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Thesis Corrected Vol2.Pdf (1.596Mb) Multimedia and Live Performance Ian Willcock Submitted in partial fulfilment of the requirements for the award of PhD Institute of Creative Technologies De Montfort University December 2011 Volume Two Bibliography Agile Alliance, (2001). Agile Alliance: The Agile Manifesto. [Web page] Available at: http://www.agilealliance.org/the-alliance/the-agile-manifesto/ (Accessed June 9, 2011). Allison, J. T. & Place, T. A. (2005) Teabox: A Sensor Data Interface System. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada,pp56-59. Anderson, D. P. &Kuivila, R. (1990) A system for computer music performance.ACM Trans. Comput. Syst., 8,pp56-82. Anderson, D. P. &Kuivila., R. (1991) Formula: A Programming Language for Expressive Computer Music. Computer, 24,pp12-21. Apache Subversion. (no date) [software] Available at: http://subversion.apache.org/ (Accessed June 17, 2011). Audacity (2010) [Software] (version 1.3) Available at http://audacity.sourceforge.net/about/?lang=en Auslander, P. (2009) Reactivation: Performance, Mediatization and the Present Moment. In Chatzichristodoulou, M., Jeffries, J. &Zerihan, R. (Eds.) Interfaces of Performance, pp 81-94.Farnham, Ashgate Publishing Ltd. Auvray, S., (2008).InfoQ: Distributed Version Control Systems: A Not-So-Quick Guide Through. Available at: http://www.infoq.com/articles/dvcs-guide (Accessed June 19, 2011) Aylward, R. &Paradiso, J. (2006) Sensemble: A Wireless, Compact, Multi-User Sensor System for Interactive Dance.Proceedings of the 2006 Conference onNew Interfaces for Musical Expression (NIME-06). Paris, France,pp134-139. Barbosa, A. (2003) Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation. Leonardo Music Journal, 13. Barbosa, A., Cardoso, J. & Geiger, G. (2005) Network Latency Adaptive Tempo in the Public Sound Objects System.Proceedings of the 2005 Ian Willcock – Multimedia and Live Performance Bibliography – Page263 Conference on New Interfaces for Musical Expression (NIME- 05).Vancouver, Canada,pp 184-187. Bennett, P. (2006) PETECUBE: a Multimodal Feedback Interface. Proceedings of the 2006 Conference onNew Interfaces for Musical Expression (NIME- 06). Paris, France,pp 81-84. Berndtsson, M. et al (2002) Planning and Implementing your Final Year Project with Success! London. Springer Verlag Bex, G.J., Neven, F. & Van den Bussche, J., (2004). DTDs versus XML Schema: A Practical Study. In Proceedings of the Seventh International Workshop on the Web and Databases.WebDB 2004. Paris, France, pp 79-84. Available at: http://webdb2004.cs.columbia.edu/papers/6-1.pdf. Bevilacqua, F., Müller, R. & Schnell, N. (2005) MnM: a Max/MSP mapping toolbox. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada, pp 85-88. Birchfield, D., Phillips, K., Kidané, A. &Lorig, D. (2006) Interactive Public Sound Art: A Case Study. Proceedings of the 2006 Conference onNew Interfaces for Musical Expression (NIME-06). Paris, France, pp 43-48 Birringer, J. H. (1998a) The movement of memory: scanning dance. Leonardo, 31,pp165-72. Birringer, J. H. (1998b) Lively bodies, live machines: split realities. Leonardo, 31,pp141-2. Birringer, J. H. (2006) Performing Art, Performing Science. In Christie, J., Gough, R. & Watt, D. (Eds.) A performance Cosmology: Testimony from the Future, Evidence from the Past. London, Routledge. Birringer, J. (2008). Performance, Technology, and Science, New York: PAJ publications. Blaine, T. (2005) The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment. Proceedings of the 2005 Conference on New Interfaces for Musical Expression (NIME-05). Vancouver, Canada, pp 27-33. Bolter, J.D.(1984).Turing’s Man: Western Culture in the Computer Age, The University of North Carolina Press. Ian Willcock – Multimedia and Live Performance Bibliography – Page264 Bolter, J.D. &Grusan, R., (2000).Remediation: Understanding New Media[New edition.], Cambridge, Massachusetts. MIT Press. Bosco, P., Martini, G. &Reteuna, G. (1997) MUSIC: An Interactive MUltimedia Service Composition Environment for Distributed Systems. Lecture Notes In Computer Science,pp31-40. Bosma, J. (no date) Music and the Internet ~ Musaic [Web page] Crossfade http://crossfade.walkerart.org/bosma/eng_text_01.html(Accessed - February 28, 2006) Bouillot, N. (2007) nJam User Experiments: Enabling Remote Musical Interaction from Milliseconds to Seconds. Proceedings of the 2007 Conference on New Interfaces for Musical Expression (NIME-07). New York, pp 142-147. Brandt, E. & Dannenberg, R. (1998) Low-Latency Music Software Using Off- The-Shelf Operating Systems.1998 International Computer Music Conference.International Computer Music Association. Brandt, E. & Dannenberg, R. (1999) Time in Distributed Real-Time Systems.1999 