The authors employ this philosophy in their writing technique. The text asks the broad question \"What is programming?\" Having come to the conclusion that programming consists of procedures and data, the authors set off to explore the related questions of \"What is data?\" and \"What is a procedure?\"
The authors build up the simple notion of a procedure to dizzying complexity. The discussion culminates in the description of the code behind the programming language Scheme. The authors finish with examples of how to implement some of the book's concepts on a register machine. Through this journey, the reader not only learns how to program, but also how to think about programming. This edition available only OUTSIDE the U.S. and Canada","author":[{"family":"Abelson","given":"Harold"},{"family":"Sussman","given":"Gerald J."}],"citation-key":"abelsonStructureInterpretationComputer1996","edition":"Second","ISBN":"0-262-51087-1","issued":{"date-parts":[[1996,9]]},"note":"Published: Paperback","publisher":"The MIT Press","title":"Structure and Interpretation of Computer Programs","type":"book","URL":"http://www.worldcat.org/isbn/0262510871"}, {"id":"adkinsPostAcousmaticPracticeReevaluating2016","abstract":"This paper posits the notion of the post-acousmatic. The authors consider the work of contemporary practitioners who are indebted to the Schaefferian heritage, but pursue alternative trajectories from the established canonical discourse of acousmatic music. The paper will outline the authors’ definition of the term and outline a network of elements such as time, rhythm, pitch, dynamics, noise and performance to discuss work that the authors’ consider to be a critique, an augmentation and an outgrowth of acousmatic music and thinking.","accessed":{"date-parts":[[2022,1,20]]},"author":[{"family":"Adkins","given":"Monty"},{"family":"Scott","given":"Richard"},{"family":"Tremblay","given":"Pierre Alexandre"}],"citation-key":"adkinsPostAcousmaticPracticeReevaluating2016","container-title":"Organised Sound","ISSN":"1355-7718","issue":"02","issued":{"date-parts":[[2016,8,1]]},"language":"en","number":"02","page":"106-116","publisher":"Cambridge University Press","source":"eprints.hud.ac.uk","title":"Post-Acousmatic Practice: Re-evaluating Schaeffer’s heritage","title-short":"Post-Acousmatic Practice","type":"article-journal","URL":"http://dx.doi.org/10.1017/S1355771816000030","volume":"21"}, {"id":"administrationStaff2010","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Administration","given":"C. P. R."}],"citation-key":"administrationStaff2010","issued":{"date-parts":[[2010,3,16]]},"language":"en","publisher":"University of Copenhagen","title":"Staff","type":"webpage","URL":"https://research.ku.dk/search/result/?pure=da/publications/borders-in-ancient-weaving-and-archaic-greek-poetry(0d8814da-959c-40cc-80cf-ac0b2d5d1612)/export.html"}, {"id":"adminSearch2007","accessed":{"date-parts":[[2017,3,21]]},"author":[{"family":"Admin","given":""}],"citation-key":"adminSearch2007","issued":{"date-parts":[[2007,4,26]]},"language":"en","title":"Search","type":"webpage","URL":"http://research.ku.dk/search/?pure=en/publications/borders-in-ancient-weaving-and-archaic-greek-poetry(0d8814da-959c-40cc-80cf-ac0b2d5d1612)/export.html"}, {"id":"agawuRepresentingAfricanMusic2003","author":[{"family":"Agawu","given":"Kofi"}],"citation-key":"agawuRepresentingAfricanMusic2003","edition":"First","ISBN":"0-415-94390-6","issued":{"date-parts":[[2003,5]]},"note":"Published: Paperback","publisher":"Routledge","title":"Representing African Music: Postcolonial Notes, Queries, Positions","type":"book","URL":"http://www.worldcat.org/isbn/0415943906"}, {"id":"agawuStructuralAnalysisCultural2006","abstract":"Abstract. Polyrhythmic dance compositions from West Africa typically feature an ostinato bell pattern known as a time line. Timbrally distinct, asymmetrical in structure, and aurally prominent, time lines have drawn comment from scholars as keys to understanding African rhythm. This article focuses on the best known and most widely distributed of these, the so-called standard pattern, a seven-stroke figure spanning twelve eighth notes and disposed durationally as <2212221>. Observations about structure (including its internal dynamic, metrical potential, and rotational properties) are juxtaposed with a putative African-cultural understanding (inferred from the firm place of dance in the culture, patterns of verbal discourse, and a broad set of social values) in order to further illuminate the nature of African rhythm, foster dialogue between structural and cultural perspectives, and thereby contribute implicitly to the methodology of cross-cultural analysis.","accessed":{"date-parts":[[2021,1,25]]},"author":[{"family":"Agawu","given":"Kofi"}],"citation-key":"agawuStructuralAnalysisCultural2006","container-title":"Journal of the American Musicological Society","container-title-short":"Journal of the American Musicological Society","DOI":"10.1525/jams.2006.59.1.1","ISSN":"0003-0139","issue":"1","issued":{"date-parts":[[2006,4,1]]},"language":"en","page":"1-46","publisher":"University of California Press","source":"online.ucpress.edu","title":"Structural Analysis or Cultural Analysis? Competing Perspectives on the “Standard Pattern” of West African Rhythm","title-short":"Structural Analysis or Cultural Analysis?","type":"article-journal","URL":"/jams/article/59/1/1/50100/Structural-Analysis-or-Cultural-Analysis-Competing","volume":"59"}, {"id":"agreCriticalTechnicalPractice1997","author":[{"family":"Agre","given":"Philip E."}],"citation-key":"agreCriticalTechnicalPractice1997","container-title":"Social Science, Technical Systems, and Cooperative Work: Beyond the Great Divide (Computers, Cognition and Work Series)","editor":[{"family":"Bowker","given":"Geoffrey"},{"family":"Star","given":"Susan L."},{"family":"Gasser","given":"Les"},{"family":"Turner","given":"William"}],"ISBN":"0-8058-2403-0","issued":{"date-parts":[[1997,7]]},"note":"Published: Paperback","publisher":"Psychology Press","title":"Toward a Critical Technical Practice: Lessons Learned in Trying to Reform AI","type":"chapter","URL":"http://www.worldcat.org/isbn/0805824030"}, {"id":"agrellVoronoibasedCoding1997","author":[{"family":"Agrell","given":"Erik"}],"citation-key":"agrellVoronoibasedCoding1997","issued":{"date-parts":[[1997]]},"title":"Voronoi-based coding","type":"thesis"}, {"id":"ahujaExtractionEarlyPerceptual1989","author":[{"family":"Ahuja","given":"N."},{"family":"Tuceryan","given":"M."}],"citation-key":"ahujaExtractionEarlyPerceptual1989","container-title":"Comput. Vision Graph. Image Process.","issue":"3","issued":{"date-parts":[[1989]]},"page":"304–356","title":"Extraction of early perceptual structure in dot patterns: integrating region, boundary, and component gestalt","type":"article-journal","volume":"48"}, {"id":"al-jazariBookKnowledgeIngenious850","author":[{"family":"Jazari","given":"Ismail","non-dropping-particle":"al-"}],"citation-key":"al-jazariBookKnowledgeIngenious850","event-place":"Baghdad, Iraq","issued":{"date-parts":[[850]]},"number-of-pages":"311","publisher":"House of Wisdom","publisher-place":"Baghdad, Iraq","title":"The Book of Knowledge of Ingenious Mechanical Devices","type":"book"}, {"id":"albersWeavingNewExpanded2017","abstract":"The classic book on the art and history of weaving—now expanded and in full colorWritten by one of the twentieth century’s leading textile artists, this splendidly illustrated book is a luminous meditation on the art of weaving, its history, its tools and techniques, and its implications for modern design. First published in 1965, On Weaving bridges the transition between handcraft and the machine-made, highlighting the essential importance of material awareness and the creative leaps that can occur when design problems are tackled by hand.With her focus on materials and handlooms, Anni Albers discusses how technology and mass production place limits on creativity and problem solving, and makes the case for a renewed embrace of human ingenuity that is particularly important today. Her lucid and engaging prose is illustrated with a wealth of rare and extraordinary images showing the history of the medium, from hand-drawn diagrams and close-ups of pre-Columbian textiles to material studies with corn, paper, and the typewriter, as well as illuminating examples of her own work.Now available for a new generation of readers, this expanded edition of On Weaving updates the book’s original black-and-white illustrations with full-color photos, and features an afterword by Nicholas Fox Weber and essays by Manuel Cirauqui and T’ai Smith that shed critical light on Albers and her career.","author":[{"family":"Albers","given":"Anni"}],"citation-key":"albersWeavingNewExpanded2017","ISBN":"978-1-4008-8904-4","issued":{"date-parts":[[2017,10,24]]},"language":"en","number-of-pages":"273","publisher":"Princeton University Press","source":"Google Books","title":"On Weaving: New Expanded Edition","title-short":"On Weaving","type":"book"}, {"id":"alexanderPatternLanguageTowns1977","abstract":"The second of three books published by the Center for Environmental Structureto provide a \"working alternative to our present ideas about architecture,building, and planning,\" _A Pattern Language_ offers a practical language forbuilding and planning based on natural considerations. The reader is given anoverview of some 250 patterns that are the units of this language, eachconsisting of a design problem, discussion, illustration, and solution. Byunderstanding recurrent design problems in our environment, readers canidentify extant patterns in their own design projects and use these patternsto create a language of their own. Extraordinarily thorough, coherent, andaccessible, this book has become a bible for homebuilders, contractors, anddevelopers who care about creating healthy, high-level design.","author":[{"family":"Alexander","given":"Christopher"},{"family":"Ishikawa","given":"Sara"},{"family":"Silverstein","given":"Murray"}],"citation-key":"alexanderPatternLanguageTowns1977","edition":"First","ISBN":"0-19-501919-9","issued":{"date-parts":[[1977,8]]},"note":"Published: Hardcover","publisher":"Oxford University Press","title":"A Pattern Language: Towns, Buildings, Construction","type":"book","URL":"http://www.worldcat.org/isbn/0195019199"}, {"id":"alexanderQuickviewSoftwareArt2003","author":[{"family":"Alexander","given":"Amy"},{"family":"Cramer","given":"Florian"},{"family":"Fuller","given":"Matthew"},{"family":"Kaulmann","given":"Thomax"},{"family":"McLean","given":"Alex"},{"family":"Schultz","given":"Pit"},{"family":"Men","given":"The Yes"}],"citation-key":"alexanderQuickviewSoftwareArt2003","container-title":"read_me 2.3 reader","editor":[{"family":"Goriunova","given":"Olga"},{"family":"Shulgin","given":"Alexei"}],"issued":{"date-parts":[[2003]]},"publisher":"NIFCA","title":"Quickview on Software Art","type":"chapter"}, {"id":"allanMethodologicalConsiderationsStudies2007","author":[{"family":"Allan","given":"Hamish"},{"family":"Mullensiefen","given":"Daniel"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"allanMethodologicalConsiderationsStudies2007","container-title":"8th International Conference on Music Information Retrieval","issued":{"date-parts":[[2007]]},"title":"Methodological considerations in studies of musical similarity","type":"paper-conference"}, {"id":"allenGettingThingsDone2002","abstract":"With first-chapter allusions to martial arts, \"flow,\" \"mind like water,\" and other concepts borrowed from the East (and usually mangled), you'd almost think this self-helper from David Allen should have been called Zen and the Art of Schedule Maintenance.
Not quite. Yes, Getting Things Done offers a complete system for downloading all those free-floating gotta-do's clogging your brain into a sophisticated framework of files and action lists–all purportedly to free your mind to focus on whatever you're working on. However, it still operates from the decidedly Western notion that if we could just get really, really organized, we could turn ourselves into 24/7 productivity machines. (To wit, Allen, whom the New Economy bible Fast Company has dubbed \"the personal productivity guru,\" suggests that instead of meditating on crouching tigers and hidden dragons while you wait for a plane, you should unsheathe that high-tech saber known as the cell phone and attack that list of calls you need to return.)
As whole-life-organizing systems go, Allen's is pretty good, even fun and therapeutic. It starts with the exhortation to take every unaccounted-for scrap of paper in your workstation that you can't junk, The next step is to write down every unaccounted-for gotta-do cramming your head onto its own scrap of paper. Finally, throw the whole stew into a giant \"in-basket\"
That's where the processing and prioritizing begin; in Allen's system, it get a little convoluted at times, rife as it is with fancy terms, subterms, and sub-subterms for even the simplest concepts. Thank goodness the spine of his system is captured on a straightforward, one-page flowchart that you can pin over your desk and repeatedly consult without having to refer back to the book. That alone is worth the purchase price. Also of value is Allen's ingenious Two-Minute Rule: if there's anything you absolutely must do that you can do right now in two minutes or less, then do it now, thus freeing up your time and mind tenfold over the long term. It's commonsense advice so obvious that most of us completely overlook it, much to our detriment; Allen excels at dispensing such wisdom in this useful, if somewhat belabored, self-improver aimed at everyone from CEOs to soccer moms (who we all know are more organized than most CEOs to start with). –Timothy Murphy
In today's world of exponentially increased communication and responsibility, yesterday's methods for staying on top just don't work.
Veteran management consultant and trainer David Allen recognizes that \"time management\" is useless the minute your schedule is interrupted; \"setting priorities\" isn't relevant when your email is down; \"procrastination solutions\" won't help if your goals aren't clear.
Allen's premise is simple: our ability to be productive is directly proportional to our ability to relax. Only when our minds are clear and our thoughts are organized can we achieve stress-free productivity and unleash our creative potential. He teaches us how to:
From core principles to proven tricks, Getting Things Done has the potential to transform the way you work – and the way you experience work. At any level of implementation, David Allen's entertaining and thought-provoking advice shows you how to pick up the pace without wearing yourself down. \"\"\"The personal productivity guru\"\" (Fast Company) delivers powerful methods that vastly increase your efficiency and creative results-at work and in life In today's world, yesterday's methods just don't work. In Getting Things Done, veteran coach and management consultant David Allen shares the breakthrough methods for stress-free performance that he has introduced to tens of thousands of people across the country. Allen's premise is simple: our productivity is directly proportional to our ability to relax. Only when our minds are clear and our thoughts are organized can we achieve effective productivity and unleash our creative potential. In Getting Things Done Allen shows how to: Apply the \"\"do it, delegate it, defer it, drop it\"\" rule to get your in-box to empty Reassess goals and stay focused in changing situations Plan projects as well as get them unstuck Overcome feelings of confusion, anxiety, and being overwhelmed Feel fine about what you're not doing From core principles to proven tricks, Getting Things Done can transform the way you work, showing you how to pick up the pace without wearing yourself down.\"","author":[{"family":"Allen","given":"David"}],"citation-key":"allenGettingThingsDone2002","ISBN":"0-7499-2264-8","issued":{"date-parts":[[2002,1]]},"note":"Published: Paperback","publisher":"Piatkus Books","title":"Getting Things Done: The Art of Stress-free Productivity","type":"book","URL":"http://www.worldcat.org/isbn/0749922648"}, {"id":"allenTextSpeechMITalk1987","author":[{"family":"Allen","given":"Jonathan"},{"family":"Hunnicutt","given":"Sharon M."},{"family":"Klatt","given":"Dennis"}],"citation-key":"allenTextSpeechMITalk1987","issued":{"date-parts":[[1987]]},"publisher":"Cambridge","title":"From Text to Speech: The MITalk System","type":"book"}, {"id":"allisonLazyDynamicprogrammingCan1992","author":[{"family":"Allison","given":"L."}],"citation-key":"allisonLazyDynamicprogrammingCan1992","container-title":"Inf. Process. Lett.","issue":"4","issued":{"date-parts":[[1992]]},"page":"207–212","title":"Lazy dynamic-programming can be eager","type":"article-journal","URL":"http://portal.acm.org/citation.cfm?id=144268.144290","volume":"43"}, {"id":"amabileCreativityContext1996","author":[{"family":"Amabile","given":"Teresa M."}],"citation-key":"amabileCreativityContext1996","ISBN":"0-8133-3034-3","issued":{"date-parts":[[1996,6]]},"note":"Published: Paperback","publisher":"Westview Press","title":"Creativity In Context","type":"book","URL":"http://www.worldcat.org/isbn/0813330343"}, {"id":"andersenInterfaceCriticismAesthetics2011","citation-key":"andersenInterfaceCriticismAesthetics2011","editor":[{"family":"Andersen","given":"Christian U."},{"family":"Pold","given":"Søren B."}],"ISBN":"87-7934-504-2","issued":{"date-parts":[[2011,5]]},"note":"Published: Paperback","publisher":"Aarhus University Press","title":"Interface Criticism: Aesthetics Beyond Buttons","type":"book","URL":"http://www.worldcat.org/isbn/8779345042"}, {"id":"andersenLiveCodingSlub2007","author":[{"family":"Andersen","given":"Christian U."}],"citation-key":"andersenLiveCodingSlub2007","container-title":"Proceedings of Society for Literature, Science and the Arts (SLSA) 2007","issued":{"date-parts":[[2007]]},"title":"The Live Coding of Slub - Art Oriented Programming as Media Critique","type":"paper-conference"}, {"id":"andersonFormulaProgrammingLanguage1991","author":[{"family":"Anderson","given":"David P."},{"family":"Kuivila","given":"Ron"}],"citation-key":"andersonFormulaProgrammingLanguage1991","container-title":"Computer","issue":"7","issued":{"date-parts":[[1991]]},"page":"12–21","title":"Formula: A Programming Language for Expressive Computer Music","type":"article-journal","volume":"24"}, {"id":"andrewsRealDJsCode2006","author":[{"family":"Andrews","given":"Robert"}],"citation-key":"andrewsRealDJsCode2006","issued":{"date-parts":[[2006]]},"title":"Real DJs Code Live","type":"book","URL":"http://wired.com/"}, {"id":"angelovaDesignWeavePatterns2017","abstract":"This study aims to present a novel approach in creation of new patterns for woven textiles, which is based on musical scores. Such a design method has not been presented in the literature. It is based on the similarity between the music notation and the 2D coding of woven patterns. Theoretical and practical details on application of the design method are discussed. Weave patterns, based on famous musical pieces, are presented together with exemplary color designs. The four ‘musical’ patterns and their color designs could be considered as successful first attempts that open up additional opportunities for design and production of original, unique fabrics.","accessed":{"date-parts":[[2020,3,3]]},"author":[{"family":"Angelova","given":"Radostina A."}],"citation-key":"angelovaDesignWeavePatterns2017","container-title":"The Journal of The Textile Institute","DOI":"10.1080/00405000.2016.1195541","ISSN":"0040-5000","issue":"5","issued":{"date-parts":[[2017,5,4]]},"note":"_eprint: https://doi.org/10.1080/00405000.2016.1195541","page":"870-876","publisher":"Taylor & Francis","source":"Taylor and Francis+NEJM","title":"Design of weave patterns: when engineering textiles meets music","title-short":"Design of weave patterns","type":"article-journal","URL":"https://doi.org/10.1080/00405000.2016.1195541","volume":"108"}, {"id":"antoniolAnalyzingCloningEvolution2002","abstract":"Identifying code duplication in large multi-platform software systems is a challenging problem. This is due to a variety of reasons including the presence of high-level programming languages and structures interleaved with hardware-dependent low-level resources and assembler code, the use of GUI-based configuration scripts generating commands to compile the system, and the extremely high number of possible different configurations. This paper studies the extent and the evolution of code duplications in the Linux kernel. Linux is a large, multi-platform software system; it is based on the Open Source concept, and so there are no obstacles in discussing its implementation. In addition, it is decidedly too large to be examined manually: the current Linux kernel release (2.4.18) is about three million LOCs. Nineteen releases, from 2.4.0 to 2.4.18, were processed and analyzed, identifying code duplication among Linux subsystems by means of a metric-based approach. The obtained results support the hypothesis that the Linux system does not contain a relevant fraction of code duplication. Furthermore, code duplication tends to remain stable across releases, thus suggesting a fairly stable structure, evolving smoothly without any evidence of degradation.","author":[{"family":"Antoniol","given":"G."}],"citation-key":"antoniolAnalyzingCloningEvolution2002","container-title":"Information and Software Technology","DOI":"10.1016/s0950-5849(02)00123-4","ISSN":"09505849","issue":"13","issued":{"date-parts":[[2002,10]]},"page":"755–765","title":"Analyzing cloning evolution in the Linux kernel","type":"article-journal","URL":"http://dx.doi.org/10.1016/s0950-5849(02)00123-4","volume":"44"}, {"id":"argyrisOrganizationalLearningTheory","author":[{"family":"Argyris","given":"Chris"},{"family":"Schon","given":"Donald A."}],"citation-key":"argyrisOrganizationalLearningTheory","ISBN":"0-201-00174-8","note":"Published: Paperback","publisher":"Addison-Wesley","title":"Organizational Learning: A Theory of Action Perspective (Addison-Wesley Series on Organization Development.)","type":"book","URL":"http://www.worldcat.org/isbn/0201001748"}, {"id":"armitageSilentMetronome2015","author":[{"family":"Armitage","given":"Joanne"},{"family":"Ng","given":"Kia"},{"family":"McLean","given":"Alex"}],"citation-key":"armitageSilentMetronome2015","container-title":"Proceedings of the 1st International Conference on Live Coding","issued":{"date-parts":[[2015]]},"title":"Silent Metronome","type":"paper-conference"}, {"id":"armitageSpacesFailNegotiating2018","abstract":"Algorave presents itself as a community that is open and accessible to all, yet historically, there has been a lack of diversity on both the stage and dance floor. Through womenonly workshops, mentoring and other efforts at widening participation, the number of women performing at algorave events has increased. Grounded in existing research in feminist technology studies, computing education and gender and electronic music, this article unpacks how techno, social and cultural structures have gendered algorave. These ideas will be elucidated through a series of interviews with women participating in the algorave community, to centrally argue that gender significantly impacts an individual’s ability to engage and interact within the algorave community. I will also consider how live coding, as an embodied techno-social form, is represented at events and hypothesise as to how it could grow further as an inclusive and feminist practice.","author":[{"family":"Armitage","given":"Joanne"}],"citation-key":"armitageSpacesFailNegotiating2018","container-title":"Dancecult","container-title-short":"Dancecult","DOI":"10.12801/1947-5403.2018.10.01.02","issued":{"date-parts":[[2018,11,22]]},"page":"31-45","source":"ResearchGate","title":"Spaces to Fail in: Negotiating Gender, Community and Technology in Algorave","title-short":"Spaces to Fail in","type":"article-journal","volume":"10"}, {"id":"arnsReadMeRun2004","author":[{"family":"Arns","given":"Inke"}],"citation-key":"arnsReadMeRun2004","container-title":"Read_me Software Art and Cultures","editor":[{"family":"Goriunova","given":"Olga"},{"family":"Shulgin","given":"Alexei"}],"issued":{"date-parts":[[2004]]},"page":"177–188","title":"Read_me, run_me, execute_me. Code as Executable Text: Software Art and its Focus on Program Code as Performative Text","type":"paper-conference"}, {"id":"atkinsonExploringPerceptualCharacteristics2007","abstract":"Introduction. Previous research has not taken account of the possibility that deaf people will show greater heterogeneity in how they experience voice-hallucinations due to individual differences in experience with language and residual hearing. This study aims to explore how deaf participants perceive voice-hallucinations and whether the perceptual characteristics reported reflect individual experience with language and sensory input. Method. A statement-sorting task generated data about perceptual characteristics of voice-hallucinations for exploratory factor analysis. The sample included 27 deaf participants with experience of voice-hallucinations, and a range of hearing loss and language backgrounds. Results. Perceptual characteristics of voice-hallucinations map closely onto individual auditory experience. People born profoundly deaf loaded onto nonauditory factors. Deaf people with experience of hearing speech, through residual hearing, hearing aids, or predeafness experience, reported auditory features or uncertainty about mode of perception. Conclusions. This is the first study to systematically explore voice-hallucinations in deaf people and to advance a model of subvocal articulation to account for such counterintuitive phenomena.","author":[{"family":"Atkinson","given":"Joanna R."