References

Adelantado, Ferran, Xavier Vilajosana, Pere Tuset-Peiro, Borja Martinez, Joan Melia-Segui and Thomas Watteyne (2017). “Understanding the limits of LoRaWAN.” IEEE Communications Magazine 55/9: 34-40.

Adlington, Robert (2003). “Moving beyond motion: Metaphors for changing sound.” Journal of the Royal Musical Association 128/2: 297-318.

Alba-Ferrara, Lucy, Hausmann, Markus, Mitchell, Rachel L and Weis, Susanne (2011). “The neural correlates of emotional prosody comprehension: disentangling simple from complex emotion.” PLoS ONE 6/12.

Armstrong, David F. (2002). Original signs: gesture, sign, and the sources of language. Washington D.C.: Gallaudet University Press.

Armstrong, David F., William C. Stokoe and Sherman E. Wilcox (1995). Gesture and the Nature of Language. Cambridge: Cambridge University Press.

Barrass, Stephen and David Worrall (2016). “Welcome to ICAD from the Conference Co-Chairs.” In Stephen Barrass and David Worrall (eds.), Proceedings of the 22nd International Conference on Auditory Display (p. 3).

Barrass, Stephen and Paul Vickers (2011). "Sonification Design and Aesthetics." In Thomas Hermann, Andy Hunt and John Neuhoff (eds.), The Sonification Handbook (pp. 145–171). Berlin: Logos Publishing House.

Bødker, Susan and Clemens Nylandsted Klokmose (2016). “Dynamics, multiplicity and conceptual blends in HCI.” In Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems (pp. 2538-2548). New York: Association of Computing Machinery.

Brooks, Rodney A. (1991). “Intelligence Without Representation.” Artificial intelligence 47/1: 139-159.

Brower, Candace (2000).“A Cognitive Theory of Musical Meaning.” Journal of Music Theory 44/2: 323-379.

Cascone, Kim (2000). “The Aesthetics of Failure: ‘Post-digital’ Tendencies in Contemporary Computer Music.” Computer Music Journal 24/4: 12-18.

Chafe, Chris, Juan-Pablo Caceres and Michael Iorga (2013). “Sound synthesis for a brain stethoscope.” The Journal of the Acoustical Society of America 134/5: 4053.

Clarke, J. Michael (1992). "An FOF synthesis tutorial." Appendix 4 of the CSound manual.

Cox, Arnie (2001). “The Mimetic Hypothesis and Embodied Musical Meaning.” Musicae Scientiae 5/2: 195-212.

Darwin, Christopher J., Michael T. Turvey and Robert G. Crowder (1972). "An auditory analogue of the Sperling partial report procedure: Evidence for brief auditory storage." Cognitive Psychology 3/2: 255-267.

Diniz, Nuno, Alexander Deweppe, Michael Demey and Mark Leman (2010). “A Framework for Music-Based Interactive Sonification.” In Eoin Brazil (ed.), Proceedings of the 16th International Conference on Auditory Display (ICAD-2010) (pp. 345-351).

Diniz, Nuno, Pieter Coussement, Alexander Deweppe, Michael Demey and Mark Leman (2012). “An Embodied Music Cognition Approach to Multilevel Interactive Sonification.” Journal on Multimodal User Interfaces 5/3-4: 211-219.

Dourish, Paul (2004). Where the Action Is: The Foundations of Embodied Interaction.Cambridge, MA: MIT press.

Durand, Jacques (2005). “Tense/lax, the vowel system of English and phonological theory.” In Phillip Carr, Jacques Durand and Colin J. Ewen (eds.), Headhood, Elements, Specification and Contrastivity (pp. 77-98). Amsterdam: John Benjamins Publishing Company.

Dyer, John, Paul Stapleton and Matthew Rodger (2015). “Sonification as Concurrent Augmented Feedback for Motor Skill Learning and the Importance of Mapping Design.” The Open Psychology Journal 8/3: 1-11.

Dyer, John, Paul Stapleton and Matthew Rodger (2017). “Transposing Musical Skill: Sonification of Movement as Concurrent Augmented Feedback Enhances Learning in a Bimanual Task.” Psychological Research 81/4: 850-862.

Elordieta, Gorka and Pilar Prieto (eds.) (2012). “Introduction. Prosody and meaning.” Encyclopedia of Computer Science (pp. 1-9). Berlin: De Gruyter Mouton.

Fauconnier, Giles and Mark Turner (2002). The Way We Think. Conceptual Blending and the Mind’s Hidden Complexities.New York: Basic Books.

