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The
ory and Practice of Media Art: Aes
the
tic Parergons and Perspectives
2010
...Kisseleva, Olga and Oliver Grau.
The
ory and Practice of Media Art:...
Communism´s Afterlives: Part II
2010
... II In Proceedings of
the
Conference Communism's...
Es arte contemporáneo, imbecil - Comisarios de arte digital para sacarlos del gueto, a minima
2005
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.
Le devenir de l´A.M.E., la réalité virtuelle comme écosystème pour la création artistique
2010
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.
Syntax as Sign:
the
Use of Ecological Models Within a Semiotic Approach to Electroacoustic Composition
2010
...Basanta, Adam. Syntax as Sign:
the
Use of Ecological Models Within a...
The
Naked Bandit in
the
The
atre of Visibilities. Control, Attention and Performance in Recent Projects by Knowbotic Research
2010
...Broeckmann, Andreas.
The
Naked Bandit in
the
The
atre of Visibilities....
Embodied Sound, Enacted Music: Considerations for
the
Re-conceptualization of Composition, Analysis and Performance
2010
... Considerations for
the
Re-conceptualization of...
Potentialities of Meaning: a performance study perspective investigation into
the
relationship between
the
composer, composition and audience in contemporary fixed medium sound art
2009
... investigation into
the
relationship between
the
...
Excerpts from "Text-based: Aes
the
tic Treatment of Sound Materials in Text-sound Compositions"
2009
...nta. Excerpts from "Text-based: Aes
the
tic Treatment of Sound...
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.
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