},{"family":"Gleeson","given":"Kate"},{"family":"Cromwell","given":"Jim"},{"family":"O'Rourke","given":"Sue"}],"citation-key":"atkinsonExploringPerceptualCharacteristics2007","container-title":"Cognitive Neuropsychiatry","DOI":"10.1080/13546800701238229","issue":"4","issued":{"date-parts":[[2007]]},"page":"339–361","title":"Exploring the perceptual characteristics of voice-hallucinations in deaf people","type":"article-journal","URL":"http://dx.doi.org/10.1080/13546800701238229","volume":"12"}, {"id":"atwoodRevisitingProgrammingFonts2007","author":[{"family":"Atwood","given":"Jeff"}],"citation-key":"atwoodRevisitingProgrammingFonts2007","issued":{"date-parts":[[2007,10]]},"title":"Revisiting programming fonts","type":"book","URL":"http://www.codinghorror.com/blog/2007/10/revisiting-programming-fonts.html"}, {"id":"aucouturierTenExperimentsModelling2006","abstract":"The majority of systems extracting high-level music descriptions from audio signals rely on a common, implicit model of the global sound or polyphonic timbre of a musical signal. This model represents the timbre of a texture as the long-term distribution of its local spectral features. The underlying assumption is rarely made explicit: the perception of the timbre of a texture is assumed to result from the most statistically significant feature windows. This thesis questions the validity of this assumption. To do so, we construct an explicit measure of the timbre similarity between polyphonic music textures, and variants thereof inspired by previous work in Music Information Retrieval. We show that the precision of such measures is bounded, and that the remaining error rate is not incidental. Notably, this class of algorithms tends to create false positives - which we call hubs - which are mostly always the same songs regardless of the query. Their study shows that the perceptual saliency of feature observations is not necessarily correlated with their statistical significance with respect to the global distribution. In other words, music listeners routinely \"hear\" things that are not statistically significant in musical signals, but rather are the result of high-level cognitive reasoning, which depends on cultural expectations, a priori knowledge, and context. Much of the music we hear as being \"piano music\" is really music that we expect to be piano music. Such statistical/perceptual paradoxes are instrumental in the observed discrepancy between human perception of timbre and the models studied here.","author":[{"family":"Aucouturier","given":"Jean J."}],"citation-key":"aucouturierTenExperimentsModelling2006","event-place":"Paris, France","issued":{"date-parts":[[2006]]},"publisher":"University of Paris 6","publisher-place":"Paris, France","title":"Ten Experiments on the Modelling of Polyphonic Timbre","type":"thesis","URL":"http://www.jj-aucouturier.info/papers/PHD-2006.pdf"}, {"id":"aurenhammerVoronoiDiagramsSurvey1991","author":[{"family":"Aurenhammer","given":"Franz"}],"citation-key":"aurenhammerVoronoiDiagramsSurvey1991","container-title":"ACM Comput. Surv.","issue":"3","issued":{"date-parts":[[1991]]},"page":"345–405","title":"Voronoi diagrams — a survey of a fundamental geometric data structure","type":"article-journal","volume":"23"}, {"id":"auslanderLivePerformanceMediatized2008","author":[{"family":"Auslander","given":"Philip"}],"citation-key":"auslanderLivePerformanceMediatized2008","container-title":"Liveness: Performance in a mediatized culture","edition":"Second","issued":{"date-parts":[[2008]]},"page":"10–72","title":"Live Performance in a Mediatized Culture","type":"chapter"}, {"id":"bach-y-ritaLateHumanBrain2005","abstract":"The brain is capable of major reorganization even many years after an injury, with appropriate rehabilitation.The highly plastic brain responds best when the therapy is motivating and has a benefit that is recognized by the patient.The major objective of this study was to estimate feasibility and efficacy of an electro-tactile vestibular substitution system (ETVSS) in aiding recovery of posture control in patients with bilateral vestibular loss (BVL) during sitting and standing. Subjects used the BrainPort balance device for a period from 3 to 5 days. Subjects readily perceived both position and motion of a small 'target' stimulus on the tongue display, and interpreted this information to make corrective postural adjustments, causing the target stimulus to become centred.","author":[{"family":"Bach-Y-Rita","given":"Paul"},{"family":"Danilov","given":"Yuri"},{"family":"Tyler","given":"Mitchell"},{"family":"Grimm","given":"Robert J."}],"citation-key":"bach-y-ritaLateHumanBrain2005","container-title":"Plasticidad y Restauración Neurológica","issue":"1","issued":{"date-parts":[[2005]]},"page":"31–34","title":"Late Human Brain Plasticity: Vestibular Substitution with a Tongue BrainPort Human-Machine Interface","type":"article-journal","volume":"4"}, {"id":"bailesWhenNoiseSpeech2009","abstract":"Note: OCR errors may be found in this Reference List extracted from the full text article. ACM has opted to expose the complete List rather than only correct and linked references.","author":[{"family":"Bailes","given":"Freya"},{"family":"Dean","given":"Roger T."}],"citation-key":"bailesWhenNoiseSpeech2009","container-title":"Comput. Music J.","DOI":"10.1162/comj.2009.33.1.57","ISSN":"0148-9267","issue":"1","issued":{"date-parts":[[2009]]},"page":"57–67","title":"When is noise speech? a survey in sonic ambiguity","type":"article-journal","URL":"http://dx.doi.org/10.1162/comj.2009.33.1.57","volume":"33"}, {"id":"balzerVoronoiTreemaps2005","author":[{"family":"Balzer","given":"Michael"},{"family":"Deussen","given":"Oliver"}],"citation-key":"balzerVoronoiTreemaps2005","container-title":"INFOVIS '05: Proceedings of the Proceedings of the 2005 IEEE Symposium on Information Visualization","event-place":"Washington, DC, USA","issued":{"date-parts":[[2005]]},"publisher":"IEEE Computer Society","publisher-place":"Washington, DC, USA","title":"Voronoi Treemaps","type":"paper-conference"}, {"id":"balzerVoronoiTreemapsVisualization2005","author":[{"family":"Balzer","given":"Michael"},{"family":"Deussen","given":"Oliver"},{"family":"Lewerentz","given":"Claus"}],"citation-key":"balzerVoronoiTreemapsVisualization2005","container-title":"SoftVis '05: Proceedings of the 2005 ACM symposium on Software visualization","event-place":"New York, NY, USA","issued":{"date-parts":[[2005]]},"page":"165–172","publisher":"ACM Press","publisher-place":"New York, NY, USA","title":"Voronoi treemaps for the visualization of software metrics","type":"paper-conference"}, {"id":"bangertSharedNetworksAuditory2006","abstract":"To investigate cortical auditory and motor coupling in professional musicians, we compared the functional magnetic resonance imaging (fMRI) activity of seven pianists to seven non-musicians utilizing a passive task paradigm established in a previous learning study. The tasks involved either passively listening to short piano melodies or pressing keys on a mute MRI-compliant piano keyboard. Both groups were matched with respect to age and gender, and did not exhibit any overt performance differences in the keypressing task. The professional pianists showed increased activity compared to the non-musicians in a distributed cortical network during both the acoustic and the mute motion-related task. A conjunction analysis revealed a distinct musicianship-specific network being co-activated during either task type, indicating areas involved in auditory-sensorimotor integration. This network is comprised of dorsolateral and inferior frontal cortex (including Broca's area), the superior temporal gyrus (Wernicke's area), the supramarginal gyrus, and supplementary motor and premotor areas.","author":[{"family":"Bangert","given":"M."},{"family":"Peschel","given":"T."},{"family":"Schlaug","given":"G."},{"family":"Rotte","given":"M."},{"family":"Drescher","given":"D."},{"family":"Hinrichs","given":"H."},{"family":"Heinze","given":"H."},{"family":"Altenmuller","given":"E."}],"citation-key":"bangertSharedNetworksAuditory2006","container-title":"NeuroImage","DOI":"10.1016/j.neuroimage.2005.10.044","ISSN":"10538119","issue":"3","issued":{"date-parts":[[2006,4]]},"page":"917–926","title":"Shared networks for auditory and motor processing in professional pianists: Evidence from fMRI conjunction","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.neuroimage.2005.10.044","volume":"30"}, {"id":"banissyEnhancedSensoryPerception2009","abstract":"Previous findings imply that synaesthetic experience may have consequences for sensory processing of stimuli that do not themselves trigger synaesthesia. For example, synaesthetes who experience colour show enhanced perceptual processing of colour compared to non-synaesthetes. This study aimed to investigate whether enhanced perceptual processing was a core property of synaesthesia by contrasting tactile and colour sensitivity in synaesthetes who experience either colour, touch, or both touch and colour as evoked sensations. For comparison the performance of non-synaesthetic control subjects was also assessed. There was a relationship between the modality of synaesthetic experience and the modality of sensory enhancement. Synaesthetes who experience colour have enhanced colour sensitivity and synaesthetes who experience touch have enhanced tactile sensitivity. These findings suggest the possibility that a hyper-sensitive concurrent perceptual system is a general property of synaesthesia and are discussed in relation to theories of the condition.","author":[{"family":"Banissy","given":"Michael J."},{"family":"Walsh","given":"Vincent"},{"family":"Ward","given":"Jamie"}],"citation-key":"banissyEnhancedSensoryPerception2009","container-title":"Experimental Brain Research","DOI":"10.1007/s00221-009-1888-0","ISSN":"0014-4819","issue":"4","issued":{"date-parts":[[2009,7]]},"page":"565–571","PMID":"19533108","title":"Enhanced sensory perception in synaesthesia","type":"article-journal","URL":"http://dx.doi.org/10.1007/s00221-009-1888-0","volume":"196"}, {"id":"barberPrehistoricTextilesDevelopment1992","abstract":"This pioneering work revises our notions of the origins and early development of textiles in Europe and the Near East. Using innovative linguistic techniques, along with methods from palaeobiology and other fields, it shows that spinning and pattern weaving began far earlier than has been supposed.This pioneering work revises our notions of the origins and early development of textiles in Europe and the Near East. Using innovative linguistic techniques, along with methods from palaeobiology and other fields, it shows that spinning and pattern weaving began far earlier than has been supposed.","author":[{"family":"Barber","given":"E. J. W."}],"citation-key":"barberPrehistoricTextilesDevelopment1992","edition":"Reprint edition","event-place":"Princeton, N.J.","ISBN":"978-0-691-00224-8","issued":{"date-parts":[[1992,12,14]]},"language":"English","number-of-pages":"508","publisher":"Princeton University Press","publisher-place":"Princeton, N.J.","source":"Amazon","title":"Prehistoric Textiles: The Development Of Cloth In The Neolithic And Bronze Ages With Special Reference To The Aegean","title-short":"Prehistoric Textiles","type":"book"}, {"id":"bargaryColoredspeechSynaesthesiaTriggered2009","abstract":"Although it is estimated that as many as 4% of people experience some form of enhanced cross talk between (or within) the senses, known as synaesthesia, very little is understood about the level of information processing required to induce a synaesthetic experience. In work presented here, we used a well-known multisensory illusion called the McGurk effect to show that synaesthesia is driven by late, perceptual processing, rather than early, unisensory processing. Specifically, we tested 9 linguistic-color synaesthetes and found that the colors induced by spoken words are related to what is perceived (i.e., the illusory combination of audio and visual inputs) and not to the auditory component alone. Our findings indicate that color-speech synaesthesia is triggered only when a significant amount of information processing has occurred and that early sensory activation is not directly linked to the synaesthetic experience.","author":[{"family":"Bargary","given":"Gary"},{"family":"Barnett","given":"Kylie J."},{"family":"Mitchell","given":"Kevin J."},{"family":"Newell","given":"Fiona N."}],"citation-key":"bargaryColoredspeechSynaesthesiaTriggered2009","container-title":"Psychological science : a journal of the American Psychological Society / APS","DOI":"10.1111/j.1467-9280.2009.02338.x","ISSN":"1467-9280","issue":"5","issued":{"date-parts":[[2009,5]]},"page":"529–533","PMID":"19476587","title":"Colored-speech synaesthesia is triggered by multisensory, not unisensory, perception.","type":"article-journal","URL":"http://dx.doi.org/10.1111/j.1467-9280.2009.02338.x","volume":"20"}, {"id":"barkerWhatCanComputer2005","abstract":"This paper compares two curricular information technology programs, one that graduates a much higher percentage of women than the other. Although the two programs center on IT, they are quite different in how they are structured and how students are assessed. This paper compares the programs on two dimensions, knowledge sharing and assessment techniques, then suggests ways that CS instruction might borrow from the other in order to increase retention of women in CS. These include ⢠allow students to hear each other articulate what they are learning; ⢠begin lectures by telling students about the practical application of what will later be described at the abstract level; and ⢠require that students display their solutions to the class and require that their classmates give them feedback. 1","author":[{"family":"Barker","given":"Lecia J."},{"family":"Garvin-doxas","given":"Kathy"},{"family":"Sieber","given":"Diane"}],"citation-key":"barkerWhatCanComputer2005","container-title":"36th SIGCSE Technical Symposium on Computer Science Education","issued":{"date-parts":[[2005]]},"page":"23–27","title":"What can computer science learn from a fine arts approach to teaching?","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.84.4464"}, {"id":"barsalouGroundedCognitionPresent2010","abstract":"Abstract Thirty years ago, grounded cognition had roots in philosophy, perception, cognitive linguistics, psycholinguistics, cognitive psychology, and cognitive neuropsychology. During the next 20 years, grounded cognition continued developing in these areas, and it also took new forms in robotics, cognitive ecology, cognitive neuroscience, and developmental psychology. In the past 10 years, research on grounded cognition has grown rapidly, especially in cognitive neuroscience, social neuroscience, cognitive psychology, social psychology, and developmental psychology. Currently, grounded cognition appears to be achieving increased acceptance throughout cognitive science, shifting from relatively minor status to increasing importance. Nevertheless, researchers wonder whether grounded mechanisms lie at the heart of the cognitive system or are peripheral to classic symbolic mechanisms. Although grounded cognition is currently dominated by demonstration experiments in the absence of well-developed theories, the area is likely to become increasingly theory driven over the next 30 years. Another likely development is the increased incorporation of grounding mechanisms into cognitive architectures and into accounts of classic cognitive phenomena. As this incorporation occurs, much functionality of these architectures and phenomena is likely to remain, along with many original mechanisms. Future theories of grounded cognition are likely to be heavily influenced by both cognitive neuroscience and social neuroscience, and also by developmental science and robotics. Aspects from the three major perspectives in cognitive science—classic symbolic architectures, statistical/dynamical systems, and grounded cognition—will probably be integrated increasingly in future theories, each capturing indispensable aspects of intelligence.","author":[{"family":"Barsalou","given":"Lawrence W."}],"citation-key":"barsalouGroundedCognitionPresent2010","container-title":"Topics in Cognitive Science","DOI":"10.1111/j.1756-8765.2010.01115.x","issue":"4","issued":{"date-parts":[[2010]]},"page":"716–724","title":"Grounded Cognition: Past, Present, and Future","type":"article-journal","URL":"http://dx.doi.org/10.1111/j.1756-8765.2010.01115.x","volume":"2"}, {"id":"barsalouGroundingConceptualKnowledge2003","author":[{"family":"Barsalou","given":"Lawrence W."},{"family":"Kyle Simmons","given":"W."},{"family":"Barbey","given":"Aron K."},{"family":"Wilson","given":"Christine D."}],"citation-key":"barsalouGroundingConceptualKnowledge2003","container-title":"Trends in Cognitive Sciences","ISSN":"1364-6613","issue":"2","issued":{"date-parts":[[2003,2]]},"page":"84–91","title":"Grounding conceptual knowledge in modality-specific systems","type":"article-journal","URL":"http://linkinghub.elsevier.com/retrieve/pii/S1364661302000293","volume":"7"}, {"id":"barsalouLanguageSimulationConceptual2008","author":[{"family":"Barsalou","given":"L. W."},{"family":"Santos","given":"A."},{"family":"Simmons","given":"W. K."},{"family":"Wilson","given":"C. D."}],"citation-key":"barsalouLanguageSimulationConceptual2008","container-title":"Symbols and Embodiment: Debates on meaning and cognition","edition":"First","ISBN":"0-19-921727-0","issued":{"date-parts":[[2008,12]]},"note":"Published: Hardcover","page":"245–283","publisher":"Oxford University Press, USA","title":"Language and Simulation in Conceptual Processing","type":"chapter","URL":"http://www.worldcat.org/isbn/0199217270"}, {"id":"barsalouPerceptualSymbolSystems1999","abstract":"Prior to the twentieth century, theories of knowledge were inherently perceptual. Since then, developments in logic, statistics, and programming languages have inspired amodal theories that rest on principles fundamentally different from those underlying perception. In addition, perceptual approaches have become widely viewed as untenable because they are assumed to implement recording systems, not conceptual systems. A perceptual theory of knowledge is developed here in the context of current cognitive science and neuroscience. During perceptual experience, association areas in the brain capture bottom-up patterns of activation in sensory-motor areas. Later, in a top-down manner, association areas partially reactivate sensory-motor areas to implement perceptual symbols. The storage and reactivation of perceptual symbols operates at the level of perceptual components–not at the level of holistic perceptual experiences. Through the use of selective attention, schematic representations of perceptual components are extracted from experience and stored in memory (e.g., individual memories of green, purr, hot). As memories of the same component become organized around a common frame, they implement a simulator that produces limitless simulations of the component (e.g., simulations of purr). Not only do such simulators develop for aspects of sensory experience, they also develop for aspects of proprioception (e.g., lift, run) and introspection (e.g., compare, memory, happy, hungry). Once established, these simulators implement a basic conceptual system that represents types, supports categorization, and produces categorical inferences. These simulators further support productivity, propositions, and abstract concepts, thereby implementing a fully functional conceptual system. Productivity results from integrating simulators combinatorially and recursively to produce complex simulations. Propositions result from binding simulators to perceived individuals to represent type-token relations. Abstract concepts are grounded in complex simulations of combined physical and introspective events. Thus, a perceptual theory of knowledge can implement a fully functional conceptual system while avoiding problems associated with amodal symbol systems. Implications for cognition, neuroscience, evolution, development, and artificial intelligence are explored.","author":[{"family":"Barsalou","given":"L. W."}],"citation-key":"barsalouPerceptualSymbolSystems1999","container-title":"The Behavioral and brain sciences","ISSN":"0140-525X","issue":"4","issued":{"date-parts":[[1999,8]]},"PMID":"11301525","title":"Perceptual symbol systems.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/11301525","volume":"22"}, {"id":"barsalouSimulationSituatedConceptualization2009","abstract":"Based on accumulating evidence, simulation appears to be a basic computational mechanism in the brain that supports a broad spectrum of processes from perception to social cognition. Further evidence suggests that simulation is typically situated, with the situated character of experience in the environment being reflected in the situated character of the representations that underlie simulation. A basic architecture is sketched of how the brain implements situated simulation. Within this framework, simulators implement the concepts that underlie knowledge, and situated conceptualizations capture patterns of multi-modal simulation associated with frequently experienced situations. A pattern completion inference mechanism uses current perception to activate situated conceptualizations that produce predictions via simulations on relevant modalities. Empirical findings from perception, action, working memory, conceptual processing, language and social cognition illustrate how this framework produces the extensive prediction that characterizes natural intelligence.","author":[{"family":"Barsalou","given":"Lawrence W."}],"citation-key":"barsalouSimulationSituatedConceptualization2009","container-title":"Philosophical Transactions of the Royal Society of London B: Biological Sciences","DOI":"10.1098/rstb.2008.0319","ISSN":"1471-2970","issue":"1521","issued":{"date-parts":[[2009,5]]},"page":"1281–1289","PMCID":"PMC2666716","PMID":"19528009","title":"Simulation, situated conceptualization, and prediction","type":"article-journal","URL":"http://dx.doi.org/10.1098/rstb.2008.0319","volume":"364"}, {"id":"barthesDeathAuthor1978","abstract":"Roland Barthes, the French critic and semiotician, was one of the most important critics and essayists of this century. His work continues to influence contemporary literary theory and cultural studies. Image-Music-Text collects Barthes's best writings on photography and the cinema, as well as fascinating articles on the relationship between images and sound. Two of Barthes's most important essays, \"Introduction to the Structural Analysis of Narrative\" and \"The Death of the Author\" are also included in this fine anthology, an excellent introduction to his thought.
How is it possible to think new thoughts? What is creativity and can science explain it?
When The Creative Mind: Myths and Mechanisms was first published, Margaret A. Boden's bold and provocative exploration of creativity broke new ground. Boden uses examples such as jazz improvisation, chess, story writing, physics, and the music of Mozart, together with computing models from the field of artificial intelligence to uncover the nature of human creativity in the arts, science and everyday life.
The Second Edition of The Creative Mind has been updated to include recent developments in artificial intelligence, with a new preface, introduction and conclusion by the author. It is an essential work for anyone interested in the creativity of the human mind.
