Telematic+Performance+bibliography


 * Books and Articles**

Reactive Environment for Network Music Performance Dalia El-Shimy Jeremy R. Cooperstock

Alexandraki, C.; Koutlemanis, P.; Gasteratos, P.; Valsamakis, N.; Akoumianakis, D.; Milolidakis, G.; Vellis, G.; Kotsalis, D.; (2008). "Towards the implementation of a generic platform for networked music performance: The DIAMOUSES approach". // EProceedings of the ICMC 2008 International Computer Music Conference (ICMC 2008) //. pp. 251–258. Oda, R., A. Finkelstein and R. Fiebrink (2013). "Towards Note-Level Prediction for Networked Music Performance." //New Interfaces for Musical Expression//, Daejeon, Korea.

Bischoff, J., Gold, R. and Horton, J. (1978) “[|Music for an Interactive Network of Microcomputers].” //Computer Music Journal,// 2(3): 24–29.

Hiltz, S. R. and Turoff, M. ( 1978) //[|The network nation: Human communication via computer]//. Cambridge, MA: MIT Press.

Nora, S. and Minc, A. (1980) //[|The Computerization of Society]//. Cambridge: MIT Press.
 * where the term ‘telematics’ was first coined

Novak, M. (1997) “[|Trans Terra Form: Liquid Architectures and the Loss of Inscription].” Online article.

Ascott, R. (1998) //Art & Telematics: toward the Construction of New Aesthetics//. (Japanese trans. E. Fujihara; A. Takada & Y. Yamashita eds.). Tokyo: NTT Publishing Co.

Scot Gresham-Lancaster. (1998) “[|The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Musi]c”. //Leonardo Music Journal//, 8: 39-44.
 * “The author, a member of the group the Hub, discusses the aesthetic and performance history of the group and related San Francisco Bay Area live interactive music performance practices. The performance practice of the Hub--interactive computer network music--is discussed. Particular focus is placed on the impact of changes in technology. Future applications and directions of this musical approach are discussed.”

Konstantas, D. (1998) “[|Overview of a Telepresence Environment for Distributed Musical Rehearsals].” In //Proceedings of the ACM Symposium on Applied Computing,// p. 135-37. Atlanta, GA: ACM.

Duckworth, W. (1999) “[|Making Music on the Web].” //Leonardo Music Journal,// 9: 13–17.

Garnett, G., and C. Goudeseune. (1999) “[|Performance Factors in Control of High-Dimensional Spaces].” In //Proceedings of the 1999 International Computer Music Conference//. San Francisco: International Computer Music Association, p. 268–271.

Jordà, S. (1999) “[|Faust Music On Line (FMOL): An Approach to Real-Time Collective Composition on the Internet].” //Leonardo Music Journal,// 9: 5–12.

Shanken, Edward A. (2000) “[|Tele-Agency: Telematics, Telerobotics, and the Art of Meaning].//”// Available online.
 * “The human and political implications of agency, especially with respect to technology, demand that agency be problematized as it relates to telematics and telerobotics. By analyzing artworks that use these telecommunications technologies, it is possible to differentiate between various models of agency and suggest their epistemological and ontological implications.”

Castells, M. ( 2000) [|The rise of the network society. The information age: Economy, society and culture, 2nd ed. Vol. I]. Cambridge, MA/Oxford: Blackwell.

Castells, M. (2000) “[|Materials for an Exploratory Theory of the Network Society].” //British Journal of Sociology//, 51(1): 5-24.

Chafe, C., Wilson, S., Leistikow, R., Chisholm, D., Scavone, G. (2000) “[|Simplified Approach to High Quality Music and Sound over IP].” In //Proceedings of the Digital Audio Effects (DAFX) Conference//, p. 159–164.

Tanaka, Atau. (2001) “[|Musical implications of media and network infrastructures: Perturbations of traditional artistic roles].” In //Actes de H2PTM'01: Hypertextes hypermédias, nouvelles écritures, nouveaux langages//, ( Balpe, J.-P., Leleu-Merveil, S. et al, eds.), p. 241-250. Université de Valenciennes Lavoisier: Hermes Science Publications.
 * The influence of hypermedia on musical artistic practice is considered. Qualities unique to hyperlink listener interaction and network infrastructure are taken as the fundamental basis to define a musical language for the medium. Network topology creates a space distinct from the time-specific event space traditionally associated with musical performance. Hypermedia access makes the listener a participant in an evolutionary compositional process. This situation puts in question traditional roles of composer and performer. Two network music works are discussed, an installation that juxtaposes network and acoustic space, and a net.audio project where the composer's role becomes one of creating an empty musical shell.

