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Between Mapping, Sonification and Composition: Responsive Audio Environments in Live Performance
2008
Chris Salter. Between Mapping, Sonification and Composition: Responsive Audio Environments in Live Performance In CMMR Post Symposium Proceedings, Springer LNCS Series, : 2008.
Sharing Data in Collective Interactive Performances: The SenseWorldDataNetwork
2009
Salter, Chris and Marije Baalman and Harry C. Smoak. Sharing Data in Collective Interactive Performances: The SenseWorldDataNetwork In Proceedings for 9th Annual Conference in New Interfaces for Musical Expression (NIME 2009), Pittsburg, Pa, USA:
Dramaturgies of Sound: Interactive Sound Design in Live Performance
2008
Chris Salter. Dramaturgies of Sound: Interactive Sound Design in Live Performance In Proceedings for the 1st International Workshop in Sonic Interaction Design, Florence, Italy: 2008.
Reflections on the 8th International Biennale of Champ Libre
2009
Chris Salter. Reflections on the 8th International Biennale of Champ Libre Etc: Revue de L’Art Actuel (March 2009).
Chronopolis: Inhabiting Time
2004
Salter, Chris and Erik Adigard. Chronopolis: Inhabiting Time Loudpaper Magazine (June 2004).
The Architecture of Listening, Crossfade: Sound Travels on the Web
2000
Chris Salter. The Architecture of Listening, Crossfade: Sound Travels on the Web .
Sponge: The Surface That Holds the Image is Unstable
2000
Chris Salter. Sponge: The Surface That Holds the Image is Unstable ec/artsS 2[00-01]: Special: Textualities and Nouvelles Technologies 2, no. 1 (Fall 2000).
The Cybernetic Stance: My Process and Purpose
1968
Ascott, Roy. The Cybernetic Stance: My Process and Purpose Leonardo 1, no. 1 (1968): 105-112.
Between Mapping, Sonification and Composition: Responsive Audio Environments in Live Performance
2007
... (ICMC)Copenhagen,
Den
mark: 2007.
Schwelle: Sensor Augmented, Adaptive Sound Design for Live Theatrical Performance
2007
Salter, Chris and Marije Baalman and Daniel Moody-Grigsby. Schwelle: Sensor Augmented, Adaptive Sound Design for Live Theatrical Performance In Proceedings for the 7th Annual Conference in New Interfaces for Musical Expression (NIME 2007), edited
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