Faste, Trygve and Haakon Faste (2012). Demystifying "Design Research": Design is not Research, Research is Design. Paper presented at Industrial Designers Society of America Education Symposium, Boston, MA.

Fitch, W. Tecumseh and Gregory Kramer (1994). "Sonifying the Body Electric: Superiority of an Auditory over a Visual Display in a Complex, Multivariate System." In Gregory Kramer (ed.), Proceedings of the International Conference on Auditory Displays (ICAD94) (pp. 307-326).

Flowers, John H. (2005). “Thirteen years of reflection on auditory graphing: Promises, pitfalls, and potential new directions.” In Eoin Brazil (ed.), Proceedings of the 11th Meeting of the International Conference on Auditory Display (ICAD05) (pp. 406-409).

Fogassi, Leonardo and Pier Francesco Ferrari (2007). “Mirror neurons and the evolution of embodied language.” Current Directions in Psychological Science 16/3: 136-141.

Gentilucci, Maurizio and Michael C. Corballis (2006). “From manual gesture to speech: a gradual transition.” Neuroscience & Biobehavioral Reviews 30/7: 949-960.

Godøy, Rolfe Inge (2003). “Motor-Mimetic Music Cognition.” Leonardo 36/4: 317-319.

Godøy, Rolfe Inge (2006). “Gestural-Sonorous Objects: embodied extensions of Schaeffer's conceptual apparatus.” Organised Sound 11/2: 149-157.

Grandjean, Didier, David Sander, Gilles Pourtois, G, Sophie Schwartz, Mohammed L. Seghier, Klaus R. Scherer and Patrik Vuilleumier (2005). “The Voices of Wrath: Brain Responses to Angry Prosody in Meaningless Speech.” Nature Neuroscience 8/2: 145-146.

Grieser, DiAnne L. and Patricia K. Kuhl (1988). “Maternal Speech to Infants in a Tonal Language: Support for Universal Prosodic Features in Motherese.” Developmental Psychology 24/1: 14.

Grond, Florian and Jonathan Berger (2011). “Parameter Mapping Sonification.” In Thomas Hermann, Andy Hunt and John G. Neuhoff (eds), The Sonification Handbook (pp. 363–397). Berlin: Logos Publishing House.

Grond, Florian and Thomas Hermann (2012). “Aesthetic strategies in Sonification.” AI & Society 27/2: 213-222.

Harnad, Stephen (1990).“The Symbol Grounding Problem.” Physica D 42: 335-346.

Hermann Thomas, Gerald Baier, Ulrich Stephani and Helge Ritter (2006). “Vocal Sonification of Pathologic EEG Features.” In Tony Stockman (ed.), Proceedings of the 12th International Conference on Auditory Display (pp. 158–163).

Hirschberg, Julia (2002). “Communication and prosody: Functional aspects of prosody.” Speech Communication 36/1: 31-43.

Horn, Robert E. (1999). “Information design: Emergence of a new profession.” In Robert Jacobson (ed.)m Information Design. Cambridge, MA: MIT Press.

Hurtienne, Jörn (2009). “Image Schemas and Design for Intuitive Use. Exploring New Guidance for User Interface Design.” (Doctoral dissertation). Berlin: TU Berlin.

Imaz, Manuel and David Benyon (2007). Designing with blends: Conceptual Foundations of Human-Computer Interaction and Software Engineering Methods. Cambridge, MA: MIT press.

Johnson, Mark (1987).The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: University of Chicago Press.

Johnson, Mark (2008).The Meaning of the Body: Aesthetics of Human Understanding. Chicago: University of Chicago Press.

Juslin, Patrik N. and Petri Laukka (2003).“Communication of emotions in vocal expression and music performance: Different channels, same code?” Psychological Bulletin 129/5: 770.

Kelly, Caleb (2009). Cracked media: the sound of malfunction. Cambridge, MA: MIT Press.

Kendall, Gary S. (2010). “Meaning in Electroacoustic Music and the Everyday Mind.” Organised Sound 15/1: 63-74.

Kendall, Gary S. (2014). “The Feeling Blend: Feeling and emotion in electroacoustic art.” Organised Sound 19/2: 192.

Klemmer, Scott R., Björn Hartmann, and Leila Takayama (2006). “How bodies matter: five themes for interaction design.” In John M. Carroll, SusanneBødker, Julie Coughlan (eds.), Proceedings of the 6th conference on Designing Interactive systems (pp. 140-149). New York: Association of Computing Machinery.

