Bibliography & Errata
Books
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Bergson, Henri, Nancy Margaret Paul, and W Scott Palmer. Matter and Memory. S.l., 2010.
Blackwell, Alan F., Emma Cocker, Geoff Cox, Alex McLean, and Thor Magnusson. Live Coding: A User’s Manual. Software Studies. Cambridge, Massachusetts: The MIT Press, 2022.
Bogost, Ian. Play Anything: The Pleasure of Limits, the Uses of Boredom, and the Secret of Games. New York: Basic Books, 2016.
Bonnet, François J. The Music to Come. Rennes: Shelter Press, 2020.
Bonnet, François J., and Bartolomé Sanson. Spectres I. Composing Listening. Rennes, France: Shelter Press, 2019.
Bonnet, François J., and Bartolomé Sanson. Spectres II. Resonances. Rennes, France: Shelter Press, 2020.
Bonnet, François J., and Bartolomé Sanson. Spectres III. Ghosts in the Machine. Rennes, France: Shelter Press, 2021.
Brün, Herbert, and Arun Chandra. When Music Resists Meaning: The Major Writings of Herbert Brün. Middletown, Conn: Wesleyan University Press, 2004.
Cage, John. Silence: Lectures and Writings. 19th Edition. Middletown, Conn: Wesleyan University Press, 2011.
Caillois, Roger, and Meyer Barash. Man, Play, and Games. Urbana: University of Illinois Press, 2001.
Chantler, John. Notes on Other Music. Sollentuna: Ideell Edition, 2019.
Clark, Andy. Surfing Uncertainty: Prediction, Action, and the Embodied Mind. Oxford New York: Oxford University Press, 2019.
Cobussen, Marcel. The Field of Musical Improvisation. Leiden: Leiden University Press, 2017.
Collins, Nicolas. Handmade Electronic Music: The Art of Hardware Hacking. 2nd. Edition. New York: Routledge, 2009.
Conrad, Tony. Tony Conrad Writings. Edited by Constance DeJong and Andrew Lampert. Brooklyn, NY: Primary Information, 2019.
Damasio, Antonio R. The Feeling of What Happens: Body, Emotion and the Making of Consciousness. London: Vintage, 2000.
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Grosz, E. A. Time Travels: Feminism, Nature, Power. Next Wave. Durham: Duke University Press, 2005.
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Hasty, Christopher. Meter as Rhythm. 20th-Anniversary Edition. New York: Oxford University Press, 2020.
Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago, Ill: University of Chicago Press, 1999.
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Ingold, Tim. Correspondences. Cambridge, UK, Medford, MA: Polity, 2021.
Ingold, Tim. Imagining for Real: Essays on Creation, Attention and Correspondence. Abingdon, Oxon, New York, NY: Routledge, 2022.
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Oliveros, Pauline. Deep Listening: A Composer’s Sound Practice. New York, NY: iUniverse, 2005.
Oliveros, Pauline. Quantum Listening: From Practice to Theory (To Practice Practice). London: Ignota Books, 2022.
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Wiener, Norbert. Cybernetics or Control and Communication in the Animal and the Machine. 2nd Edition. Mansfield Centre, CT: Martino, 2013.
Papers
Bowers, John. “The Logic of Annotated Portfolios: Communicating the Value of ‘Research Through Design’.” In Proceedings of the Designing Interactive Systems Conference on - DIS ’12. Newcastle Upon Tyne, United Kingdom: ACM Press, (2012).
de Campo, Alberto. “Lose Control, Gain Influence – Concepts for Metacontrol.” Proceedings of ICMC/SMC 2014 (2014): 217-222.
Hordijk, Rob. “The Blippoo Box: A Chaotic Electronic Music Instrument, Bent by Design.” Leonardo Music Journal, no. 19 (2009): 35-43.
Ryan, Joel. “821 words and 20 images.” No Patent Pending: self-made performative media Germany: iii editions with MER. Paper Kunsthalle (2014): 1-10.
Schinkel, Anders. “Wonder: Temporality and Educational Value.” Civitas educationis. no. 2 (2020): 74-86.
Scott, Richard. “Portfolio of Original Compositions.” dissertation, University of Manchester (2020).
Slater, Dan, “Chaotic Sound Synthesis.” Computer Music Journal 22.2 (1998): 12-19.
Digital Papers
Baalman, M. A. J. “Interplay Between Composition, Instrument Design and Performance.” In Musical Instruments in the 21st Century, 225–41. Singapore: Springer Singapore, (2017): https://doi.org/10.1007/978-981-10-2951-6_15.
Brandtsegg, Øyvind, and Formo, Daniel. “Proceedings of the 5th International Conference on Live Interfaces.” Zenodo (2020): https://doi.org/10.5281/zenodo.3928018.
