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References

1. The Total Artwork in the Age of Telematics A Hyperessay by Randall Packer

2. Three Stages of Digital Art

3. Post-Digitalism

  1. McCulloch, G. “Because Internet: Understanding the New Rules of Language”. New York: Riverhead Books. 2019.
  2. Lund, J. “Gallery.Delivery”. https://jonaslund.biz/installationviews/gallery-delivery/. 2019.
  3. Negroponte, N. “Beyond Digital”. in Wired (2008), http://web.media.mit.edu/~nicholas/Wired/. 2008.
  4. Miyazaki, S. “Medien, ihre Klänge und Geräusche – Medienmusik vs. / (=) Instrumentalmusik”. . 2008.
  5. Cornell, L. & Halter, E. “Hard Reboot: An Introduction To Mass Effect”. Cambridge Massachusetts: MIT Press. 2015.
  6. Weibel, P. “The Post-Media Condition”. Metamute http://www.metamute.org/editorial/lab/post-media-condition. 2006.
  7. Lehmann, H. “Gehaltsästhetik”. Munich: Wilhelm Fink Verlag. 2016.
  8. Lehmann, H. “Die digitale Revolution der Musik”. Mainz: Schott Verlag. 2012.
  9. Kittler, F. “Grammophon, Film, Typewriter”. Berlin: Brinkmann & Bose. 1986.
  10. Manovich, L. “Post-Media Aesthetics”. https://pdfs.semanticscholar.org/a753/4122ecb3fefdb775dfea546cf1f331419f50.pdf. 2001.
  11. Bridle, J. “The New Aesthetic and its Politics”. https://booktwo.org/notebook/new-aesthetic-politics/. 2013.
  12. Paul, C. & Levy, M. “Genealogies of the New Aesthetic”. in: Postdigital Aesthetics. Art, Computation and Design, David M. Berry and Michael Dieter, London: Palgrave Macmillan. 2015.
  13. Weiser, M. “The World is not a Desktop”. in: Interactions 1/1 https://www.dgsiegel.net/files/refs/Weiser%20-%20The%20World%20is%20not%20a%20Desktop.pdf. 1994.
  14. Weiser, M. “The Computer for the 21st Century”. in ACM SIGMOBILE Mobile Computing and Communications Review 3/3. 1991.
  15. Hill, B.M. “Revealing Errors”. in: Error: Glitch, Noise, and Jam in New Media Cultures, Mark Nunes (ed). 2001.
  16. Cascone, K. “The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music”. in Computer Music Journal 24/4. 2000.
  17. Hodgson, J. “Post-Digital Rhetoric and the New Aesthetic”. Columbus: The Ohio State University Press. 2019.
  18. Meskin, J. & Shapiro, H. “To Give an Example is a Complex Act: Agamben’s pedagogy of the paradigm”. in Educational Philosophy and Theory 46/4. 2014.
  19. Agamben, G. “What is a Paradigm?”. http://www.maxvanmanen.com/files/2014/03/Agamben-What-is-a-paradigm1.pdf. 2002.
  20. Cramer, F. “What is ‘Post-digital’?”. in Postdigital Aesthetics. Art, Computation and Design, David M. Berry and Michael Dieter (eds.), London: Palgrave Macmillan. 2015.
  21. Culkin, J. “A Schoolman’s Guide to Marshall McLuhan”. in Saturday Review. 1967.
  22. Davidson, C. “When Technology Is Invisible, Humanists Better Get Busy”. https://www.hastac.org/blogs/cathy-davidson/2007/06/07/when-technology-invisible-humanists-better-get-busy. 2007.
  23. Herzig, I. “In Reuben Wu’s Photography, a View of Another World”. https://www.artsy.net/article/artsy-editorial-reuben-wus-photography-view. 2019.
  24. Comstock, G. “Jennifer in paradise: the story of the first Photoshopped image”. hahtry-/2014/jun/13/photoshop-first-image-jennifer-in-paradise-photography-artefact-knoll-dullaart. 2014.
  25. Dörig, R. “Constant Dullaart, Jennifer in Paradise”. https://www.artlog.net/de/art/constant-dullaart-jennifer-paradise. 2018.
  26. zu Hüningen, J. “Lexikon der Filmbegriffe - datamoshing”. https://filmlexikon.uni-kiel.de/index.php?action=lexikon&tag=det&id=7458. 2012.
  27. Holmes, A. “These clothes use outlandish designs to trick facial recognition software into thinking you’re not a human”. https://www.businessinsider.de/international/clothes-accessories-that-outsmart-facial-recognition-tech-2019-10-3/. 2019.
  28. Steyerl, H. “The wretched of the screen”. Berlin: Sternberg Press. 2012.
  29. Mundy, O. “I Know Where Your Cat Lives”. https://iknowwhereyourcatlives.com/cat/d893c13226. 2019.
  30. Borsboom, B. “Please Rob Me”. http://pleaserobme.com/. 2019.
  31. Berry, D.M. “The Postdigital Constellation”. in Postdigital Aesthetics. Art, Computation and Design, David M. Berry and Michael Dieter (eds.), London: Palgrave Macmillan. 2015.
  32. Marcoll, M. “Amproprification #6.1”. http://www.marcoll.de/archives/pieces/amproprification6-1. 2019.
  33. Eizirik, R. “in steps”. http://microphonesandloudspeakers.com/2019/05/16/in-steps-ricardo-eizirik/. 2019.
  34. Frank, A.E. “Between Me and Myself - II”. https://www.youtube.com/watch?v=tB41pbo8uI0. 2019.
  35. Manon, H.S. & Temkin, D. “Notes on Glitch”. in world picture 6 http://worldpicturejournal.com/WP_6/Manon.html. 2011.
  36. Ingold, F.P. & Sánchez, Y. “Fehler im System: Irrtum, Defizit und Katastrophe als Faktoren kultureller Produktivität”. Göttingen: Wallstein-Verl.. 2008.
  37. Nunes, M. “Error, Noise and Potential: The Outside of Purpose”. in Error, Mark Nunes (ed.), New York: Continuum. 2011.