Auditory Scene Analysis addresses the problem of hearing complex auditory environments, using a series of creative analogies to describe the process required of the human auditory system as it analyzes mixtures of sounds to recover descriptions of individual sounds. In a unified and comprehensive way, Bregman establishes a theoretical framework that integrates his findings with an unusually wide range of previous research in psychoacoustics, speech perception, music theory and composition, and computer modeling.","author":[{"family":"Bregman","given":"Albert S."}],"citation-key":"bregmanAuditorySceneAnalysis1994","ISBN":"0-262-52195-4","issued":{"date-parts":[[1994,9]]},"note":"Published: Paperback","publisher":"The MIT Press","title":"Auditory Scene Analysis: The Perceptual Organization of Sound","type":"book","URL":"http://www.worldcat.org/isbn/0262521954"}, {"id":"brescianiCollaborativeDimensionsFramework2008","abstract":"Facilitating collaborative knowledge work is a crucial issue in management: knowledge is a key corporate asset, but it is typically spread across various people in different organizational functions. In this paper we explore how conceptual visualizations (such as diagrams, visual metaphors, charts, sketches) can be constructed and used as cognitive artefacts that support collaborative knowledge work. In order to facilitate tasks such as the creation and sharing of knowledge in teams, we propose a collaborative dimensions framework as a tool for understanding how visual artefacts can facilitate collaboration in circumstances that involve distributed knowledge. The framework is based on the widespread Cognitive Dimensions of Notation framework and is enriched with criteria from the boundary object paradigm discussed in organization science. The dimensions of the framework are described and then applied to three different visualizations that are used in collaborative knowledge work. A discussion of future research needs concludes the paper.","author":[{"family":"Bresciani","given":"Sabrina"},{"family":"Blackwell","given":"Alan F."},{"family":"Eppler","given":"Martin"}],"citation-key":"brescianiCollaborativeDimensionsFramework2008","container-title":"Hawaii International Conference on System Sciences","DOI":"10.1109/hicss.2008.7","ISSN":"1530-1605","issued":{"date-parts":[[2008]]},"page":"364+","title":"A Collaborative Dimensions Framework: Understanding the Mediating Role of Conceptual Visualizations in Collaborative Knowledge Work","type":"article-journal","URL":"http://dx.doi.org/10.1109/hicss.2008.7","volume":"0"}, {"id":"brewerScientistsAreNot2006","abstract":"In 1880, Galton carried out an investigation of imagery in a sample of distinguished men and a sample of nonscientists (adolescent male students). He concluded that scientists were either totally lacking in visual imagery or had ” feeble” powers of mental imagery. This finding has been widely accepted in the secondary literature in psychology. A replication of Galton's study with modern scientists and modern university undergraduates found no scientists totally lacking in visual imagery and very few with feeble visual imagery. Examination of Galton's published data shows that his own published data do not support his claims about deficient visual imagery in scientists. The modern data for scientists and nonscientists and the 1880 data for scientists and nonscientists are in agreement in showing that all groups report substantial imagery on recollective memory tasks such as Galton's breakfast questionnaire. We conclude that Galton's conclusions were an example of theory-laden interpretation of data based on the initial responses from several very salient scientists who reported little or no visual imagery on Galton's imagery questionnaire.","author":[{"family":"Brewer","given":"William F."},{"family":"Schommer-Aikins","given":"Marlene"}],"citation-key":"brewerScientistsAreNot2006","container-title":"Review of General Psychology","DOI":"10.1037/1089-2680.10.2.130","ISSN":"1089-2680","issue":"2","issued":{"date-parts":[[2006]]},"page":"130–146","title":"Scientists Are Not Deficient in Mental Imagery: Galton Revised.","type":"article-journal","URL":"http://dx.doi.org/10.1037/1089-2680.10.2.130","volume":"10"}, {"id":"brewsterUsingNonspeechSound1997","abstract":"With ever increasing amounts of visual information to take in when interacting with computers, users can become overloaded. One reason is that computers communicate solely by graphical output. This paper suggests the use of non-speech sound output to enhance the graphical display of information to overcome overload. The question is how to integrate the display of sound and graphics to capitalise on the advantages each offers. The approach described here is to integrate sound into the basic components of the human-computer interface. Two experiments are described where non-speech sounds were added to buttons and scrollbars. Results showed sound improved usability by increasing performance and reducing time to recover from errors. Subjective workload measures also showed a significant reduction. Results from this work show that the integrated display of graphical and auditory information can overcome information overload. \\copyright 1997 Elsevier Science B.V.","author":[{"family":"Brewster","given":"S. A."}],"citation-key":"brewsterUsingNonspeechSound1997","container-title":"Displays","issue":"3-4","issued":{"date-parts":[[1997]]},"page":"179–189","title":"Using non-speech sound to overcome information overload","type":"article-journal","volume":"17"}, {"id":"brezineAlgorithmsAutomationProduction2011","abstract":"This Handbook explores the history of mathematics under a series of themes which raise new questions about what mathematics has been and what it has meant to practice it. It addresses questions of who creates mathematics, who uses it, and how. A broader understanding of mathematical practitioners naturally leads to a new appreciation of what counts as a historical source. Material and oral evidence is drawn upon as well as an unusual array of textual sources. Further, the ways in which people have chosen to express themselves are as historically meaningful as the contents of the mathematics they have produced. Mathematics is not a fixed and unchanging entity. New questions, contexts, and applications all influence what counts as productive ways of thinking. Because the history of mathematics should interact constructively with other ways of studying the past, the contributors to this book come from a diverse range of intellectual backgrounds in anthropology, archaeology, art history, philosophy, and literature, as well as history of mathematics more traditionally understood.The thirty-six self-contained, multifaceted chapters, each written by a specialist, are arranged under three main headings: 'Geographies and Cultures', 'Peoples and Practices', and 'Interactions and Interpretations'. Together they deal with the mathematics of 5000 years, but without privileging the past three centuries, and an impressive range of periods and places with many points of cross-reference between chapters. The key mathematical cultures of North America, Europe, the Middle East, India, and China are all represented here as well as areas which are not often treated in mainstream history of mathematics, such as Russia, the Balkans, Vietnam, and South America. This Handbook will be a vital reference for graduates and researchers in mathematics, historians of science, and general historians.","author":[{"family":"Brezine","given":"Carrie"}],"citation-key":"brezineAlgorithmsAutomationProduction2011","collection-title":"Oxford Handbooks","container-title":"The Oxford Handbook of the History of Mathematics","editor":[{"family":"Robson","given":"E"},{"family":"Stedall","given":"J"}],"event-place":"Oxford, New York","ISBN":"978-0-19-960319-0","issued":{"date-parts":[[2011,4,1]]},"page":"468-492","publisher":"Oxford University Press","publisher-place":"Oxford, New York","source":"Oxford University Press","title":"Algorithms and automation: the production of mathematics and textiles","type":"chapter"}, {"id":"brezinecarrieCreatingSymmetryLoom2004","abstract":"This is the companion volume to the authors' groundbreaking Symmetries of Culture, the classic reference for symmetry analysis of pattern for anthropologists, archaeologists, art historians, mathematicians, and designers. Central to symmetry analysis is the use of symmetry in the more precise sense of its geometrical isometries in contrast to its everyday meaning of balance. For this volume, Donald Crowe and Dorothy Washburn invited colleagues from several disciplines to apply the method of symmetry analysis to actual case studies from cultures around the world. The essays compiled here explore how cultural information is embedded in the symmetrical structure of pattern. From descriptions of patterns on objects as diverse as Nasca embroideries, Ica Valley ceramics, Quechua textiles, Yombe mats, and Zulu beadwork, as well as from Amazonian shamanic therapy, ceramic design among the Shipibo, and Turkish Yörük weaving, the contributors reveal how the symmetrical structures in the patterns describe aspects of each culture's fundamental principles for living in the world. This approach offers a profoundly fresh way to read the meaning in pattern by arguing that pattern communicates through the structural metaphors embedded in the symmetrical relationship of the pattern parts. The two volumes together offer readers a revolutionary new window into the communicative importance of design.","author":[{"family":"Brezine, Carrie","given":""}],"citation-key":"brezinecarrieCreatingSymmetryLoom2004","container-title":"Symmetry Comes of Age: The Role of Pattern in Culture","editor":[{"family":"Washburn","given":"Dorothy Koster"},{"family":"Crowe","given":"Donald Warren"}],"ISBN":"978-0-295-98366-0","issued":{"date-parts":[[2004]]},"language":"en","page":"65-80","publisher":"University of Washington Press","source":"Google Books","title":"Creating Symmetry on the Loom","type":"chapter"}, {"id":"bridleNewDarkAge2018","abstract":"We live in times of increasing inscrutability. Our news feeds are filled with unverified, unverifiable speculation, much of it automatically generated by anonymous software. As a result, we no longer understand what is happening around us. Underlying all of these trends is a single idea: the belief that quantitative data can provide a coherent model of the world, and the efficacy of computable information to provide us with ways of acting within it. Yet the sheer volume of information available to us today reveals less than we hope. Rather, it heralds a new Dark Age: a world of ever-increasing incomprehension. In his brilliant new work, leading artist and writer James Bridle offers us a warning against the future in which the contemporary promise of a new technologically assisted Enlightenment may just deliver its opposite: an age of complex uncertainty, predictive algorithms, surveillance, and the hollowing out of empathy. Surveying the history of art, technology and information systems he reveals the dark clouds that gather over discussions of the digital sublime.","author":[{"family":"Bridle","given":"James"}],"citation-key":"bridleNewDarkAge2018","edition":"Illustrated edition","event-place":"London ; Brooklyn, NY","ISBN":"978-1-78663-547-1","issued":{"date-parts":[[2018,7,17]]},"language":"English","number-of-pages":"304","publisher":"Verso Books","publisher-place":"London ; Brooklyn, NY","source":"Amazon","title":"New Dark Age: Technology and the End of the Future","title-short":"New Dark Age","type":"book"}, {"id":"bringhurstElementsTypographicStyle2004","author":[{"family":"Bringhurst","given":"Robert"}],"citation-key":"bringhurstElementsTypographicStyle2004","edition":"Third","ISBN":"0-88179-132-6","issued":{"date-parts":[[2004]]},"note":"Published: Paperback","publisher":"Hartley & Marks Publishers","title":"The Elements of Typographic Style","type":"book","URL":"http://www.worldcat.org/isbn/0881791326"}, {"id":"bromleyLISPLoreGuide1987","author":[{"family":"Bromley","given":"H."},{"family":"Lamson","given":"Richard"}],"citation-key":"bromleyLISPLoreGuide1987","edition":"2nd","ISBN":"0-89838-228-9","issued":{"date-parts":[[1987,6]]},"note":"Published: Hardcover","publisher":"Springer","title":"LISP Lore: A Guide to Programming the LISP Machine","type":"book","URL":"http://www.worldcat.org/isbn/0898382289"}, {"id":"brooksIntelligenceRepresentation1991","abstract":"Artificial intelligence research has foundered on the issue of representation. When intelligence is approached in an incremental manner, with strict reliance on interfacing to the real world through perception and action, reliance on representation disappears. In this paper we outline our approach to incrementally building complete intelligent Creatures. The fundamental decomposition of the intelligent system is not into independent information processing units which must interface with each other via representations. Instead, the intelligent system is decomposed into independent and parallel activity producers which all interface directly to the world through perception and action, rather than interface to each other particularly much. The notions of central and peripheral systems evaporateeverything is both central and peripheral. Based on these principles we have built a very successful series of mobile robots which operate without supervision as Creatures in standard office environ...","author":[{"family":"Brooks","given":"Rodney"}],"citation-key":"brooksIntelligenceRepresentation1991","container-title":"Artificial Intelligence","issued":{"date-parts":[[1991]]},"page":"139–159","title":"Intelligence Without Representation","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.12.1680","volume":"47"}, {"id":"broudyBookLoomsHistory1993","abstract":"The handloom--often no more than a bundle of sticks and a few lengths of cordage--has been known to almost all cultures for thousands of years. Eric Broduy places the wide variety of handlooms in historical context. What influenced their development? How did they travel from one geographic area to another? Were they invented independently by different cultures? How have modern cultures improved on ancient weaving skills and methods? Broudy shows how virtually every culture, no matter how primitive, has woven on handlooms. He highlights the incredible technical achievement of primitive cultures that created magnificent textiles with the crudest of tools and demonstrates that modern technology has done nothing to surpass their skill or inventiveness.","author":[{"family":"Broudy","given":"Eric"}],"citation-key":"broudyBookLoomsHistory1993","ISBN":"978-0-87451-649-4","issued":{"date-parts":[[1993]]},"language":"en","number-of-pages":"182","publisher":"UPNE","source":"Google Books","title":"The Book of Looms: A History of the Handloom from Ancient Times to the Present","title-short":"The Book of Looms","type":"book"}, {"id":"brownWhiteHeatCold2009","citation-key":"brownWhiteHeatCold2009","editor":[{"family":"Brown","given":"Paul"},{"family":"Gere","given":"Charlie"},{"family":"Lambert","given":"Nicholas"},{"family":"Mason","given":"Catherine"}],"ISBN":"0-262-02653-8","issued":{"date-parts":[[2009,2]]},"note":"Published: Hardcover","publisher":"The MIT Press","title":"White Heat Cold Logic: British Computer Art 1960-1980 (Leonardo Books)","type":"book","URL":"http://www.worldcat.org/isbn/0262026538"}, {"id":"bruunSkalViDanse2013","author":[{"family":"Bruun","given":"Kirstine"}],"citation-key":"bruunSkalViDanse2013","issued":{"date-parts":[[2013,11]]},"note":"Published: Online; http://www.kunsten.nu/artikler/artikel.php?slub+livekodning+performance+kunsthal+aarhus+dave+griffiths+alex+mclean+algorave","title":"Skal vi danse til koden?","type":"manuscript"}, {"id":"burgLIVE13Proceedings2013","citation-key":"burgLIVE13Proceedings2013","editor":[{"family":"Burg","given":"Brian"},{"family":"Kuhn","given":"Adrian"},{"family":"Parnin","given":"Chris"}],"event-place":"San Francisco, California","issued":{"date-parts":[[2013]]},"publisher":"IEEE Press","publisher-place":"San Francisco, California","title":"LIVE '13: Proceedings of the 1st International Workshop on Live Programming","type":"book"}, {"id":"burgoyneNonlinearScalingTechniques2007","author":[{"family":"Burgoyne","given":"John A."},{"family":"McAdams","given":"Stephen"}],"citation-key":"burgoyneNonlinearScalingTechniques2007","container-title":"International Computer Music Conference (ICMC 2007)","issued":{"date-parts":[[2007]]},"page":"73–76","title":"Non-linear scaling techniques for uncovering the perceptual dimensions of timbre","type":"paper-conference"}, {"id":"burlandUnderstandingLiveCoding2016","author":[{"family":"Burland","given":"Karen"},{"family":"McLean","given":"Alex"}],"citation-key":"burlandUnderstandingLiveCoding2016","container-title":"International Journal of Performance Arts and Digital Media","DOI":"10.1080/14794713.2016.1227596","issue":"2","issued":{"date-parts":[[2016]]},"page":"139–151","title":"Understanding live coding events","type":"article-journal","URL":"http://dx.doi.org/10.1080/14794713.2016.1227596","volume":"12"}, {"id":"burnettImplementingLevelLiveness1998","abstract":"An increasingly common characteristic in visual programming languages (VPLs) is level 4 liveness—the constant monitoring of the system state with continuous redisplay as events arrive and computations progress. However, level 4 liveness can be expensive. In this paper, we present an implementation method that supports level 4 liveness in declarative VPLs, ensuring without \"unreasonable\" cost that all values on the screen are correctly updated as computations progress. The method is especially well-suited for the growing class of declarative VPLs that display continuously time-varying calculations and graphics, such as GUI specification VPLs, event-based or reactive VPLs, scientific visualization VPLs, or graphical simulation VPLs. 1. Introduction Many declarative visual programming languages (VPLs) today employ immediate visual feedback to support programming. To categorize the immediacy of feedback provided, Tanimoto coined the term \"liveness,\" which categorizes the immediacy of s...","author":[{"family":"Burnett","given":"Margaret"},{"family":"Atwood","given":"John W."},{"family":"Welch","given":"Zachary T."}],"citation-key":"burnettImplementingLevelLiveness1998","container-title":"In 1998 IEEE Symposium on Visual Languages","issued":{"date-parts":[[1998]]},"page":"1–4","title":"Implementing Level 4 Liveness in Declarative Visual Programming Languages","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.55.8303"}, {"id":"butlerUnlockingGrooveRhythm2006","author":[{"family":"Butler","given":"Mark J."}],"citation-key":"butlerUnlockingGrooveRhythm2006","ISBN":"0-253-21804-7","issued":{"date-parts":[[2006,2]]},"note":"Published: Paperback","publisher":"Indiana University Press","title":"Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (Profiles in Popular Music)","type":"book","URL":"http://www.worldcat.org/isbn/0253218047"}, {"id":"buzsakiRhythmsBrain2006","abstract":"Studies of mechanisms in the brain that allow complicated things to happen in a coordinated fashion have produced some of the most spectacular discoveries in neuroscience. This book provides eloquent support for the idea that spontaneous neuron activity, far from being mere noise, is actually the source of our cognitive abilities. It takes a fresh look at the co-evolution of structure and function in the mammalian brain, illustrating how self-emerged oscillatory timing is the brains fundamental organizer of neuronal information. The small world-like connectivity of the cerebral cortex allows for global computation on multiple spatial and temporal scales. The perpetual interactions among the multiple network oscillators keep cortical systems in a highly sensitive metastable state and provide energy-efficient synchronizing mechanisms via weak links. In a sequence of cycles, Gyorgy Buzsaki guides the reader from the physics of oscillations through neuronal assembly organization to complex cognitive processing and memory storage. His clear, fluid writing accessible to any reader with some scientific knowledge is supplemented by extensive footnotes and references that make it just as gratifying and instructive a read for the specialist. The coherent view of a single author who has been at the forefront of research in this exciting field, this volume is essential reading for anyone interested in our rapidly evolving understanding of the brain.","author":[{"family":"Buzsaki","given":"Gyorgy"}],"citation-key":"buzsakiRhythmsBrain2006","edition":"First","ISBN":"0-19-530106-4","issued":{"date-parts":[[2006,8]]},"note":"Published: Hardcover","publisher":"Oxford University Press","title":"Rhythms of the Brain","type":"book","URL":"http://www.worldcat.org/isbn/0195301064"}, {"id":"caclinAcousticCorrelatesTimbre2005","author":[{"family":"Caclin","given":"Anne"},{"family":"McAdams","given":"Stephen"},{"family":"Smith","given":"Bennett K."},{"family":"Winsberg","given":"Suzanne"}],"citation-key":"caclinAcousticCorrelatesTimbre2005","container-title":"The Journal of the Acoustical Society of America","issue":"1","issued":{"date-parts":[[2005]]},"page":"471–482","title":"Acoustic correlates of timbre space dimensions: A confirmatory study using synthetic tones","type":"article-journal","URL":"http://scitation.aip.org/getabs/servlet/GetabsServlet?prog=normal&id=JASMAN000118000001000471000001&idtype=cvips&gifs=yes","volume":"118"}, {"id":"cageArtTechnology1969","author":[{"family":"Cage","given":"John"}],"citation-key":"cageArtTechnology1969","container-title":"John Cage: Writer","issued":{"date-parts":[[1969]]},"publisher":"Cooper Square Press","title":"Art and Technology","type":"chapter"}, {"id":"calvo-merinoActionObservationAcquired2005","abstract":"When we observe someone performing an action, do our brains simulate making that action? Acquired motor skills offer a unique way to test this question, since people differ widely in the actions they have learned to perform. We used functional magnetic resonance imaging to study differences in brain activity between watching an action that one has learned to do and an action that one has not, in order to assess whether the brain processes of action observation are modulated by the expertise and motor repertoire of the observer. Experts in classical ballet, experts in capoeira and inexpert control subjects viewed videos of ballet or capoeira actions. Comparing the brain activity when dancers watched their own dance style versus the other style therefore reveals the influence of motor expertise on action observation. We found greater bilateral activations in premotor cortex and intraparietal sulcus, right superior parietal lobe and left posterior superior temporal sulcus when expert dancers viewed movements that they had been trained to perform compared to movements they had not. Our results show that this 'mirror system' integrates observed actions of others with an individual's personal motor repertoire, and suggest that the human brain understands actions by motor simulation.","author":[{"family":"Calvo-Merino","given":"B."},{"family":"Glaser","given":"D. E."},{"family":"Grèzes","given":"J."},{"family":"Passingham","given":"R. E."},{"family":"Haggard","given":"P."}],"citation-key":"calvo-merinoActionObservationAcquired2005","container-title":"Cerebral cortex (New York, N.Y. : 1991)","DOI":"10.1093/cercor/bhi007","ISSN":"1047-3211","issue":"8","issued":{"date-parts":[[2005,8]]},"page":"1243–1249","PMID":"15616133","title":"Action observation and acquired motor skills: an FMRI study with expert dancers.","type":"article-journal","URL":"http://dx.doi.org/10.1093/cercor/bhi007","volume":"15"}, {"id":"campbellCanntaireachdArticulateMusic1880","author":[{"family":"Campbell","given":"John F."}],"citation-key":"campbellCanntaireachdArticulateMusic1880","issued":{"date-parts":[[1880]]},"publisher":"Archibald Sinclair","title":"Canntaireachd : articulate music","type":"book"}, {"id":"campbellTimbre2008","author":[{"family":"Campbell","given":"Murray"}],"citation-key":"campbellTimbre2008","container-title":"Grove Music Online","issued":{"date-parts":[[2008]]},"title":"Timbre (i)","type":"article-journal"}, {"id":"carelloPerceptionObjectLength1998","abstract":"Although hearing is classically considered a temporal sense, everyday listening suggests that subtle spatial properties constitute an important part of what people know about the world through sound. Typically neglected in psychoacoustics research, the ability to perceive the precise sizes of objects on the basis of sound was investigated during the routine event of dropping wooden dowels of different lengths onto a hard surface. In two experiments, the ordinal and metrical success of naive listeners was related to length but not to the simple acoustic variables (duration, amplitude, frequency) likely to be related to it. Additional analysis suggests the potential relevance of an object's inertia tensor in constraining perception of that object's length, analogous to the case that has been made for perceiving length by effortful touch.","author":[{"family":"Carello","given":"Claudia"},{"family":"Anderson","given":"Krista L."},{"family":"Kunkler-Peck","given":"Andrew J."}],"citation-key":"carelloPerceptionObjectLength1998","container-title":"Psychological Science","DOI":"10.1111/1467-9280.00040","issue":"3","issued":{"date-parts":[[1998,5]]},"page":"211–214","title":"Perception of Object Length by Sound","type":"article-journal","URL":"http://dx.doi.org/10.1111/1467-9280.00040","volume":"9"}, {"id":"carpenterOpenSourceEmbroidery2006","author":[{"family":"Carpenter","given":"Ele"},{"family":"Laccetti","given":"Jess"}],"citation-key":"carpenterOpenSourceEmbroidery2006","issued":{"date-parts":[[2006]]},"title":"Open Source Embroidery (interview)","type":"manuscript"}, {"id":"carpenterPoliticisedSociallyEngaged2008","author":[{"family":"Carpenter","given":"Eleanor J."}],"citation-key":"carpenterPoliticisedSociallyEngaged2008","issued":{"date-parts":[[2008]]},"publisher":"University of Sunderland","title":"Politicised Socially Engaged Art and New Media Art","type":"thesis"}, {"id":"carringtonTalkingDrumsAfrica1969","abstract":"In this study, Carrington explains how the drum can be used so skillfully as to convey, not merely a signal, but a language.","author":[{"family":"Carrington","given":"John F."