network Performance.” Proceedings of the International Conference on Auditory Display. 2001.
  • Chafe C. “Tapping into the Internet as an Acoustical and Musical Medium”, Proceedings of ICMC’08, SARC Belfast,pp. 544-545, August 24-29, 2008.
  • Chandler A, Neumark N., “At a Distance - Precursors to Art and Activism on the Internet”, MIT Press, 2005.
  • Chew E., Zimmermann R., Sawchuk A., Papadopoulos C., Kyriakakis C. “A Performer-Centered Approach to Design and Latency Issues in Networked Performance Systems”. 2004.
  • Chew E., Zimmermann R., Sawchuk A. A., Kyriakakis C., Papadopoulos C., François A. R. J., Kim G., Rizzo A., Volk A., “Musical Interaction at a Distance: Distributed Immersive Performance”. Proceedings of the 4th Open Workshop of MUSICNETWORK: Integration of Music in Multimedia Applications (MUSICNETWORK 2004 ), Barcelona, Spain, Sep 15-16, 2004.
  • Chew E., Sawchuk A. A., Zimmerman R., the Tosheff Piano Duo (V. Stoyanova and I. Tosheff), Kyriakakis C., Papadopoulos C., François A. R. J., Volk A., “Distributed Immersive Performance.” Proceedings of the 2004 Annual National Association of the Schools of Music (NASM 2004) Meeting, San Diego, CA, November 22, 2004.
  • Chew E., Sawchuk A. A., Tanoue C., Zimmermann R., “Segmental Tempo Analysis of Performances in Performer-Centered Experiments in the Distributed Immersive Performance Project”. Sound and Music Computing '05 International Conference, Salerno, Italy (SMC'05).
  • Chew E., Zimmermann R., Sawchuk A. A., Papadopoulos C., Kyriakakis C., Tanoue C., Desai D., Pawar M., Sinha R., Meyer W., “A Second Report on the User Experiments in the Distributed Immersive Performance Project”. Proceedings of the 5th Open Workshop of MUSICNETWORK: Integration of Music in Multimedia Applications (MUSICNETWORK 2005), July 4-5, 2005, Vienna, Austria
  • Chew E., Sawchuk A. A., Zimmermann R., “Distributed Immersive Performance: Ameliorating the Psychophysical Effects of Network Latency”. R. Proceedings of the Corporation of Education Networks in California (CENIC 2005) Meeting, Marina del Rey, CA, Mar 7-9, 2005.
  • Chittaro L., Burigat S., “Augmenting audio messages with visual directions in mobile guides: an evaluation of three approaches,” in Proceedings of the 7th international conference on Human computer interaction with mobile devices & services (Mobile HCI 05), Salzburg, Austria, September 19-21, 2005.
  • Churchill E.F., Nelson L., Denoue L., Helfman J., Murphy P. “Sharing multimedia content with interactive public displays: a case study.” In DIS ’04: Proc. 2004 Conf. on Designing interactive systems, pages 7–16. ACM Press, 2004.
  • Coady N. “The Electric Circus”. MA thesis, University of Westminster, 2002
  • Cohen E., Cooperstock J., Zimmermann R., and Kyriakakis C., “The Challenges of Archiving Networked-Based Multimedia Performances (Performance Cryogenics)”, Proceedings of the 144th Meeting of the Acoustical Society of America, Dec. 2-6, 2002.
  • Collins N. “Ubiquitous Electronics - Technology and Live Performance 1966-1996”, Leonardo Music Journal 8/1998, S. 27-32.
  • Cook P. R., “DIN OF AN “IQUITY”: ANALYSIS AND SYNTHESIS OF ENVIRONMENTAL SOUNDS”, 13th International Conference on Auditory Display ICAD, 2007
  • Cooperstock J. R., Spackman S. P.“The recording studio that spanned a continent.” Proceedings of the International Conference on WEB Delivering of Music pp. 161-167, 2001.
  • Cooperstock J. R., Roston J., Woszczyk W. “Broadband Networked Audio : Entering the Era of Multisensory Data Distribution.” 1!th International Congress on Acoustics, Kyoto, April 4-9, 2004.
  • Cooperstock J.R. “History of Spatially Distributed Performance”, http://www.cim.mcgill.ca/sre/projects/rtnm/history.html
  • Cope D. “Facing the Music: Perspectives in Machine-Composed Music”, Leonardo Music Journal 9/1999, S. 79-83.
  • Cordry J., Bouillot N.et Bouzefrane S. “BOSSA et le Concert Virtuel Réparti, intégration et paramétrage souple d'une politique d'ordonnancement spécifique pour une application multimédia distribuée”, InRTS'05 (13th International Conference on Real-Time Systems) Paris 5 Avril, pp. 18-39, 2005
  • Costa J., Barbosa A. Coimbra D. “Shared Soundscapes: A social environment for collective music creation” – 9th International Conference on Music and Cognition (ICMPC 9); Bologna, Italy, 2006
  • Costantini F., Toinard C., Chevassus N. et Gaillard F. “Collaborative design using distributed virtual reality over the Internet”. InSPIE Internet Imaging, San José, SPIE, 2001. Conference Proceedings, SPIE Internet Imaging, San José, California, 24-26 January 2001
  • Crabtree, A., Benford, S., Rodden, T., Greenhalgh, C., Flintham, M. Anastasi, R., Drozd, A., Adams, M., Row-Farr, J., Tandavanitj, N., Steed, A. “Orchestrating a Mixed Reality Game On the Ground”, CHI 2004, 24-29 April, vol. 6, n. 1, pp. 391-398, 2004.
  • Cristofol J. “Prédiction, Variation, Imprévu”, 2007 http://temporalites.free.fr/?browse=Prédiction, Variation, Imprévu
  • Csikszentmihalyi M. “Beyond Boredom and Anxiety”, San Francisco 1977.
  • Csikszentmihalyi M. “Flow: The Psychology of Optimal Experience”. Harper Collins. 1991.
  • Cubitt S. “Online Sound and Virtual Architecture” (Contribution to the Geography of Cultural Translation), Leonardo Music Journal 7/1997, S. 43-48.

_______________________________________________________________________ D             (Edit)

  • 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.

_______________________________________________________________________ E             (Edit)

  • Ekman I., Ermi L., Lahti J., Nummela J., Lankoski P., and Mäyrä F., “Designing sound for a pervasive mobile game”. In Proceedings of the 2005 ACM SIGCHI international Conference on Advances in Computer Entertainment Technology, Valencia, Spain, June 15 - 17, 2005
  • Emmerson S. “Aural Landscape: Musical Space.” In OrganisedSound, 3:2. Cambridge: Cambridge University Press, 1999.
  • Enders B., Joachim S-E. (Hg.). “Musik und Neue Technologie 3: Musik im virtuellen Raum” (KlangArt-Kongreß 1997), Osnabrück 2000.
  • Escobar J., Deutsch D., Partridge C. “Flow synchronization protocol”. IEEE/ACM Transactions on Networking, Vol. 2, No. 2, pp. 111-121, 1994.
  • Eßer T. “music-and-sound.de. Musik im Internet”, Köln 2000.
  • Essl K. “Lexikon-Sonate. An Interactive Realtime Composition for Computer-Controlled Piano”, Bernd Enders, Joachim Stange-Elbe (Hg.): Musik und Neue Technologie 3: Musik im virtuellen Raum (KlangArt-Kongreß 1997), Osnabrück 2000, 311-328.

_______________________________________________________________________ F             (Edit)

  • Fähndrich W. “Musik für Räume”, Thüring Bräm (Hg.): Musik und Raum, Basel 1986, S.95-98.
  • Fedorkow G. “Audio Network Control”. Toronto: M. Sc. Thesis,Dept. of ElectricalEngineering, University of Toronto, 1977
  • Fedorkow G., Buxton W., Smith K.C., “A Computer-Controlled Sound Distribution System”, Computer Music Journal, Volume II Number 3, 33-42, 1978
  • Feldmeier M., Malinowski M., and Paradiso J., “Large Group Musical Interaction Using Disposable Wireless Motion Sensors.” Proceedings of the 2002 International Computer Music Conference.San Francisco, California: International Computer Music Association, pp.83–87, 2002
  • Fober D. “Real-time MIDI data flow on Ethernet and the software architecture of MidiShare”. In Proceedings of the International Computer Music Conference pp. 447-450, San Francisco, 1994.
  • Fober D., Orlarey Y., Letz S. “Real time musical events streaming over Internet”. Proceedings of the International Conference on WEB Delivering of Music, pp. 147-154, 2001.
  • Foellmer G., Mengel A. “Netzwerkmusik”, Positionen 31/Mai 1997, 29-30.
  • Foellmer G. “Brecht meets Turing. Öffentliche Musik im Netz der Möglichkeiten”, Positionen 31/Mai 1997, 2-8.
  • Foellmer G. Musikalische Systeme im Netz — ein Überblick, Institut für Phonetik München (Hg.): Klangforschunǵ98 – Symposium zur elektronischen Musik, pp. 153-162, Saarbrücken 1999
  • Foellmer G. “Musik aus dem Internet” - AkuNeueMusik und Medien, Altenburg 2000, 69-76.
  • Foellmer G. “Crossfade - Sound Travels on the Web - Soft Music”. San Francisco Museum of Modern Art; ZKM - Center for Art and Media - Karlsruhe; Walker Art Center - Minneapolis ; Goethe Forum - Munich, 2001 http://crossfade.walkerart.org/
  • Foellmer G. “Musical Systems and the Constitution of Places on the Internet”, Peter Weibel, Timothy Druckrey (Hg.): net_condition. art and global media, Cambridge 2001, 230-235.
  • Foellmer G. “Netzmusik - Stand der elektroakustischen Musik oder Musik von anderen Planeten?” Ein Printchat (mit Elena Ungeheuer) in: Elena Ungeheuer (Hg.): Handbuch der Musik im 20. Jahrhundert, Bd. 8: Elektroakustische Musik, Laaber Verlag, Laaber, S. 303-316. 2002.
  • Foellmer G. “Towards a New Gesamtkunstwerk? Total Sampling, Re-Bricolage und Media” Hopping im Netz. In: Rudolf Frisius, Helga de la Motte-Haber (Hg.): Konzert - Klangkunst - Computer. (= Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt Bd. 42), Schott Verlag, Mainz, S. 19-35. 2002.
  • Foellmer, G. 2002 Making Music on the Net, social and aesthetic structures in participative music. Ph.D. Thesis, Martin Luther Universität Halle-Wittenberg – Germany.
  • Foellmer G. '”Netzmusik. Musikpraktiken in Computer-Netzwerken'”, 2003
  • Foellmer G. “A new folk music? Modelling networked music practices”, 2003
  • Foellmer G. “Music in Toyland. Zum Spielcharakter von Netzmusik”, Positionen. Beiträge zur Neuen Musik - play station, Heft 56, 2003
  • Foellmer G. “Netmusic / Musikmachen im Netz Elektronische, ästhetische und soziale Strukturen einer partizipativen Musik'”, Thesis / Dissertation zur Erlangung des Doktorgrades der Philosophie, 2003
  • Fontana B. “Transparente Klänge”, Kunstforum International 103/1989, 302-305.
  • Fontana B. “Landscape Soundings”, ORF Kunstradio, 1990 http://www.kunstradio.at/FONTANA/LS/
  • Fontana B. “Borrowed Landscapes - The Sound Sculptures of Bill Fontana 1973 to 1996” http://www.resoundings.org/PDF/fontanasoundsculpture.pdf
  • Freeman J. “Adaptive High-level Classification of Vocal Gestures Within a Networked Sound Instrument”. International Computer Music Conference (ICMC) 2004 in Miami, Florida. 2004.
  • Freeman J., Ramakrishnan C., Varni, K., et. al. “Adaptive High-Level Classification of Vocal Gestures within an Interactive Aural Architecture”. Proceedings of the International Computer Music Conference, San Francisco, California: International Computer Music Association, pp.668–671, 2004.
  • Freeman, J. The Networked Music Workshop at ICMC 2005, Barcelona (September 4, 2005)
  • Friberg J., Gärdenfors D., “Audio games: new perspectives on game audio”. In Proceedings of the 2004 ACM SIGCHI international Conference on Advances in Computer Entertainment Technology, Singapore, June 03 - 05, 2004
  • Fröhlich B., Barrass S., Zehner B., Plate J., and Göbel M., “Exploring geo-scientific data in virtual environments”. in VIS ’99: Proceedings of the conference on Visualization ’99, pages 169–173, Los Alamitos, CA, USA, 1999. IEEE Computer Society Press.