4. Sound Installation Art. Experiments in the borderlands of music and visual arts

  1. Barthelmes, B. “Experimentieren, Basteln, Gestalten, Inszenieren. Wandlungen des künstlerischen Selbstverständnisses”. Motte-Haber, H. de la, et al. (ed.): Musikästhetik, im Handbuch der Systematischen Musikwissenschaft, Bd. 1, Laaber Verlag, Laaber. 2004.
  2. Böhme, G. “Atmosphäre”. Essays zu einer neuen Ästhetik, Suhrkamp, Frankfurt/M. 1995.
  3. Böhme, G. “Akustische Atmosphären. Ein Beitrag zur ökologischen Ästhetik”. Institut für Neue Musik und Musikerziehung (ed.): Klang und Wahrnehmung. Komponist – Interpret – Hörer, Schott, Mainz u a.. 2001.
  4. Heidegger, M. “Der Ursprung des Kunstwerkes”. Reclam, Ditzingen 2008. 1936.
  5. Hesse, H. P. “Musik und Emotion. Wissenschaftliche Grundlagen des Musik-Erlebens”. Springer, Wien/New York. 2003.
  6. Minard, R. “Klanginstallationen. Neue Wirklichkeiten schaffen”. Schulz, B. (Hg.): Robin Minard. Silent Music. Zwischen Klangkunst und Akustik-Design . Kehrer Verlag, Heidelberg. 1999.
  7. Motte-Haber, H. de la & et al. “Klangkunst. Tönende Objekte und Klingende Räume”. Handbuch der Musik im 20. Jahrhundert, Bd. 12, Laaber Verlag, Laaber. 1999.
  8. Motte-Haber, H. de la. “Musik und Bildende Kunst. Von der Tonmalerei zur Klangskulptur”. Laaber Verlag, Laaber. 1990.
  9. Kandinsky, W. & Franz, M. “Der Blaue Reiter, dokumentarische Neuausgabe v. Klaus Lankeit”. Piper Verlag, München. 1965/1912.
  10. Prampolini, E. & Pamimaggi, I. & Paladini, V. “The Mechanical Art”. . 1922.
  11. Savage, A. “Every Tool Is A Hammer”. Simon and Schuster, New York. 2019.
  12. Schafer, R. M. “Tuning of the world. Toward a Theory of Soundscape Design”. University of Pennsylvania Press, Philadelphia. 1977.
  13. Sello, J. “Die Klanginstallation. Ein interdisziplinäres Versuchslabor zwischen Kunst, Musik und Forschung”. Verlag Dr. Kovač, Hamburg. 1998.
  14. Wehmeyer, G. “Erik Satie”. Rowohlt Verlag, Hamburg. 1998.