}],"citation-key":"carringtonTalkingDrumsAfrica1969","ISBN":"0-8371-1292-3","issued":{"date-parts":[[1969,5]]},"note":"Published: Hardcover","publisher":"Greenwood Press Reprint","title":"Talking Drums of Africa","type":"book","URL":"http://www.worldcat.org/isbn/0837112923"}, {"id":"carterWordpainting2009","author":[{"family":"Carter","given":"Tim"}],"citation-key":"carterWordpainting2009","container-title":"Grove Music Online","issued":{"date-parts":[[2009]]},"title":"Word-painting","type":"article-journal"}, {"id":"casconeAestheticsFailurePostDigital2000","author":[{"family":"Cascone","given":"Kim"}],"citation-key":"casconeAestheticsFailurePostDigital2000","container-title":"Computer Music Journal","issue":"4","issued":{"date-parts":[[2000]]},"page":"12–18","title":"The Aesthetics of Failure: \"Post-Digital\" Tendencies in Contemporary Computer Music","type":"article-journal","volume":"24"}, {"id":"casconeGrainSequenceSystem2003","author":[{"family":"Cascone","given":"K."}],"citation-key":"casconeGrainSequenceSystem2003","container-title":"Soundcultures","editor":[{"family":"Kleiner","given":"M. S."},{"family":"Szepanski","given":"A."}],"issued":{"date-parts":[[2003]]},"publisher":"Suhrkamp","title":"Grain, Sequence, System (three levels of reception in the performance of laptop music)","type":"chapter"}, {"id":"casconeLaptopMusicCounterfeiting2002","author":[{"family":"Cascone","given":"Kim"}],"citation-key":"casconeLaptopMusicCounterfeiting2002","container-title":"Parachute Contemporary Art","issue":"107","issued":{"date-parts":[[2002,6]]},"page":"52–60","title":"Laptop Music - counterfeiting aura in the age of infinite reproduction","type":"article-journal","URL":"http://www.parachute.ca/public/+100/107.htm"}, {"id":"castagne10CriteriaEvaluating2003","abstract":"The success recently encountered by physically-based modeling (or model-based approaches) for music should not mask the deep challenges that remain in this area. This article first proposes an overview of the various goals that researchers and musicians, respectively operating from scientific and end-user perspectives, may pursue. Among these goals, those recently proposed or particularly critical for the coming years of research are highlighted. The article then introduces ten criteria that...","author":[{"family":"Castagne","given":"Nicolas"},{"family":"Cadoz","given":"Claude"}],"citation-key":"castagne10CriteriaEvaluating2003","container-title":"International Conference on Digital Audio Effects","issued":{"date-parts":[[2003]]},"title":"10 Criteria for Evaluating Physical Modeling Schemes for Music Creation","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.5.3087"}, {"id":"centerforhistoryandnewmediaZoteroQuickStart","author":[{"literal":"Center for History and New Media"}],"citation-key":"centerforhistoryandnewmediaZoteroQuickStart","title":"Zotero Quick Start Guide","type":"webpage","URL":"http://zotero.org/support/quick_start_guide"}, {"id":"chabertAlgorithmsArithmetic1999","abstract":"Does a procedure exist for finding all the prime numbers? This question is, without doubt, as old as the science of Arithmetic itself and, as we shall see, leads on to other algorithmic problems. In this chapter we shall look at several famous algorithms in the history of Arithmetic.","accessed":{"date-parts":[[2020,2,13]]},"author":[{"family":"Chabert","given":"Jean-Luc"}],"citation-key":"chabertAlgorithmsArithmetic1999","container-title":"A History of Algorithms: From the Pebble to the Microchip","DOI":"10.1007/978-3-642-18192-4_9","editor":[{"family":"Chabert","given":"Jean-Luc"}],"event-place":"Berlin, Heidelberg","ISBN":"978-3-642-18192-4","issued":{"date-parts":[[1999]]},"language":"en","page":"239-281","publisher":"Springer","publisher-place":"Berlin, Heidelberg","source":"Springer Link","title":"Algorithms in Arithmetic","type":"chapter","URL":"https://doi.org/10.1007/978-3-642-18192-4_9"}, {"id":"chabertAlgorithmsArithmeticOperations1999","abstract":"The basic arithmetic operations of the elementary school, multiplying and dividing, appear to have derived from extremely early economic needs, certainly earlier than the emergence of civilisations using writing. One of the earliest pieces of evidence of an algorithm of this type is to be found on a clay tablet found at Shuruppak, near Baghdad which concerns a problem of sharing. Engraved by a Sumerian at about 2500 BC, this tablet (see Section 1.1) illustrates the first of the ten episodes which we have chosen to illustrate a history which would occupy several volumes if it were to be written up in detail.","accessed":{"date-parts":[[2020,2,13]]},"author":[{"family":"Chabert","given":"Jean-Luc"}],"citation-key":"chabertAlgorithmsArithmeticOperations1999","container-title":"A History of Algorithms: From the Pebble to the Microchip","DOI":"10.1007/978-3-642-18192-4_2","editor":[{"family":"Chabert","given":"Jean-Luc"}],"event-place":"Berlin, Heidelberg","ISBN":"978-3-642-18192-4","issued":{"date-parts":[[1999]]},"language":"en","page":"7-47","publisher":"Springer","publisher-place":"Berlin, Heidelberg","source":"Springer Link","title":"Algorithms for Arithmetic Operations","type":"chapter","URL":"https://doi.org/10.1007/978-3-642-18192-4_2"}, {"id":"chabertConceptAlgorithm1999","abstract":"So far we have looked at algorithms designed to solve particular problems. For the most part, algorithms were in use long before it was felt necessary to give a clear definition of what is meant by an algorithm. Today, an algorithm is defined as a finite and organised set of instructions, intended to provide the solution to a problem, and which must satisfy certain conditions. An example would be [10]: 1. The algorithm must be capable of being written in a certain language: a language is a set of words written using a defined alphabet. 2. The question that is posed is determined by some given data, called enter, for which the algorithm will be executed. 3. The algorithm is a procedure which is carried out step by step. 4. The action at each step is strictly determined by the algorithm, the entry data and the results obtained at previous steps. 5. The answer, called exit, is clearly specified. 6. Whatever the entry data, the execution of the algorithm will terminate after a finite number of steps.","accessed":{"date-parts":[[2020,2,13]]},"author":[{"family":"Chabert","given":"Jean-Luc"}],"citation-key":"chabertConceptAlgorithm1999","container-title":"A History of Algorithms: From the Pebble to the Microchip","DOI":"10.1007/978-3-642-18192-4_16","editor":[{"family":"Chabert","given":"Jean-Luc"}],"event-place":"Berlin, Heidelberg","ISBN":"978-3-642-18192-4","issued":{"date-parts":[[1999]]},"language":"en","page":"455-480","publisher":"Springer","publisher-place":"Berlin, Heidelberg","source":"Springer Link","title":"Towards the Concept of Algorithm","type":"chapter","URL":"https://doi.org/10.1007/978-3-642-18192-4_16"}, {"id":"chabertEuclidAlgorithm1999","abstract":"We have already remarked in the introduction to this book, that Euclid’s algorithm often represents for the mathematician the prototype of algorithmic procedure, and that it has relevance right up to today. It can be of use, not only in the search for the greatest common divisor, as described by Euclid himself (Section 4.1), but also, by adapting the procedure, in the solution of indeterminate equations, leading to Bézout’s identity (Section 4.3). It allowed al-Khayyam to compare two ratios, or to show that they were equal (Section 4.2); this appears even more clearly in the writing of continued fractions which were systematically studied by Euler (Section 4.4). Finally, what may appear surprising, the algorithm can be used in Sturm’s method for determining the number of real roots of an algebraic equation (Section 4.5).","accessed":{"date-parts":[[2020,2,13]]},"author":[{"family":"Chabert","given":"Jean-Luc"}],"citation-key":"chabertEuclidAlgorithm1999","container-title":"A History of Algorithms: From the Pebble to the Microchip","DOI":"10.1007/978-3-642-18192-4_5","editor":[{"family":"Chabert","given":"Jean-Luc"}],"event-place":"Berlin, Heidelberg","ISBN":"978-3-642-18192-4","issued":{"date-parts":[[1999]]},"language":"en","page":"113-138","publisher":"Springer","publisher-place":"Berlin, Heidelberg","source":"Springer Link","title":"Euclid’s Algorithm","type":"chapter","URL":"https://doi.org/10.1007/978-3-642-18192-4_5"}, {"id":"chabertIntroduction1999","abstract":"As for squares and roots equal to a number, it is as when you say this: a square and ten of its roots equal thirty-nine dirhams.","accessed":{"date-parts":[[2020,2,13]]},"author":[{"family":"Chabert","given":"Jean-Luc"}],"citation-key":"chabertIntroduction1999","container-title":"A History of Algorithms: From the Pebble to the Microchip","DOI":"10.1007/978-3-642-18192-4_1","editor":[{"family":"Chabert","given":"Jean-Luc"}],"event-place":"Berlin, Heidelberg","ISBN":"978-3-642-18192-4","issued":{"date-parts":[[1999]]},"language":"en","page":"1-6","publisher":"Springer","publisher-place":"Berlin, Heidelberg","source":"Springer Link","title":"Introduction","type":"chapter","URL":"https://doi.org/10.1007/978-3-642-18192-4_1"}, {"id":"chaigneNumericalSimulationsPiano1994","author":[{"family":"Chaigne","given":"A."},{"family":"Askenfelt","given":"A."}],"citation-key":"chaigneNumericalSimulationsPiano1994","container-title":"Journal of the Acoustical Society of America","issue":"2","issued":{"date-parts":[[1994]]},"page":"1112–1118","title":"Numerical simulations of piano strings. Part 1: A physical model for a struck string using finite difference methods","type":"article-journal","volume":"95"}, {"id":"chambersNonlexicalVocablesScottish1980","author":[{"family":"Chambers","given":"Christine K."}],"citation-key":"chambersNonlexicalVocablesScottish1980","issued":{"date-parts":[[1980]]},"publisher":"University of Edinburgh","title":"Non-lexical vocables in Scottish traditional music.","type":"thesis"}, {"id":"changKaleidoIndividualisticVisual2009","author":[{"family":"Chang","given":"Agnes"}],"citation-key":"changKaleidoIndividualisticVisual2009","issued":{"date-parts":[[2009]]},"publisher":"Massachusetts Institute of Technology","title":"Kaleido: Individualistic Visual Interfaces for Software Development Environments","type":"thesis"}, {"id":"chenOpenSourceChangeLogs2004","abstract":"A recent editorial in Empirical Software Engineering suggested that open-source software projects offer a great deal of data that can be used for experimentation. These data not only include source code, but also artifacts such as defect reports and update logs. A common type of update log that experimenters may wish to investigate is the ChangeLog, which lists changes and the reasons for which they were made. ChangeLog files are created to support the development of software rather than for the needs of researchers, so questions need to be asked about the limitations of using them to support research. This paper presents evidence that the ChangeLog files provided at three open-source web sites were incomplete. We examined at least three ChangeLog files for each of three different open-source software products, namely, GNUJSP, GCC-g++, and Jikes. We developed a method for counting changes that ensures that, as far as possible, each individual ChangeLog entry is treated as a single change. For each ChangeLog file, we compared the actual changes in the source code to the entries in the ChangeLog> file and discovered significant omissions. For example, using our change-counting method, only 35 of the 93 changes in version 1.11 of Jikes appear in the ChangeLog file—that is, over 62% of the changes were not recorded there. The percentage of omissions we found ranged from 3.7 to 78.6%. These are significant omissions that should be taken into account when using ChangeLog files for research. Before using ChangeLog files as a basis for research into the development and maintenance of open-source software, experimenters should carefully check for omissions and inaccuracies.","author":[{"family":"Chen","given":"Kai"},{"family":"Schach","given":"Stephen R."},{"family":"Yu","given":"Liguo"},{"family":"Offutt","given":"Jeff"},{"family":"Heller","given":"Gillian Z."}],"citation-key":"chenOpenSourceChangeLogs2004","container-title":"Empirical Softw. Engg.","ISSN":"1382-3256","issued":{"date-parts":[[2004,9]]},"page":"197–210","title":"Open-Source Change Logs","type":"article-journal","URL":"http://portal.acm.org/citation.cfm?id=990391","volume":"9"}, {"id":"cheshireHackingMeetsClubbing2013","author":[{"family":"Cheshire","given":"Tom"}],"citation-key":"cheshireHackingMeetsClubbing2013","container-title":"Wired magazine (UK)","issued":{"date-parts":[[2013,9]]},"page":"85+","title":"Hacking meets clubbing with the 'algorave'","type":"article-journal"}, {"id":"chewSpiralArrayAlgorithm2002","abstract":"Computer models for determining key boundaries are important tools for computer analysis of music, computational modeling of music cognition, content-based categorization and retrieval of music information and automatic generating of expressive performance. This paper proposes a Boundary Search Algorithm (BSA) for determining points of modulation in a piece of music using a geometric model for tonality called the Spiral Array. For a given number of key changes, the computational complexity of the algorithm is polynomial in the number of pitch events. We present and discuss computational results for two selections from J.S. Bach's ” A Little Notebook for Anna Magdalena”. Comparisons between the choices of an expert listener and the algorithm indicates that in human cognition, a dynamic interplay exists between memory and present knowledge, thus maximizing the opportunity for the information to coalesce into meaningful patterns.","author":[{"family":"Chew","given":"Elaine"}],"citation-key":"chewSpiralArrayAlgorithm2002","collection-title":"Lecture Notes in Computer Science","container-title":"Music and Artificial Intelligence","DOI":"10.1007/3-540-45722-4_4","editor":[{"family":"Anagnostopoulou","given":"Christina"},{"family":"Ferrand","given":"Miguel"},{"family":"Smaill","given":"Alan"},{"family":"Anagnostopoulou","given":"Christina"},{"family":"Ferrand","given":"Miguel"},{"family":"Smaill","given":"Alan"}],"event-place":"Berlin, Heidelberg","ISBN":"978-3-540-44145-8","issued":{"date-parts":[[2002,8]]},"page":"51–53","publisher":"Springer Berlin / Heidelberg","publisher-place":"Berlin, Heidelberg","title":"The Spiral Array: An Algorithm for Determining Key Boundaries","type":"chapter","URL":"http://dx.doi.org/10.1007/3-540-45722-4_4","volume":"2445"}, {"id":"chienVisualLambdaCalculatorUsing2008","abstract":"Lambda calculus is an influential and extensively-used notation for describing computable functions, and Mind-Mapping is widely used as an expression of radiant thinking via a powerful graphical technique. In this paper, we introduce a completely visual representation based on typed Mind Maps to represent steps of calculation for a pure untyped lambda calculator, VLM. This visual representation has serveral advantages over traditional textual and visual calculators. VLM uses typed Mind Maps for both the lambda calculator input and ouput. Although VLM is designed as a computable typed Mind Maps node of our Typed Mind Maps API project [1], it can also be applied to learning and teaching the concepts of lambda calculus as a visualization of traditional textual rewrite steps. Moreover, the lambda calculus queries and the results of queries are both represented as FreeMind files, and that allows them to be organized and deployed easily. However, the Mind-Mapping of lambda calculus is interesting and elegant in its own right.","author":[{"family":"Chien","given":"Li R."},{"family":"Buehre","given":"Daniel J."}],"citation-key":"chienVisualLambdaCalculatorUsing2008","container-title":"Computer and Electrical Engineering, International Conference on","DOI":"10.1109/iccee.2008.124","issued":{"date-parts":[[2008]]},"page":"250–255","title":"A Visual Lambda-Calculator Using Typed Mind-Maps","type":"article-journal","URL":"http://dx.doi.org/10.1109/iccee.2008.124","volume":"0"}, {"id":"chomskyThreeModelsDescription1956","abstract":"We investigate several conceptions of linguistic structure to determine whether or not they can provide simple and \"revealing\" grammars that generate all of the sentences of English and only these. We find that no finite-state Markov process that produces symbols with transition from state to state can serve as an English grammar. Furthermore, the particular subclass of such processes that produce","author":[{"family":"Chomsky","given":"N."}],"citation-key":"chomskyThreeModelsDescription1956","container-title":"IRE Transactions on Information Theory","DOI":"10.1109/tit.1956.1056813","ISSN":"0096-1000","issue":"3","issued":{"date-parts":[[1956,9]]},"page":"113–124","title":"Three models for the description of language","type":"article-journal","URL":"http://dx.doi.org/10.1109/tit.1956.1056813","volume":"2"}, {"id":"chongFMRIAdaptationReveals2008","abstract":"Mirror neurons, as originally described in the macaque, have two defining properties [1, 2]: They respond specifically to a particular action (e.g., bringing an object to the mouth), and they produce their action-specific responses independent of whether the monkey executes the action or passively observes a conspecific performing the same action. In humans, action observation and action execution engage a network of frontal, parietal, and temporal areas. However, it is unclear whether these responses reflect the activity of a single population that represents both observed and executed actions in a common neural code or the activity of distinct but overlapping populations of exclusively perceptual and motor neurons [3]. Here, we used fMRI adaptation to show that the right inferior parietal lobe (IPL) responds independently to specific actions regardless of whether they are observed or executed. Specifically, responses in the right IPL were attenuated when participants observed a recently executed action relative to one that had not previously been performed. This adaptation across action and perception demonstrates that the right IPL responds selectively to the motoric and perceptual representations of actions and is the first evidence for a neural response in humans that shows both defining properties of mirror neurons.","author":[{"family":"Chong","given":"Trevor T. J."},{"family":"Cunnington","given":"Ross"},{"family":"Williams","given":"Mark A."},{"family":"Kanwisher","given":"Nancy"},{"family":"Mattingley","given":"Jason B."}],"citation-key":"chongFMRIAdaptationReveals2008","container-title":"Current biology : CB","DOI":"10.1016/j.cub.2008.08.068","ISSN":"0960-9822","issue":"20","issued":{"date-parts":[[2008,10]]},"page":"1576–1580","PMCID":"PMC2766090","PMID":"18948009","title":"fMRI adaptation reveals mirror neurons in human inferior parietal cortex.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cub.2008.08.068","volume":"18"}, {"id":"choTakelumaExplorationSound2005","abstract":"Modern linguistic theory suggests that the sign is arbitrary, that the relationship between signifier and signified has no discernible pattern. ( ” Dog” could mean cat, and vice versa.) Marketing experts and advertisers, those who create names for new products, think otherwise, that the sounds of words and neologisms can evoke images which elicit an emotional impact. Different sounds can ” feel” sharp or dull, for example; they can give a phenomenological response. Poets, of course, realize that the sounds words make can be used towards expressive means. While morphemes—roots, prefixes and suffixes—have generally been considered the base level of meaning, some studies suggest that phonemes can influence meaning on a subconscious level, perhaps resulting from the physiology of how we produce different sounds in speech. In this paper and accompanying project, I am interested in the relationship between spoken and written language and will look at examples in which meaning plays a integral role in how speech and writing are represented. I will be looking at cases in which the signifier and signified connect in ways Saussure would not have expected. I am especially interested in what might be considered a synaesthetic result: sound and vision are tightly coupled, tied together through meaning. This paper will explore the relationships among issues of sound, writing, meaning, the machine, the line, and the body, by considering previous explorations including invented alphabets, phonetic writing systems, machines for automatic transcription of speech, among others.","author":[{"family":"Cho","given":"Peter"}],"citation-key":"choTakelumaExplorationSound2005","issued":{"date-parts":[[2005]]},"publisher":"University of California, Los Angeles","title":"Takeluma: An Exploration of Sound, Meaning, and Writing","type":"thesis"}, {"id":"churchCalculiLambdaConversion1941","abstract":"An abstract is not available.","author":[{"family":"Church","given":"Alonzo"}],"citation-key":"churchCalculiLambdaConversion1941","event-place":"Princeton, NJ, USA","ISBN":"0-691-08394-0","issued":{"date-parts":[[1941]]},"publisher":"Princeton University Press","publisher-place":"Princeton, NJ, USA","title":"The Calculi of Lambda Conversion.","type":"book","URL":"http://portal.acm.org/citation.cfm?id=1096495"}, {"id":"churchCognitiveDimensionsShort2008","author":[{"family":"Church","given":"Luke"},{"family":"Green","given":"Thomas"}],"citation-key":"churchCognitiveDimensionsShort2008","container-title":"Proceedings of 20th Psychology of Programming Interest Group 2008","issued":{"date-parts":[[2008]]},"title":"Cognitive Dimensions - a short tutorial","type":"paper-conference"}, {"id":"churchLivenessNotationUse2010","author":[{"family":"Church","given":"L."},{"family":"Nash","given":"C."},{"family":"Blackwell","given":"A. F."}],"citation-key":"churchLivenessNotationUse2010","container-title":"Proceedings of the 22nd Annual Workshop of the Psychology of Programming Interest Group (PPIG 2010)","issued":{"date-parts":[[2010]]},"page":"2–11","title":"Liveness in notation use: From music to programming","type":"paper-conference"}, {"id":"cienkiWhyStudyMetaphor2008","author":[{"family":"Cienki","given":"Alan"}],"citation-key":"cienkiWhyStudyMetaphor2008","container-title":"Metaphor and Gesture","editor":[{"family":"Cienki","given":"Alan"},{"family":"Müller","given":"Cornelia"}],"ISBN":"90-272-2843-4","issued":{"date-parts":[[2008,6]]},"note":"Published: Hardcover","publisher":"John Benjamins Publishing Company","title":"Why study metaphor and gesture?","type":"chapter","URL":"http://www.worldcat.org/isbn/9027228434"}, {"id":"claphamWhenFabricHangs1980","abstract":"C. R. J. Clapham; When a Fabric Hangs together, Bulletin of the London Mathematical Society, Volume 12, Issue 3, 1 May 1980, Pages 161–164, https://doi.org/10.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"Clapham","given":"C. R. J."}],"citation-key":"claphamWhenFabricHangs1980","container-title":"Bulletin of the London Mathematical Society","container-title-short":"Bull London Math Soc","DOI":"10.1112/blms/12.3.161","ISSN":"0024-6093","issue":"3","issued":{"date-parts":[[1980,5,1]]},"language":"en","page":"161-164","publisher":"Oxford Academic","source":"academic.oup.com","title":"When a Fabric Hangs together","type":"article-journal","URL":"https://academic.oup.com/blms/article/12/3/161/320142","volume":"12"}, {"id":"claphamWhenFabricHangs1980a","accessed":{"date-parts":[[2019,12,16]]},"author":[{"family":"Clapham","given":"C. R. J."}],"citation-key":"claphamWhenFabricHangs1980a","container-title":"Bulletin of the London Mathematical Society","DOI":"10.1112/blms/12.3.161","ISSN":"1469-2120","issue":"3","issued":{"date-parts":[[1980]]},"language":"en","page":"161-164","source":"Wiley Online Library","title":"When a Fabric Hangs together","type":"article-journal","URL":"https://londmathsoc.onlinelibrary.wiley.com/doi/abs/10.1112/blms/12.3.161","volume":"12"}, {"id":"clarkeMusicMindEveryday2009","author":[{"family":"Clarke","given":"Eric"},{"family":"Dibben","given":"Nicola"},{"family":"Pitts","given":"Stephanie"}],"citation-key":"clarkeMusicMindEveryday2009","ISBN":"0-19-852557-5","issued":{"date-parts":[[2009,12]]},"note":"Published: Paperback","publisher":"Oxford University Press, USA","title":"Music and mind in everyday life","type":"book","URL":"http://www.worldcat.org/isbn/0198525575"}, {"id":"clarkSupersizingMindEmbodiment2008","abstract":"When historian Charles Weiner found pages of Nobel Prize-winning physicist Richard Feynman's notes, he saw it as a \"record\" of Feynman's work. Feynman himself, however, insisted that the notes were not a record but the work itself. In Supersizing the Mind, Andy Clark argues that our thinking doesn't happen only in our heads but that \"certain forms of human cognizing include inextricable tangles of feedback, feed-forward and feed-around loops: loops that promiscuously criss-cross the boundaries of brain, body and world.\" The pen and paper of Feynman's thought are just such feedback loops, physical machinery that shape the flow of thought and enlarge the boundaries of mind. Drawing upon recent work in psychology, linguistics, neuroscience, artificial intelligence, robotics, human-computer systems, and beyond, Supersizing the Mind offers both a tour of the emerging cognitive landscape and a sustained argument in favor of a conception of mind that is extended rather than \"brain- bound.