Tanaka, Atau. (2001) “[|Relier l'espace matériel et l'espace immatériel: Les projets de musique en réseau en 2000].” //Dossiers de l'audiovisuel//, p. 61-64.

Joy, Jérôme. (2001) "Les dispositifs coopératifs, prospective 21ème siècle." In //Volume ! - Autour des musiques actuelles.// La Chapelle-sur-Erdre : Éditions Mélanie Seteun.

Shanken, Edward A. (2001) “[|Technology and Intuition: A Love Story? Roy Ascott's Telematic Embrace].” Online article.

Shanken, Edward A. (2001?) "[|Telematic Embrace: A Love Story? Roy Ascott's Theories of Telematic Art]." Online article.

Garnett, G. (2001) “[|The Aesthetics of Interactive Computer Music].” //Computer Music Journal,// 25(1): 21–33.

Lazzaro, J., Wawrzynek, J. (2001) “A Case for Network Musical Performance.” The 11th International Workshop on Network and Operating Systems Support for Digital Audio and Video (NOSSDAV 2001), New York, USA.

Brown, C. and Bischoff, J. ( 2002?) "[|Indigenous to the Net: Early network music bands in the San Francisco Bay area]//."// Online article.

Broeckmann, A. ( 2002) "[|Reseau/Resonance: Connective processes and artistic practice]". //Artmedia VIII.//

Joy, Jérôme. (2002) "Construction de situations collectives d'invention, homestudios et dispositifs audio en réseau. " In //Volume ! - Autour des musiques actuelles//, 2002 n°2: 19-42. Clermont-Ferrand : Éditions Mélanie Seteun.

Weinberg, G. (2002) “[|The Aesthetics, History and Future Challenges of Interconnected Music Networks].” In //Proceedings of the 2002 ICMC// (Goteburg, Sweden), p. 349-356.

Hajdu, G. (2003) “[|Quintet.net – A Quintet on the Internet].” In //Proceedings of the International Computer Music Conference// (Singapore).

Tanzi, D. (2003) “[|Musical Experience and On-line Communication].” //Crossings: eJournal of Art and Technology//. University of Dublin, Trinity College.

Shaviro, Steven. (2003) //[|Connected –or what it means to live in the network society].// Minneapolis/London: University of Minnesota Press.

Tanaka, A. (2003) “[|Seeking interaction, changing space].” In //Proceedings of the Sixth International Art + Communication Festival 2003//. Riga, Latvia.

Chew, E. (2003) “[|From remote media immersion to distributed immersive performance].” In //Proceedings of the 2003 ACM SIGMM Workshop on Experiential Telepresence//, p.110–120. Berkeley, CA: SIGMM.

Ascott, Roy. (2003) //[|Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness] (//Edward A. Shanken, ed.). Berkeley, CA: University of California Press.
 * “In //Telematic Embrace// Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.”

Barbosa, Alvaro. (2003) “[|Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation]”. //Leonardo Music Journal//, Vol. 13: 53-59. Cambridge, MA: MIT Press.

Joy, J. (2003–2005). //Télémusique—organologie de la musique en réseau// (part of PhD research).

Weinberg, G. (2003) “[|Interconnected Musical Networks: Bringing Expression and Thoughtfulness to Collaborative Group Playing].” Thesis, MIT Media Laboratory, Cambridge, MA.

Rebelo, P. (2003). “[|Performing Space].” //Organised Sound,// 8(2): 181-86. Cambridge: Cambridge University Press.
 * “The notion of performance is introduced as a design approach to the creation of interactive digital environments. These environments can ultimately be regarded asuser-spaces; a condition which replace the art object with a configuration of interactions. Our understanding of space, as suggested by Lefevbre, defines the “inhabitant” as a full participant, a user, a performer of space. Two interactive installations by the author and works by others in the field provide a context for discussion and analysis.”

Barney, D. (2004) //[|The Network Society]//. Cambridge, UK: Polity Press Ltd.

Chew, E., Zimmermann, R., Sawchuk, A., Papadopoulos, C., Kyriakakis, C., Francois, A. R. J., Kim, G., and Volk, A. (2004) “[|Musical interaction at a distance: Distributed immersive performance].” In //4th Open Workshop of MUSICNETWORK//.