5. Audiovisual Performance

  1. Coulter, J. “Electroacoustic Music with Moving Images: The art of media pairing”. Organised Sound, 15(1), 26-34 (Retrieved June 30, 2021, from https://www.cambridge.org/core/journals/organised-sound/article/electroacoustic-music-with-moving-images-the-art-of-media-pairing/FF94DC96F40A2C0AFFE9E483FD771448). 2010.
  2. Lachs, L. “Multi-modal perception. In R. Biswas-Diener & E. Diener (Eds), Noba textbook series: Psychology”. Champaign, IL: DEF publishers. (Retrieved from http://noba.to/cezw4qyn). 2021.
  3. Higgins, D. “Intermedia”. Leonardo, 34(1), 49-54 (Retrieved June 30, 2021, from http://www.jstor.org/stable/1576984). 2001.
  4. Phelan, P. “Unmarked: The politics of performance”. London: Routledge. 1993.
  5. Auslander, P. “Liveness: Performance in a mediatized culture”. London: Routledge. 1999.
  6. Klich, R. & Scheer, E. “Multimedia performance”. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. 2012.
  7. Dixon, S. “Digital performance: A history of new media in theater, dance, performance art, and installation”. MIT Press. 2007.
  8. Harrison, J. E. & Baron-Cohen, S. “Synaesthesia: An introduction. In S. Baron-Cohen & J. E. Harrison (Eds.), Synaesthesia: Classic and contemporary readings (pp. 3–16)”. Blackwell Publishing. 1997.
  9. Mollaghan, A. “The visual music film”. Palgrave Macmillan UK. 2015.
  10. Rogers, H. “Sounding the Gallery : Video and the Rise of Art-Music”. Oxford University Press. 2013.
  11. Newman, M. Z. “Video Revolutions : On the History of a Medium”. Columbia University Press. 2014.
  12. Westgeest, H. “Video art theory: a comparative approach”. John Wiley & Sons Inc. 2016.
  13. Vernallis, C. “Music Video’s Second Aesthetic?, The Oxford Handbook of New Audiovisual Aesthetics, 437-465”. Oxford University Press. 2013.
  14. Korsgaard, M. B. “Music Video Transformed, The Oxford Handbook of New Audiovisual Aesthetics, 501-521”. Oxford University Press. 2013.
  15. Chion, M. “Audio-Vision: Sound on Screen”. New York: Columbia University Press. 1994.
  16. Cook, N. “Analysing musical multimedia”. Oxford [England]: Clarendon Press. 1998.
  17. Knight-Hill, A. “Audiovisual spaces: spatiality, experience and potentiality in audiovisual composition, in Knight-Hill, Andrew, (ed) Sound & Image: Aesthetics and Practices”. Routledge, London, UK. 2020.
  18. Sanden, Paul. “Liveness in Modern Music: Musicians, Technology, and the Perception of Performance”. Routledge Research in Music. 2013.
  19. Stuart, C. “The Object of Performance: Aural Performativity in Contemporary Laptop Music”. Contemporary Music Review 22(4), 59–65. 2003.
  20. Manovich, L. “The language of new media”. Cambridge, Mass: MIT Press. 2001.
  21. Sobchack, V. C. “The address of the eye: a phenomenology of film experience”. Princeton, NJ: Princeton University Press. 1992.
  22. Metz, C. “The imaginary signifier: psychoanalysis and the cinema”. Bloomington: Indiana University Press. 1981.
  23. Baudrillard, J. “Simulacra and simulation”. Ann Arbor: University of Michigan Press. 1994.
  24. Youngblood, G. “Expanded cinema”. New York: Dutton. 1970.
  25. Eisenstein, S. & Pudovkin, V. & Alexandrov, G. “A Statement on Sound (USSR, 1928)”. Film Manifestos and Global Cinema Cultures, edited by Scott MacKenzie, Berkeley: University of California Press, 2014, pp. 565-568. 2014.