\" The importance of this new perspective is profound. If our minds themselves can include aspects of our social and physical environments, then the kinds of social and physical environments we create can reconfigure our minds and our capacity for thought and reason.","author":[{"family":"Clark","given":"Andy"}],"citation-key":"clarkSupersizingMindEmbodiment2008","ISBN":"0-19-533321-7","issued":{"date-parts":[[2008,11]]},"note":"Published: Hardcover","publisher":"Oxford University Press, USA","title":"Supersizing the Mind: Embodiment, Action, and Cognitive Extension (Philosophy of Mind Series)","type":"book","URL":"http://www.worldcat.org/isbn/0195333217"}, {"id":"claytonTimeIndianMusic2008","author":[{"family":"Clayton","given":"Martin"}],"citation-key":"claytonTimeIndianMusic2008","ISBN":"0-19-533968-1","issued":{"date-parts":[[2008,8]]},"note":"Published: Paperback","publisher":"Oxford University Press, USA","title":"Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance (Oxford Monographs on Music)","type":"book","URL":"http://www.worldcat.org/isbn/0195339681"}, {"id":"ClubRuins2016","abstract":"This past summer, during Atonal, a yearly festival for experimental electronic music held in a former power plant in Berlin, my friend Daniel Fisher, the DJ Physical Therapy, posed a ...","accessed":{"date-parts":[[2017,4,6]]},"citation-key":"ClubRuins2016","container-title":"Flash Art","issued":{"date-parts":[[2016,11,16]]},"title":"Club Ruins","type":"post-weblog","URL":"http://www.flashartonline.com/article/club-ruins/"}, {"id":"cockerLiveNotationReflections2014","author":[{"family":"Cocker","given":"Emma"}],"citation-key":"cockerLiveNotationReflections2014","container-title":"Performance Research Journal","editor":[{"family":"Fletcher","given":"Jerome"},{"family":"Allsopp","given":"Ric"}],"issue":"5","issued":{"date-parts":[[2014,1]]},"title":"Live Notation - Reflections on a Kairotic Practice","type":"article-journal","volume":"18"}, {"id":"cockerPerformingThinkingAction2016","abstract":"Within this article, live coding is conceived as a meletē, an Ancient Greek term used to describe a meditative thought experiment or exercise in thought, especially understood as a preparatory practice supporting other forms of critical – even ethical – action. Underpinned by the principle of performing its thinking through ‘showing the screen’, live coding involves ‘making visible’ the process of its own unfolding through the public sharing of live decision-making within improvisatory performance practice. Live coding can also be conceived as the performing of ‘thinking-in-action’, a live and embodied navigation of various critical thresholds, affordances and restraints, where its thinking-knowing cannot be easily transmitted nor is it strictly a latent knowledge or ‘know-how’ activated through action. Live coding involves the live negotiation between receptivity and spontaneity, between the embodied and intuitive, between an immersive flow experience and split-attention, between human and machine, the known and not yet known. Moreover, in performing ‘thinking-in-action’, live coding emerges as an experimental site for reflecting on different perceptions and possibilities of temporal experience within live performance: for attending to the threshold between the live and mediated, between present and future–present, proposing even a quality of atemporality or aliveness.","author":[{"family":"Cocker","given":"Emma"}],"citation-key":"cockerPerformingThinkingAction2016","container-title":"International Journal of Performance Arts and Digital Media","DOI":"10.1080/14794713.2016.1227597","ISSN":"1479-4713","issue":"2","issued":{"date-parts":[[2016,7,2]]},"page":"102-116","source":"Taylor and Francis+NEJM","title":"Performing thinking in action: the meletē of live coding","title-short":"Performing thinking in action","type":"article-journal","URL":"http://dx.doi.org/10.1080/14794713.2016.1227597","volume":"12"}, {"id":"cockerWeavingCodesCoding2017","abstract":"Drawing on her experience as “critical interlocutor” within the research project Weaving Codes/Coding Weaves, in this article Emma Cocker reflects on the human qualities of attention, cognitive agility and tactical intelligence activated within live coding and ancient weaving with reference to the Ancient Greek concepts of technē, kairos and mêtis. The article explores how the specificity of “thinking-in-action” cultivated within improvisatory live coding relates to the embodied “thought-in-motion” activated whilst working on the loom. Echoing the wider concerns of Weaving Codes/Coding Weaves, an attempt is made to redefine the relation between weave and code by dislodging the dominant utilitarian histories that connect computer and the loom, instead placing emphasis on the potentially resistant and subversive forms of live thinking-and-knowing cultivated within live coding and ancient weaving. Cocker addresses the Penelopean poetics of both practices, proposing how the combination of kairotic timing and timeliness with the mêtic act of “doing-undoing-redoing” therein offers a subversive alternative to—even critique of—certain utilitarian technological developments (within both coding and weaving) which in privileging efficiency and optimization can delimit creative possibilities, reducing the potential of human intervention and invention in the seizing of opportunity, accident, chance and contingency.","author":[{"family":"Cocker","given":"Emma"}],"citation-key":"cockerWeavingCodesCoding2017","container-title":"TEXTILE","DOI":"10.1080/14759756.2017.1298233","ISSN":"1475-9756","issue":"2","issued":{"date-parts":[[2017,4,3]]},"page":"124-141","source":"Taylor and Francis+NEJM","title":"Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver-Coder’s Kairos","title-short":"Weaving Codes/Coding Weaves","type":"article-journal","URL":"https://doi.org/10.1080/14759756.2017.1298233","volume":"15"}, {"id":"cockerWhatNowWhat2018","abstract":"Drawing on my experience as a critical interlocutor within the AHRC research projects Live Notation: Transforming Matters of Performance (2012) and Weaving Codes | Coding Weaves (2014–2016), in this article, I propose a conceptual framework for considering the challenges and opportunities for kairotic improvisation within live coding, conceived as an embodied mode of imminent and immanent intervention and invention-in-the-middle, a practice of radical timing and timeliness. Expanding my previous reflections on kairotic coding [Cocker, Emma. (2014). “Live Notation: Reflections on a Kairotic Practice.” In Performance Research Journal, on Writing and Digital Media, edited by Jerome Fletcher and Ric Allsopp, 18 (5), 69–76. London: Routledge; Cocker, Emma. (2016). “Performing Thinking in Action: The Meletē of Live Coding.” International Journal of Performance Arts and Digital Media 12 (2): 102–116. Cocker, Emma. (2017). “Weaving Codes/Coding Weaves: Penelopean Mêtis and the Weaver-Coder’s Kairos.” Textile 15 (2): 124–141], in this article, I address the kairotic liveness within live coding’s improvisational performance by identifying two seemingly contradictory tendencies within this burgeoning genre. On the one hand, there is a call for improved media technologies enabling greater immediacy of semantic feedback supporting a faster, more fluid—perhaps even virtuoso—approach to improvisation. Alongside, there remains interest within the live coding community for a mode of improvisational performativity that harnesses the unpredictable, the unexpected or as-yet-unknown. Rather than regard these two tendencies in antagonistic relation, my intent is to invite further debate on how the development of intelligent machines might better facilitate improvisatory flow, without eradicating the critical intervals and in-between spaces necessary for creative invention and intervention, without smoothing away the points of technical resistance and intransigence which arguably form a part of live coding’s performative texture.","accessed":{"date-parts":[[2022,2,7]]},"author":[{"family":"Cocker","given":"Emma"}],"citation-key":"cockerWhatNowWhat2018","container-title":"Digital Creativity","DOI":"10.1080/14626268.2017.1419978","ISSN":"1462-6268","issue":"1","issued":{"date-parts":[[2018,1,2]]},"note":"_eprint: https://doi.org/10.1080/14626268.2017.1419978","page":"82-95","publisher":"Routledge","source":"Taylor and Francis+NEJM","title":"What now, what next—kairotic coding and the unfolding future seized","type":"article-journal","URL":"https://doi.org/10.1080/14626268.2017.1419978","volume":"29"}, {"id":"cohenHowDrawThree1988","author":[{"family":"Cohen","given":"H."}],"citation-key":"cohenHowDrawThree1988","container-title":"AAAI","issued":{"date-parts":[[1988]]},"page":"846–855","title":"How To Draw Three People In A Botanical Garden","type":"article-journal","volume":"89"}, {"id":"colacoMiningSoftwareChange2009","abstract":"Version control systems are among the type of repositories that are frequently explored as sources of software change history. They can be mined to identify associations between software module modifications. This information is useful to support software modification activities, indicating to software engineers which modules are usually modified together during software maintenance or evolution. Previous works published on the subject focused on mining associations from open source software projects. This article presents the use of association mining in an industrial environment. The study was set up as a formal experiment and studied 18 systems developed in a large Brazilian beverage company. The results show that the precision of the rules obtained in this environment are even higher than its counterpart obtained in open source projects. This suggests that this approach is very useful in this type of environment.","author":[{"family":"Colaco","given":"M."},{"family":"Mendonca","given":"M."},{"family":"Rodrigues","given":"F."}],"citation-key":"colacoMiningSoftwareChange2009","container-title":"Software Engineering, 2009. SBES '09. XXIII Brazilian Symposium on","DOI":"10.1109/sbes.2009.8","issued":{"date-parts":[[2009,10]]},"page":"54–61","title":"Mining Software Change History in an Industrial Environment","type":"article-journal","URL":"http://dx.doi.org/10.1109/sbes.2009.8"}, {"id":"coleSoundsSignsAspects1974","author":[{"family":"Cole","given":"Hugo"}],"citation-key":"coleSoundsSignsAspects1974","issued":{"date-parts":[[1974]]},"publisher":"Oxford University Press, London ; New York :","title":"Sounds and signs : aspects of musical notation / by Hugh Cole","type":"book"}, {"id":"collingeMOXIELanguageComputer1984","author":[{"family":"Collinge","given":"D. J."}],"citation-key":"collingeMOXIELanguageComputer1984","container-title":"Proceedings of the International Computer Music Conference","issued":{"date-parts":[[1984]]},"page":"217–220","title":"MOXIE: A Language for Computer Music Performance","type":"paper-conference"}, {"id":"collingwoodTechniquesTabletWeaving2015","abstract":"\"RECOMMENDED NEW EDITION ISBN: 978-1626542143\" When Techniques of Tablet Weaving was first published in 1982 it sold out almost immediately. Weavers, fiber artists, and collectors, hungry for the vast and carefully organized repository of information it contained, have spent years excitedly sharing dog-eared paperback editions and roughly photocopied excerpts of this one-of-a-kind volume. No commercially published book, before or since, has captured the amount and quality of information and research on the art of tablet weaving (also known as card weaving). Finally, long-deprived cardweaving enthusiasts can own their very own copy of Peter Collingwood's landmark book thanks to this high-quality 2015 reprint, complete with dozens of detailed photographs, pattern examples, and step-by-step instructions for each of the techniques presented. In addition to instructional information, Techniques of Tablet Weaving contains pages of historical context for a variety of weaving techniques with clear and helpful tips on reproducing them precisely, as well as modern variations on the classics.","author":[{"family":"Collingwood","given":"Peter"}],"citation-key":"collingwoodTechniquesTabletWeaving2015","edition":"Illustrated edition","ISBN":"978-1-62654-214-3","issued":{"date-parts":[[2015,9,4]]},"language":"English","number-of-pages":"324","publisher":"Echo Point Books & Media","source":"Amazon","title":"The Techniques of Tablet Weaving","type":"book"}, {"id":"collinsAlgoraveSurveyHistory2014","author":[{"family":"Collins","given":"Nick"},{"family":"McLean","given":"Alex"}],"citation-key":"collinsAlgoraveSurveyHistory2014","container-title":"Proceedings of the International Conference on New Interfaces for Musical Expression","issued":{"date-parts":[[2014]]},"title":"Algorave: A survey of the history, aesthetics and technology of live performance of algorithmic electronic dance music","type":"paper-conference"}, {"id":"collinsAutonomousAgentsLive2006","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsAutonomousAgentsLive2006","issued":{"date-parts":[[2006]]},"publisher":"Centre for Science and Music, Faculty of Music, University of Cambridge","title":"Towards Autonomous Agents for Live Computer Music: Realtime Machine Listening and Interactive Music Systems","type":"thesis"}, {"id":"collinsBBCut2IntegratingBeat2006","abstract":"Abstract BBCut2 is the latest manifestation of a software library for realtime algorithmic audio splicing. Machine listening capabilities are supported for realtime beat tracking and audio event analysis, such that splicing manipulations respect component events, and their micro-timing with respect to an inferred metrical structure. The architecture, whilst currently most effective for transient rich percussive signals, is modular enough to be extensible to new observation models. A scheduling system is described that can cope with splicing driven from an external clock, empowering realtime beat tracking led segmentation and other processing effects.","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsBBCut2IntegratingBeat2006","container-title":"Journal of New Music Research","DOI":"10.1080/09298210600696600","issue":"1","issued":{"date-parts":[[2006,3]]},"page":"63–70","title":"BBCut2: Integrating beat tracking and on-the-fly event analysis","type":"article-journal","URL":"http://dx.doi.org/10.1080/09298210600696600","volume":"35"}, {"id":"collinsCambridgeCompanionElectronic2008","citation-key":"collinsCambridgeCompanionElectronic2008","edition":"1","editor":[{"family":"Collins","given":"Nick"},{"family":"Escrivan","given":"Julio","non-dropping-particle":"d'"}],"ISBN":"0-521-68865-5","issued":{"date-parts":[[2008,1]]},"note":"Published: Paperback","publisher":"Cambridge University Press","title":"The Cambridge Companion to Electronic Music (Cambridge Companions to Music)","type":"book","URL":"http://www.worldcat.org/isbn/0521688655"}, {"id":"collinsGenerativeMusicLaptop2003","abstract":"Live computer music is the perfect medium for generative music systems, for non-linear compositional constructions and for interactive manipulation of sound processing. Unfortunately, much of the complexity of these real-time systems is lost on a potential audience, excepting those few connoisseurs who sneak round the back to check the laptop screen. An artist using powerful software like SuperCollider or PD cannot be readily distinguished from someone checking their e-mail whilst DJ-ing with iTunes. Without a culture of understanding of both the laptop performer and current generation graphical and text-programming languages for audio, audiences tend to respond most to often gimmicky controllers, or to the tools they have had more exposure to - the (yawn) superstar DJs and their decks. This article attempts to convey the exciting things that are being explored with algorithmic composition and interactive synthesis techniques in live performance. The reasons for building generative music systems and the forms of control attainable over algorithmic processes are investigated. Direct manual control is set against the use of autonomous software agents. In line with this, four techniques for software control during live performance are introduced, namely presets, previewing, autopilot, and the powerful method of live coding. Finally, audio-visual collaboration is discussed.","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsGenerativeMusicLaptop2003","container-title":"Contemporary Music Review","issue":"4","issued":{"date-parts":[[2003]]},"page":"67–79","title":"Generative Music and Laptop Performance","type":"article-journal","URL":"http://www.ingentaconnect.com/content/routledg/gcmr/2003/00000022/00000004/art00009","volume":"22"}, {"id":"collinsIntroductionComputerMusic2010","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsIntroductionComputerMusic2010","edition":"Desktop Edition","ISBN":"0-470-71455-7","issued":{"date-parts":[[2010,3]]},"note":"Published: Paperback","publisher":"Wiley","title":"Introduction to Computer Music","type":"book","URL":"http://www.worldcat.org/isbn/0470714557"}, {"id":"collinsLiveCodingConsequence2011","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsLiveCodingConsequence2011","container-title":"Leonardo","issue":"3","issued":{"date-parts":[[2011]]},"page":"207–211","title":"Live Coding of Consequence","type":"article-journal","URL":"http://muse.jhu.edu/journals/leonardo/v044/44.3.collins.html","volume":"44"}, {"id":"collinsLiveCodingLaptop2003","abstract":"Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the programs themselves as they perform. Often this activity takes place within some established language for computer music like SuperCollider, but there is no reason to stop errant minds pursuing their innovations in general scripting languages like Perl. This paper presents an introduction to the field of live coding, of real-time scripting during laptop music performance, and the improvisatory power and risks involved. We look at two test cases, the command-line music of slub utilising, amongst a grab-bag of technologies, Perl and REALbasic, and Julian Rohrhuber's Just In Time library for SuperCollider. We try to give a flavour of an exciting but hazardous world at the forefront of live laptop performance.","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Collins","given":"Nick"},{"family":"McLEAN","given":"Alex"},{"family":"Rohrhuber","given":"Julian"},{"family":"Ward","given":"Adrian"}],"citation-key":"collinsLiveCodingLaptop2003","container-title":"Organised Sound","DOI":"10.1017/S135577180300030X","ISSN":"1469-8153, 1355-7718","issue":"3","issued":{"date-parts":[[2003,12]]},"language":"en","page":"321-330","publisher":"Cambridge University Press","source":"Cambridge University Press","title":"Live coding in laptop performance","type":"article-journal","URL":"https://www.cambridge.org/core/journals/organised-sound/article/abs/live-coding-in-laptop-performance/08F42B84BBCA427C345030481A3DDA0D","volume":"8"}, {"id":"collinsLiveCodingLaptop2003a","abstract":"Seeking new forms of expression in computer music, a small number of laptop composers are braving the challenges of coding music on the fly. Not content to submit meekly to the rigid interfaces of performance software like Ableton Live or Reason, they work with programming languages, building their own custom software, tweaking or writing the programs themselves as they perform. Often this activity takes place within some established language for computer music like SuperCollider, but there is no reason to stop errant minds pursuing their innovations in general scripting languages like Perl. This paper presents an introduction to the field of live coding, of real-time scripting during laptop music performance, and the improvisatory power and risks involved. We look at two test cases, the command-line music of slub utilising, amongst a grab-bag of technologies, Perl and REALbasic, and Julian Rohrhuber's Just In Time library for SuperCollider. We try to give a flavour of an exciting but hazardous world at the forefront of live laptop performance.","author":[{"family":"Collins","given":"Nick"},{"family":"McLean","given":"Alex"},{"family":"Rohrhuber","given":"Julian"},{"family":"Ward","given":"Adrian"}],"citation-key":"collinsLiveCodingLaptop2003a","container-title":"Organised Sound","DOI":"10.1017/s135577180300030x","issue":"03","issued":{"date-parts":[[2003]]},"page":"321–330","title":"Live coding in laptop performance","type":"article-journal","URL":"http://dx.doi.org/10.1017/s135577180300030x","volume":"8"}, {"id":"collinsLiveCodingPractice2007","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsLiveCodingPractice2007","container-title":"Proceedings of New Interfaces for Musical Expression 2007","issued":{"date-parts":[[2007]]},"title":"Live Coding Practice","type":"paper-conference"}, {"id":"collinsLLListeningLearning2011","author":[{"family":"Collins","given":"Nick"}],"citation-key":"collinsLLListeningLearning2011","issued":{"date-parts":[[2011]]},"publisher":"University of Sussex","title":"LL: Listening and Learning in an Interactive Improvisation System","type":"report"}, {"id":"cookeLivenessMachineImprovisation2011","author":[{"family":"Cooke","given":"Grayson"}],"citation-key":"cookeLivenessMachineImprovisation2011","container-title":"Screen Sound","issued":{"date-parts":[[2011]]},"page":"9–26","title":"Liveness and the machine: improvisation in live audio-visual performance","type":"article-journal","volume":"2"}, {"id":"cookIdentificationControlParameters1991","author":[{"family":"Cook","given":"Perry R."}],"citation-key":"cookIdentificationControlParameters1991","event-place":"Stanford, CA, USA","issued":{"date-parts":[[1991]]},"publisher":"Stanford Center for Computer Research in Music and Acoustics","publisher-place":"Stanford, CA, USA","title":"Identification of control parameters in an articulatory vocal tract model, with applications to the synthesis of singing","type":"thesis"}, {"id":"cookInteractiveDynamicGraphics2007","abstract":"This richly illustrated book describes the use of interactive and dynamicgraphics as part of multidimensional data analysis. Chapters includeclustering, supervised classification, and working with missing values. Avariety of plots and interaction methods are used in each analysis, oftenstarting with brushing linked low-dimensional views and working up to manualmanipulation of tours of several variables. The role of graphical methods isshown at each step of the analysis, not only in the early exploratory phase,but in the later stages, too, when comparing and evaluating models.All examples are based on freely available software: GGobi for interactivegraphics and R for static graphics, modeling, and programming. The printedbook is augmented by a wealth of material on the web, encouraging readersfollow the examples themselves. The web site has all the data and codenecessary to reproduce the analyses in the book, along with moviesdemonstrating the examples.The book may be used as a text in a class on statistical graphics orexploratory data analysis, for example, or as a guide for the independentlearner. Each chapter ends with a set of exercises.The authors are both Fellows of the American Statistical Association, pastchairs of the Section on Statistical Graphics, and co-authors of the GGobisoftware. Dianne Cook is Professor of Statistics at Iowa State University.Deborah Swayne is a member of the Statistics Research Department at AT&T Labs.","author":[{"family":"Cook","given":"Dianne"},{"family":"Swayne","given":"Deborah F."}],"citation-key":"cookInteractiveDynamicGraphics2007","edition":"2007","ISBN":"0-387-71761-7","issued":{"date-parts":[[2007,12]]},"note":"Published: Paperback","publisher":"Springer","title":"Interactive and Dynamic Graphics for Data Analysis: With R and GGobi (Use R!)","type":"book","URL":"http://www.worldcat.org/isbn/0387717617"}, {"id":"cookSynthesisToolKitSTK1999","abstract":"This paper presents a cross-platform C++ programming environment designed for rapid prototyping of music synthesis and audio processing programs. The Synthesis ToolKit offers an array of unit generators for filtering, input/output, etc., as well as examples of new and classic synthesis and effects algorithms for research, teaching, performance, and composition purposes.","author":[{"family":"Cook","given":"P."},{"family":"Scavone","given":"G."}],"citation-key":"cookSynthesisToolKitSTK1999","issued":{"date-parts":[[1999]]},"title":"The Synthesis ToolKit (STK","type":"book","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.27.4878"}, {"id":"coxAestheticsGenerativeCode2000","author":[{"family":"Cox","given":"Geoff"},{"family":"McLean","given":"Alex"},{"family":"Ward","given":"Adrian"}],"citation-key":"coxAestheticsGenerativeCode2000","container-title":"International Conference on Generative Art","issued":{"date-parts":[[2000]]},"title":"The Aesthetics of Generative Code","type":"paper-conference"}, {"id":"coxCodingPraxisReconsidering2004","author":[{"family":"Cox","given":"Geoff"},{"family":"McLean","given":"Alex"},{"family":"Ward","given":"Adrian"}],"citation-key":"coxCodingPraxisReconsidering2004","container-title":"read_me Software Art and Cultures","editor":[{"family":"Goriunova","given":"Olga"},{"family":"Shulgin","given":"Alexei"}],"issued":{"date-parts":[[2004]]},"page":"161–174","publisher":"Aarhus University Press","title":"Coding praxis: Reconsidering the aesthetics of code","type":"chapter"}, {"id":"coxNotJustFun2014","author":[{"family":"Cox","given":"Geoff"},{"family":"McLean","given":"Alex"}],"citation-key":"coxNotJustFun2014","container-title":"Fun and Software: Exploring Pleasure, Paradox and Pain in Computing","editor":[{"family":"Goriunova","given":"Olga"}],"issued":{"date-parts":[[2014]]},"page":"157–173","publisher":"Bloomsbury","title":"Not Just For Fun","type":"chapter"}, {"id":"coxPraxisProgrammationReconsiderer2011","author":[{"family":"Cox","given":"Geoff"},{"family":"McLean","given":"Alex"},{"family":"Ward","given":"Adrian"}],"citation-key":"coxPraxisProgrammationReconsiderer2011","container-title":"Art++","editor":[{"family":"Lartigaud","given":"David-Olivier"}],"issued":{"date-parts":[[2011]]},"page":"77–87","publisher":"HYX Editions","title":"Praxis de la programmation : reconsidérer L'esthétique do code généneratif","type":"chapter"}, {"id":"coxSpeakingCodeCoding2012","author":[{"family":"Cox","given":"Geoff"},{"family":"McLean","given":"Alex"}],"citation-key":"coxSpeakingCodeCoding2012","collection-title":"Software Studies","ISBN":"978-0-262-01836-4","issued":{"date-parts":[[2012]]},"publisher":"MIT Press","title":"Speaking Code: Coding as Aesthetic and Political Expression","type":"book"}, {"id":"craftConversationsIgorStravinsky1959","author":[{"family":"Craft","given":"Robert"}],"citation-key":"craftConversationsIgorStravinsky1959","issued":{"date-parts":[[1959,6]]},"publisher":"Doubleday & Co","title":"Conversations with Igor Stravinsky","type":"book","URL":"http://www.worldcat.org/isbn/0571255779"}, {"id":"CraftsmanshipTechnologyChorality2019","abstract":"Giovanni Fanfani
L’articolo si propone di indagare àmbiti di interazione tra tessitura (e l’affine tecnica dell’intreccio) e coralità nella produzione lirica corale arcaica e classica, prendendo in considerazione aspetti della tecnologia e artigianato tessili in quanto questi vengono introiettati e proiettati nell’immaginario poetico della performance corale. La peculiare dinamica di interrelazione tra piacere estetico, principio di ordine nella variegatura, e armonica disposizione delle parti che contraddistingue la choreia nelle fonti letterarie (e che è illustrata in poesia greca arcaica dalla nozione di ποικιλία) informa ad un tempo la tecnologia e la logica della tessitura, una τέχνη cospicuamente associata nell’immaginario poetico alla ποικιλία e alla coralità. L’analisi dei passi interessati mostra come il verbo πλέκειν (e, in aggiunta ad esso, alcuni composti, sia verbi che aggettivi, dai temi πλεκ-/πλοκ-) è il termine di artigianato tessile più massicciamente impiegato dalle fonti letterarie in riferimento alla composizione poetica e, più specificamente, all’esecuzione di un Coro che danza, con l’epinicio quale sottogenere di lirica corale che in maniera più consistente si appropria della metapoetica della tessitura (in quanto sottogenere lirico-corale meglio attestato, ma anche in parte per questioni di continuità di genere letterario rispetto ad un repertorio di metafore di matrice Proto-Indoeuropea, e in parte per ragioni di pragmatica della performance epinicia). Viene inoltre proposta una rassegna selettiva dell’immagine dell’“intrecciare una danza corale”, con uno sguardo particolare al geranos in quanto esemplificativo di una modalità di danza le cui articolazioni orchestiche potevano prevedere un’interazione con tessuti reali: attraverso il recupero di un’ipotesi formulata in ambito di comparazione etnografica, si propone un possibile (quantunque interamente speculativo) scenario performativo per il geranos.