Collins, Nicolas. "Composers inside Electronics: Music after David Tudor." Leonardo Music Journal 14 (2004): iv, 1-3. muse.jhu.edu/article/176388.
Drummond, Jon. “Understanding Interactive Systems.” Organised Sound 14, no. 2 (2009): 124–33. doi:10.1017/S1355771809000235.
Dudas, Richard. “‘Comprovisation’: The Various Facets of Composed Improvisation within Interactive Performance Systems.” Leonardo Music Journal 20 (2010): 29–31. http://www.jstor.org/stable/40926370.
Grisey, Gérard. “Tempus Ex Machina: A Composer’s Reflections on Musical Time.” Contemporary Music Review 2, no. 1 (January 1987): 239–75. https://doi.org/10.1080/07494468708567060.
Lepri, Giacomo, Andrew McPherson, and John Bowers. “Useless, Not Worthless: Absurd Making as Critical Practice.” In Proceedings of the 2020 ACM Designing Interactive Systems Conference, 1887–99. Eindhoven Netherlands: ACM, (2020): https://doi.org/10.1145/3357236.3395547.
Magnusson, Thor. “Designing Constraints: Composing and Performing with Digital Musical Systems.” Computer Music Journal 34, no. 4 (December 2010): 62–73. https://doi.org/10.1162/COMJ_a_00026.
Magnusson, Thor, Chris Kiefer, and Halldor Ulfarsson. “Reflexions upon Feedback.” In NIME 2022. The University of Auckland, New Zealand: PubPub, (2022): https://doi.org/10.21428/92fbeb44.aa7de712.
McLaughlin, Scott. “On Material Indeterminacy.” Contemporary Music Review 41, no. 2–3 (May 4, 2022): 216–33. https://doi.org/10.1080/07494467.2022.2080456.
Mudd, T, S Holland and P Mulholland. "The role of nonlinear dynamics in musicians’ interactions with digital and acoustic musical instruments." Computer Music Journal 43 (2020): 25-40.
Mudd, Tom. “Between Chaotic Synthesis and Physical Modelling: Intrumentalizing with Gutter Synthesis.” In Proceedings of the Seventh Conference on Computation, Communication, Aesthetics. Milan: X Editora da Universidade do Porto (2019): http://2019.xcoax.org/xCoAx2019.pdf.
Nightingale, Andrea Wilson. “On Wandering and Wondering: ‘Theôria’ in Greek Philosophy and Culture.” Arion: A Journal of Humanities and the Classics 9, no. 2 (2001): 23–58. http://www.jstor.org/stable/20163840.
Parsons, Howard L. “A Philosophy of Wonder.” Philosophy and Phenomenological Research 30, no. 1 (September 1969): 84. https://doi.org/10.2307/2105923.
Sanfilippo, Dario, and Andrea Valle. “Feedback Systems: An Analytical Framework.” Computer Music Journal 37, no. 2 (2013): 12–27. http://www.jstor.org/stable/24265464.
Schinkel, Anders, Lynne Wolbert, Jan B.W. Pedersen, and Doret J. de Ruyter. “Human Flourishing, Wonder, and Education.” Studies in Philosophy and Education (November 23, 2022): https://doi.org/10.1007/s11217-022-09851-7.
Schinkel, Anders. “Wonder, Mystery, and Meaning.” Philosophical Papers 48, no. 2 (May 4, 2019): 293–319. https://doi.org/10.1080/05568641.2018.1462667.
Scipio, Agostino Di. “Modes of Interference / 3.” Appareil, no. 5 (April 12, 2010): https://doi.org/10.4000/appareil.1019.
Sengers, Phoebe, Kirsten Boehner, Shay David, and Joseph “Jofish” Kaye. “Reflective Design.” In Proceedings of the 4th Decennial Conference on Critical Computing between Sense and Sensibility - CC ’05, 49. Aarhus, Denmark: ACM Press, 2005. https://doi.org/10.1145/1094562.1094569.
Smalley, Denis. “Spectromorphology: Explaining Sound-Shapes.” Organised Sound 2, no. 2 (August, 1997): 107–26. https://doi.org/10.1017/S1355771897009059.
Sun, Cecilia. “Experimental Music.” In Oxford Music Online, by Cecilia Sun. Oxford University Press, (2012). https://doi.org/10.1093/gmo/9781561592630.article.A2224296.
Thomasi, Ricardo. “Patterns of Emergence and Feedback Topology in Ecos Study.” ECHO, a Journal of Music, Thought and Technology, no. 3 (January 31, 2022). https://doi.org/10.47041/ADJW7276.
Waters, Simon. “Performance Ecosystems: Ecological approaches to musical interaction.” Electroacoustic Music Studies Network EMS-07 Proceedings, (2007): 1 - 20, http://www.ems-network.org/spip.php?article278.
Errata
This reflection component has been adjusted according to the following approved list of errata:
