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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.

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

Lestocart Louis-José. "… Exister, être-auprès-de et comprendre… ". Paris, France: ,, 2001.

DOMINGUES, DIANA MARIA G. Terrarium Places Maior Ou Igual a 4d Arte Computacional Interativa (2004): 30-35.

Malvido, Adriana. Computadora, instrumento de un nuevo lenguaje al finazar el siglo XX La Jornada (May 20th 1996).

Sims, Karl. Particle Animation and Rendering Using Data Parallel Computation In SIGGRAPH '90: The 17th Annual Conference on Computer Graphics and Interactive Techniques, , 405-413. Dallas: 1990.

Seaman, Bill. (Re)Thinking - the body, generative tools and computational articulation, Technoetic Arts: A Journal Of Speculative Research 7, no. 3 (2010).

Andrés Burbano and Esteban García Bravo. Konrad Zuse: enabler of computational arts? Archiving and Questioning Immateriality , no. 190 (2016).

Geoff Davis. Micro Arts History 1984–85 Computer Generated Art and Stories: Computational art and story generators from the 1980s micro computer scene. Vol.1. 1 th ed.London: Story Software, 2019.

Strauss, Wolfgang and Monika Fleischmann. Between Zero and One BETWEEN ZERO AND ONE (1988) by Monika Fleischmann and Wolfgang Strauss (MFWS) exemplifies generative art by exploring virtual space through systematic computational transformations of 3D