Larson, Stephen (2012). Musical forces: Motion, metaphor, and meaning in music. Indiana: Indiana University Press.

Lakoff, George and Mark Johnson (1980). Metaphors we live by. Chicago: University of Chicago Press.

Lakoff, George (2012). “Explaining embodied cognition results.” Topics in Cognitive Science 4/4: 773-785.

Leman, Mark (2008). Embodied Music Cognition and Mediation Technology. Cambridge, MA: MIT press.

Levin, Harry J. (2013). The Invisible Resource: Use and Regulation of the Radio Spectrum (Originally published in 1971). Abingdon: Routledge.

Martinez, Maricarmen, Tarek R. Besold, Ahmed Abdel-Fattah, Helmar Gust, Martin Schmidt, Ulf Krumnack and Kai-Uwe Kühnberger (2012). "Theory blending as a framework for creativity in systems for general intelligence." In Pei Wang and Ben Goertzel (eds.), Theoretical foundations of artificial general intelligence (pp. 219-239). Paris: Atlantis Press.

Noë, Alva (2009).Out of our heads: Why you are not your brain, and other lessons from the biology of consciousness. London: Macmillan.

Peres, S. Camille and David Lane (2005). “Auditory graphs: The effects of redundant dimensions and divided attention.” In Eoin Brazil (ed.), Proceedings of the 11th Meeting of the International Conference on Auditory Display (ICAD05) (pp.169-174).

Quené, Hugo (2007). "On the just noticeable difference for tempo in speech." Journal of Phonetics 35/3: 353-362.

Roddy, Stephen (2017). "Composing The Good Ship Hibernia and the Hole in the Bottom of the World." In George Fazekas, Mathieu Barthet and Toy Stockman (eds.), Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences (pp. 31-37). New York: Association of Computing Machinery.

Roddy, Stephen and Brian Bridges (2016). "Sounding Human with Data: The Role of Embodied Conceptual Metaphors and Aesthetics in Representing and Exploring Data Sets." In Róisín Loughran and James McDermott (eds.), Proceedings of MusTWork: The Music Technology Workshop.

Smalley, Dennis (1997). “Spectromorphology: explaining sound-shapes.” Organised Sound 2/2: 107-126.

Smith, Julius Orion (2010). Physical audio signal processing: For virtual musical instruments and audio effects. Stanford, CA: W3K Publishing.

Tan, Lu and Neng Wang (2010). “Future Internet: The Internet of Things.” In Wen Desheng, Wang Ruofeng and Xie Yi (eds.), IEEE 3rd International Conference Advanced Computer Theory and Engineering (ICACTE) (pp. 376-380).

Varela, Francisco J., Evan Thompson and Elanor Rosch (1991). The Embodied Mind: cognitive science and human experience. Cambridge, MA: MIT Press.

Verona, Daniel and S. Camille Peres (2017). “A Comparison between the Efficacy of Task-Based vs. Data-Based sEMG Sonification Designs.” In Mark Ballora (ed.), Proceedings of the 23rd International Conference on Auditory Display (ICAD 2017) (pp. 49 – 56).

Waterworth, John A. and Giuseppe Riva (2014). Feeling present in the physical world and in computer-mediated environments. London: Palgrave Macmillan.

White, Michael (2003). "Metaphor and economics: the case of growth." English for specific purposes 22/2: 131-151.

Wishart, Trevor (1996). On Sonic Art. London: Psychology Press.

Worrall, David (2010). “Parameter Mapping Sonic Articulation and the Perceiving Body.” In Eoin Brazil (ed.), Proceedings of the 16th International Conference on Auditory Display (pp. 207-214).

Worrall, David (2013). “Understanding the Need for Micro-Gestural Inflections in Parameter-Mapping Sonification.” In Michał Bujacz (ed.), Proceedings of the 19th International Conference on Auditory Display (pp. 197-204).

Worrall, David (2014). “Can Micro-Gestural Inflections Be Used to Improve the Soniculatory Effectiveness of Parameter Mapping Sonifications?” Organised Sound 19/1: 52-59.

Worrall, David (2015). “Realtime sonification and visualisation of network metadata." In Katharina Vogt, Areti Andreopoulou and Visda Gourdazi (eds.), Proceedings of the 21st International Conference on Auditory Display (pp. 337-339).

Zbikowski, Lawrence M. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. Oxford: Oxford University Press.

Żołnowska, Izabela (2011). "Weather as the source domain for metaphorical expressions."AVANT, Pismo Awangardy Filozoficzno-Naukowej 1: 165-179.