6. Networked Music Performance

  1. Alarcon, X. “Telematic Sonic Performance introduction”. The Sampler. Accessed 20.05.2021. 2020.
  2. Amacher, M. “Selected Writings and Interviews”. Bill Dietz and Amy Cimini. New York: Blank Forms. 2020.
  3. Barbosa, A. “Displaced soundscapes: A survey of network systems for music and sonic art creation”. Leonardo Music Journal, vol. 13, pp. 53–59. 2003.
  4. Bischoff, J. & Brown, C. “INDIGENOUS TO THE NET: Early Network Music Bands in the San Francisco Bay Area”. Crossfade. Retrieved 20.09.2021. n.d..
  5. Carôt, A. “Traffic Engineering and Network Music Performances”. Technical Report at University of Luebeck, Germany. 2007.
  6. Carôt, A. & Werner, C. “Network music performance-problems, approaches and perspectives”. In Proceedings of the “Music in the Global Village”-Conference, Budapest, Hungary. Vol. 162, pp. 23-30. 2007.
  7. Carôt, A. & Krämer, U. & Schuller, G. “Network Music Performance (NMP) in Narrow Band Networks”. In 120th AES convention, Paris, France, 20-23 May. 2006.
  8. Clark, C. W. & Clapham, P. J. “Acoustic monitoring on a humpback whale (Megaptera novaeangliae) feeding ground shows continual singing into late spring”. In Proceedings of the Royal Society of London. Series B: Biological Sciences, 271(1543), pp. 1051-1057.. 2004.
  9. Cook, M. “Telematic Music: History and Development of the Medium and Current Technologies Related to Performance”. Doctor of Musical Arts Dissertations.. 2015.
  10. Dannenberg, R. “Music Performance over Networks and the Latency Problem”. Accessed 30.08.2021. 2020.
  11. Duckworth, W. “Making music on the web”. Leonardo Music Journal, vol. 9, pp. 13–17. 1999.
  12. Female Laptop Orchestra, FLO. “”. Accessed 20.09.2021. n.d..
  13. Freeman, J. “Extreme sight-reading, mediated expression, and audience participation: Real-time music notation in live performance”. Computer Music Journal, 32(3), pp 25-41. 2008.
  14. Gresham-Lancaster, S. “The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music”. Leonardo Music Journal, 8, 39–44. 1998.
  15. Gabrielli, L. & Squartini, S. “Wireless networked music performance”. In Wireless Networked Music Performance. Springer, Singapore. pp. 53-92. 2016.
  16. Kurtisi, Z. & Gu, X. & Wolf, L. “Enabling network-centric music performance in wide-area networks”. Communications of the ACM. 49 (11). pp. 52–54. 2006.
  17. Freeth, B. & Bowers, J. & Hogg, B. “Musical Meshworks: from Networked Performance to Cultures of Exchange”. In Proceedings of the 2014 conference on Designing Interactive Systems (DIS 14). Association for Computing Machinery, New York, NY, USA, pp. 219–228.. 2014.
  18. Hajdu, G. & Didkovsky, N. “On the Evolution of Music Notation in Network Music Environments”. Contemporary Music Review, 28:4-5, pp. 395-407. 2009.
  19. Hauben, R. “From the ARPANET to the Internet”. TCP Digest (UUCP). Retrieved 5.7.2021. 2007.
  20. Hope, C. “From Early Soundings to Locative Listening in Mobile Media Art”. In The Routledge Companion to Mobile Media Art. Routledge. pp. 46-56.. 2020.
  21. Hope, C. & Wyatt, A. & Vickery, L. “The Decibel ScorePlayer: New developments and improved functionality”. In Proceedings of the International Computer Music Conference. CEMI, University of North Texas. 2015.