_______________________________________________________________________ G          (Edit)

  • Gajewska M. “Speakerson.net, Sonic-inspired Language of the World Wide Web”, Research and Development Report, MA Scheme Media and Arts, London South Bank University, 2007 http://www.speakerson.net
  • Gallet B. “Composer des étendues – l’art de l’installation sonore”. ESBA Geneva, 2005.
  • Gang D., Chockler V., Anker T., Kremer A., Winkler T. “TransMIDI: A System for MIDI Sessions Over the Network Using Transis”. Proceedings of the International Computer Music Conference (ICMC 1997).
  • Gardner M.B, “Some Single and Multiple-Source Localization Effects”, JAES 21.6, 430-437, 1973
  • Garton A., “Theatre as Suspended Space, Centre for Animation and Interactive Media”, Royal Melbourne Institute of Technology, Institut für Theaterwissenschaft University of Vienna, 1997
  • Garton A. “Towards ... Ausländer und Staatenlose”, Master of Arts Project Report, Royal Melbourne Institute of Technology University, Melbourne, Australia, 2000
  • Gaudy T., Natkin S., Archambault D. “Classification des jeux sonores selon leur type de jouabilité”. InProceedings of Handicap 2006 Conference, Paris, 7-9 juin, pp. pp 221-226, 2006
  • Gaudy T., Natkin S., Leprado C., Dilger T., Archambault D. “Tampokme : A Multi-Users Audio Game Accessible To Visually And Motor Impaired People”. Inproceedings of CGAMES 2007. La Rochelle. 21st-23rd November, 2007
  • Gaudy T., Natkin S., Archambault D. “Pyvox 2: an audio game accessible to visually impaired people playable without visual nor verbal instructions”. InEdutainment 2008, the 3rd International Conference on E-learning and games, Nanjing, 25 - 27 june, 2008
  • Gaver W.W. “The affordances of media spaces for collaboration”. In CSCW ’92: Proc. 1992 ACM Conf. on Computer-Supported Cooperative Work, pages 17–24. ACM Press, 1992.
  • Gaver W.W. “What in the world do we hear? An ecological approach to auditory source perception” in: Ecological Psychology 5, pp. 1-29, 1993
  • Gaye L., Holmquist L-E., Behrendt F., Tanaka A. “Mobile Music Technology: Report on an Emerging Community”. Proceedings of New Interfaces for Musical Expression (NIME06),2006.IRCAM
  • Gemeinboeck P., Tanaka A., and Dong A. “Instant Archaeologies: Digital Lenses to Probe and to Perforate the Urban Fabric”. Proc. ACM Multimedia,Santa Barbara,2006.
  • Gerlach T. “Musiker im Netz - Breakdown oder Added Value für ausübende Künstler?”, Musikforum 36:92/2000, 44-48.
  • Giannachi G. Kaye N. “Presence”, Performance Research 11:3 Lexicon, pp101-3. Issue to be exhibited at Documenta 12, Kassel, June-September, 2007 http://presence.stanford.edu:3455/Collaboratory/9
  • Gibbs S., Arapis C., Breiteneder C., Lalioti V., Mostafawy S., Speier J. “Virtual Studios: The State of the Art”, Eurographics'96 STAR Reports.
  • Gilfix M., Couch A. “Peep (the network auralizer): monitoring your network with sound”. Proceedings of the 14th Systems Administration Conference. New Orleans, LA: USENIX, 2000
  • Giuli, D., Pirri, F., Bussotti, P. “Orchestra ! : a distributed platform for virtual musical groups and music distance learning over the Internet in JavaTMtechnology”, Multimedia Computing and Systems, 1999. IEEE International Conference on Volume 2, Issue , Jul 1999 Page(s):987 - 988 vol.2
  • Glesner J. “Internet Performances as Site-Specific Art”, in Body, Space, Technology Journal, Volume 3, No. 1, Brunel University, 2002 http://williamlmoore.com/images/advanced/internet performances as site-specific art.pdf
  • Goffman E. “Behavior in Public Spaces: Notes on the social organization of gathering”. New York: The Free Press. 1963.
  • Gonot A., Château N., Emerit M. “Evaluation de l’ergonomie d’un dispositif audio 3D pour l’assistance à la navigation dans un environnement virtuel complexe”. InCFA, Congrès Français d'Acoustique, Tours, 24-27 avril, 2006
  • Gonot A., Natkin S., Emerit M., Château N. “An Experiment in the Perception of Space through Sound in Virtual World and Games”. InCGAMES 2006, Dublin, November 21-24, 2006
  • Gonot A., Château N., Emerit M. “Usability of 3D-Sound for Navigation in a Constrained Virtual Environment”. In120th AES Convention, Paris, May 20–23, 2006
  • Gonot A., Natkin S., Emerit M., Château N. “The roles of spatial auditory perception and cognition in accessibility of game map with a first person view”. IJIGS, International Journal of Intellig, 4(2), N.E. Gough and Q.H. Mehdi, 2007
  • Goto M., Neyama R., and Muraoka Y. “RMCP: Remote Music Control Protocol – design and applications”. Proc. ofthe 1997 Int. Computer Music Conf., pp. 446–9. September, 1997
  • Grainger P. A. “Free Music”, Leonardo Music Journal 6/1996, 109.
  • Greenman B. “Net Music”, New York 1995.
  • Gresham-Lancaster S. “The aesthetics and history of The Hub: The effects of changing technology on network computer music”. Leonardo Music Journal, 8:39–44, 1998.
  • Greuel, C., Bolas M., Bolas N., and McDowall J. “Sculpting 3D worlds with music; advanced texturing techniques”. Proceedings of the SPIE—The International Society for Optical Engineering 2653: 306-15. San Jose, CA: SPIE.
  • Griffith N. “Musical Networks. Parallel Distributed Perception and Performance”, Cambridge 1999.
  • Gröhn M. “Application of Spatial Sound Reproduction in Virtual Environments Experiments in Localization, Navigation, and Orientation”. PhD thesis, Department of Computer Science and Engineering, Helsinki University of Technology, 2006.
  • Grundmann H. “Art + Telecommunication”. Vancouver: Western Front, 1984.
  • Grundmann H. “But is it Radio?”, Xchange - Net Audio Network (Hg.): AcousticSpace3. Net Audio Issue, Riga 2000, 32-34.
  • Grundmann H. Wiencouver, zur Entwicklung der Radiokunst in den Vergangenen 25 Jahren, Medienkunst, Beiträge zur Elektronischen Musik (12), pp. 31-45, Institut für Elektronische Musik und Akustik Graz, 2004
  • Gu X., L. Wolf: Scalability in IP-based Multimedia - A Survey On Media Delivery Techniques, Frankfurt, Germany, GCI, October 2003
  • Gu X., L. Wolf: Explicit Delay Control for IP-based Multimedia, in Proceedings of the CAAG Conference, Hamburg, Germany, CAAG, October 2004
  • Gu X., M. Dick, U. Noyer and L. Wolf: NMP - A New Networked Music Performance System, in Proceedings of the 1st IEEE International Workshop on Networking Issues in Multimedia Entertainment (NIME'04), Dallas, USA, IEEE, November 2004 http://www.ibr.cs.tu-bs.de/projects/nmp/paper/nime04_nmp_talk.pdf
  • Gu X., Dick M., Kurtisi Z., Noyer U., Wolf L. “Network-centric music performance: Practice and experiments”. IEEE Communications, Vol.43, No. 6, :86–93, 2005.
  • Gu X., D. Markwardt and L. Wolf: Promote the Use of Explicit Delay Control, in Journal of Communications (JCM), Academy Publisher, Vol. 1, No. 3, pages 41-52, June 2006
  • Gu X., D. Markwardt, X. Fu and L. Wolf: Principles and Experiments of Explicit Delay Control, in Proceedings of IEEE Consumer Communications and Networking Conference(CCNC'06), Las Vegas, USA, pages 531-537, January 2006
  • Gumpert G., Cathcart R., eds. “INTER/MEDIA: Interpersonal Communication in a Media World”. New York: Oxford University Press. 1979.
  • Gurevich M., Chafe C., Leslie G., Tyan S., “Simulation of Networked Ensemble Performance with Varying Time Delays: Characterization of Ensemble Accuracy.” Proceedings of the 2004 International Computer Music Conference, Miami, USA. 2004.
  • Gurevich M. “'JamSpace: Designing A Collaborative Networked Music Space for Novices'”, Proceedings of the 2006 International Conference on New Interfaces for Musical Expression (NIME06), Paris, France, 2006
  • Gurevich M. “JamSpace: a networked real-time collaborative music environment”. CHI Extended Abstracts 2006: 821-826
  • Gurevich M., Treviño J. “Expression and its Discontent: Toward an Ecology of Musical Creation.” Proceedings of the Conference on New Interfaces for Musical Expression (NIME-07), New York, USA. 2007.