 Joy, Jérôme. (2004) "Dispositifs artistiques coopératifs (Collective JukeBox, picNIC, PacJap, ForumHub, etc.) (Vernetzte Audiosysteme)". In //Neue Zeitschrift: NetzMusik/NetMusic// (sous la directions de Golo Föllmer). Berlin: Éditions Wergo, p. 29-30. Revue et cd-rom.

Tanaka, A et al. (2004) “[|Enhancing Musical Experience through Proximal Interaction].” In //Proceedings of the International Computer Music Conference// ( Miami, USA).
 * The availability of audio content on networks has indelibly changed access to music. We extend this dynamic to wireless ad-hoc networks and present the use of dual infrastructures to extend modes of personal and interpersonal music listening. We identify two distinct forms proximal interaction, sequential and parallel, and demonstrate a musical application for each. Mobile handheld terminals become prototypical future personal music players. They situate the listener in a wireless network space, helping him to define a personal musical sphere with respect to his architectural and social surroundings.

Gurevich, M., Chafe, C., Leslie, G., Tyan, S. (2004) “[|Simulation of Networked Ensemble Performance with Varying Time Delays: Characterization of Ensemble Accuracy].” Centre for Computer Research in Music and Acoustics, Department of Music, Stanford University.

Chafe, C., Gurevich, M., Leslie, G., Tyan, S. (2004) “Effect of Time Delay on Ensemble Accuracy”. In //Proceedings of the International Symposium on Musical Acoustics//, ISMA2004 (Nara, Japan).

Tanaka, Atau. (2004) “[|From Telepresence to Co-experience: A Decade of Network Music].” //Neue Zeitschrift// ( Golo Foellmer, ed.).

Hajdu, G. ( 2004) "[|Quintet.Net: An interactive performance environment for the Internet]." Online article.

Tanaka, A. (2004) “[|Mobile music making].” In //Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME04),// p.154–156. Hamamatsu: NIME.

Chew, E., Kyriakakis, C., Papadopoulos, C., Sawchuk, A. and Zimmermann, R. (2004) “[|Distributed immersive performance: Enabling Technologies for and Analyses of Remote Performance and Collaboration].” Online article.

Tanaka, A., Tokui, N., and Momeni, A. (2005) “[|Facilitating Collective Musical Creativity].” In //Proceedings of ACM Multimedia//.

Munster, A. and Lovink, G. ( 2005) "[|Theses on distributed aesthetics. Or, what a network is not]." //Fibreculture//, 7.

Föllmer, G. (2005) "[|Electronic, aesthetic and social factors in Net music]." //Organised Sound//, 10(3): 185–192.

Föllmer, G. (2005) //[|Netzmusik. Elektronische, ästhetische und soziale Strukturen einer partizipativen Musik]//. Hofheim: Wolke.

<span style="color: #000000; font-family: Arial,Helvetica,sans-serif;">Duckworth, W. ( 2005) //[|Virtual music: How the Web got wired for sound]//. London: Routledge.

<span style="font-family: Arial,Helvetica,sans-serif;">Weinberg, G. ( 2005) “[|Interconnected musical networks: Toward a theoretical framework].” //Computer Music Journal//, 29(2): 23–39.

<span style="color: #000000; font-family: Arial,Helvetica,sans-serif;">Btihaj, A. ( 2005) "[|Disembodiment and cyberspace: A phenomenological approach]." //Electronic Journal of Sociology.//

<span style="font-family: Arial,Helvetica,sans-serif;">Hajdu, G. ( 2005b) "[|Quintet.net: An environment for composing and performing music on the Internet]." //Leonardo Journal//, 38: 23–30.

Gu, X., Dick, M., Kurtisi, Z., Noyer, U. and Wolf, L. (2005) “[|Network-centric music performance: Practice and experiments].” //IEEE Communications//, 43:86–93.

Tanzi, D. (2005) “[|Musical objects and digital domains].” In //Proceedings of the EMS-05 Conference// (Montreal, Quebec).

Tanzi, D. (2005) “[|Musical Thought Networked].” Laboratorio di Informatica Musicale, Dipartimento di informatica e Comunicazione, Universita degli Studi di Milano.

Lee, R (2005) “[|Bauman, Liquid Modernity and Dilemmas of Development].” Thesis Eleven, 8 3(1): 61-77.

Gaye, L., Holmquist, L-E., Behrendt, F., Tanaka, A. (2006) “[|Mobile Music Technology: Report on an Emerging Community].” In //Proceedings of the International Conference of New Interfaces for Musical Expression// (NIME06). <span class="wiki_link_ext">IRCAM.
 * The new field of mobile music emerges at the intersection of ubiquitous computing, portable audio technology and NIME. We have held a series of international workshop on this topic with leading projects and speakers, in order to establish a community and stimulate the development of the field. In this report, we define mobile music, and map out the field by reporting on the workshop series and accounting for the state-of-the-art.

Tanaka, A. (2006) <span style="font-family: Arial,Helvetica,sans-serif;">“<span class="wiki_link_ext">Interaction, Agency, Experience, and the Future of Music. ” In [|Consuming Music Together: Social and Collaborative Aspects of Music Consumption Technologies, Computer Supported Cooperative Work] ( O’Hara, K. and Brown, B., eds.). Springer, p. 267-288.

<span style="font-family: Arial,Helvetica,sans-serif;">Carôt, A., Renaud, A. and Verbrugghe, B. (2006) “Network Music Performance (NMP) with Soundjack.” Paper presented at the NIME 2006 Network Performance Workshop.

Renaud, A., and Rebelo, P. (2006) “[|Network Performance: Strategies and Applications].” In //Proceedings of the 2006 International Conference on New Interfaces for Musical Expression// (Paris, France).
 * <span style="font-family: Arial,Helvetica,sans-serif;">“The Sonic Arts Research Centre (SARC) in Belfast has started to work on developing innovative approaches to the use of networks in music performance in composition, with the aim to make NMP systems as widespread and usable as possible. Much network performance research has as its goal the replication of existing performance conditions. This paper explores some possibilities in redefining relationships between musicians, performers and composers, performers and audience, performers and spaces. The aims of this research is to identify performance conditions that are only possible through the network and to reflect on how the network is changing the way we create and consume music. The paper describes different scenarios that take advantage of real-time high quality audio exchange over the internet.”

Rebelo, P. and Renaud, A. (2006) “[|The Frequencyliator – Distributing Structures for Networked Laptop Improvisation].” In //Proceedings of the 2006 International Conference on New Interfaces for Musical Expression// (Paris, France).
 * “The culture of laptop improvisation has grown tremendously in recent years. The development of personalized software instruments presents interesting issues in the context of improvised group performances. This paper examines an approach that is aimed at increasing the modes of interactivity between laptop performers and at the same time suggests ways in which audiences can better discern and identify the sonic characteristics of each laptop performer. We refer to software implementation that was developed for the BLISS networked laptop ensemble with view to designing a shared format for the exchange of messages within local and internet based networks.”

Kleimola, J. (2006) “[|Latency Issues in Distributed Musical Performance].” Telecommunication Software and Multimedia Labroratory Seminar, Helsinki, Finland.

Grant, M. J. (2007) "[|Review: Golo Föllmer, Netzmusik: Elektronische, ästhetische und soziale Strukturen einer partizipativen Musik]." //Computer Music Journal//, 31(1): 100-102.

<span style="color: #000000; font-family: Arial,Helvetica,sans-serif;">Tanaka, A. ( 2007) “[|Facilitating musical creativity: In collectivity and mobility].” //Leonardo Electronic Almanac,// 15: 5-6.

<span style="font-family: Arial,Helvetica,sans-serif;">Renaud, A., Carôt, A. and Rebelo, P. (2007) “[|Networked music performance: State of the art].” Paper presented at the 30th AES International Conference (Saariselkä, Finland).

<span style="font-family: Arial,Helvetica,sans-serif;">Renaud, A. and Caceres, J. ( 2007) "[|Network performance: Experiences and current directions]". Paper presented at the ‘Two Thousand + SEVEN’ Symposium (SARC, Belfast).

Mejías, Ulises Ali. (2007) “[|Networked Proximity: Icts and the Mediation of Nearness].” PhD Thesis. Teachers College, Columbia University.

Schroeder, F., Renaud, A., Rebelo, P. and Gualdas, F. (2007) “[|Addressing the Network: Performative Strategies for Playing Apart]”. In //Proceedings of the ICMC// (Copenhagen, Denmark), p. 133-140.
 * This paper describes a recent network music performance (NMP) study that was carried out at the Sonic Arts Research Centre in Belfast in March 2007.