  22. Hope, C. “From Early Soundings to Locative Listening in Mobile Media Art”. In The Routledge Companion to Mobile Media Art. Routledge. pp. 46-56. 2020.
  23. Lazzaro, J. & Wawrzynek, J. “A case for network musical performance”. NOSSDAV 01: Proceedings of the 11th international workshop on Network and operating systems support for digital audio and video. ACM Press New York, NY, USA. pp. 157–166.. 2001.
  24. Lemmon, E. C. “Telematic Music vs. Networked Music: Distinguishing”. Between CybernJournal of Network Music and Arts 1, pp. 1. 2019.
  25. Mills, R. “Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session”. New York: Springer. 2019.
  26. Oliveros, P. “Networked Music: Low and High Tech”. Contemporary Music Review, 28:4-5, pp. 433-435, DOI: 10.1080/07494460903422412. 2009.
  27. Oliveros, P. & Weaver, S. & Dresser, M. & Pitcher, J. & Braasch, J. & Chafe, C. “Telematic Music: Six Perspectives”. Leonardo Music Journal, 19, 95–96.. 2009.
  28. Open Sound Control, OSC. “Open Sound Control”. Accessed 21.09.2021. n.d..
  29. Popper, F. “Art of the Electronic Age”. NY: Harry N. Abrams. 1993.
  30. Pritchett, J. “The Music of John Cage”. Cambridge University Press, Cambridge, UK. 1993.
  31. Rebelo, P. “Notating the Unpredictable”. Contemporary Music Review 29, no. 1, pp. 17 – 27. 2010.
  32. Rofe, M. & Geelhoed, E. & Hodsdon, L. “Experiencing Online Orchestra: Communities, connections and music-making through telematic performance”. Journal of Music, Technology & Education, 10:2&3, pp. 257–275. 2017.
  33. Rottondi, C. E. M. & Buccoli, M. & Zanoni, M. & Garao, D. G. & Verticale, G. & Sarti, A. “Feature-based analysis of the effects of packet delay on networked musical interactions”. . 2015.
  34. Sawchuk, A. & Chew, E. & Zimmermann, R. & Papadopoulos, C. & Kyriakakis, C. “From remote media immersion to Distributed Immersive Performance”. In ETP 03: Proceedings of the 2003 ACM SIGMM workshop on Experiential telepresence. ACM Press New York, NY, USA. pp. 110–120.. 2003.
  35. Solnit, R. “Hope in the Dark: Untold Histories, Wild Possibilities”. Third Edition. Haymarket Books. 2016.
  36. Schroeder, F. & Renaud, A. & Rebelo, P. & Gualda, F. “Addressing the Network: Performative Strategies for Playing Apart”. International Computer Music Conference. 2007.
  37. Tanaka, A. “Composing as a function of Infrastructure”. In Surface Tension: Problematics of Site. Errant Bodies Press: Los Angeles. 2003.
  38. Gray, E. “The ‘Musical Telegraph’ or ‘Electro-Harmonic Telegraph’”. 120years.net Accessed 20.05.2021. 1874.
  39. Trueman, D. & Cook, P. R. & Smallwood, S. & Wang, G. “PLOrk: the Princeton laptop orchestra, year1”. In the Proceedings of 2006 International Computer Music Conference. Accessed 20.06.2021. 2006.
  40. Weinberg, G. & Aimi, R. & Jennings, K. “The BeatBug Network: a rhythmic system for interdependent group collaboration”. In Proceedings of the 2002 conference on New Interfaces for Musical Expression. pp. 1-6. 2002.
  41. Whalley, I. “Developing telematic electroacoustic music: Complex networks, machine intelligence and affective data stream sonification”. Organised Sound, 20(1), pp. 90-98.. 2015.
  42. Wilson, R. “Aesthetic and technical strategies for networked music performance”. AI & Society. Accessed 4.06.2021. 2020.
  43. Wright, M. “Open Sound Control: an enabling technology for musical networking”. Organised Sound, 10: 3, pp. 193- 200. 2005.