_______________________________________________________________________ H           (Edit)

  • Hall G. “Bands Without Borders”, Electronic Musician Magazine, October 2002, 72-86.
  • Handke S. “Eine kleine Netzmusik. Bemerkungen zur Musik im Internet”, 1997, http://bird.musik.uni-osnabrueck.de/seminar/referate/netz-mus.htm
  • Harris Y. “Taking Soundings – Investigating Coastal Navigations and Orientations in Sound”, Proceedings of 4th International Mobile Music Workshop Amsterdam, p.45-50, 2007.
  • Harrison S., Dourish P. “Re-place-ing space: the roles of place and space in collaborative systems”. In CSCW ’96: Proceedings of the 1996 ACM conference on Computer supported cooperative work, pages 135–144. ACM Press, 1996.
  • Harrison J. “Sound, space, sculpture: some thoughts on the ‘what’, ‘how’ and ‘why’ of sound diffusion.” In Organised Sound, 3:2. Cambridge: Cambridge University Press, 1998
  • Harrison J. “Imaginary Space: Spaces in the Imagination.” In Proceedings of the Australasian Computer Music Conference 1999. Wellington: Victoria University of Wellington, 1999
  • Haus G., Longari M. and Pollastri E. “A Score-driven Approach to Music Information Retrieval.” Forthcoming in Journal of the American Society for Information Science and Technology (JASIST), Perspectives issue on Sound Music Information Retrieval.
  • Hayward P. “Mapping the Music Net”, Convergence 2:2/1996, 134-139.
  • Healey P., Bryan-Kinns N. “Analysing Asynchronous Collaboration”. In proceedings of HCI 2000, Sunderland, UK, pp. 239-245. 2000.
  • Heeter C. “Being there: The subjective experience of presence”.Presence: Teleoperators and Virtual Environments, 1 (2), 262-271, 1992
  • Heibach C. “Literatur im Internet. Theorie und Praxis einer kooperativen Ästhetik” (Abstract einer Dissertation über digitale Ästhetik), 2000, http://www.dichtung-digital.com/2000/Heibach/10-Feb/
  • Helmuth M. “Sound exchange and performance on Internet2”. Proceedings of the 2000 International Computer Music Conference.San Francisco, California: International Computer Music Association, pp.121–124, 2000
  • Hindus D., Ackerman M., Mainwaring S., and Starr B. “Thunderwire: A Field Study of an Audio-Only Media Space”. CSCW 1996.
  • Hollan J., Stornetta S. “Beyond Being There”. Proceedings of CHI 1992.
  • Hope P. “MMidi: the MBone MIDI Tool”. Multimedia Networks Group, University of Virginia, http://www.cs.virginia.edu/mn-group/projects/mmidi/, 1996.
  • Horton D., Wohl, R. R. “Mass communication and para-social interaction: Observation on intimacy at a distance”. In G. Gumpert and R. Cathcart (Eds.), Inter/Media: Interpersonal Communication in a Media World (pp.32-55). New York: Oxford University Press, 1979
  • Hsiu Hsu S., Le Prado C., Liard C. et Natkin S. “New type of auditory progress bar: exploration, design and evaluation”. InHuman Computer Interaction (HCI 2007), Beijing, July, Spriger Verlag, 2007
  • Hughes J. A.,Randall D. and Shapiro D. “From Ethnographic Record to System Design: Some experiences from the field.” Computer Supported Cooperative Work ,1, pp.123-141, 199

_______________________________________________________________________ I           (Edit)

  • Iber M. “Essay about INTErnet GEnerated Radio” http://www.michael-iber.de/projects/integer/english/english.html
  • Ishii H., Kobayashi M. and Grudin J. “Integration of inter-personal space and shared workspace: ClearBoard design and experiments”. Proceedings of CSCW 1992.
  • Ives C. “Music and its Future.” American Composers on American Music. ed. H. Cowell. Palo Alto: Standford Univ. Press, 1933.

_______________________________________________________________________ J             (Edit)

  • Jacobson D.M., Crowley R.N. “A Multiplexed Remote Control System”, JAES 25.9,586-591, 1977
  • Jacobsson M., Rost M., Håkansson M. and Holmquist L. E. “Push!Music: Intelligent Music Sharing on Mobile Devices”. In Adjunct Proceedings of UbiComp’05, Tokyo, Japan, 2005.
  • Jancke G., Venolia G., Grudin J., Cadia J. and Gupta A. “Linking Public Spaces: Technical and Social Issues”. Proceedings of CHI 2001.
  • Jaxitron. “Cybernetic Music”, Blue Ridge Summit, PA, 1985.
  • Jeffrey P., Mark G. “Constructing social spaces in virtual environments: a study of navigation and interaction”. In K. Höök, A. Munro, and D. Benyon, editors, Workshop on Personalised and Social Navigation in Information Space, pages 24–38, 1998.
  • Jirotka M., Gilbert N. and Luff P. “On the Social Organisation of Organisations” Computer Supported Cooperative Work ,1, pp.95-118, 1992
  • Jones M., Bradley G., Jones S., and Holmes G., “Navigation-by-Music for Pedestrians: an Initial Prototype and Evaluation”, in Proceedings of the International Symposium on Intelligent Environments: Improving the quality of life in a changing world, Homerton College, Cambridge, United Kingdom, 5-7 April, 2006.
  • Jordà S. “Faust music on line (FMOL): An approach to real-time collective composition on the Internet”, Leonardo Music Journal, 9:5–12, 1999.
  • Jordà S., Barbosa A. “Computer Supported Cooperative Music: Overview of research work and projects at the Audiovisual Institute - UPF”. Proceedings of MOSART Workshop on Current Research Directions in Computer Music. 2001.
  • Jordà S. “New Musical Interfaces and New Music-making Paradigms”. NIME New Instruments for Musical Expression Workshop, Seattle, 2001.
  • Jordà S. “Improvising with Computers: A Personal Survey (1989-2001)”, Journal of New Music Research 2002.
  • Joy J. Hypermusic, composition and programmings, Imagina 98 Proceedings, Monaco, 1998.
  • Joy J., Argüello S. (Lib_), Logs. Éd. È®e, Paris, 2005.
  • Joy J. “De la monstration aux téléchargements : pollinisation et émancipation. Approches des collectifs artistiques en réseau”. In Logs. Éd. È®e, Paris, 2005.
  • Joy J. Une Époque Circuitée, Proceedings ofthe Metamedia Symposium, Québec, 2007.
  • Joy J. “Étude sur le remote sound recording”, Locus Sonus, report DAP, French Min. of Culture, 2008.
  • Joy J. “Étude sur les micros ouverts Locustream”, Locus Sonus, report DAP, French Min. of Culture, 2008.
  • Joy J., Sinclair P. “Networked Sonic Spaces”, Locus Sonus, Proceedings of ICMC’08, SARC Belfast,pp. 553-555, August 24-29, 2008 http://locusonus.org/
  • Joy J., Sinclair P. “Networked Music and Sound Art Timeline (NMSAT) - A panoramic view of practices & technics related to sound transmission and distance - a pool of informations”, Locus Sonus, Contemporary Music Review, 2009.
  • Joy J., Sinclair P. “Networked Music and Sound Art Timeline (NMSAT) - excerpt of the database”, Locus Sonus, Contemporary Music Review, 2009.
  • Joy J. “Une Époque Circuitée”, Revue Intermédialités, Montréal, 2009.

_______________________________________________________________________ K           (Edit)

  • Kac E. "Ornitorrinco: Exploring Telepresence and Remote Sensing," originally published in Leonardo, Vol. 24, No.2, 1991, p. 233.
  • Kac E. "Towards Telepresence Art", Interface, Vol. 4, No. 2, November 1992, Advanced Computing Center for the Arts and Design, The Ohio State University, 1992, pgs. 2-4.
  • Kac E. "Telepresence Art", Teleskulptur 3 (book), R. Kriesche and P. Hoffman, eds., Kulturdata and Division of Cultural Affairs of the City of Graz, Graz, Austria (in English and German), 1993, pgs. 48-72.
  • Kac E. "Ornitorrinco and Rara Avis: Telepresence Art on the Internet," Leonardo, Vol. 29, N. 5, 1996, pp. 389-400, with a technical appendix by Ed Bennett.
  • Kainulainen A., Turunen M., Hakulinen J., Melto A., “SOUNDMARKS IN SPOKEN ROUTE GUIDANCE”, 13th International Conference on Auditory Display ICAD, 2007
  • Kanki S. '”Mélange à trois (Blue – Version III)”, 1998, http://www.notam02.no/warsaw/melange.html
  • Kapur A., Wang G., Davidson P., Cook P.R., “Interactive Network Performance : a dream worth dreaming ?”, Organised Sound 10(3), pp. 209-219
  • Kapur A., Wang G., Davidson P., Cook P.R., “GigaPop Ritual”, Proceedings of the 2003 Conference on New Instruments for Musical Expression (NIME-03), 2003
  • Karahalios K., Donath J. “Scale, Form, and Time: creating connected sociable spaces”. Ubicomp 2003.
  • Karahalios K.G. “Social Catalysts: enhancing communication in mediated spaces”, Doctorate of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology, 2004
  • Knott L. “World Wide Simultaneous Dance: Dancing the Connection between the “Cyberplace” and the Global Landscape”, in: Leonardo Vol. 34, No.1 (2001). pp.11-16. p.11.
  • Konstantas D, Orlarey Y., Gibbs S., Carbonel O., “Distributed Musical Rehearsals”. Proceedings of the International Computer Music Conference 97, September 25-30 1997, Thessaloniki, Greece.
  • Konstantas D. “A telepresence environment for the organization of distributed musical rehearsals”, in Multimedia Objects, ed D. Tsichritizis, Centre Universitaire d’Informatique, Univer. of Geneva, 1997
  • Konstantas D. “Overview o f a Telepresence Environment for Distributed Musical Rehearsals”. Proceedings ACM symposium on Applied Computing. 1998.
  • Kurtisi Z. , Xiaoyuan Gu and Lars Wolf: Video Demo: NMP with SDSL Access Network, in Proceedings of ACM International Conference on Multimedia (ACM Multimedia'08), Vancouver, BC, Canada, October 2008
  • Kurtisi Z., X. Gu and L. Wolf: Enabling Network-centric Music Performance in Wide Area Networks, in Communications of the ACM, Special Issue on Entertainment Networking: Recreational Use of IP Networks, Vol. 49, No. 11, pages 52-54, November 2006 (KGW06a)