Carôt, A., and Werner, C. (2007) “[|Network music performance – problems, approaches and perspectives].” In //Proceedings of the “Music in the Global Village” Conference//, Budapest, Hungary.

Rebelo, P., Green, M., Hollerweger, F. (2008) “[|A Typology for Listening in Place].” Mobile Music Workshop.
 * Sound technologies, particularly mobile and locative media technologies, can provide unique listening experiences within situations that are not themselves exclusive zonesfor sonic projection, meditation or exploration. This paper seeks to contribute to the understanding of locative sound design by presenting a framework consisting of three spatial archetypes: the Theatre, the Museum and the City. These serve as metaphors through which we can articulate different types of relations between listener, sound and place. The Mobile Music Player has been chosen as an example of a listeningcondition that both characterises and traverses the Theatre, the Museum and the City listening archetypes.

<span style="font-family: Arial,Helvetica,sans-serif;">Rebelo, P., Schroeder, F. and Renaud, A. B. ( 2008) “[|Network dramaturgy: Being on the node].” In //Proceedings of the International Computer Music Conference// (SARC, Belfast, N. Ireland).

Caceres, J-P., Hamilton, R., Iyer, D., Chafe, C. and Wang, G. (2008) “[|To the Edge with China: Explorations in Network Performance]”. ARTECH 2008, 4th International Conference on Digital Arts (Portuguese Catholic University, Porto).

J.-P. Caceres and A. B. Renaud. (2008) “[|Playing the network: the use of time delays as musical devices].” In //Proceedings of International Computer Music Conference// (SARC, Belfast, Northern Ireland), p. 244–250.

<span style="font-family: Arial,Helvetica,sans-serif;">Joy, J. and Sinclair, S. (2008) “[|Les Espaces Sonores en Réseau]”. In //Roots/routes: International Computer Music Conference,// p. 553–555. (SARC, Belfast, Ireland).

<span style="font-family: Arial,Helvetica,sans-serif;">Bahn, C., Braasch, J., Kouttron, D., McDonald, K. and Oliveros, P. ( 2008) “[|Haptic communication and colocated performance (A]).” //Journal of the Acoustical Society of America//, 124: 2489

Tanaka A. (2008) “<span style="font-family: Arial,Helvetica,sans-serif;">[|Visceral mobile music systems]. ” In //Transdisciplinary Digital Art: Sound, Vision and the New Screen//. Berlin: Springer, p. 155-170.

Tanaka A, Gemeinboeck P. (2008) “[|Net_Dérive: Conceiving and Producing a Locative Media Artwork].” In //[|Mobile Technologies: From Telecommunications to Media]// (Goggin, G., Hjorth, L., eds.). Oxford, UK: Routledge.

<span style="font-family: Arial,Helvetica,sans-serif;">Akoumianakis, D. (2008) “[|Distributed collective practices in collaborative music performance].” Paper presented at the Third ACM International Conference on Digital Interactive Media in Entertainment and Arts (DIMEA 2008).

Joy, J. and Sinclair, P. 2008. "[|Networked Sonic Spaces]". In //Proceedings of the International Computer Music Conference// ICMC'08 //(//SARC, Belfast, N. Ireland) dans le cadre du panel "Networking Performance" (Andrew Gerszo, Georg Hadju, Pauline Oliveros, Robert Rowe, Jonas Braasch, Chris Chafe, Pedro Rebelo, Alain Renaud, Gualterio Volpe, Winfried Ritsch, Andrea Cera, Miller Puckette, Peter Sinclair, Jerome Joy)//.//

Joy, J. and Sinclair, P. (2009) "[|Espaces Sonores en Réseau - pratiques de la recherche en art — Locus Sonus]." In //Recherche & Création - Art, Technologie, Pédagogie, Innovation//, sous la direction de Samuel Bianchini. Paris: Éditions Burozoïque / Les Éditions du Parc, École Nationale Supérieure d’Art de Nancy, p. 122-139.