7. New Conceptualism

  1. LeWitt, S. “Paragraphs on Conceptul Art”. Artforum. June 1967.
  2. LeWitt, S. “Paragraphs on Concept-Art”. Art-Language. May 1969.
  3. Kim-Cohen, S. “In the blink of an ear. Toward a Non-Cochlear Sonic Art”. Bloomsbury. 2009.
  4. Lehmann, H. “Die digitale Revolution der Musik, Musikkonzepte”. Schott. 2012.
  5. Osborne, P. “Anywhere or not at all. Philosophy of contemporary art”. Verso. 2013.
  6. Kreidler, J. “Sätze über musikalische Konzeptkunst”. Wolke. 2018.

8. ‘Technology as Practice’ within Musical, Multimedia and Performance Arts: Responses and revivifications of Ursula M. Franklin’s Massey Lectures from 1989.

  1. Burrows, J. “A Choreographer’s Handbook”. Routledge. 2010.
  2. Franklin, U. “The Real World of Technology”. CBC Massey Lectures. 1989.
  3. Franklin, U. “The Real World of Technology”. CBC Massey Lectures - Revised Edition. House of Anansi Press. 1999.
  4. Lem, N. “Menagerie”. Description of artwork in Nolan Lem’s website. 2019.
  5. Moorman, C. “Charlotte Moorman in conversation with Vin Grabill”. VHS, CMA.. 1982.
  6. Tone, Y. “Wounded Many at Lovebytes”. program notes from Lovebytes Digital Art Festival. 2002.

9.1. Dance and New Technologies - an Overview of Developments in the 20th Century

  1. Evert, K. “ DanceLab. Zeitgenössischer Tanz und neue Technologien”. Würzburg. 2003.
  2. Cunningham, M. “The Dancer and the Dance”. New York/London. 1991.
  3. Cunningham, M. “Event for Television”. . 1977.
  4. Söke, D. “Pioniere interaktiver Kunst von 1970 bis heute”. Karlsruhe. 1997.
  5. McLuhan, M. “Understanding Media. The Extensions of Man”. . 1964.
  6. Hughes, A. “Dance: Created on Stage. Cunningham Rides Bike for ‘Variations V’”. “New York Times, 24.07.”. 1965.
  7. Ramsey, S. “Nimm deinen Körper mit. Die Tanzszene und neue Technologien.”. Rötzer, Florian (Hg.): Die Zukunft des Körpers II. Kunstforum international, Band 133. 1996.
  8. Merleau-Ponty, M. “Die Verflechtung – Der Chiasmus”. Ders.: Das Sichtbare und das Unsichtbare, München. 1986.
  9. Kozel, S. “Virtual Reality. Choreographing Cyberspace.”. Dance Theatre Journal, Vol 11, No. 2. 1994.
  10. De Kerckhove, D. “Propriodezeption und Autonomation”. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH (Hg.): Tasten. Bonn. 1996.
  11. Jessen, J. “Wiedersehen mit der Wirklichkeit”. Die Zeit, 27.05.. 2021.

9.2. Dance, interaction, and virtuality in contemporary performance

  1. Barber, T.E. “Ghostcatching and after Ghostcatching, Dances in the Dark”. Dance Research Journal, 47 (1), 45-67. 2015.
  2. Bench, H. “Perpetual Motion: Dance, Digital Cultures, and the Common”. University of Minnesota Press. 2020.
  3. Birringer, J. “Kinetic Atmospheres: Performance and Immersion”. New York: Routledge. 2021.
  4. Birringer, J. “Performance, technology, & science”. PAJ Publications. 2008.
  5. Birringer, J. “Media & Performance: Along the Border”. Baltimore: John Hopkins University Press. 1998.
  6. Bleeker, M. “Transmission in motion : The technologizing of dance”. Routledge. 2017.
  7. Causey, M. & Meehan, E. & O’Dwyer, N. “The Performing Subject in the Space of Technology: Through the Virtual, Towards the Real.”. Basingstoke: Palgrave MacMillan. 2015.
  8. DeFrantz, T.F. “Improvising the Interface, Dance Technology and the New Black Dance Studies”. Troy, New York: Experimental Media and Performing Arts Center (EMPAC). 2020.
  9. Dixon, S. “Digital Performance: A history of new media in theater, dance, performance art, and installation”. MIT Press. 2007.
  10. Elswit, K. & Bench, H. “Dunham’s Data”. https://www.dunhamsdata.org/. 2021.
  11. Forsythe, W. “Choreographic Objects”. https://synchronousobjects.osu.edu/assets/objects/conceptThreadsAnimation/WilliamForsythe-ChoreographicObjects.pdf. 2009.
  12. Goldman, D. “Ghostcatching: An Intersection of Technology, Labor, and Race”. Dance Research Journal 36 (1), 68–87. 2004.
  13. Kozel, S. “Closer: Performance, Technologies, Phenomenology”. MIT Press. 2008.
  14. Kraut, A. “Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance”. Oxford: Oxford Scholarship Online. 2015.
  15. Leach, J. “Making Knowledge from Movement: Some Notes on the Contextual Impetus to Transmit Knowledge from Dance”. in Transmission in Motion: The Technologizing of Dance. ed. by Bleeker, M. New York: Routledge, 141–154.. 2017.
  16. Palazzi, M. & Zuniga Shaw & Forsythe, W. “The Dance The Data The Objects”. https://synchronousobjects.osu.edu/assets/objects/introduction/danceDataObjectEssays.pdf. 2009.
  17. Reed, A. & Phillips, A. “Additive Race: Colorblind Discourses of Realism in Performance Capture Technologies”. Digital Creativity 24 (2), 130–144. 2013.
  18. Reynoso, J.L. “Democracy’s Body, Neoliberalism’s Body: The Ambivalent Search for Egalitarianism within the Contemporary Post/Modern Dance Tradition”. Dance Research Journal 51 (1), 47–65. 2019.
  19. Salter, C. “Entangled: Technology and the transformation of performance”. MIT Press. 2010.
  20. Sha, Xin Wei. “Poiesis and Enchantment in Topological Matter”. Cambridge: MIT Press. 2013.
  21. Solano, M.B. “Dance-Tech.Net”. https://www.dance-tech.net/. 2007.
  22. Waelde, C. & Whatley, S. “Digital Dance: The Challenges for Traditional Copyright Law”. in Transmission in Motion: The Technologizing of Dance. ed. by Bleeker, M. New York: Routledge. 168–184.. 2017.
  23. Zuniga Shaw, N. “Synchronous Objects: What Else Might This Dance Look Like?”. in Transmission in Motion: The Technologizing of Dance. ed. by Bleeker, M. New York: Routledge, 99–107.. 2017.
  24. Zuniga Shaw, N. “Synchronous Objects, Choreographic Objects, and the Translation of Dancing Ideas.”. in Emerging Bodies : The Performance of Worldmaking in Dance and Choreography. ed. by Klein, G. and Noeth, S. Bielefeld: Transcript, 207–221.. 2014.