","accessed":{"date-parts":[[2021,4,30]]},"citation-key":"CraftsmanshipTechnologyChorality2019","issued":{"date-parts":[[2019,1,3]]},"language":"it-IT","title":"Craftsmanship and technology as chorality: the case of weaving imagery in Archaic and Classical choral lyric","title-short":"Craftsmanship and technology as chorality","type":"webpage","URL":"https://dionysusexmachina.it/dionysus2018/?p=4606"}, {"id":"cramerWordsMadeFlesh2005","accessed":{"date-parts":[[2017,5,18]]},"author":[{"family":"Cramer","given":"Florian"}],"citation-key":"cramerWordsMadeFlesh2005","container-title":"Code, Culture, Imagination","issued":{"date-parts":[[2005]]},"source":"Google Scholar","title":"Words made flesh","type":"article-journal","URL":"https://monoskop.org/images/e/ee/Cramer_Florian_Words_Made_Flesh_Code_Culture_Imagination.pdf"}, {"id":"crossMusicMeaning2008","author":[{"family":"Cross","given":"Ian"},{"family":"Tolbert","given":"Elizabeth"}],"citation-key":"crossMusicMeaning2008","container-title":"The Oxford Handbook of Music Psychology","issued":{"date-parts":[[2008]]},"publisher":"Oxford University Press","title":"Music and Meaning","type":"chapter"}, {"id":"cruzDarwinianApproachMathematics2006","abstract":"In the past decades, recent paradigm shifts in ethology, psychology, and the social sciences have given rise to various new disciplines like cognitive ethology and evolutionary psychology. These disciplines use concepts and theories of evolutionary biology to understand and explain the design, function and origin of the brain. I shall argue that there are several good reasons why this approach could also apply to human mathematical abilities. I will review evidence from various disciplines (cognitive ethology, cognitive psychology, cognitive archaeology and neuropsychology) that suggests that the human capacity for mathematics is a category-specific domain of knowledge, hard-wired in the brain, which can be explained as the result of natural selection.","author":[{"family":"Cruz","given":"Helen"}],"citation-key":"cruzDarwinianApproachMathematics2006","container-title":"Foundations of Science","container-title-short":"Foundations of Science","DOI":"10.1007/s10699-004-5916-z","ISSN":"1233-1821","issue":"1-2","issued":{"date-parts":[[2006,3]]},"page":"157–196","title":"Towards a Darwinian Approach to Mathematics","type":"article-journal","URL":"http://dx.doi.org/10.1007/s10699-004-5916-z","volume":"11"}, {"id":"csikszentmihalyiFlowPsychologyOptimal2008","author":[{"family":"Csikszentmihalyi","given":"Mihaly"}],"citation-key":"csikszentmihalyiFlowPsychologyOptimal2008","ISBN":"978-0-06-154812-3","issued":{"date-parts":[[2008]]},"publisher":"HarperCollins","title":"Flow: the psychology of optimal experience","type":"book","URL":"http://www.worldcat.org/isbn/9780061548123"}, {"id":"cupchikSharedProcessesSpatial2001","abstract":"An experiment was conducted in which subjects performed a three-dimensional spatial rotation test (24 trials) and a new test involving judgments of musical permutations (64 trials). Two types of musical permutations were used, including retrograde and inverse. In a retrograde permutation, the criterion melody was played backward in the test melody, and in an inverse permutation, an ascending or descending interval in the criterion melody became an opposite in the test melody. Subjects included 32 male and 64 female undergraduates at the University of Toronto. Regression analysis clearly showed that it was easiest to compare short retrograde permutations and that accuracy at discerning retrograde permutations predicted accuracy at judging spatial rotations. The implication is that a higher order ability to discriminate contour underlies both kinds of judgments.","author":[{"family":"Cupchik","given":"G."}],"citation-key":"cupchikSharedProcessesSpatial2001","container-title":"Brain and Cognition","DOI":"10.1006/brcg.2001.1295","ISSN":"02782626","issue":"3","issued":{"date-parts":[[2001,8]]},"page":"373–382","PMID":"11487287","title":"Shared Processes in Spatial Rotation and Musical Permutation","type":"article-journal","URL":"http://dx.doi.org/10.1006/brcg.2001.1295","volume":"46"}, {"id":"dahlMovementsAnalysisDrumming2006","author":[{"family":"Dahl","given":"Sofia"}],"citation-key":"dahlMovementsAnalysisDrumming2006","container-title":"Music, Motor Control and the Brain","editor":[{"family":"Wiesendanger","given":"M."},{"family":"Kesselring","given":"J."}],"event-place":"New York","issued":{"date-parts":[[2006]]},"page":"125–138","publisher":"Oxford University Press","publisher-place":"New York","title":"Movements and analysis of drumming","type":"chapter"}, {"id":"damerauTechniqueComputerDetection1964","abstract":"The method described assumes that a word which cannot be found in a dictionary has at most one error, which might be a wrong, missing or extra letter or a single transposition. The unidentified input word is compared to the dictionary again, testing each time to see if the words match—assuming one of these errors occurred. During a test run on garbled text, correct identifications were made for over 95 percent of these error types.","author":[{"family":"Damerau","given":"Fred J."}],"citation-key":"damerauTechniqueComputerDetection1964","container-title":"Commun. ACM","issue":"3","issued":{"date-parts":[[1964]]},"page":"171–176","title":"A technique for computer detection and correction of spelling errors","type":"article-journal","URL":"http://portal.acm.org/citation.cfm?id=363994","volume":"7"}, {"id":"danieleInterplayLinguisticHistorical2004","abstract":"New techniques for comparing rhythm in language and music [1]and new data on musical rhythm from a range of Western societies[2] provide an opportunity to study the relationship betweenlinguistic and musical rhythm in a number of cultures. Specifically,one can ask if ” stress-timed” and ” syllable-timed” languages areassociated with distinctive musical rhythms. If so, then it mightmake sense to speak of stress-timed and syllable-timed music. Inconducting such studies it is important to bear in mind that in anygiven culture there may be historical musical influences which runcounter to linguistic influences. We illustrate this point with anexamination of German/Austrian music. German is a stress-timedlanguage but it appears that the rhythm of much German/Austrianmusic (especially during the Baroque and Classical eras) does notreflect this linguistic rhythm [2]. This may be due to thewell-known influence of Italian music on German music duringthese eras [3]. Some support for this idea comes from a historicalanalysis of German/Austrian music, which shows that this musicbecomes more ” stress-timed” after the end of the Classical period","author":[{"family":"Daniele","given":"Joseph R."},{"family":"Patel","given":"Aniruddh D."}],"citation-key":"danieleInterplayLinguisticHistorical2004","container-title":"Proc. of the 8th Intl. Conference on Music Perception and Cognition","issued":{"date-parts":[[2004]]},"title":"The interplay of linguistic and historical influences on musical rhythm in different cultures","type":"article-journal"}, {"id":"danielsWorldWritingSystems1996","citation-key":"danielsWorldWritingSystems1996","editor":[{"family":"Daniels","given":"Peter T."},{"family":"Bright","given":"William"}],"event-place":"New York","issued":{"date-parts":[[1996]]},"publisher":"Oxford University Press","publisher-place":"New York","title":"The World's Writing Systems","type":"book"}, {"id":"darkeAssessmentTimbreUsing2005","abstract":"As part of the perceptual processing to form an abstract picture of a sound, the question arises as to how various timbral judgments are made. An early step in these 'processing stages' suggests that comparisons are made with our previous experiences of sounds. These experiences are often given descriptive labels by which we can communicate the concept of a timbre. It follows that a listener might be able to make qualitative assessments of a sound when asked to judge against the perception of this set of verbal attributes. This study looks at the effectiveness of communicating assessment judgments concerning timbre under controlled conditions. The work presented reports on a study where a group of musicians were asked to assess a number of musical sounds against 12 verbal attributes. The study is based around describing and analysing sounds from a subset of pitched European orchestral instruments. Using statistical analysis, the collated judgements are analysed to indicate the level of agreement that can be obtained from a collective view of each attribute. Some evidence of agreement between assessments is shown by the use of group means and variances, along with a preliminary discussion on a few of the reasons behind the inconsistencies.","author":[{"family":"Darke","given":"Graham"}],"citation-key":"darkeAssessmentTimbreUsing2005","container-title":"Proceedings of the Conference on Interdisciplinary Musicology","issued":{"date-parts":[[2005]]},"title":"Assessment of Timbre Using Verbal Attributes","type":"paper-conference"}, {"id":"dausilioMotorSomatotopySpeech2009","abstract":"Listening to speech recruits a network of fronto-temporo-parietal cortical areas. Classical models consider anterior (motor) sites to be involved in speech production whereas posterior sites are considered to be involved in comprehension. This functional segregation is challenged by action-perception theories suggesting that brain circuits for speech articulation and speech perception are functionally dependent. Although recent data show that speech listening elicits motor activities analogous to production, it's still debated whether motor circuits play a causal contribution to the perception of speech. Here we administered transcranial magnetic stimulation (TMS) to motor cortex controlling lips and tongue during the discrimination of lip- and tongue-articulated phonemes. We found a neurofunctional double dissociation in speech sound discrimination, supporting the idea that motor structures provide a specific functional contribution to the perception of speech sounds. Moreover, our findings show a fine-grained motor somatotopy for speech comprehension. We discuss our results in light of a modified \"motor theory of speech perception\" according to which speech comprehension is grounded in motor circuits not exclusively involved in speech production.","author":[{"family":"D'Ausilio","given":"Alessandro"},{"family":"Pulvermüller","given":"Friedemann"},{"family":"Salmas","given":"Paola"},{"family":"Bufalari","given":"Ilaria"},{"family":"Begliomini","given":"Chiara"},{"family":"Fadiga","given":"Luciano"}],"citation-key":"dausilioMotorSomatotopySpeech2009","container-title":"Current biology : CB","DOI":"10.1016/j.cub.2009.01.017","ISSN":"1879-0445","issue":"5","issued":{"date-parts":[[2009,3]]},"page":"381–385","PMID":"19217297","title":"The motor somatotopy of speech perception.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cub.2009.01.017","volume":"19"}, {"id":"davisLearningConsolidationNovel2009","author":[{"family":"Davis","given":"Matthew H."},{"family":"Di Betta","given":"Anna M."},{"family":"Macdonald","given":"Mark J. E."},{"family":"Gaskell","given":"Gareth M."}],"citation-key":"davisLearningConsolidationNovel2009","container-title":"Journal of Cognitive Neuroscience","DOI":"10.1162/jocn.2009.21059","issue":"4","issued":{"date-parts":[[2009]]},"page":"803–820","title":"Learning and Consolidation of Novel Spoken Words","type":"article-journal","URL":"http://www.mitpressjournals.org/doi/abs/10.1162/jocn.2009.21059","volume":"21"}, {"id":"deanMirageRealtimeAlgorithmic2006","abstract":"This article looks at algorithmic synaesthesia, a form of sonic intermedia involving synchronous computer-mediated manipulation of sound and image. In algorithmic synaesthesia extensively shared features are created in the two media. Examples of such work by austraLYSIS and others are discussed. What an audience member can cognitively access in such synaesthesia is considered: creators of intermedia works may overestimate this. The fact that a machine can process image and sound in parallel, and by the same algorithm, does not establish that the human brain can. The transparency of an algorithmic process to a listener-viewer-screener is a core issue in auditory display (or `sonification'). Sonification aims to make the segmentation of a data set more accessible than it is when represented numerically or visually, and has many practical and creative applications. Current approaches in experimental cognition may assist us in evaluating these issues.","author":[{"family":"Dean","given":"Roger"},{"family":"Whitelaw","given":"Mitchell"},{"family":"Smith","given":"Hazel"},{"family":"Worrall","given":"David"}],"citation-key":"deanMirageRealtimeAlgorithmic2006","container-title":"Contemporary Music Review","issue":"4","issued":{"date-parts":[[2006,8]]},"page":"311–326","title":"The mirage of real-time algorithmic synaesthesia: Some compositional mechanisms and research agendas in computer music and sonification","type":"article-journal","URL":"http://www.ingentaconnect.com/content/routledg/gcmr/2006/00000025/00000004/art00003","volume":"25"}, {"id":"deanOxfordHandbookAlgorithmic2018","abstract":"With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.","citation-key":"deanOxfordHandbookAlgorithmic2018","editor":[{"family":"Dean","given":"Roger T."},{"family":"McLean","given":"Alex"}],"event-place":"New York, NY","ISBN":"978-0-19-022699-2","issued":{"date-parts":[[2018,3]]},"language":"English","number-of-pages":"680","publisher":"OUP USA","publisher-place":"New York, NY","source":"Amazon","title":"The Oxford Handbook of Algorithmic Music","type":"book"}, {"id":"debbenWhatWeHear2001","author":[{"family":"Debben","given":"Nicola"}],"citation-key":"debbenWhatWeHear2001","container-title":"Musicae Scientiae","issue":"2","issued":{"date-parts":[[2001]]},"page":"161–194","title":"What do we hear when we hear music? Music perception and musical material.","type":"article-journal","volume":"5"}, {"id":"dehaene-lambertzFunctionalNeuroimagingSpeech2002","abstract":"10.1126/science.1077066","author":[{"family":"Dehaene-Lambertz","given":"Ghislaine"},{"family":"Dehaene","given":"Stanislas"},{"family":"Hertz-Pannier","given":"Lucie"}],"citation-key":"dehaene-lambertzFunctionalNeuroimagingSpeech2002","container-title":"Science","DOI":"10.1126/science.1077066","issue":"5600","issued":{"date-parts":[[2002,12]]},"page":"2013–2015","PMID":"12471265","title":"Functional Neuroimaging of Speech Perception in Infants","type":"article-journal","URL":"http://dx.doi.org/10.1126/science.1077066","volume":"298"}, {"id":"delahuntaTransactables2004","author":[{"family":"deLahunta","given":"S."},{"family":"McGregor","given":"W."},{"family":"Blackwell","given":"A. F."}],"citation-key":"delahuntaTransactables2004","container-title":"Performance Research","issue":"2","issued":{"date-parts":[[2004]]},"page":"67–72","title":"Transactables","type":"article-journal","volume":"9"}, {"id":"deleuze1440SmoothStriated1987","author":[{"family":"Deleuze","given":"Gilles"},{"family":"Guattari","given":"Félix"}],"citation-key":"deleuze1440SmoothStriated1987","container-title":"Thousand Plateaus: Capitalism and Schizophrenia","edition":"First","ISBN":"0-8166-1402-4","issued":{"date-parts":[[1987,12]]},"note":"Published: Paperback","publisher":"University of Minnesota Press","title":"1440: The Smooth and the Striated","type":"chapter","URL":"http://www.worldcat.org/isbn/0816614024"}, {"id":"deleuzeThousandPlateausCapitaliism2013","abstract":"A Thousand Plateaus is the second part of Deleuze and Guattari's landmark philosophical project, Capitalism and Schizophrenia - a project that still sets the terms of contemporary philosophical debate. Written over a seven year period, A Thousand Plateaus provides a compelling analysis of social phenomena and offers fresh alternatives for thinking about philosophy and culture. Its radical perspective provides a toolbox for 'nomadic thought' and has had a galvanizing influence on today's anti-capitalist movement.","author":[{"family":"Deleuze","given":"Gilles"},{"family":"Guattari","given":"Felix"}],"citation-key":"deleuzeThousandPlateausCapitaliism2013","event-place":"London","ISBN":"978-1-78093-537-9","issued":{"date-parts":[[2013,4,25]]},"language":"English","number-of-pages":"744","publisher":"Bloomsbury Academic","publisher-place":"London","source":"Amazon","title":"A Thousand Plateaus: Capitaliism and Schizophrenia","title-short":"A Thousand Plateaus","type":"book"}, {"id":"demirAutomatedCancerDiagnosis2005","author":[{"family":"Demir","given":"Cigdem"},{"family":"Yener","given":"Bulent"}],"citation-key":"demirAutomatedCancerDiagnosis2005","issued":{"date-parts":[[2005]]},"publisher":"Rensselaer Polytechnic Institute","title":"Automated Cancer Diagnosis Based on Histopathological Systematic Images: A Systematic Survey","type":"book"}, {"id":"denningUbiquitySymposiumWhat2010","abstract":"Most people understand a computation as a process evoked when a computational agent acts on its inputs under the control of an algorithm. The classical Turing machine model has long served as the fundamental reference model because an appropriate Turing machine can simulate every other computational model known. The Turing model is a good abstraction for most digital computers because the number of steps to execute a Turing machine algorithm is predictive of the running time of the computation on a digital computer. However, the Turing model is not as well matched for the natural, interactive, and continuous information processes frequently encountered today. Other models whose structures more closely match the information processes involved give better predictions of running time and space. Models based on transforming representations may be useful.","author":[{"family":"Denning","given":"Peter J."}],"citation-key":"denningUbiquitySymposiumWhat2010","container-title":"Ubiquity","DOI":"10.1145/1880066.1880067","ISSN":"1530-2180","issued":{"date-parts":[[2010]]},"title":"Ubiquity symposium 'What is computation?': Opening statement","type":"article-journal","URL":"http://dx.doi.org/10.1145/1880066.1880067","volume":"2010"}, {"id":"derijkeQuackProjectCD2003","author":[{"family":"Rijke","given":"Victoria","non-dropping-particle":"de"},{"family":"Ward","given":"Adrian"},{"family":"Stockhausen","given":"K."},{"family":"Drever","given":"John L."},{"family":"Abdullah","given":"Hattice"}],"citation-key":"derijkeQuackProjectCD2003","issued":{"date-parts":[[2003]]},"title":"Quack Project CD cover notes","type":"book"}, {"id":"descartesRulesDirectionMind1978","author":[{"family":"Descartes","given":"René"}],"citation-key":"descartesRulesDirectionMind1978","container-title":"The Philosophical works of Descartes","issued":{"date-parts":[[1978]]},"page":"1-77","publisher":"Cambridge University Press","title":"Rules for the Direction of the Mind","translator":[{"family":"Haldane","given":"E"},{"family":"Ross","given":"G.R.T."}],"type":"chapter","volume":"1"}, {"id":"desilvaNovelFacetrackingMouth2004","abstract":"We describe a simple, computationally light, real-time system for tracking the lower face and extracting information about the shape of the open mouth from a video sequence. The system allows unencumbered control of audio synthesis modules by action of the mouth. We report work in progress to use the mouth controller to interact with a physical model of sound production by the avian syrinx.","author":[{"family":"Silva","given":"Gamhewage C.","non-dropping-particle":"de"},{"family":"Smyth","given":"Tamara"},{"family":"Lyons","given":"Michael J."}],"citation-key":"desilvaNovelFacetrackingMouth2004","collection-title":"NIME '04","container-title":"Proceedings of the 2004 conference on New interfaces for musical expression","event-place":"Hamamatsu, Shizuoka, Japan","issued":{"date-parts":[[2004]]},"page":"169–172","publisher":"National University of Singapore","publisher-place":"Hamamatsu, Shizuoka, Japan","title":"A novel face-tracking mouth controller and its application to interacting with bioacoustic models","type":"paper-conference","URL":"http://portal.acm.org/citation.cfm?id=1085922"}, {"id":"deutschInternalRepresentationPitch1981","abstract":"A model for the internal representation of pitch sequences in tonal music is advanced. Pitch sequences are retained as hierarchical networks. At each level, elements are organized as structural units, in accordance with laws of figural goodness. Processing advantages of the system are discussed. (Author/BW)","author":[{"family":"Deutsch","given":"Diana"},{"family":"Feroe","given":"John"}],"citation-key":"deutschInternalRepresentationPitch1981","container-title":"Psychological Review","issue":"6","issued":{"date-parts":[[1981,11]]},"page":"503–22","title":"The Internal Representation of Pitch Sequences in Tonal Music.","type":"article-journal","URL":"http://www.eric.ed.gov/ERICWebPortal/detail?accno=EJ254529","volume":"88"}, {"id":"devdanTablaTechnique2007","author":[{"family":"Devdan","given":"Sen"}],"citation-key":"devdanTablaTechnique2007","container-title":"Grove music online (accessed March 2007)","editor":[{"family":"Macy","given":"L."}],"issued":{"date-parts":[[2007]]},"publisher":"Oxford University Press","title":"Tabla - technique","type":"chapter"}, {"id":"devlinSpeechPerceptionMotoric2009","author":[{"family":"Devlin","given":"Joseph T."},{"family":"Aydelott","given":"Jennifer"}],"citation-key":"devlinSpeechPerceptionMotoric2009","container-title":"Current Biology","DOI":"10.1016/j.cub.2009.01.005","ISSN":"09609822","issue":"5","issued":{"date-parts":[[2009,3]]},"page":"R198–R200","title":"Speech Perception: Motoric Contributions versus the Motor Theory","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cub.2009.01.005","volume":"19"}, {"id":"diegovillasenordecortinaNancinaCanCanonGenerator2019","abstract":"In the present paper a SuperCollider library designed to produce temporal canons, like the ones proposed by Conlon Nancarrow, is explored in order to create new temporal conceptions within the field of live coding. We will define temporal canon as a composition strategy that allows a poly-temporal audition by expressing a single musical idea at different speeds simultaneously. Likewise, our intention is to socialise the work of Nancarrow, often captured by a reduced academic niche, so it may be integrated into a broader and more diverse context. In this paper a broad introduction to the library is provided that emphasises some of its salient aspects that overlap with specific interests of live coders. By de-canonising the ideas of Nancarrow and approaching them from a heterodox and unconventional perspective we attempt to unravel understandings of time and rhythm beyond the scope of the music of Conlon Nancarrow as well as the practices of Mexican and international live coding communities.","accessed":{"date-parts":[[2021,1,28]]},"author":[{"family":"Diego Villaseñor de Cortina","given":""},{"family":"Alejandro Franco Briones","given":""}],"citation-key":"diegovillasenordecortinaNancinaCanCanonGenerator2019","DOI":"10.5281/zenodo.3946192","event-place":"Madrid, Spain","ISBN":"9788418299087","issued":{"date-parts":[[2019,1,16]]},"language":"eng","page":"353","publisher":"Medialab Prado / Madrid Destino","publisher-place":"Madrid, Spain","title":"Nanc-in-a-Can Canon Generator. SuperCollider code capable of generating and visualizing temporal canons critically and algorithmically","type":"speech","URL":"https://zenodo.org/record/3946192#.YBKvFln7SV4"}, {"id":"diehlSpeechPerception2004","abstract":"This chapter focuses on one of the first steps in comprehending spoken language: How do listeners extract the most fundamental linguistic elements—consonants and vowels, or the distinctive features which compose them—from the acoustic signal? We begin by describing three major theoretical perspectives on the perception of speech. Then we review several lines of research that are relevant to distinguishing these perspectives. The research topics surveyed include categorical perception, phonetic context effects, learning of speech and related nonspeech categories, and the relation between speech perception and production. Finally, we describe challenges facing each of the major theoretical perspectives on speech perception.","author":[{"family":"Diehl","given":"Randy L."},{"family":"Lotto","given":"Andrew J."},{"family":"Holt","given":"Lori L."}],"citation-key":"diehlSpeechPerception2004","container-title":"Annual Review of Psychology","DOI":"10.1146/annurev.psych.55.090902.142028","ISSN":"0066-4308","issue":"1","issued":{"date-parts":[[2004]]},"page":"149–179","PMID":"14744213","title":"Speech Perception","type":"article-journal","URL":"http://dx.doi.org/10.1146/annurev.psych.55.090902.142028","volume":"55"}, {"id":"dignazioDataFeminism2020","abstract":"A new way of thinking about data science and data ethics that is informed by the ideas of intersectional feminism. Today, data science is a form of power. It has been used to expose injustice, improve health outcomes, and topple governments. But it has also been used to discriminate, police, and surveil. This potential for good, on the one hand, and harm, on the other, makes it essential to ask: Data science by whom? Data science for whom? Data science with whose interests in mind? The narratives around big data and data science are overwhelmingly white, male, and techno-heroic. In Data Feminism, Catherine D'Ignazio and Lauren Klein present a new way of thinking about data science and data ethics-one that is informed by intersectional feminist thought. Illustrating data feminism in action, D'Ignazio and Klein show how challenges to the male/female binary can help challenge other hierarchical (and empirically wrong) classification systems. They explain how, for example, an understanding of emotion can expand our ideas about effective data visualization, and how the concept of invisible labor can expose the significant human efforts required by our automated systems. And they show why the data never, ever \"speak for themselves.