_______________________________________________________________________ L             (Edit)

  • LaBelle B. “Background Noise – Perspectives on Sound Art”, Continuum Publishing, 2006
  • Landre S., Mocquillon Y., '”Groupes Musicaux Virtuels et Concerts Virtuels”,Master IL, Laboratoire Informatique des Systèmes Complexes, Brest, 2005
  • Latta C. “Notes from the NetJam project”. Leonardo Music Journal, 1:103–105, 1991.
  • Lazzaro J., Wawrzynek J. “An RTP Payload Format for MIDI”, The 117th Convention of the Audio Engineering Society, San Francisco, CA, October 28-31, 2004
  • Lazzaro J., Wawrzynek J. “A Case for Network Musical Performance”, The 11th International Workshop on Network and Operating Systems Support for Digital Audio and Video (NOSSDAV 2001), Port Jefferson, New York, June 25-26, 2001
  • Leach J. “MetaTone: Shared Environment for musical collaboration”. MSc IT Thesis, Queen Mary, University of London. 2001.
  • Lennox, P.P., Myatt, A., Vaughan, J. “3D Audio as an Information Environment” in Proceedings of Audio Engineering Society 19th International Conference on Surround Sound Techniques, Technology and Perception, Schloss Elmau, Germany, 2001
  • Lennox P.P. “Spatial Music and Spatial Perception in Artificial Environments”, PhD Thesis, University of York, UK. 2004
  • Lennox P.P., Myatt T., “CONCEPTS OF PERCEPTUAL SIGNIFICANCE FOR COMPOSITION AND REPRODUCTION OF EXPLORABLE SURROUND SOUND FIELDS”, 13th International Conference on Auditory Display ICAD, 2007
  • Le Prado C. “Sound installation and Spatialization”. Chapitre de livre, MIT Press, 2001. Women in art and technology.
  • Le Prado C., Natkin S. “SOUND AND MUSIC DESIGN FOR GAMES AND INTERACTIVE”. InSound and music computing Conference SMC06, 2006
  • Le Prado C., Natkin S. “LISTEN LISBOA: Scripting Languages for Interactive Musical Installations”. InSound and Music Conference, Lefkada, Greece, July, 11-13, 2007
  • Levin G. “Painterly Interfaces for Audiovisual Performance”. MSc. Thesis, MIT, USA. 1994.
  • Levin G., Lieberman, Z. “In­Situ Speech Visualization in Real­Time Interactive Installation and Performance.” Proc. 3rd International Symposium on Non­Photorealistic Animation and Rendering, Annecy, France, 2004.
  • Levin G. “A Personal Chronology of Audiovisual Systems Research”. Proceedings of the 2005 International Conference on New Interfaces for Musical Expression (NIME05), Vancouver, BC, Canada
  • Liljedahl M., Papworth N., Lindberg S. “BEOWULF: A GAME EXPERIENCE BUILT ON SOUND EFFECTS”, 13th International Conference on Auditory Display ICAD, 2007
  • Ling, R., Yttri, B. “Hyper-coordination via mobile phones in Norway”. In J.E.Katz & M. Aakhus (Eds.), Perpetual Contact: Mobile Communication, Private Talk, Public Performance (pp.139-169). Cambridge: Cambridge University Press, 2002
  • Linnolahti J. “QoS routing for P2P networking”. HUT T-110.551 Seminar on Internet-working, 2004.
  • Locher H-N., Bouillot N., Becquet E., Dechelle F., and Gressier-Soudan E.. “Monitoring the distributed virtual orchestra with a corba based object oriented real-time data distribution service”. In Proceedings DOA’03 International Symposium on Distributed Objects and Applications, Catagna, Italy, November 2003.
  • Loguinov D., Radha H. “On Retransmission Schemes for Real-time Streaming in the Internet”. In INFOCOM, pages 1310–1319, 2001.
  • Loomis J. M. “Distal attribution and presence”.Presence: Teleoperators and Virtual Environments, 1 (1), 113-119, 1992
  • Loreiro R., Serra X. “A web interface for a sound database and processing system”. Proceedings of the International Computer Music Conference. 1997.
  • Ludovico A. “Suoni futuri digitali. La musica e il suo deflagrante impatto con la cultura digitale”, Milano 2000.
  • Lunefeld P. “In search of the telephone opera: from communications to art-critiquing the world wide web as an art form”, 1997
  • Lyotard J-F. “LES IMMATERIAUX, 1) Epreuves d'écriture, 2) Album et Inventaire”. Centre Georges Pompidou, Paris, 1985

_______________________________________________________________________ M           (Edit)

  • Macaulay C., Benyon D., Crerar A. “Voices in the Forrest: Sounds, Soundscapes and Interface Design”, Dahlbäck, N. (ed.) Exploring Navigation. SICS Technical Report T98:01, SICS, Stockholm, 1998
  • Machover T. “Hyperinstruments: A Composer’s Approach to the Evolution of Intelligent Musical Instruments”, Cyberarts, San Francisco 1991, S. 67-76.
  • Mackay W. “Media Spaces: Environments for Informal Multimedia Interaction”. In Computer Supported Co-operative Work. John Wiley and Sons. 1999.
  • McAllister G., Alcorn M., and Strain P. “Interactive Performance With Wireless PDA.” Proceedings of the 2004 International Computer Music Conference. San Francisco, California: International Computer Music Association, pp.702–705, 2004
  • Madhyastha T.M., Reed D.A. “Data sonification: Do you see what I hear?”, IEEE Software, 12(2):45–56, 1995.
  • Madden T., R. B., Smith, Wright M., and Wessel D.. “Preparation for interactive live computer performance in collaboration with a symphony orchestra”. In Proceedings of the International Computer Music Conference, 310–13. Havana, Cuba: ICMA, 2001.
  • Magerkurth C., Engelke T., Memisoglu M. “Augmenting the virtual domain with physical and social elements: towards a paradigm shift in computer entertainment technology”. ACM Trans. Computers in Entertainment, 2(4):12–12, 2004.
  • Magnusson T. “Musical Collaboration Over High-speed Networks”, AHRC ICT Methods Network Workshop, Centre for Computing in the Humanities, Kay House, King’s College, 19 March 2007
  • Mattusch U. “Musik im virtuellen Raum - Zu den veränderten Bedingungen musikalischer Interaktion und Interkonnektivität”, Bernd Enders, Joachim Stange-Elbe (Hg.): Musik und Neue Technologie 3: Musik im virtuellen Raum (KlangArt-Kongreß 1997), Osnabrück 2000, 59-70.
  • Mazalek A., Jehan T., “Short talks: communication and collaboration: Interacting with music in a social setting”, Extended Abstracts of CHI'00, pp.255–256, ACM Press, 2000
  • McCartney J. “Continued evolution of the SuperCollider real time synthesis environment”. In Proceedings of the International Computer Music Conference, 133– 136. Ann Arbor, MI: ICMA, 1998
  • McAuley G. “Space in Performance: Making Meaning in the Theatre”, Ann Arbor: The University of Michigan Press., 2003
  • Moller M., Henshall W., Bran T., Becker C. “The ResRocket Surfer - Rocket Network”. 1994. http://www.rocketnetwork.com/
  • Moore S. Place T. “The KromoZone Intermedia Performance System,”presented at the annual national conference of the Society for ElectroAcoustic Music in the United States, Denton Texas, 2000.
  • Moore S., Place T. KromoZone: A Platform for Networked Multimedia Performance, Proceedings of the International Conference “Music without Walls? Music Without Instruments?”, De Montfort University, Leicester, 2001
  • Moore S., Place T. “KromoZone : A Platform for Networked Multimedia Performance”, 2001
  • Motte-Haber H. “Zwischen Performance und Installation”, Dies. (Hg.): Handbuch der Musik des 20. Jahrhunderts - Klangkunst (12), Laaber 1999, S. 229-279.
  • Mouchtaris A., Narayanan S.S., Kyriakakis C. “Virtual microphones for multichannel audio resynthesis”, EURASIP Journal on Applied Signal Processing, vol. 2003, pp. 968–979, 2003
  • Mülhäuser M., Welzi M., Borchers J., Gurkas R. “GlobeMusic: The Internet Scale of eMusic-Making”, Web Delivering of Music Proceedings of IEEE WEDELMUSIC 2001. First International Conference. 2001.