Schroeder, F. and Rebelo, P. (2009) “[|Sounding the Network: The Body as Disturbant].” //Leonardo Electronic Almanac//, 16: 4-5.
 * “This paper investigates the network as a site for music performance; in particular, the net’s performative conditions with the tightly linked notion of community are exposed through the medium of music as an intrinsic social practice. The paper provides a brief cultural overview of the development of the network metaphor before problematizing perspectival views of the network. By reflecting on the development of social web environments and its fragmentary nature, the authors examine the scattered viewpoints that characterize the network. The authors question the idealized view of an all-connectedness and position the human body as an interrupter of the network. In this line of thinking, the idealized models of connectivity and communication of the network become questioned. Instead, the authors look toward music performance and propose a re-thinking of this communication model and argue for a framework that, contrary to the often holistic approach to performing in the net, favors glances, fragments and desires.”

Oliveros, P., Weaver, S., Dresser, M., Pitcher, J., Braasch, J., and Chafe, C. (2009) “[|Telematic Music: Six Perspectives]”. Online supplement to //Leonardo Music Journal// Vol. 19.
 * The six authors of this paper participated in a telematic concert between <span style="font-family: Arial,Helvetica,sans-serif;">Rensselaer Polytechnic Institute in Troy, New York, Stanford University in Stanford, California, and University of California San Diego in November 2007. They subsequently formed the Telematic Music Panel for the International Society for Improvised Music conference later that year. Each gives their perspective on the concert and their role within in it.

Jo K., Tanaka A. (2009) “[|The Music One Participates In].” //[|Performing Technology: User Content and the New Digital Media] (//Schroeder, F., ed.). Cambridge, UK: Cambridge Scholars Publishing, p. 34-50.

Caceres, J.-P. and Chafe, C. (2009) “[|JackTrip: Under the hood of an engine for network audio].” In //Proceedings of International Computer Music Conference// (Montreal, Canada).

Carôt, A. (2009) “Musical Telepresence - A Comprehensive Analysis Towards New Cognitive and Technical Approaches.” PhD. Dissertation, Institute of Telematics, Lubeck, Germany.

Renaud, A. (2009) “The Network as a Performance Space.” PhD. Dissertation, School of Music and Sonic Arts, Queen’s University, Belfast.

Bannier, S. (2009) “[|The Musical Network 2.0 & 3.0].” Studies on Media Information & Telecommunication. Interdisciplinary Institute for Broadband Technology, Brussels, Belgium.

Rebelo, Pedro. (2010) “[|Notating the Unpredictable].” //Contemporary Music Review//, 29(1): 17-27.
 * Notation can be seen to sit conformably between theory and practice as it symbolizes practice, generates and implements theory, and produces practice. Historically, its presence changes in significance across the development of activities such as music or architecture. From design tool to canonic text, notational artefacts both solidify and formalize practice, as will be expanded below. How, then, does the role and function of notation change with specific contemporary practices, which are by definition ill-defined and feed off fluidity and change? What is the nature of notation in distributed and collaborative practices such as improvised music or network music performance?

Joy, Jérôme. (2010) "[|Une Époque Circuitée - (Faire de la musique ensemble) — Réflexion sur l'organologie des arts en réseau : le passage de l'Internet à un état musica]l." In //Programmer / Programming''', Intermédialités: Revue d'Histoire et Théorie des Arts, des Lettres et des Techniques//, No. 13: 57-76. CRI Centre de recherche sur l'intermédialité, Université de Montréal.

Tanaka A, Gaye L, Richardson R. (2010) “[|Co-production and Co-creation: Creative Practice in Social Inclusion].” In //Cultural Computing: Second IFIP TC 14 Entertainment Computing Symposium (ECS)//. Brisbane, Australia: Springer.

Gaye L, Tanaka A, Richardson R, Jo K. (2010) “[|Social inclusion through the digital economy]: Digital creative engagement and youth-led innovation.” In //9th International Conference on Interaction Design and Children (IDC)//. Barcelona, Spain: ACM Press.

Vitale, C. (2010) “[|Networkologies - A Manifesto – Section I].” //Speculations Online Journal//, 1: 153-184.

Hamilton, R., Caceres, J-P., Nanou, C. and Platz, C. (2011) <span style="font-family: Arial,Helvetica,sans-serif;">“[|Multi-modal musical environments for mixed-reality performance]”. //Journal for Multimodal User Interfaces//, 4: 147-156.

Chaves, R. and Rebelo, P. (2011) “[|Sensing Shared Places: Designing a mobile audio streaming environment]”. //Body, Space & Technology Journal//, 10:1.
 * “This paper addresses mobile audio streaming in the context of sharing a sense of place. This action is mediated by the network, the body and remote listening. These elements are essential in the concept and design of a platform for audio transmission (liveshout), that aims at intersecting mobility within the realms of radio, network and transmission art.”