10.1. Virtual Reality

10.2. 3D Sound

  1. Benade, A.H. “From Instrument to Ear in a Room: Direct or via Recording, Journ.”. Audio Eng. Soc. 33(4). 1985.
  2. Berg, J. “The contrasting and conflicting definitions of envelopment, Convention Paper 7808”. Audio Eng. Soc. 126th Conv., Munich. 2009.
  3. Blesser, B. & Salter, L.R. “Spaces Speak, Are You Listening? Experiencing Aural Architecture”. MIT Press. 2007.
  4. Böhme, G. “Atmosphäre. Essays zur neuen Ästhetik”. edition suhrkamp, 7th ed.. 2017.
  5. Chion, M. “Audio-Vision: Sound on Screen”. Columbia University Press. 1994.
  6. Fahlenbrach, K. “Audiovisuelle Metaphern: Zur örper- und Affektästhetik in Film und Fernsehen”. Schüren. 2010.
  7. Ferguson, S. & Cabrera, D. “Vertical Localization of Sound from Multiway Loudspeakers”. Journ. Audio Eng. Soc. 53(3). 2005.
  8. Hall, E.T. “The Hidden Dimension [1969]”. Anchor Books. 1990.
  9. Heidegger, M. “Der Ursprung des Kunstwerks (The Origin of the Work of Art)”. Reclam. 1960.
  10. Ihde, D. “Listening and Voice: Phenomenologies of Sound”. State Univ. of New York Press, 2nd ed.. 2007.
  11. Lakoff, G. & Johnson, M. “The metaphorical structure of the human conceptual system”. Cogn. Science 4. 1980.
  12. Lakoff, G. & Johnson, M. “Metaphors We Live By [1980]”. Univ. of Chicago Press. 2003.
  13. Olson, D. R. & Bialystok, E. “Spatial Cognition. The Structure and Development of Mental Representations of Spatial Relations [1983]”. Psychology Press. 2009.
  14. Pratt, C.C. “The spatial character of high and low tones”. Journ. Experimental Psychology 13,. 1930.
  15. Roffler, S.K. & Butler, R.A. “Localization of tonal stimuli in the vertical plane”. Journ. Acoust. Soc. Am. 43(6). 1968.
  16. Schaeffer, P. “Musique Concrète”. Ernst Klett Verlag. 1974.
  17. Spence, C. “Crossmodal correspondences: a tutorial review”. Attn. Percep. & Psychophys. 73(4). 2011.
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11. Situated Instrument Design: Towards an ecological approach to media performance

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