_______________________________________________________________________ N             (Edit)

  • Nabavian S. “Supporting the Emergence of Composition from Improvisation”. AMSc Thesis, Dept. of Computer Science, Queen Mary, University of London. 2002.
  • Nabavian S., Bryan-Kinns N., “Analysing Group Creativity: A Distributed Cognitive Study of Joint Music Composition”. In Proceedings of Cognitive Science, pp. 1856-1861. 2006.
  • Nagashima Y. “Multimedia Interactive Art : System Design and Artistic Concept of Real-Time Performance with Computer Graphics and Computer Music”, Proceedings of Sixth International Conference on Human-Computer, Interaction, ELSEVIER, 1995
  • Nagashima Y. et al. “A Compositional Environment with Interaction and Intersection between Musical Model and Graphical Model” — "Listen to the Graphics, Watch the Music" Proceedings of 1995 ICMC, International Computer Music Association, 1995
  • Nagashima Y. et al. “"It's SHO time" — An Interactive Environment for SHO(Sheng) Performance”, Proceedings of 1999 ICMC, International Computer Music Association, 1999
  • Nagashima Y. “Improvisession II : a performing/composing system for improvisational session in networks”, Shizuoka University of Art and Culture
  • Narine T., Leganchuk A., Mantei M. & Buxton W. “Collaboration awareness and its use to consolidate a disperse group”. Proceedings of Interact '97, Sydney, Australia, 1997
  • Nasir T., Roberts J.C. “SONIFICATION OF SPATIAL DATA”, 13th International Conference on Auditory Display ICAD, 2007
  • Natkin S. “Mapping a Virtual Sound Space into a Real Visual Space”. InICMC 2000, Berlin, Août, 2000.
  • Natkin S., Yan C. “A Typology of the Relationships between Real and Virtual Worlds”. Inthe 7th International Conference of CGAMES, Angouleme, France, 28-30th November 2005, pp. pp.223-231, Edited by Q. Mehdi, N. Gough a, 2005
  • Natkin S., Yan C. “Adaptive Narration in Multiplayer Ubiquitous Games”. IJCiNi, 0(0), IGI Publishing, 2007
  • Nella, M. J. Constraint Satisfaction and Debugging for Interactive User Interfaces. Ph.D. Thesis, University of Washington, Seattle, WA, 1994.
  • Neuhaus M. “The Broadcast Works and Audium”. In Zeitgleich. Vienna: Triton. 1994 http://auracle.org/docs/Neuhaus_Networks.pdf http://www.max-neuhaus.info/
  • Neuhaus M. “Audium, Projekt für eine Welt als Hör-Raum”. In E. Decker and P. Weibel (eds.) Vom Verschwinden der Ferne: Telekommunikation und Kunst. Cologne: Du Mont. 1990.
  • Nezvanova N. “aNATO.0+55: An Internet, Audio, Video, VR, 2-D, and 3-D Graphics Environment for the IRCAM/Opcode Max Programming Language”. o 0f0003 Arkiv 247:1±8, 1999
  • Nezvanova N. “The Internet, A Musical Instrument in Perpetual Flux”. Computer Music Journal 24 (3): 38–41, 2000
  • Nicolas B. “Transport du son produit en temps réel sur les réseaux best effort” . Rapport scientifique CEDRIC, 2002.
  • Nickerson L.V., Stockman T. and Thiebaut J.B. “SONIFYING THE LONDON UNDERGROUND REAL-TIME-DISRUPTION MAP”, 13th International Conference on Auditory Display ICAD, 2007.

_______________________________________________________________________ O          (Edit)

  • Obu, Y., Kato, T. and Yonekura, T. M.A.S.: A Protocol for a Musical Session in a Sound Field Where Synchronization between Musical Notes is no garanteed. 2003. International Computer Music Association. Proceedings of the International Computer Music Conference (ICMC2003), Singapore.
  • O’Hara K., Lipson M., Jansen M., Unger A., Jeffries H., Macer P. “Music and voice: Jukola: democratic music choice in a public space”
  • Oliver W. “The Singing Tree, A Novel Interactive Musical Interface”. M.S. thesis, EECS Department, Massachusetts Institute of Technology. 1997.
  • Oliveros P. “Tape Delay Techniques for Electronic Music Composers”, in Software For People: Collected Writings 1963-1980, Smith Publications/Printed Editions 1983.
  • Oliveros P., Panaiotis, “Expanded Instrument System (EIS)”, Proceedings of the International Computer Music Association 1992. 1990.
  • Oliveros P. “Acoustic and Virtual Space as a Dynamic Element Music”, Leonardo Music Journal Volume 5. 1995.
  • Oliveros P., Gamper D. “The Expanded Instrument System: New Developments and Implementations”, Leonardo Music Journal, Spring 1998.
  • Oliveros P. “Quantum Improvisation: The Cybernetic Presence”, keynote address for Improvisation Across Borders UCSD,MusicWorks#76 Spring 2000.
  • Oliveros P. “Improvising with Spaces”, 13th International Conference on Auditory Display ICAD, 2007.
  • Oliveros P. “Networked Music : Low & High Tech.”, Proceedings of ICMC’08, SARC Belfast, p. 546, August 24-29, 2008.
  • Orio N., Schnell N., and Wanderley M.M. “Input devices for musical expression: Borrowing tools from HCI”. Paper presented at workshop, New Interfaces for Musical Expression—CHI 2001, 1–2 April, in Seattle, WA, 2001.
  • Orlarey Y., Carbonel O., “Evaluation d'un dispositif de répétition à distance : rapport intermédiaire”, GRAME Technical Report, 1997.
  • Orlikowski W. J. “Learning from Notes: Organisational Issues in Groupware Implementation”, Proceedings of CSCW '92, pp. 362-369, 1992.

_______________________________________________________________________ P             (Edit)

  • Packer R. “Telemusic 1. Presentation”. Sonic Circuits VIII, International Festival of Electronic Music and Art, St. Paul, Minnesota, 3 November 2000.
  • Paradiso J .A. “The Brain Opera Technology: New Instruments and Gestural Sensors for Musical Interaction and Performance”, Journal of New Music Research 28:2/1999, 130-149.
  • Paulos E., Jenkins T. “Urban probes: encountering our emerging urban atmospheres”. In Proceedings of CHI 2005, Portland, Oregon, 341-350. April 2005.
  • Pazel D., et al. “A Distributed Interactive Music Application Using Harmonic Constraint.” Proceedings of the 2000 International Computer Music Conference. Berlin: International Computer Music Association, pp.113–116, 2000
  • Pellerin R., Delpiano F., Gressier-Soudan E., Simatic M. “GASP : Un intergiciel pour les jeux en réseaux multijoueurs sur téléphones mobiles”. InDeuxièmes Journées Francophones: Mobilité et Ubiquité 2005, Grenoble. 31 mai-3 juin 2005. UBIMOB'05, pp. 61-64, Groupe de Travail, 2005
  • Pelz-Sherman M. “A Framework for the Analysis of Performer Interactions In Western Improvised Contemporary Art Music.”Ph.D. diss., University of California – San Diego, 1998.
  • Penha R., Rodrigues P., Gouyon F., Martins L., Guedes C., Barbosa A. “Studio Report: Digitópia at Casa da Música” International Computer Music Conference (ICMC 08), Belfast, U.K., 2008
  • Place T. “Object Frameworks in Game-Based Musical Composition”, Univsersity of Missouri, 2000
  • Polansky L. “Live Interacive Computer Music in HMSL”, 1984-1992, Computer Music Journal 18:2/1994, 59-77.
  • Polansky L. “Singing Together, Hacking Together, Plundering Together”, 1997, http://www.the-open-space.org/osonline/polansky/singing.html
  • Polli A. “Atmospherics/Weather Works: Artistic Sonification of Meteorological Data”, 2006 On http://www.andreapolli.com
  • Pope S. T. “Real-Time Performance via User Interfaces to Musical Structures”, Interface 22/1993, 195-212.
  • Pope S. T. “Social, Economic, and Political Aspects of Music and Digital Media”, Computer Music Journal 23:1/1999, 49-56.
  • Pressing J. “Cybernetic Issues in Interactive Performance Systems”, Computer Music Journal 14:1/1990, 12-25.
  • Puckette, M. (1996), Pure Data. 269-272. 1996. International Computer Music Association. Proceedings of the International Computer Music Conference, San Francisco (ICMC96).
  • Puckette M.“Pure data”. In Proceedings of the International Computer Music Conference, 224–27. Thessaloniki, Greece: ICMA, 1997.
  • Puckette M., Sorensen V., and Steiger R. “Lemma 1”, performed live at Milos Jazz Club at the International Computer Music Conference, Thessaloniki, Greece, 1997
  • Puckette M. “Max at seventeen”. Computer Music Journal 26 (4): 31–43, 2002.
  • Puckette M., “Not Being There”, Proceedings of ICMC’08, SARC Belfast,pp. 540-541, August 24-29, 2008.

