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Catherine Mason. A Computer in the Art Room: The Origins of British Computer Arts 1950-1980. Norfolk, UK: JJG Publishing, 2008.

Lentczner, Mark, ed. Community of Variation. Selections from the Context Free Art Gallery, 2005-2007. Mountain View, CA: Lentczner, Mark, 2008.

Manovich, Lev and Jean-Luc Alpigiano, ed. CommunicationIdentification. Paris: Galerie Jorge Alyskewycz, 1999.

Kisseleva, Olga and Elena Sorakina and Natasa Petresin-Bachelez. Communism´s Afterlives: Part II In Proceedings of the Conference Communism's Afterlife, Brussels: The Public School, 2010.

Arns, Inke and Jacob Lillemose. Es arte contemporáneo, imbecil - Comisarios de arte digital para sacarlos del gueto, a minima new media, actual art 13 (2005): 164-175.

Benayoun, Maurice. Le devenir de l´A.M.E., la réalité virtuelle comme écosystème pour la création artistique In Design assisté par concepteur, actes colloque 01 Design, : Europia, 2010.

Basanta, Adam. Embodied Sound, Enacted Music: Considerations for the Re-conceptualization of Composition, Analysis and Performance In Ncounters, Graduate Music Students Association Conference, University of Alberta: 2010.

Basanta, Adam. Syntax as Sign: the Use of Ecological Models Within a Semiotic Approach to Electroacoustic Composition Organised Sound 15, no. 2 (August 2010): 125-132.

Basanta, Adam. Potentialities of Meaning: a performance study perspective investigation into the relationship between the composer, composition and audience in contemporary fixed medium sound art inter/tidal ii: SFU Humanities Student Union Academic

Adam Basanta. Excerpts from "Text-based: Aesthetic Treatment of Sound Materials in Text-sound Compositions" inter/tidal: SFU Humanities Academic Journal (2009).