International Computer Music Conference.International Computer Music Association. Broadhurst, S. &Machon, J. (Eds.) (2006) Performance and Technology: Practices of Virtual Embodiment and Interactivity, Baisingstoke, Palgrave Macmillan. Broadhurst, S. (2007)Digital Practices.Baisingstoke: Palgrave MacMillan Brown, C. (2003) Eternal Music Network [software] http://www.transjam.com/eternal/eternal_client.html Bryan-Kinns, N. & Healey, P. G. T. (2004) Daisyphone: Support for Remote Music Collaboration. Proceedings of the 2004 Conference on New Interfaces for Musical Expression (NIME-04).Hamamatsu, Japan, pp 27- 30. Bugzilla.org, (2010). About ::Bugzilla :: bugzilla.org. Available at: http://www.bugzilla.org/about/ [Accessed June 17, 2011]. Buschmann, F. et al.(1996)Pattern-Oriented Software Architecture Volume 1: A System of Patterns(1st ed.), John Wiley & Sons. Ian Willcock – Multimedia and Live Performance Bibliography – Page265 Bush, V. (1945) As We May Think.The Atlantic Monthly, 176(1), pp.101-108. Cage, J.(1952)4’33" [Music composition] Peters Edition 6777 Camurri, A. &Ferrentino, P. (1999) Interactive environments for music and multimedia.Multimedia Syst., 7, 32-47. Camurri, A., Coletta, P. &Varni, G. (2007) Developing multimodal interactive systems with EyesWeb XMI. Proceedings of the 2007 Conference on New Interfaces for Musical Expression (NIME-07). New York, USA,pp 305-308. Chapman, N. & Chapman, J. (2004) Digital Multimedia, J.Wiley& Sons. Chatzichristodoulou, M.et al. Eds. (2009)Interfaces of Performance.Digital Research in the Arts and Humanities.Farnham, Ashgate Publishing Ltd. Coduys, T., Henry, C. &Cont, A. (2004) TOASTER and KROONDE: High- Resolution and High-Speed Real-time Sensor Interfaces. Proceedings of the 2004 Conference on New Interfaces for Musical Expression (NIME- 04). Hamamatsu, Japan, pp 205-206. Coffey, A. & Atkinson,P. (1996). Making Sense of Qualitative Data. Thousand Oaks, SAGE Publications. Cohen, A. J. (1998) The Functions of Music in Multimedia: A Cognitive Approach. 5th International Conference on Music Perception and Cognition.Seoul, Seoul National University Press. Collins, N. &Olofsson, F. (2006) klippav: Live Algorithmic Splicing and Audiovisual Event Capture. Computer Music Journal, 30, pp 8-18. Composers Desktop Project (CDP) (2010).About CDP. Available at: http://www.composersdesktop.com/about.html (Accessed August 14, 2011). Coniglio, M (2008) Isadora [Software] TroikaTronix.http://www.troikatronix.com/isadora.html Cope, D. Experiments in Musical Intelligence [online] University of California Santa Cruz http://arts.ucsc.edu/faculty/cope/experiments.htm (Accessed January 27, 2006) Cope, D. (1997) EMI (Experiments in Musical Intelligence) [software] Ian Willcock – Multimedia and Live Performance Bibliography – Page266 Corness, G., (2008).Performer model: Towards a Framework for Interactive Performance Based on Perceived Intention. In Proceedings of the 2008 Conference on New Interfaces for Musical Expression (NIME-08). Genova, Italy. Available at: http://nime2008.casapaganini.org/documents/Proceedings/Posters/243.p df. Creative Commons(no date) About – Creative Commonshttp://creativecommons.org/about (Accessed November 26, 2011) Dannenberg, R. (2002) Aura as a Platform for Distributed Sensing and Control.Symposium on Sensing and Input for Media-Centric Systems (SIMS 02).Santa Barbara, University of California Santa Barbara Center for Research in Electronic Art Technology. Dannenberg, R. (2004) Aura II: Making Real-Time Systems Safe for Music. Proceedings of the 2004 Conference on New Interfaces for Musical Expression (NIME-04).Hamamatsu, Japan, pp 132-137. Dannenberg, R. (2007) New Interfaces for Popular Music Performance. Proceedings of the 2007 conference on New Interfaces for Musical Expression (NIME-07). New York, USA, pp 130-135. Davis, M.(2001)Engines of Logic: Mathematicians and the Origin of the Computer Reprint. W. W. Norton & Co. Davison, A. (2003) Music and Multimedia: Theory and History. Music Analysis, 22,pp341-365. deLahunta, S.(2002a). Software for Dancers: Coding Forms. Journal of Performance Research. Available at: http://www.sdela.dds.nl/sfd/scott.html(Accessed July 21, 2011). deLahunta, S. (2002b). Software for Dancers: Isadora Article/ Part I. Available at: http://www.sdela.dds.nl/sfd/isadora.html (Accessed January 7, 2011). De Jong, S. (2006) A Tactile Closed-Loop Device for Musical Interaction. Proceedings of the 2006 Conference on New Interfaces for Musical Expression (NIME-06). Paris, France, pp 79-80. Ian Willcock – Multimedia and Live Performance Bibliography – Page267 Deutsch, D. (1998). The Fabric of Reality: Towards a Theory of Everything(New Edition), London, Penguin. Dewey, J. (1933) How
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