_______________________________________________________________________ R             (Edit)

  • Ramachandra S. “Solution P2P pour la diffusion de flux audio : contribution au concert sur internet avec pastry”. Mémoire d’ingénieur CNAM, octobre 2005.
  • Ramachandra S., Bouillot N. “Diffusion Multicast et cache Multimedia pour le Concert Virtuel Réparti : Expérimentations avec Pastry/SplitStream/Past”, Rapport de recherche CEDRIC No 1208, pp. 7 pages, 2006.
  • Ramakrishnan C. , Freeman J., Varnik K., “The architecture of auracle: a real-time, distributed, collaborative instrument”, Proceedings of the 2004 conference on New interfaces for musical expression, p.100-103, June 03-05, 2004, Hamamatsu, Shizuoka, Japan. 2004.
  • Rappoport D. “Chanter Sans Etre Ensemble – Des musiques juxtaposées pour un public invisible / Singing without Being Together. Juxtaposed Music for an Invisible Public”, L'Homme, Année 1999, Volume 39, Numéro 152, p. 143 – 162, 1999
  • Rasch, R.A. “Timing and Synchronization in En- semble Performance.” In J. Sloboda, ed. Generative Processes in Music.Oxford: Clarendon Press, pp.70–90, 1988
  • Reeves S., Benford S., O’Malley C., Fraser M. “Designing the Spectator Experience”, CHI 2005, April2-7, pp. 741-750, 2005.
  • Reid J., Geelhoed E., Hull R., Cater K., and Clayton B. “Parallel worlds: immersion in location-based experiences.” In CHI '05 Extended Abstracts on Human Factors in Computing Systems, Portland, OR, USA, April 02 - 07, 2005
  • Rejaie R. Handley M., Estrin D. “An End-to-end Rate-based Congestion Control Mechanism for Realtime Streams in the Internet”, in Proc. INFOCOM 99, 1999.
  • Renaud A., Rebelo P. “Network Performance : Strategies and Applications”, NIME 06, SARC Belfast, 2006.
  • Renaud A., Carôt A., Rebelo P. “Networked Music Performance : State of the Art”, Proceedings of the 30th AES International Conference, Saariselkä, Finland, 2007.
  • Reymers K. “Identity and Internet: A Symbolic Interactionist Perspective on Computer-mediated Social Networks.” Paper presented at the Association of Internet Researchers (AoIR) International Conference Internet Theory 3.0: Net / Work / Theory, Maastricht, The Netherlands, 13-16 October 2002.
  • Ripeanu M. “Peer-to-peer architecture case study: Gnutella network”. In Proceedings of the 1st International Conference on Peer-to-Peer Computing, 99–100. Lingköping, Sweden: IEEE Computer Society Press, 2001.
  • Risset J-C. and all. “Real-Time Performance Interaction with a Computer-Controlled Acoustic Piano”, Computer Music Journal 20:1/Spring 1996, 62-75.
  • Rodet X., Lambert J.-P., Cahen R., Gaudy T., Guedy F., Gosselin F. and Mobuchon P. “Study of haptic and visual interaction for sound and music control in the phase project”. InProceedings of the 2005 conference on New interfaces for musical expression, Vancourer, May 26-28, pp. 109 - 114, 2005
  • Roettgers J. “Netbeats: Musik im Internet”, München 2000.
  • Rogers Y. “Ghosts in the Network: Distributed Troubleshooting in a Shared Working Environment”, Proceedings of CSCW '92, pp. 346-355, 1992.
  • Ross P., Hummel C., and Overbeeke K. “Coppia Espressiva – Exploring New Forms of Interaction”. In Proc. of INTERACT ’03 (Zurich, Switzerland), 2003.
  • Rowe R. “Interactive Music Systems”. Machine Listening and Composing, Cambridge 1993
  • Rowe R., Rolnick N. “The Technophobe and the Madman: an Internet2 distributed musical”. In Proc. of the Int. Computer Music Conf. Miami, Florida, November, 2004.
  • Rowe R. “Real and Unreal Time : Expression in Distributed Performance”, Journal of New Music Research 34:1, pp 87-95, 2005.
  • Rowe R. “Composing for Relative Time in Distributed Performance”. Proceedings of ICMC’08, SARC Belfast,pp. 542-543, August 24-29, 2008.
  • Rowstron A., Druschel P. “Pastry : Scalable, distributed object location and routing for large-scale peer-to-peer systems”. In IFIP/ACM International Conference on Distributed Systems Platforms (Middleware), pages 329–350, Heidelberg, Germany, November 2001.
  • Rowstron A., Druschel P. “Storage management and caching in past, a large-scale, persistent peer-to-peer storage utility”. In 18th ACM SOSP’01, Lake Louise, Alberta, Canada, October 2001.

_______________________________________________________________________ S             (Edit)

  • Sanchez-Vives M.V., Slater, M. “From presence to consciousness through virtual reality”, Neuroscience, vol. 6, April 2005, pp. 332-9, 2005.
  • Sawchuk A. A., Chew E., Zimmermann R., Papadopoulos C., Kyriakakis C., “From Remote Media Immersion to Distributed Immersive Performance”. Proceedings of the ACM SIGMM 2003 Workshop on Experiential Telepresence(ETP 2003), Berkeley, CA, Nov 7, 2003.
  • Sawchuk A. A., Chew E., Zimmermann R., Papadopoulos C., Kyriakakis C., “Distributed Immersive Performance”. Proceedings of the Corporation of Education Networks in California (CENIC 2004) Meeting, Marina del Rey, CA, Mar 15-17, 2004.
  • Sawyer K. “Group creativity: Music, theater, collaboration”. Lawrence Erlbaum Associates (LEA), NJ, USA. 2003.
  • Schafer R.M. “The Soundscape: Our Sonic Environment and the Tuning of the World”. Destiny Books, USA, 1977 / 1994.
  • Schedel M. “The notation of interactive music: Limitations and solutions”. In Proceedings of the International Computer Music Conference, 403–6. Beijing, China: ICMA, 1999.
  • Scheible J., Ojala T. “MobiLenin combining a multi-track music video, personal mobile phones and a public display into multi-user interactive entertainment”. In Proc. 13th ACM Intl. Conf. on Multimedia, pages 191–198. ACM Press, 2005.
  • Schiemer G., Havryliv M. “Pocket Gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4”, Proceedings of the 2006 International Conference on New Interfaces for Musical Expression (NIME06), Paris, France, 2006. pp. 37-42
  • Schiemer G., Havryliv M., “Pocket Gamelan: swinging phones and ad hoc standards”, Proceedings of 4th International Mobile Music Workshop Amsterdam, p.67-68, 2007.
  • Schläbitz N. “Medien - Musik - Mensch”, Thomas Hemker, Daniel Müllensief (Hg.): Medien-Musik-Mensch. Neue Medien und Musikwissenschaft, Hamburg 1997, 11-37.
  • Schloss W. A., Jaffe D. “Intelligent Musical Instruments: The Future of Musical Performance or the Demise of the Performer?”, Interface 22/1993, 183-193.
  • Schneider I. Thomsen C.W. (Hg.). “Hybridkultur - Medien, Netze, Künste”, Siegen 1997.
  • Schooler E. “Distributed music: a foray into networked performance”. International Network Music Festival, Santa Monica, CA, 1993.
  • Schuett N. “The Effects of Latency on Ensemble Performance”. Ph.D. Thesis, Stanford University, California – USA, 2002.
  • Schulz P., Lovink G. “The future sound of cyberspace”, http://www.t0.or.at/0ntext/f-sound.htm
  • Seggern J/ v. “Network Effects: the Evolution of Music in Cyberspace”, University of Hong Kong 2001.
  • Sermon P., “Puppeteers, Performers or Avatars – A Perceptual Difference in Telematic Space”, AHRC ICT Methods Network Workshop, Centre for Computing in the Humanities, Kay House, King’s College, 19 March 2007
  • Shanhabi, C., Zimmermann, R., Fu, K., and Yao, S. D. “Yima: a second generation continuous media server”. Published in the IEEE Computer Magazine, June, pp. 56–64.Cambridge, MA, 2002.
  • Sheridan T. B.“Musings on telepresence and virtual presence”.Presence: Teleoperators and Virtual Environments, 1 (1), 120-126, 1992.
  • Sheridan J. G., Bayliss A., Bryan-Kinns N. “The interior life of iPoi: objects that entice witting transitions in performative behaviour”. International Journal of Performance and Digital Media, Vol. 3, No. 1, Intellect Press, pp. 17 - 37. 2007
  • Sheridan J., Bryan-Kinns N., Bayliss A. “Encouraging Witting Participation and Performance in Digital Live Art”. In Proceedings of HCI 2007, Lancaster, UK. 2007.
  • Simatic M., Craipeau S., Beugnard A., Chabridon S., Legout M. and Gressier-Soudan E. “Technical and Usage Issues for Mobile Multiplayer Games”. In5th International Conference on Computer Games: Artificial Intelligence, Design and Education, CGAID, pp. 134-138, 2004.
  • Sinclair P., Joy J. “Locus Sonus”, in Autumn Leaves - Sound and the Environment in Artistic Practice, edited by Angus Carlyle, CRiSAP, University of the Arts London, Ed. Double-Entendre, Paris, 2007.
  • Singer A., Hindus D., Stifelman L., and White S. “Tangible Progress: Less is more in Somewire audio space”. Proceedings of CHI’99.
  • Sinha R., Papadopoulos C., Kyriakakis C. “Loss Concealment for Multi-Channel Streaming Audio”. Workshop on Network and Operating Systems Support for Digital Audio and Video (NOSSDAV 2003), Monterey, California, June 1-3, 2003.
  • Sinha R., Papadopoulos C. “An Adaptive Multiple Retransmissions Technique for Continuous Media Streams”. Proceedings of The 14th International Workshop on Network and Operating Systems Support for Digital Audio and Video (NOSSDAV) (Kinsale, County Cork, Ireland, June 2004).
  • Slater M., Sadagic A., and Schroeder R. “Small-group behavior in a virtual and real environment: A comparative study”. Presence: Teleoperators and Virtual Environments, 9(1), 37-51, 2000.
  • Slater M. “A Note on Presence Terminology,” Presence Connect, 2003 http://presence.cs.ucl.ac.uk/presenceconnect/index.html
  • Smalley D. “The Listening Imagination: Listening in the Electroacoustic Era.” In Contemporary Music Review, 13:2. Amsterdam: Harwood, 1996
  • Spinelli M. “Radio Lessons for the Internet”, First published in Postmodern Culture, Vol. 6 No. 2 (January 1996), Oxford University Press.
  • Sproull L., Kiesler S. “Connections: New ways of working in the networked organization”. Cambridge, MA: The MIT Press, 1991.
  • Stäbler G. “Gefahr und Chancen. Notizen zum INTERNET-Projekt”, Positionen 31/Mai 1997, 14-19.
  • Standage T. “The Victorian Internet”. New York: Berkley Books. 1998.
  • Stockhausen K. “Musik im Raum”. Die Reihe no. 5, 1959 (English transl. by Ruth Koenig: Music in Space. Die Reihe no. 5 (1961): 67-82).
  • Steinhau H. “Du hier und nicht im Internet”, Heide Baumann, Clemens Schwender (Hg.): Kursbuch Neue Medien 2000. Ein Reality-Check, Stuttgart 2000, 113-122.
  • Stelkens J. “peerSynth: A P2P multi-user software with new techniques for integrating latency in real time collaboration”. In Proceedings of the International Computer Music Conference (ICMC2003).
  • Stelkens J. “Network Synthesizer”. Ph.D. Thesis,Ludwig Maximilians Universität, München – Germany, 2003
  • Steuer J.S. “Defining virtual reality: Dimensions Determining Telepresence”, Journal of Communication, 42(4), 73-93, 1992 http://www.presence-research.org/papers/steuer92defining.pdf
  • Stocker G. “Horizontal Radio - 24 Hours Live”, Timothy Druckrey (Hg.): Ars Electronica. Facing the Future, Cambridge 1999, 397-402.
  • Szendy P. “De la harpe éolienne à la "toile": fragments d'une généalogie portative”, Lire l'Ircam (n° spécial des Cahiers de l'Ircam), pp. 40-72, 1996 http://mediatheque.ircam.fr/articles/textes/Szendy96d/