\" Data Feminism offers strategies for data scientists seeking to learn how feminism can help them work toward justice, and for feminists who want to focus their efforts on the growing field of data science. But Data Feminism is about much more than gender. It is about power, about who has it and who doesn't, and about how those differentials of power can be challenged and changed.","author":[{"family":"D`ignazio","given":"Catherine"},{"family":"Klein","given":"Lauren F."}],"citation-key":"dignazioDataFeminism2020","event-place":"Cambridge, Massachusetts","ISBN":"978-0-262-04400-4","issued":{"date-parts":[[2020,3,20]]},"language":"English","number-of-pages":"328","publisher":"MIT Press","publisher-place":"Cambridge, Massachusetts","source":"Amazon","title":"Data Feminism","type":"book"}, {"id":"dignazioIntroductionWhyData2020","accessed":{"date-parts":[[2021,2,24]]},"author":[{"family":"D'Ignazio","given":"Catherine"},{"family":"Klein","given":"Lauren"}],"citation-key":"dignazioIntroductionWhyData2020","container-title":"Data Feminism","issued":{"date-parts":[[2020,3,16]]},"language":"en","publisher":"PubPub","source":"data-feminism.mitpress.mit.edu","title":"Introduction: Why Data Science Needs Feminism","title-short":"Introduction","type":"chapter","URL":"https://data-feminism.mitpress.mit.edu/pub/frfa9szd/release/4"}, {"id":"dijkstraAnthropomorphismScience1985","author":[{"family":"Dijkstra","given":"Edsger W."}],"citation-key":"dijkstraAnthropomorphismScience1985","issued":{"date-parts":[[1985,9]]},"note":"Published: circulated privately","title":"On anthropomorphism in science","type":"manuscript","URL":"http://www.cs.utexas.edu/users/EWD/ewd09xx/EWD936.PDF"}, {"id":"dijkstraCrueltyReallyTeaching1988","author":[{"family":"Dijkstra","given":"Edsger W."}],"citation-key":"dijkstraCrueltyReallyTeaching1988","issued":{"date-parts":[[1988]]},"note":"Published: circulated privately","title":"On the cruelty of really teaching computing science","type":"manuscript","URL":"http://www.cs.utexas.edu/users/EWD/ewd10xx/EWD1036.PDF"}, {"id":"dijkstraReview1977Turing1977","author":[{"family":"Dijkstra","given":"E. W."}],"citation-key":"dijkstraReview1977Turing1977","issued":{"date-parts":[[1977]]},"title":"A review of the 1977 Turing Award Lecture by John Backus","type":"manuscript","URL":"http://www.cs.utexas.edu/users/EWD/transcriptions/EWD06xx/EWD692.html"}, {"id":"dijulioSoundElectronicMind2017","author":[{"family":"DiJulio","given":"Thomas"}],"citation-key":"dijulioSoundElectronicMind2017","issued":{"date-parts":[[2017]]},"source":"Google Scholar","title":"Sound and the Electronic Mind: Computerized Music and Art","title-short":"Sound and the Electronic Mind","type":"article-journal"}, {"id":"dinsteinMirrorNature2008","author":[{"family":"Dinstein","given":"Ilan"},{"family":"Thomas","given":"Cibu"},{"family":"Behrmann","given":"Marlene"},{"family":"Heeger","given":"David J."}],"citation-key":"dinsteinMirrorNature2008","container-title":"Current biology : CB","DOI":"10.1016/j.cub.2007.11.004","ISSN":"0960-9822","issue":"1","issued":{"date-parts":[[2008,1]]},"PMID":"18177704","title":"A mirror up to nature.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cub.2007.11.004","volume":"18"}, {"id":"dipellegrinoUnderstandingMotorEvents1992","abstract":"Neurons of the rostral part of inferior premotor cortex of the monkey discharge during goal-directed hand movements such as grasping, holding, and tearing. We report here that many of these neurons become active also when the monkey observes specific, meaningful hand movements performed by the experimenters. The effective experimenters' movements include among others placing or retrieving a piece of food from a table, grasping food from another experimenter's hand, and manipulating objects. There is always a clear link between the effective observed movement and that executed by the monkey and, often, only movements of the experimenter identical to those controlled by a given neuron are able to activate it. These findings indicate that premotor neurons can retrieve movements not only on the basis of stimulus characteristics, as previously described, but also on the basis of the meaning of the observed actions.","author":[{"family":"Pellegrino","given":"G.","non-dropping-particle":"di"},{"family":"Fadiga","given":"L."},{"family":"Fogassi","given":"L."},{"family":"Gallese","given":"V."},{"family":"Rizzolatti","given":"G."}],"citation-key":"dipellegrinoUnderstandingMotorEvents1992","container-title":"Experimental brain research. Experimentelle Hirnforschung. Expérimentation cérébrale","ISSN":"0014-4819","issue":"1","issued":{"date-parts":[[1992]]},"page":"176–180","PMID":"1301372","title":"Understanding motor events: a neurophysiological study.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/1301372","volume":"91"}, {"id":"discipioSoundInterfaceInteractive2003","abstract":"This paper takes a systemic perspective on interactive signal processing and introduces the author's Audible Eco-Systemic Interface (AESI) project. It starts with a discussion of the paradigm of 'interaction' in existing computer music and live electronics approaches, and develops following bio-cybernetic principles such as 'system/ambience coupling', 'noise', and 'self-organisation'. Central to the paper is an understanding of 'interaction' as a network of interdependencies among system components, and as a means for dynamical behaviour to emerge upon the contact of an autonomous system (e.g. a DSP unit) with the external environment (room or else hosting the performance). The author describes the design philosophy in his current work with the AESI (whose DSP component was implemented as a signal patch in KYMA5.2), touching on compositional implications (not only live electronics situations, but also sound installations).","author":[{"family":"Di Scipio","given":"Agostino"}],"citation-key":"discipioSoundInterfaceInteractive2003","container-title":"Organised Sound","DOI":"10.1017/s1355771803000244","ISSN":"1355-7718","issue":"3","issued":{"date-parts":[[2003,12]]},"page":"269–277","title":"Sound is the Interface: From Interactive to Ecosystemic Signal Processing","type":"article-journal","URL":"http://dx.doi.org/10.1017/s1355771803000244","volume":"8"}, {"id":"douglasAmusiaAssociatedDeficits2007","abstract":"Amusia (commonly referred to as tone-deafness) is a difficulty in discriminating pitch changes in melodies that affects around 4% of the human population. Amusia cannot be explained as a simple sensory impairment. Here we show that amusia is strongly related to a deficit in spatial processing in adults. Compared to two matched control groups (musicians and non-musicians), participants in the amusic group were significantly impaired on a visually presented mental rotation task. Amusic subjects were also less prone to interference in a spatial stimulus-response incompatibility task and performed significantly faster than controls in an interference task in which they were required to make simple pitch discriminations while concurrently performing a mental rotation task. This indicates that the processing of pitch in music normally depends on the cognitive mechanisms that are used to process spatial representations in other modalities.","author":[{"family":"Douglas","given":"Katie M."},{"family":"Bilkey","given":"David K."}],"citation-key":"douglasAmusiaAssociatedDeficits2007","container-title":"Nature Neuroscience","DOI":"10.1038/nn1925","ISSN":"1097-6256","issue":"7","issued":{"date-parts":[[2007,6]]},"page":"915–921","PMID":"17589505","title":"Amusia is associated with deficits in spatial processing","type":"article-journal","URL":"http://dx.doi.org/10.1038/nn1925","volume":"10"}, {"id":"downieChoreographicLanguageAgent2009","author":[{"family":"Downie","given":"M."}],"citation-key":"downieChoreographicLanguageAgent2009","issued":{"date-parts":[[2009]]},"note":"Published: Work in progress report at http://openendedgroup.com/index.php/in-progress/choreographic-language-agent/","title":"Choreographic language agent","type":"book"}, {"id":"duignanAbstractionActivityComputermediated2010","abstract":"An abstract is not available.","author":[{"family":"Duignan","given":"Matthew"},{"family":"Noble","given":"James"},{"family":"Biddle","given":"Robert"}],"citation-key":"duignanAbstractionActivityComputermediated2010","container-title":"Comput. Music J.","DOI":"10.1162/comj_a_00023","ISSN":"0148-9267","issued":{"date-parts":[[2010,12]]},"page":"22–33","title":"Abstraction and activity in computer-mediated music production","type":"article-journal","URL":"http://dx.doi.org/10.1162/comj_a_00023","volume":"34"}, {"id":"dusautoyFindingMoonshineMathematician2008","author":[{"family":"Sautoy","given":"Marcus","non-dropping-particle":"du"}],"citation-key":"dusautoyFindingMoonshineMathematician2008","ISBN":"0-00-721462-6","issued":{"date-parts":[[2008]]},"note":"Published: Paperback","publisher":"HarperCollins Publishers","title":"Finding Moonshine: A Mathematician's Journey Through Symmetry","type":"book","URL":"http://www.worldcat.org/isbn/0007214626"}, {"id":"duyckaertsVoronoiTessellationStudy2000","author":[{"family":"Duyckaerts","given":"C."},{"family":"Godefroy","given":"G."}],"citation-key":"duyckaertsVoronoiTessellationStudy2000","container-title":"J Chem. Neuroanatomy","issue":"1","issued":{"date-parts":[[2000,10]]},"page":"83–92","title":"Voronoi tessellation to study the numerical density and the spatial distribution of neurones","type":"article-journal","volume":"20"}, {"id":"DynamixelAX12ARobot","accessed":{"date-parts":[[2017,3,21]]},"citation-key":"DynamixelAX12ARobot","title":"Dynamixel AX-12A Robot Actuator from Robotis","type":"webpage","URL":"http://www.trossenrobotics.com/dynamixel-ax-12-robot-actuator.aspx"}, {"id":"eacottInstantMusicJust2012","accessed":{"date-parts":[[2021,1,19]]},"author":[{"family":"Eacott","given":"John"}],"citation-key":"eacottInstantMusicJust2012","container-title":"AI & SOCIETY","container-title-short":"AI & Soc","DOI":"10.1007/s00146-011-0350-6","ISSN":"1435-5655","issue":"2","issued":{"date-parts":[[2012,5,1]]},"language":"en","page":"287-288","source":"Springer Link","title":"Instant music? Just add water","title-short":"Instant music?","type":"article-journal","URL":"https://doi.org/10.1007/s00146-011-0350-6","volume":"27"}, {"id":"eickDoesCodeDecay2001","abstract":"A central feature of the evolution of large software systems is that change¿which is necessary to add new functionality, accommodate new hardware, and repair faults¿becomes increasingly difficult over time. In this paper, we approach this phenomenon, which we term code decay, scientifically and statistically. We define code decay and propose a number of measurements (code decay indices) on software and on the organizations that produce it, that serve as symptoms, risk factors, and predictors of decay. Using an unusually rich data set (the fifteen-plus year change history of the millions of lines of software for a telephone switching system), we find mixed, but on the whole persuasive, statistical evidence of code decay, which is corroborated by developers of the code. Suggestive indications that perfective maintenance can retard code decay are also discussed.","author":[{"family":"Eick","given":"Stephen G."},{"family":"Graves","given":"Todd L."},{"family":"Karr","given":"Alan F."},{"family":"Marron","given":"J. S."},{"family":"Mockus","given":"Audris"}],"citation-key":"eickDoesCodeDecay2001","container-title":"IEEE Trans. Softw. Eng.","ISSN":"0098-5589","issued":{"date-parts":[[2001,1]]},"page":"1–12","title":"Does Code Decay? Assessing the Evidence from Change Management Data","type":"article-journal","URL":"http://portal.acm.org/citation.cfm?id=359558","volume":"27"}, {"id":"eickVisualizingSoftwareChanges2002","abstract":"A key problem in software engineering is changing the code. We present a sequence of visualizations and visual metaphors designed to help engineers understand and manage the software change process. The principal metaphors are matrix views, cityscapes, bar and pie charts, data sheets and networks. Linked by selection mechanisms, multiple views are combined to form perspectives that both enable discovery of high-level structure in software change data and allow effective access to details of those data. Use of the views and perspectives is illustrated in two important contexts: understanding software change by exploration of software change data and management of software development. Our approach complements existing visualizations of software structure and software execution","author":[{"family":"Eick","given":"S. G."},{"family":"Graves","given":"T. L."},{"family":"Karr","given":"A. F."},{"family":"Mockus","given":"A."},{"family":"Schuster","given":"P."}],"citation-key":"eickVisualizingSoftwareChanges2002","container-title":"Software Engineering, IEEE Transactions on","DOI":"10.1109/tse.2002.995435","ISSN":"0098-5589","issue":"4","issued":{"date-parts":[[2002,4]]},"page":"396–412","title":"Visualizing software changes","type":"article-journal","URL":"http://dx.doi.org/10.1109/tse.2002.995435","volume":"28"}, {"id":"eitanHowMusicMoves2006","author":[{"family":"Eitan","given":"Zohar"},{"family":"Granot","given":"Roni Y."}],"citation-key":"eitanHowMusicMoves2006","container-title":"Music Perception","DOI":"10.1525/mp.2006.23.3.221","issue":"3","issued":{"date-parts":[[2006]]},"page":"221–248","title":"How Music Moves","type":"article-journal","URL":"http://caliber.ucpress.net/doi/abs/10.1525/mp.2006.23.3.221","volume":"23"}, {"id":"elliottPushpullFunctionalReactive2009","author":[{"family":"Elliott","given":"Conal"}],"citation-key":"elliottPushpullFunctionalReactive2009","container-title":"Proceedings of 2nd ACM SIGPLAN symposium on Haskell 2009","issued":{"date-parts":[[2009]]},"title":"Push-pull functional reactive programming","type":"paper-conference"}, {"id":"emmersonHumanBodyElectroacoustic2007","author":[{"family":"Emmerson","given":"Simon"}],"citation-key":"emmersonHumanBodyElectroacoustic2007","container-title":"Living Electronic Music","ISBN":"0-7546-5548-2","issued":{"date-parts":[[2007,6]]},"note":"Published: Paperback","page":"61–87","publisher":"Ashgate Pub Co","title":"The Human Body in Electroacoustic Music: Sublimated or Celebrated?","type":"chapter"}, {"id":"emmersonPostscriptUnexpectedAlways2007","author":[{"family":"Emmerson","given":"Simon"}],"citation-key":"emmersonPostscriptUnexpectedAlways2007","container-title":"Living Electronic Music","ISBN":"0-7546-5548-2","issued":{"date-parts":[[2007,6]]},"note":"Published: Paperback","page":"115","publisher":"Ashgate Pub Co","title":"Postscript: the Unexpected is always upon us – Live Coding","type":"chapter","URL":"http://www.worldcat.org/isbn/0754655482"}, {"id":"emmoreyPuzzleWorkingMemory2004","author":[{"family":"Emmorey","given":"K."},{"family":"Wilson","given":"M."}],"citation-key":"emmoreyPuzzleWorkingMemory2004","container-title":"Trends in Cognitive Sciences","DOI":"10.1016/j.tics.2004.10.009","ISSN":"13646613","issue":"12","issued":{"date-parts":[[2004,12]]},"page":"521–523","title":"The puzzle of working memory for sign language","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.tics.2004.10.009","volume":"8"}, {"id":"engelbartMotherAllDemos1968","author":[{"family":"Engelbart","given":"Douglas C."}],"citation-key":"engelbartMotherAllDemos1968","container-title":"Fall Joint Computer Conference, San Francisco, Dec","issued":{"date-parts":[[1968]]},"source":"Google Scholar","title":"The mother of all demos","type":"paper-conference","volume":"9"}, {"id":"engelhardtLanguageGraphicsFramework2002","author":[{"family":"Engelhardt","given":"Yuri"}],"citation-key":"engelhardtLanguageGraphicsFramework2002","issued":{"date-parts":[[2002]]},"publisher":"Institute for Logic, Language and Computation, University of Amsterdam","title":"Language of Graphics - A framework for the analysis of syntax and meaning in maps,charts and diagrams","type":"thesis"}, {"id":"ennsEfficientAlgorithmDetermining1984","abstract":"An algorithm of time complexity O(n) is given which determines whether a fabric hangs together, regardless of the number of directions of its strands.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"Enns","given":"T. C."}],"citation-key":"ennsEfficientAlgorithmDetermining1984","container-title":"Geometriae Dedicata","container-title-short":"Geom Dedicata","DOI":"10.1007/BF00147648","ISSN":"1572-9168","issue":"3","issued":{"date-parts":[[1984,1,1]]},"language":"en","page":"259-260","source":"Springer Link","title":"An efficient algorithm determining when a fabric hangs together","type":"article-journal","URL":"https://doi.org/10.1007/BF00147648","volume":"15"}, {"id":"enoGenerativeMusic1996","author":[{"family":"Eno","given":"Brian"}],"citation-key":"enoGenerativeMusic1996","container-title":"In Motion Magazine","issued":{"date-parts":[[1996]]},"title":"Generative music","type":"article-journal"}, {"id":"ensmengerComputerBoysTake2012","author":[{"family":"Ensmenger","given":"Nathan L."}],"citation-key":"ensmengerComputerBoysTake2012","ISBN":"0-262-51796-5","issued":{"date-parts":[[2012,8]]},"note":"Published: Paperback","publisher":"The MIT Press","title":"The Computer Boys Take Over: Computers, Programmers, and the Politics of Technical Expertise (History of Computing)","type":"book","URL":"http://www.worldcat.org/isbn/0262517965"}, {"id":"ericksonSoundStructureMusic1975","author":[{"family":"Erickson","given":"Robert"}],"citation-key":"ericksonSoundStructureMusic1975","issued":{"date-parts":[[1975]]},"publisher":"University of California press","title":"Sound structure in music","type":"book"}, {"id":"ericssonProtocolAnalysisVerbal1984","author":[{"family":"Ericsson","given":"K. A."},{"family":"Simon","given":"H. A."}],"citation-key":"ericssonProtocolAnalysisVerbal1984","event-place":"Cambridge, MA","issued":{"date-parts":[[1984]]},"publisher":"MIT Press","publisher-place":"Cambridge, MA","title":"Protocol Analysis: Verbal Reports as Data","type":"book"}, {"id":"ernestSpatialImageryAbilitySex1983","author":[{"family":"Ernest","given":"Carole H."}],"citation-key":"ernestSpatialImageryAbilitySex1983","container-title":"Imagery, Memory and Cognition: Essays in honor of Allan Paivio","issued":{"date-parts":[[1983]]},"page":"1–38","title":"Spatial-Imagery Ability, Sex Differences, and Hemispheric Functioning","type":"chapter"}, {"id":"EshkolWachmanMovementNotation","accessed":{"date-parts":[[2017,4,11]]},"citation-key":"EshkolWachmanMovementNotation","title":"Eshkol-Wachman Movement Notation Center - Books","type":"webpage","URL":"http://www.ewmncenter.com/Books.html"}, {"id":"eshunMoreBrilliantSun1998","author":[{"family":"Eshun","given":"Kodwo"}],"citation-key":"eshunMoreBrilliantSun1998","edition":"10th Anniversary edition","ISBN":"0-7043-8025-0","issued":{"date-parts":[[1998,4]]},"note":"Published: Paperback","publisher":"Quartet Books (UK)","title":"More Brilliant Than the Sun: Adventures in Sonic Fiction","type":"book","URL":"http://www.worldcat.org/isbn/0704380250"}, {"id":"essingerJacquardWebHow2004","author":[{"family":"Essinger","given":"James"}],"citation-key":"essingerJacquardWebHow2004","edition":"First","ISBN":"0-19-280577-0","issued":{"date-parts":[[2004,12]]},"note":"Published: Hardcover","publisher":"Oxford University Press, USA","title":"Jacquard's Web: How a Hand-Loom Led to the Birth of the Information Age","type":"book","URL":"http://www.worldcat.org/isbn/0192805770"}, {"id":"euclidThirteenBooksEuclid1956","accessed":{"date-parts":[[2020,4,9]]},"author":[{"literal":"Euclid"},{"family":"Heath","given":"Thomas Little"}],"citation-key":"euclidThirteenBooksEuclid1956","event-place":"New York","issued":{"date-parts":[[1956]]},"language":"English","note":"OCLC: 679941175","publisher":"Dover Publications","publisher-place":"New York","source":"Open WorldCat","title":"The thirteen books of Euclid's Elements","type":"book","volume":"2 (Books III-IX)"}, {"id":"evansTwoLegsThing1998","abstract":"Instead of seeing technology as outside ourselves, it is argued that it is an innate human function and the main driving force in human evolution. Opportunistic 'thing using', long before stone tools appeared, was the likeliest cause of bipedalism. It also forced brain development and the emergence of creativity. The neural basis for this creative technical activity later provided the brain functions on which language could develop. This simple unifying hypothesis has interesting implications for the way that we see technology in history, and for determinist theories of the future. It also bears on the way engineers are trained, and more important, the human faculties which need to be fostered in children.","author":[{"family":"Evans","given":"F. T."}],"citation-key":"evansTwoLegsThing1998","container-title":"AI & Society","DOI":"10.1007/bf01206195","ISSN":"0951-5666","issue":"3","issued":{"date-parts":[[1998,9]]},"page":"185–213","title":"Two legs, thing using and talking: The origins of the creative engineering mind","type":"article-journal","URL":"http://dx.doi.org/10.1007/bf01206195","volume":"12"}, {"id":"fanfaniCraftsmanshipTechnologyChorality2018","abstract":"The article explores areas of interaction between weaving (and the related technique of plaiting) and chorality in archaic and classical choral lyric poetry by considering aspects of the craft and technology of weaving as mapped onto the imagery of a performing chorus. The distinctive interplay of aesthetic pleasure, orderly variegation, and harmonious arrangement of parts that choreia displays in literary sources (and that is conveyed in archaic Greek poetry by the notion of ποικιλία) also informs the technology and logic of ancient weaving, a τέχνη largely associated in poetic imagery with both ποικιλία and chorality. Close reading of the relevant passages shows that πλέκειν (including a number of compounds, both verbs and adjectives, from the themes πλεκ-/πλοκ-) is the most conspicuous textile craft term applied by literary sources to song-making and, in particular, to the performance of a dancing chorus, epinician being the song-type that most consistently appropriates the metapoetics of weaving (for matters of generic continuity with PIE imagery and for elements of performance pragmatics, in addition to its status as the most largely attested sub-type of choral lyric). A selective survey of the image of “plaiting a choral dance” is offered, with a focus on the geranos as a particular instance of a dance whose orchestic features may have been interacting with actual textiles: reviving a hypothesis grounded on ethnographic comparison, a possible performance context for the geranos is tentatively proposed.","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Fanfani","given":"Giovanni"}],"citation-key":"fanfaniCraftsmanshipTechnologyChorality2018","container-title":"Dionysus ex Machina","DOI":"10.5281/zenodo.2553430","issue":"9","issued":{"date-parts":[[2018]]},"page":"6-40","source":"Zenodo","title":"Craftsmanship and technology as chorality: the case of weaving imagery in archaic and classical choral lyric","title-short":"Craftsmanship and technology as chorality","type":"article-journal","URL":"https://zenodo.org/record/2553430","volume":"1"}, {"id":"fanfaniCraftsmanshipTechnologyChorality2019","abstract":"The article explores areas of interaction between weaving (and the related technique of plaiting) and chorality in archaic and classical choral lyric poetry by considering aspects of the craft and technology of weaving as mapped onto the imagery of a performing chorus. The distinctive interplay of aesthetic pleasure, orderly variegation, and harmonious arrangement of parts that choreia displays in literary sources (and that is conveyed in archaic Greek poetry by the notion of ποικιλία) also informs the technology and logic of ancient weaving, a τέχνη largely associated in poetic imagery with both ποικιλία and chorality. Close reading of the relevant passages shows that πλέκειν (including a number of compounds, both verbs and adjectives, from the themes πλεκ-/πλοκ-) is the most conspicuous textile craft term applied by literary sources to song-making and, in particular, to the performance of a dancing chorus, epinician being the song-type that most consistently appropriates the metapoetics of weaving (for matters of generic continuity with PIE imagery and for elements of performance pragmatics, in addition to its status as the most largely attested sub-type of choral lyric). A selective survey of the image of “plaiting a choral dance” is offered, with a focus on the geranos as a particular instance of a dance whose orchestic features may have been interacting with actual textiles: reviving a hypothesis grounded on ethnographic comparison, a possible performance context for the geranos is tentatively proposed.