Joy, Jérôme (2011) "[|What NMSAT says about sonification]." In //Revue AI & Society : Knowledge, Culture and Communication// (Locus Sonus, éditeur invité/ Guest editor), Issue 2011. London : Springer UK.

Khattar, Cynthia. (2011) "Concerto en Réseau Majeur (Télémusique — Musique en Réseau)". In //Hémisphères [La Revue Suisse de la Recherche et de ses Applications]:// //L'Intelligence des Réseaux//, 1: 62-63. Haute École Spécialisée de Suisse Occidentale HES SO, University of Applied Sciences Western Switzerland.

Weaver, Sarah. (2011). "[|Latency: Music Composition and Technology Solutions for Perception of Synchrony in “ResoNations 2010: An International Telematic Music Concert for Peace].” Master's thesis, New York University.

Vitale, C. (2011) “[|On the Metaphysics and Physics of the Networkological Endeavor: An Introduction].” //Speculations: The Journal of Speculative Realism//, Vol. 2.

Vitale, C. (pending) //[|Networkologies: A New Philosophy of Networks for a Hyperconnected Age, Vol. I-III]//. Zero Books. Online excerpts.

Vitale, C. (work-in-progress) “[|The Networked Mind: Cognitive Science, Artificial Intelligence, and Post-Structuralist Philosophy].” Online manuscript.


 * Dedicated Journal Issues**

[|__//Organised Sound//, Vol 17, no. 1 (2012): Networked Electroacoustic Music__]

Whalley, I. (2012) "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages", p. 4-15. Mills, R. and Beilharz, K. (2012) "Listening Through the Firewall: Semiotics of sound in networked improvisation", p. 16-27. Makelberge, N. (2012) "Rethinking Collaboration in Networked Music" p. 28-35. Hayes, L. and Michalakos, C. (2012) "Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion", p. 36-44. Burtner, M., Kemper, S. and Topper, D. (2012) "Network Socio-Synthesis and Emergence in NOMADS", p. 45-55. Ogborn, D. (2012) "Composing for a Networked, Pulse-Based Laptop Orchestra", p. 56-61. Vallis, O., Diakopoulos, D., Hochenbaum, J. and Kapur, A. (2012) "Building on the Foundations of Network Music: Exploring interaction contexts and shared robotic instruments", p. 62-72. Gremo, B. P. (2012) "Tele-Media and Instrument Making", p. 73-85. Fields, K. (2012) "Syneme: Live", p. 86-95.

__//Contemporary Music Review,// Vol. 28, Issues 4-5 (2009): Special Issue: Network Performance__

Hajdu, G. and Didkovsky, N. (2009) “On the Evolution of Music Notation in Network Music Environments”//,// p. 395-407. Schroeder, Franziska. (2009) “Dramaturgy as a Model for Geographically Displaced Collaborations: Views from Within and Views from Without”//,// p. 377–385. Oliveros, Pauline. (2009) “Networked Music: Low and High Tech.”, p. 433-435. Chafe, Chris. (2009) “Tapping into the Internet as an Acoustical/Musical Medium”, p. 413-420. Braasch, Jonas. (2009) “The Telematic Music System: Affordances for a New Instrument to Shape the Music of Tomorrow”, p. 421–432. <span style="font-family: Arial,Helvetica,sans-serif;">Joy, Jérôme. (2009) “Networked Music & Soundart Timeline (NMSAT) Excerpts of Part One: Ancient and Modern History, Anticipatory Literature, and Technical Developments References”//,// p. 449-490. Puckette, Miller. (2009) “Not Being There”, p. 409–412. Joy, J. and Sinclair, P. (2009) “Networked Music and Soundart Timeline (NMSAT): A Panoramic View of Practices and Techniques Related to Sound Transmission and Distance Listening”//,// p. 351-361. Kim-Boyle, David. (2009) “Network Musics: Play, Engagement and the Democratization of Performance”, p. 363-375. Rebelo, Pedro. (2009) “Dramaturgy in the Network”, p. 387-393.


 * Other Resources**

[|NMSAT Timeline] (Networked Music and Sound Art Timeline - Jérôme Joy, PhD candidate, Université de Laval)

[|Sarah Weaver] (composer/conductor; specialist in telematic music - PhD student at Stony Brook University, NY)