_______________________________________________________________________ T             (Edit)

  • Tanaka A. http://www.csl.sony.fr/atau http://www.xmira.com/atau/
  • Tanaka A. “Interfacing Material Space and Immaterial Space: network music projects”, 2000. In The Journal of the Institute of Artificial Intelligence of Chukyo University, Winter. Toyota, Japan, 2000
  • Tanaka A. “Musical Performance Practice on Sensor-based Instruments”. In Wanderley, M. M. and Battier, M., editor,Trends in Gestural Control of Music,Science et musique , pages 389-405,IRCAM - Centre Pompidou.2000.Edition electronique - on CD-ROM
  • Tanaka A. “Speed of Sound”.In J. Brouwer, editor,Machine Times,NAI Publishers, V2_Organisation.2000.
  • Tanaka A. “Relier l’immatériel et l’espace immatériel. Les projets de musique en réseau en 2000”, Dossiers de l’audiovisuel 96, INA, Bry-sur-Marne, 2001
  • Tanaka A., Bongers B. “Global String: A Musical Instrument for Hybrid Space”. In Fleischmann, M., Strauss, W., editor,Proceedings: Cast01 // Living in Mixed Realities,pages 177-181,2001.MARS Exploratory Media LabFhG - Institut Medienkommunikation.
  • Tanaka A. “Musical implications of media and network infrastructures: Perturbations of traditional artistic roles”.In Balpe, J.-P., Leleu-Merveil, S. et al., editor,Actes de H2PTM'01: Hypertextes hypermédias, nouvelles écritures, nouveaux langages,Hermes Science Publications , pages 241-250,2001.Université de ValenciennesLavoisier.
  • Tanaka A., Knapp, R. B. “Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing”. Proceedings of New Interfaces for Musical Interaction (NIME),2002.Medialab Europe
  • Tanaka A. “Composing as a Function of Infrastructure”. Errant Bodies Press.2003.
  • Tanaka A. “Seeking Interaction, Changing Space”. In Rasa Smite, editor,Acoustic.Space: Media Architecture Reader,2003.
  • Tanaka A. et al. “Enhancing Musical Experience through Proximal Interaction”. Proceedings of International Computer Music Conference (ICMC),2004.University of MiamiICMA.
  • Tanaka A. “Malleable Mobile Music”. Adjunct Proceedings of the 6th International Conference on Ubiquitous Computing (Ubicomp),2004.
  • Tanaka A. “Mobile music making”. In Proc. 4th Intl. Conf. on New Interfaces for Musical Expression (NIME04), 2004.
  • Tanaka A. “From Telepresence to Co-experience: A Decade of Network Music”. Neue Zetischrift,2004.ed. Golo Foellmer
  • Tanaka A. “Malleable contents and future musical forms”. Vodafone Receiver, July 2005.
  • Tanaka A., Tokui N., Momeni A. “Facilitating Collective Musical Creativity”, Sony CSL Paris, MM’05, Singapore, 2005.
  • Tanaka A., Gemeinboeck P. “A Framework for Spatial Interaction in Locative Media”. Proceedings of New Interfaces for Musical Expression (NIME06),2006.IRCAM
  • Tanaka A. “Interaction, Experience, and the Future of Music”, Computer Supported Cooperative Work(vol. 35 ), pages 267-288,Springer.2006. In K. O'Hara and B. Brown (eds) Consuming Music Together: Social and collaborative Aspects of Music Consumption Technologies, p.267-288, 2007
  • Tanaka A., Gemeinboeck P., Momeni A. “Net_Dérive, A Participative Artwork For Mobile Media”. In Proceedings of Mobile Media 2007 Conference. Sydney, Australia, 2007
  • Tanaka A., Valadon G., Berger C. “Social Mobile Music Navigation Using The Compass”, Proceedings of 4th International Mobile Music Workshop Amsterdam, p.34-37, 2007
  • Tanzi D. “Time, Proximity and Meaning on the Net” CTHEORY Article 81 (2000)
  • Tanzi D. “Music Negotiation: Routes in User-based Description of Music.” Organized Sound 6.2 (2001)
  • Tanzi D. “Observations about Music and Decentralized Environments.” Leonardo 34.5 (2001): 431-436.
  • Tanzi D. “Musical Experience and Online Communication”, http://crossings.tcd.ie/issues/3.1/Tanzi/
  • Theile G. “Multi-channel Natural Music Recording Based on Psycho-acoustic Principles”.Extended version of the paper presented at the AES 19th International Conference, Schloss Elmau, Germany, 2001
  • Thibaud J-P. “Temporalités sonores et interaction sociale” in Architecture et Comportement. vol. 7, n°1, pp. 63-74, 1991.
  • Thibaud J-P. “Le baladeur dans l'espace public urbain. essai sur l'instrumentation sensorielle de l'interaction sociale.” Thèse de doctorat, Université des Sciences Sociales de Grenoble, 1992
  • Thibaud J-P. “Les mobilisations de l'auditeur-baladeur : une sociabilité publicative” in Réseaux. CNET, n° 65, pp.71-83, 1994.
  • Thibaud J-P. “Towards a praxiology of sound environment”, CRESSON Grenoble.
  • Topper D. “RTcmix and the open source / free software model”. In Proceedings of the International Computer Music Conference, 597–99. Beijing, China: ICMA, 1999
  • Traub P. “Sounding the Net: Recent Sonic Works for the Internet and Computer Networks”, Contemporary Music Review, Vol. 24, No. 6, December 2005, pp. 459 – 481, 2005
  • Truax, B. 1988. Real-time granular synthesis with a digital signal processor. Computer Music Journal 12(2): 14-26.
  • Truax, B. 1990. Composing with real-time granular sound. Perspectives of New Music28(2): 120-34.
  • Truax, B. 1992a. Composing with time-shifted environmental sound. Leonardo Music Journal2(1): 37-40.
  • Truax B. “Electroacoustic Music and the Soundscape: The Inner and Outer World.” In Paynter, Howell, Orton, and Seymour, eds., Companion to Contemporary Musical Thought. London: Routledge, 1992
  • Truax B. “Soundscape, Acoustic Communication and Environmental Sound Composition.” In Contemporary Music Review, 15:1. Amsterdam: Harwood, 1996
  • Truax B. “Composition and Diffusion: Space in Sound in Space.” In Organised Sound, 3:2. Cambridge: Cambridge University Press, 1998
  • Truax, B. 2000. The aesthetics of computer music: a questionable concept reconsidered. Organised Sound5(3): 119-126.
  • Truax B. “Acoustic communication”. Westport, CT: Ablex Publishing, 2001
  • Truax, B. 2002. Techniques and genres of soundscape composition as developed at Simon Fraser University. Organised Sound7(1): 5-14.
  • Turbulence, http://transition.turbulence.org/networked_music_review/tags/telematic-performance/ http://transition.turbulence.org/blog/
  • Turletti A. “Le multipoint pour les environnements virtuels à grande échelle”, In Multicast Multimedia sur Internet, Benslimane, editor. pages 349–376. Hermes Lavoisier, 2005.
  • Turner P., McGregor I., Turner S. and Carrol F. “Evaluating Soundscapes as a Means of Creating a Sense of Place”, International Conference on Auditory Display, Boston, MA, 2003

_______________________________________________________________________ U             (Edit)

  • Unterkircher F., Welzl M. “Reliable Unicast Streaming with Multiple Peers in IP Network”, in: "Web Engineering and Peer-to-Peer Computing: NETWORKING 2002. Workshops Pisa, Italy, 19-24 May 2002", LNCS 2376, pp. 252-259, Springer-Verlag Heidelberg 2002.

_______________________________________________________________________ V             (Edit)

  • Valin J.-M., Terriberry T. B., Montgomery C., Maxwell G., “A High-Quality Speech and Audio Codec With Less Than 10 ms delay”, in IEEE Transactions on Audio, Speech and Language Processing, 2009.
  • Valin J.-M., Terriberry T. B., Maxwell G., “A Full-Bandwidth Audio Codec with Low Complexity and Very Low Delay”, Proc. EUSIPCO, 2009
  • Varnik K., Freeman J., Ramakrishnan C. “Tools used while developing auracle: a voice-controlled networked instrument”, Proceedings of the 12th annual ACM international conference on Multimedia, October 10-16, 2004, New York, NY, USA. 2004.
  • Vareille J., El Boudadi L.K. , Le Parc P., Marcé L. “The reliability of the remote control on Internet, long distance experiments of remote practice works, measurements and results”, LISYC Laboratoire d’Informatique des Systèmes Complexes
  • Veneri O., Natkin S., Le Prado C., Emerit M. “A Game Audio Technology Overview”. InSound and music computing Conference SMC06, Marseille, 2006
  • Veneri O., Natkin S. “GAF : A Game Audio Framework for Procedural Audio Content Creation”. InInternational Computer Music Conference, 2008.
  • Vesna V. “Networked Public Spaces - An Investigation into Virtual Embodiment”, PhD Thesis, 2000
  • Vinet H., Herrera P., Pachet F. “The CUIDADO Project. 2002”.Ircam - Centre Pompidou,Paris,Fra; e. Proceedings of ISMIR 2002 - 3rd International Conference on Music. 2002.

_______________________________________________________________________ W         (Edit)

  • Waag Labs. “Manual for the beta test version of the KeyStroke software”. (distributed in HTML format). 2001.
  • Walker B.N., Kramer G. “Mappings and metaphors in auditory displays: An experimental assessment”. ACM Trans. Appl. Percept., 2(4):407–412, 2005.
  • Walker G., Bowskill J., Hollier M., McGrath, A. “Telepresence: Understanding people as content”. Presence: Teleoperators and Virtual Environments, 9(2), 119-136, 2000.
  • Waterworth J. Waterworth E. “The Core of Presence: Presence as Perceptual Illusion”, Presence Connect, 2003 http://presence.cs.ucl.ac.uk/presenceconnect/index.html
  • Waters S. “Beyond the Acousmatic: Hybrid Tendencies in Electroacoustic Music”, In Music, Electronic Media and Culture, ed. Simon Emmerson, 56-83. Aldershot: Ashgate, 2000.
  • Weinberg G., Lackner T., and Jay J. “The Musical Fireflies - Learning About Mathematical Patterns in Music Through Expression and Play”. Proc. of XII Colloquium on Musical Informatics 2000 (A'quila Italy).
  • Weinberg G., Gan S. “The Squeezables: Toward an Expressive and Interdependent Multi-player Musical Instrument.” Computer Music Journal25(2):37–45, 2001
  • Weinberg G. “Interconnected Musical Networks - Bringing Expression and Thoughtfulness to Collaborative Music Making”. Massachusetts Institute of Technology Media Laboratory, Cambridge, MA, 2002 http://web.media.mit.edu/~gili/publications/Phd_proposal - IMN Final.pdf
  • Weinberg G. “The Aesthetics, History, and Future Challenges of Interconnected Music Networks”, MIT Media Laboratory, 2002
  • Weinberg G., Aimi R., and Jennings K. “The Beatbug Network: A Rhythmic System for Interdependent Group Collaboration.” Proceedings of the 2002 Conference on New Interfaces for Musical Expression. Dublin, pp.107–111, 2002
  • Weinberg G. “Interconnected Musical Networks – Bringing Expression and Thoughtfulness to Collaborative Music Making”. Ph.D. Thesis, Massachusetts Institute of Technology, Massachusetts – USA, 2003
  • Weinberg G., “Voice Networks: Exploring the Human Voice as a Creative Medium for Musical Collaboration.” Proceedings of the 2004 International Computer Music Conference.San Francisco, California: International Computer Music Association, pp.623–626, 2004
  • Weinberg G., Driscoll S. “Robot-Human Interaction with an Anthropomorphic Percussionist” In Proc. of the International Conference of Human Computer Interaction (CHI 06). Montréal Canada. 2005.
  • Weinberg G., Driscoll S. “Iltur – Connecting Novice and Experts Through Collaborative Improvisation” Proc. of Conference on New Interfaces for Musical Expression (NIME 2005) Vancouver, Canada, pp. 17-22. 2005.
  • Weinberg G. “Interconnected Musical Networks: Toward a Theoretical Framework”, Computer Music Journal, Vol. 29, Issue 2, pp.23-29, 2005
  • Weinberg G., Freeman J., Chordia P., Clark F., Moore C., Driscoll S., Thatcher T., Georgia Tech Music Technology Group – Studio Report, Proceedings of the International Computer Music Conference (New Orleans), 2006
  • Welzl M. “NetMusic: Real time concepts and systems for telecooperative exchange of musical informatik” (in German). Diploma Thesis, University of Linz: Teleco-operation, 1997.
  • Welzl M. “NetMusic: Echtzeitfähige Konzepte und Systeme für den telekooperativen Austausch musikalischer Information”, German diploma thesis (Diplomarbeit), University of Linz, Austria 1998. http://www.welzl.at/research/publications/index.html
  • Welzl M., Cihal A., Mühlhäuser M. “An Approach to Flexible QoS Routing With Active Networks”, Proceedings of of AMS 2002 (Fourth Annual International Workshop on Active Middleware Services), Edinburgh, Scotland, 22-24 July 2002, pp. 75-82, IEEE Computer Society.
  • Welzl M., Mühlhäuser M., Borchers J. "MINI - Making MIDI fit for Real-time Musical Interaction over the Internet", IEEE International Workshop on Advances in Multimedia (AIM-07), co-located with IEEE ISM-07, 10-12 December 2007, Taichung, Taiwan, IEEE CS press.
  • Wenzel E. M. “Localization in virtual acoustic displays”. Presence: Teleoperators and Virtual Environments, 1 (1), 80-107, 1992.
  • Westerkamp, H. 1994. The soundscape on radio. In D. Augaitis & D. Lander (eds.) Radio Rethink. Banff, Alberta: Walter Phillips Gallery.
  • Whalley I. “Adding Machine Cognition to Web-Based Interactive Composition.” Proceedings of the 2004 International Computer Music Conference.San Francisco, California: International Computer Music Association, pp.196–200, 2004
  • Wicke P. “Vom Song zur Soundfile. Das Internet als musikalische Interaktionsplattform”, Musikforum 36:92/2000, 22-25.
  • Williams M. “Enregistrement et Reproduction de l’Environnement Sonore Naturel”, Proceedings of the Rencontres Musicales Pluridisciplinaires Informatique et Musique - Le Son & l’Espace, Ed. GRAME, March 31 - April 1, 1995, Lyon, France.
  • Wilson S. “Information Arts: Intersections of Art, Science, and Technology”, Cambridge, Massachusetts: The MIT Press, 2002.
  • Windsor W. l. “A perceptual approach to the description and analysis of acousmatic music”, (Thesis) Sheffield, City University, 1995 http://www.personal.leeds.ac.uk/muswlw/pubs/lwthesis.html
  • Wöhrmann R., Ballet G. “Design and Architecture of Distributed Sound Processing Systems for Web-Based Computer Music Applications”. Computer Music Journal 23, 73-84 (2002).
  • World Soundscape Project. The Music of the Environment Series, R. M. Schafer, ed. Vancouver: A.R.C. Publications. (1973) No. 1, The Music of the Environment. (1978a) No. 2, The Vancouver Soundscape. (1977a) No. 3, European Sound Diary. (1977b) No. 4, Five Village Soundscapes. (1978b) No. 5, Handbook for Acoustic Ecology, Barry Truax (ed.)
  • Wood J. (ed.) “The Virtual Embodied: Presence, Practice, Technology”, London and New York: Routledge, 1998.
  • Wozniewski M., Settel Z., Cooperstock J.R. “A framework for immersive spatial audio performance”, in New Interfaces for Musical Expression (NIME), Paris, 2006, pp. 144–149.
  • Wozniewski M., Settel Z., Cooperstock J.R. “A paradigm for physical interaction with sound in 3-D audio space”, in International Computer Music Conference, 2006.
  • Wozniewski M., Settel Z., Cooperstock J.R., “USER-SPECIFIC AUDIO RENDERING AND STEERABLE SOUND FOR DISTRIBUTED VIRTUAL ENVIRONMENTS”, 13th International Conference on Auditory Display ICAD, 2007
  • Wright M., Freed, A. “Open sound control: a new protocol for communicating with sound synthesizers”. Proc. of the Int. Computer Music Conf, pp. 101-4. Thessaloniki, Hellas: ICMA. 1997.

_______________________________________________________________________ X             (Edit)

  • Xchange - Net Audio Network (Hg.). “AcousticSpace 3. Net Audio Issue”, Riga 2000.
  • Xu A., Woszczyk W., Settel Z., Pennycook B., Rowe R., Galanter P., Bary J., Martin G., Corey J., and Cooperstock J. “Real time streaming of multichannel audio data through the Internet”. In Journal of the Audio Engineering Society 48 (7/8), pp 627-641, July/August 2000.

_______________________________________________________________________ Y             (Edit)

  • Yamagishi S., Setoh K. “Variations for WWW: network music by MAX and the WWW”. Proceedings of the International Computer Music Conference. pp. 510-13. Ann Arbor, MI: ICMA, 1998.
  • YamauchiT., Iwatake T. “An Interactive Musical Installation through Spatial Sensing”, Proceedings of 4th International Mobile Music Workshop Amsterdam, p.63-64, 2007.
  • Yoshida M. “THE INVISIBLE LANDSCAPES, A curatorial project and a comparative study on concepts of intimacy in mobile telephony”
  • Young J.P., Fujinaga I. “Piano master classes via the Internet”. Proceedings of the International Computer Music Conference. pp. 135-7. Beijing, China: ICMA, 1999
  • Young J.P. “Networked Music: Bridging Real and Virtual Space”, Organised Sound archive Volume 6 , Issue 2 (August 2001) Pages: 107 – 110, Presented at 'Music without Walls? Music without Instruments?' 2001 in Leicester, UK http://www.netmuse.org/jpy-thesis03.pdf
  • Young J.P. “Using the Web for Live Interactive Music”, Presented at ICMC 2001 in Havana, Cuba, Proceedings of the International Computer Music Conference. Havana, Cuba: ICMA. 2001 http://www.netmuse.org/jpy-thesis03.pdf
  • Young J.P. “Application of Fault Tolerance to Interactive Music”. Journal SEAMUS XVI (1): 10-15. Presented at SEAMUS 2001 in Baton Rouge, LA, 2001.
  • Yuste A.P., Palma M.S., “The First Wireless Remote-Control : The Telekine of Torres Quevedo”, Conference on History of Electronics CHE’04.`

_______________________________________________________________________ Z             (Edit)

  • Zapp A. (ed.) “Networked Narrative Environments as Imaginary Spaces of Being”, Manchester: MIRIAD, 2004.
  • Zhao S. “Toward a Taxonomy of Copresence”, in Presence: Teleoperators and Virtual Environments, Vol. 12, No. 5), 445-455, 2001 http://www.temple.edu/ispr/prev_conferences/proceedings/2001/Zhao.pdf
  • Zicarelli D. “An extensible real-time signal processing environment for MAX”. In Proceedings of the International Computer Music Conference, 463–66. Ann Arbor, MI: ICMA, 1998.
  • Zimmermann R., Fu K., Nahata N, Shahabi C. “Retransmission-Based Error Control in a Many-to-Many Client-Server Environment”. SPIE Conference on Multimedia Computing and Networking 2003 (MMCN 2003), Santa Calara, California, January 29-31, 2003.
  • Zimmermann R., Chew E., Arslan Ay S., Pawar M., “Distributed Musical Performances: Architecture and Stream Management”. ACM Transactions on Multimedia Computing Communications and Applications. ACM Transactions on Multimedia Computing Communications and Applications. 2004.




   
   
   
    [Edit] [History] [UP] [List of all pages] [Create page]   [Erase cookies]


1995/2020 — Powered by LionWiki 3.1.1 — Thanks to Adam Zivner — webmaster & webdesign : Jérôme Joy — Author : Jérôme Joy — Any material is under copyleft © with in-line & in-text attributions —
http://jeromejoy.org/ — Hosted by nujus.net NYC since 2007, and by The Thing NYC (between 1995-2007 — Thanks to Wolfgang Staehle and the Thing team).