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"Fanfani","given":"Giovanni"}],"citation-key":"fanfaniCraftsmanshipTechnologyChorality2019","container-title":"Dionysus ex Machina","DOI":"10.5281/zenodo.2553430","issue":"9","issued":{"date-parts":[[2019,1,30]]},"page":"6-40","source":"Zenodo","title":"Craftsmanship and technology as chorality: the case of weaving imagery in archaic and classical choral lyric","title-short":"Craftsmanship and technology as chorality","type":"article-journal","URL":"https://zenodo.org/record/2553430"}, {"id":"fanfaniMicroPerformingAncient2020","abstract":"What does an ancient weaver know, when she knows how to weave? How is this complex knowledge graspable and representable? The article presents the research practice of the PENELOPE project as it sets to explore the distinctive logic and order of ancient weaving − an inferential dimension embedded in the material and thus mainly implicit, which is best grasped through performing and which we address here as microperformative. In archaic Greek literary and philosophical sources, weaving is cast as a technology capable of imposing order, creating complex structure, and providing a model for cosmic generation. This pre-scientific ‘knowledge through order’ that weaving affords is in turn embedded in a performance culture where notions like kosmos and poikilia refer to woven fabrics, performances of song-and-dance, patterns in nature and in craft. The production of textile patterns incorporates the organization of elements into wholes in a way that is logical and algorithmic yet still unsuited to be laid down in writing. The mode of knowing specific to weaving is a liminal notion at the intersection of technology, knowledge, and embodied practice. Labelling this mode of ordering as microperformativity, one implication is that reflective decision-making, non-propositional knowledge and material agency all have a bearing on how in weaving threads perform together with the algorithm employed by the weaver, who needs to make decisions on repeats and recursion to generate a coherent whole. Using self-made technology, we then attempt to convey through performances the elements included as separate acts in weaving on the warp-weighted loom of antiquity. The order and patterns of weaving circulate through a multimodal and multimedial performance where the rhythms of ancient Greek poetry, manipulated as musical pattern by the live coder, govern the choreography of a set of synchronized arachnoid robots plaiting a braid by dancing around a maypole.","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Fanfani","given":"Giovanni"},{"family":"Griffiths","given":"Dave"},{"family":"Harlizius-Klück","given":"Ellen"},{"family":"Mamidipudi","given":"Annapurna"},{"family":"McLean","given":"Alex"}],"citation-key":"fanfaniMicroPerformingAncient2020","container-title":"Performance Research","DOI":"10.1080/13528165.2020.1807772","ISSN":"1352-8165","issue":"3","issued":{"date-parts":[[2020,4,2]]},"note":"_eprint: https://doi.org/10.1080/13528165.2020.1807772","page":"123-130","publisher":"Routledge","source":"Taylor and Francis+NEJM","title":"(Micro-)Performing Ancient Weaving in the PENELOPE project","type":"article-journal","URL":"https://doi.org/10.1080/13528165.2020.1807772","volume":"25"}, {"id":"fanfaniOrdersAncientWeaving2016","abstract":"Publication date: 2016 Document version Peer reviewed version Document license: Unspecified Citation for published version (APA): Fanfani, G., & Harlizius-Klück, E. (2016). (B)orders in Ancient Weaving and Archaic Greek Poetry. In M-L. Nosch, M. Harlow, & G. Fanfani (Eds.), Spinning Fates and the Song of the Loom: The Use of Textiles, Clothing and Cloth Production as Metaphor, Symbol and Narrative Device in Greek and Latin Literature (pp. 61-99). Oxford : Oxbow Books. ANCIENT TEXTILE SERIES, Vol.. 24","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Fanfani","given":"Giovanni"},{"family":"Harlizius-Klück","given":"Ellen"}],"citation-key":"fanfaniOrdersAncientWeaving2016","container-title":"undefined","issued":{"date-parts":[[2016]]},"language":"en","source":"www.semanticscholar.org","title":"B)orders in Ancient Weaving and Archaic Greek Poetry","type":"article-journal","URL":"/paper/B)orders-in-Ancient-Weaving-and-Archaic-Greek-Fanfani-Harlizius-Kl%C3%BCck/f43b2e5d2907edbc4414578c9bab4a3ed2b2aaff"}, {"id":"fanfaniOrdersAncientWeaving2016a","author":[{"family":"Fanfani","given":"Giovanni"},{"family":"Harlizius-Klück","given":"Ellen"}],"citation-key":"fanfaniOrdersAncientWeaving2016a","container-title":"Spinning Fates and the Song of the Loom","editor":[{"family":"Nosch","given":"Marie-Louise"},{"family":"Harlow","given":"Mary"},{"family":"Fanfani","given":"Giovanni"}],"ISBN":"978-1-78570-160-3","issued":{"date-parts":[[2016]]},"page":"61–99","publisher":"Oxbow Books","title":"(B)orders in Ancient Weaving and Archaic Greek Poetry","type":"chapter"}, {"id":"farnellMovementNotationSystems1996","author":[{"family":"Farnell","given":"Brenda"}],"citation-key":"farnellMovementNotationSystems1996","container-title":"The World's Writing Systems","editor":[{"family":"Daniels","given":"Peter T."},{"family":"Bright","given":"William"}],"event-place":"New York","issued":{"date-parts":[[1996]]},"page":"855–879","publisher":"Oxford University Press","publisher-place":"New York","title":"Movement Notation Systems","type":"chapter"}, {"id":"faubelMachinemachineCommunicationHierarchies2016","author":[{"family":"Faubel","given":"Christian"}],"citation-key":"faubelMachinemachineCommunicationHierarchies2016","container-title":"Proceedings of the Fourth Conference on Computation, Communication, Aesthetics and X","event":"xCoAx 2016","event-place":"Bergamo","issued":{"date-parts":[[2016]]},"language":"en","page":"201-210","publisher-place":"Bergamo","source":"Zotero","title":"Machine-machine communication without hierarchies and protocols","type":"paper-conference"}, {"id":"FaustProgrammingLanguage2022","abstract":"Functional programming language for signal processing and sound synthesis","accessed":{"date-parts":[[2022,6,24]]},"citation-key":"FaustProgrammingLanguage2022","genre":"C++","issued":{"date-parts":[[2022,6,23]]},"original-date":{"date-parts":[[2016,11,5]]},"publisher":"GRAME","source":"GitHub","title":"Faust - Programming Language for Audio Applications and Plugins","type":"book","URL":"https://github.com/grame-cncm/faust"}, {"id":"fayDesignAdaptationConvention2004","abstract":"To study the development of graphical conventions we had members of a simulated community play a series of graphical interaction games with partners drawn from the same pool (Experiment 1). Once the community was established, a conventional referring scheme emerged that facilitated high levels of semantic coordination, with reduced communicative effort. Next, a forced choice reaction time study (Experiment 2) demonstrated that graphical conventions developed in communities offer a distinct processing advantage when compared with those developed by isolated pairs (i.e. participants who always interact with the same partner). This is interpreted as evidence that the graphical conventions that evolve within a closed community constitute higher order cognitions, the whole being greater than the sum of its parts. Background Vygotsky (1981) claims that higher order cognition is a product of social interaction, that novel structures emerge as a consequence of interpersonal, as opposed to intrapersonal, communication. Hutchins (1995) shares this view, arguing that higher order cognition is a cultural product, a consequence of interaction (humanenvironment and human-human) that is distributed across time and space. According to Hutchins, higher order cognitions emerge from ” an adaptive process that accumulates partial solutions to frequently encountered problems ” (p.354). Lewis (1969, 1975) defines conventions in a comparable way, as arising from situations where a community faces the recurrent problem of coordination. If we agree that conventions are cultural products, should we accept that they represent higher order cognitions? Using Chinese characters as an","author":[{"family":"Fay","given":"Nicolas"},{"family":"Lee","given":"John"},{"family":"Oberlander","given":"Jon"}],"citation-key":"fayDesignAdaptationConvention2004","container-title":"In Proceedings of the 26th Annual Conference of the Cognitive Science Society","issued":{"date-parts":[[2004]]},"page":"411–416","title":"Design, adaptation and convention: The emergence of higher order graphical representations","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.67.2254"}, {"id":"fellbaumWordNetElectronicLexical1998","abstract":"with a preface by George MillerWordNet, an electronic lexical database, is considered to be the most important resource available to researchers in computational linguistics, text analysis, and many related areas. Its design is inspired by current psycholinguistic and computational theories of human lexical memory. English nouns, verbs, adjectives, and adverbs are organized into synonym sets, each representing one underlying lexicalized concept. Different relations link the synonym sets.
The purpose of this volume is twofold. First, it discusses the design of WordNet and the theoretical motivations behind it. Second, it provides a survey of representative applications, including word sense identification, information retrieval, selectional preferences of verbs, and lexical chains.
Contributors: Reem Al-Halimi, Robert C. Berwick, J. F. M. Burg, Martin Chodorow, Christiane Fellbaum, Joachim Grabowski, Sanda Harabagiu, Marti A. Hearst, Graeme Hirst, Douglas A. Jones, Rick Kazman, Karen T. Kohl, Shari Landes, Claudia Leacock, George A. Miller, Katherine J. Miller, Dan Moldovan, Naoyuki Nomura, Uta Priss, Philip Resnik, David St-Onge, Randee Tengi, Reind P. van de Riet, Ellen Voorhees.","citation-key":"fellbaumWordNetElectronicLexical1998","edition":"Illustrated","editor":[{"family":"Fellbaum","given":"Christiane"}],"ISBN":"0-262-06197-X","issued":{"date-parts":[[1998,5]]},"note":"Published: Hardcover","publisher":"The MIT Press","title":"WordNet: An Electronic Lexical Database (Language, Speech, and Communication)","type":"book","URL":"http://www.worldcat.org/isbn/026206197X"},
{"id":"ferrerEmbodiedCognitionApplied2009","author":[{"family":"Ferrer","given":"Rafael"}],"citation-key":"ferrerEmbodiedCognitionApplied2009","container-title":"British Postgraduate Musicology","editor":[{"family":"Foulds","given":"Rachel"}],"issued":{"date-parts":[[2009]]},"title":"Embodied cognition applied to timbre and musical appreciation: Theoretical foundation","type":"article-journal","volume":"10"},
{"id":"filesystemhierarchystandardgroupFilesystemHierarchyStandard2003","author":[{"literal":"Filesystem Hierarchy Standard Group"}],"citation-key":"filesystemhierarchystandardgroupFilesystemHierarchyStandard2003","issued":{"date-parts":[[2003]]},"title":"Filesystem Hierarchy Standard","type":"book","URL":"http://www.pathname.com/fhs/"},
{"id":"fincherStudyingProgrammingPalgrave2008","author":[{"family":"Fincher","given":"Sally"}],"citation-key":"fincherStudyingProgrammingPalgrave2008","ISBN":"1-4039-4687-6","issued":{"date-parts":[[2008,9]]},"note":"Published: Paperback","publisher":"Palgrave Macmillan","title":"Studying Programming (Palgrave Study Guides)","type":"book","URL":"http://www.worldcat.org/isbn/1403946876"},
{"id":"finneyRealtimeDataCollection2001","abstract":"Multiuser UNIX-like operating systems such as Linux are often considered unsuitable for real-time data collection because of the potential for indeterminate timing latencies resulting from preemptive scheduling. In this paper, Linux is shown to be fully adequate for precisely controlled programming with millisecond resolution or better. The Linux system calls that subserve such timing control are described and tested and then utilized in a MIDI-based program for tapping and music performance experiments. The timing of this program, including data input and output, is shown to be accurate at the millisecond level. This demonstrates that Linux, with proper programming, is suitable for real-time experiment software. In addition, the detailed description and test of both the operating system facilities and the application program itself may serve as a model for publicly documenting programming methods and software performance on other operating systems.","author":[{"family":"Finney","given":"Steven A."}],"citation-key":"finneyRealtimeDataCollection2001","container-title":"Behavior Research Methods, Instruments, & Computers","issue":"2","issued":{"date-parts":[[2001,5]]},"page":"167–173","title":"Real-time data collection in Linux: A case study","type":"article-journal","URL":"http://brm.psychonomic-journals.org/content/33/2/167.abstract","volume":"33"},
{"id":"fisherGhostsMyLife2014","author":[{"family":"Fisher","given":"Mark"}],"citation-key":"fisherGhostsMyLife2014","ISBN":"1-78099-226-2","issued":{"date-parts":[[2014,5]]},"note":"Published: Paperback","publisher":"Zero Books","title":"Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures","type":"book","URL":"http://www.worldcat.org/isbn/1780992262"},
{"id":"fishmanTheyWriteRight1996","author":[{"family":"Fishman","given":"Charles"}],"citation-key":"fishmanTheyWriteRight1996","issued":{"date-parts":[[1996]]},"title":"They Write the Right Stuff","type":"manuscript","URL":"http://www.fastcompany.com/magazine/06/writestuff.html"},
{"id":"fishwickAestheticComputingLeonardo2008","abstract":"In _Aesthetic Computing_, key scholars and practitioners from art, design, computer science, and mathematics lay the foundations for a discipline that applies the theory and practice of art to computing. Aesthetic computing explores the way art and aesthetics can play a role in different areas of computer science. One of its goals is to modify computer science by the application of the wide range of definitions and categories normally associated with making art. For example, structures in computing might be represented using the style of Gaudi or the Bauhaus school. This goes beyond the usual definition of aesthetics in computing, which most often refers to the formal, abstract qualities of such structures—a beautiful proof, or an elegant diagram. The contributors to this book discuss the broader spectrum of aesthetics—from abstract qualities of symmetry and form to ideas of creative expression and pleasure—in the context of computer science. The assumption behind aesthetic computing is that the field of computing will be enriched if it embraces all of aesthetics. Human-computer interaction will benefit—\"usability,\" for example, could refer to improving a user's emotional state—and new models of learning will emerge. _Aesthetic Computing_ approaches its subject from a variety of perspectives. After defining the field and placing it in its historical context, the book looks at art and design, mathematics and computing, and interface and interaction. Contributions range from essays on the art of visualization and \"the poesy of programming\" to discussions of the aesthetics of mathematics throughout history and transparency and reflectivity in interface design. **Contributors**: James Alty, Olav W. Bertelsen, Jay David Bolter, Donna Cox, Stephan Diehl, Mark d'Inverno, Michele Emmer, Paul Fishwick, Monica Fleischmann, Ben Fry, Carsten Görg, Susanne Grabowski, Diane Gromala, Kenneth A. Huff, John Lee, Frederic Fol Leymarie, Michael Leyton, Jonas Löwgren, Roger F. Malina, Laurent Mignonneau, Frieder Nake, Ray Paton, Jane Prophet, Aaron Quigley, Casey Reas, Christa Sommerer, Wolfgang Strauss, Noam Tractinksy, Paul Vickers, Dror Zmiri.","author":[{"literal":"Fishwick"},{"family":"Paul","given":"A."}],"citation-key":"fishwickAestheticComputingLeonardo2008","ISBN":"0-262-56237-5","issued":{"date-parts":[[2008,9]]},"note":"Published: Paperback","publisher":"The MIT Press","title":"Aesthetic Computing (Leonardo Book)","type":"book","URL":"http://www.worldcat.org/isbn/0262562375"},
{"id":"fitchPerceptionProductionSyncopated2007","author":[{"family":"Fitch","given":"Tecumseh W."},{"family":"Rosenfeld","given":"Andrew J."}],"citation-key":"fitchPerceptionProductionSyncopated2007","container-title":"Music Perception","issue":"1","issued":{"date-parts":[[2007]]},"page":"43–58","title":"Perception and production of syncopated rhythms","type":"article-journal","volume":"25"},
{"id":"fitzpatrickFeelBeatUsing2004","abstract":"For a robot to be capable of development, it must be able to explore its environment and learn from its experiences. It must find (or create) opportunities to experience the unfamiliar in ways that reveal properties valid beyond the immediate context. In this paper, we develop a novel method for using the rhythm of everyday actions as a basis for identifying the characteristic appearance and sounds associated with objects, people, and the robot itself. Our approach is to identify and segment groups of signals in individual modalities (sight, hearing, and proprioception) based on their rhythmic variation, then to identify and bind causally-related groups of signals across different modalities. By including proprioception as a modality, this cross-modal binding method applies to the robot itself, and we report a series of experiments in which the robot learns about the characteristics of its own body.","author":[{"family":"Fitzpatrick","given":"Paul"},{"family":"Arsenio","given":"Artur"}],"citation-key":"fitzpatrickFeelBeatUsing2004","editor":[{"family":"Berthouze","given":"Luc"},{"family":"Kozima","given":"Hideki"},{"family":"Prince","given":"Christopher G."},{"family":"Sandini","given":"Giulio"},{"family":"Stojanov","given":"Georgi"},{"family":"Metta","given":"Giorgio"},{"family":"Balkenius","given":"Christian"}],"issued":{"date-parts":[[2004]]},"number-of-pages":"59–66","publisher":"Lund University Cognitive Studies","title":"Feel the beat: using cross-modal rhythm to integrate perception of objects, others, and self","type":"book","URL":"http://cogprints.org/4062/","volume":"117"},
{"id":"flakeComputationalBeautyNature2000","abstract":"In this book Gary William Flake develops in depth the simple idea that recurrent rules can produce rich and complicated behaviors. Distinguishing \"agents\" (e.g., molecules, cells, animals, and species) from their interactions (e.g., chemical reactions, immune system responses, sexual reproduction, and evolution), Flake argues that it is the computational properties of interactions that account for much of what we think of as \"beautiful\" and \"interesting.\" From this basic thesis, Flake explores what he considers to be today's four most interesting computational topics: fractals, chaos, complex systems, and adaptation.
Each of the book's parts can be read independently, enabling even the casual reader to understand and work with the basic equations and programs. Yet the parts are bound together by the theme of the computer as a laboratory and a metaphor for understanding the universe. The inspired reader will experiment further with the ideas presented to create fractal landscapes, chaotic systems, artificial life forms, genetic algorithms, and artificial neural networks.","author":[{"family":"Flake","given":"Gary W."}],"citation-key":"flakeComputationalBeautyNature2000","edition":"Reprint","ISBN":"0-262-56127-1","issued":{"date-parts":[[2000,1]]},"note":"Published: Paperback","publisher":"A Bradford Book","title":"The Computational Beauty of Nature: Computer Explorations of Fractals, Chaos, Complex Systems, and Adaptation","type":"book","URL":"http://www.worldcat.org/isbn/0262561271"},
{"id":"flanaganRubyProgrammingLanguage2008","abstract":"The Ruby Programming Language is the authoritative guide to Ruby and provides comprehensive coverage of versions 1.8 and 1.9 of the language. It was written (and illustrated!) by an all-star team: David Flanagan, bestselling author of programming language \"bibles\" (including JavaScript: The Definitive Guide and Java in a Nutshell) and committer to the Ruby Subversion repository. Yukihiro \"Matz\" Matsumoto, creator, designer and lead developer of Ruby and author of Ruby in a Nutshell, which has been expanded and revised to become this book. why the lucky stiff, artist and Ruby programmer extraordinaire. This book begins with a quick-start tutorial to the language, and then explains the language in detail from the bottom up: from lexical and syntactic structure to datatypes to expressions and statements and on through methods, blocks, lambdas, closures, classes and modules. The book also includes a long and thorough introduction to the rich API of the Ruby platform, demonstrating – with heavily-commented example code – Ruby's facilities for text processing, numeric manipulation, collections, input/output, networking, and concurrency. An entire chapter is devoted to Ruby's metaprogramming capabilities. The Ruby Programming Language documents the Ruby language definitively but without the formality of a language specification. It is written for experienced programmers who are new to Ruby, and for current Ruby programmers who want to challenge their understanding and increase their mastery of the language.","author":[{"family":"Flanagan","given":"David"},{"family":"Matsumoto","given":"Yukihiro"}],"citation-key":"flanaganRubyProgrammingLanguage2008","edition":"First","ISBN":"0-596-51617-7","issued":{"date-parts":[[2008,2]]},"note":"Published: Paperback","publisher":"O'Reilly Media","title":"The Ruby Programming Language","type":"book","URL":"http://www.worldcat.org/isbn/0596516177"},
{"id":"flashCoordinationArmMovements1985","abstract":"This paper presents studies of the coordination of voluntary human arm movements. A mathematical model is formulated which is shown to predict both the qualitative features and the quantitative details observed experimentally in planar, multijoint arm movements. Coordination is modeled mathematically by defining an objective function, a measure of performance for any possible movement. The unique trajectory which yields the best performance is determined using dynamic optimization theory. In the work presented here, the objective function is the square of the magnitude of jerk (rate of change of acceleration) of the hand integrated over the entire movement. This is equivalent to assuming that a major goal of motor coordination is the production of the smoothest possible movement of the hand. Experimental observations of human subjects performing voluntary unconstrained movements in a horizontal plane are presented. They confirm the following predictions of the mathematical model: unconstrained point-to-point motions are approximately straight with bell-shaped tangential velocity profiles; curved motions (through an intermediate point or around an obstacle) have portions of low curvature joined by portions of high curvature; at points of high curvature, the tangential velocity is reduced; the durations of the low-curvature portions are approximately equal. The theoretical analysis is based solely on the kinematics of movement independent of the dynamics of the musculoskeletal system and is successful only when formulated in terms of the motion of the hand in extracorporal space. The implications with respect to movement organization are discussed.","author":[{"family":"Flash","given":"T."},{"family":"Hogan","given":"N."}],"citation-key":"flashCoordinationArmMovements1985","container-title":"The Journal of Neuroscience","ISSN":"1529-2401","issue":"7","issued":{"date-parts":[[1985,7]]},"page":"1688–1703","PMID":"4020415","title":"The coordination of arm movements: an experimentally confirmed mathematical model","type":"article-journal","URL":"http://www.jneurosci.org/content/5/7/1688.abstract","volume":"5"},
{"id":"fodorLanguageThoughtLanguage1980","author":[{"family":"Fodor","given":"Jerry A."}],"citation-key":"fodorLanguageThoughtLanguage1980","edition":"First","ISBN":"0-674-51030-5","issued":{"date-parts":[[1980,1]]},"note":"Published: Paperback","publisher":"Harvard University Press","title":"The Language of Thought (Language & Thought Series)","type":"book","URL":"http://www.worldcat.org/isbn/0674510305"},
{"id":"fontanaNewFormulation2DWaveguide1995","author":[{"family":"Fontana","given":"F."},{"family":"Rocchesso","given":"D."}],"citation-key":"fontanaNewFormulation2DWaveguide1995","container-title":"Proceedings of XI Colloquium on Musical Informatics 1995","issued":{"date-parts":[[1995]]},"page":"27–30","title":"A New Formulation of the 2D-Waveguide Mesh for Percussion Instruments","type":"paper-conference"},
{"id":"fontanaPhysicalModelingMembranes1998","abstract":"Recent research on Physical Modeling has led to 2-D discrete-time structures based on the Digital Waveguides. These structures are well suited for efficient yet accurate simulation of wave propagation in an ideal membrane. Nevertheless, real membranes exhibit a different behaviour, due to the environmental conditions and to the material they are made of. In this work we consider some aspects, crucial for the audio signal, of the physical phenomena concerning real membranes, and we will develop a 2-D waveguide model encompassing the effects of these aspects. In order to excite the simulated membrane, we will consider a hammer model previously developed for piano strings, and here adapted to fit the hammer-membrane interaction.","author":[{"family":"Fontana","given":"Federico"}],"citation-key":"fontanaPhysicalModelingMembranes1998","container-title":"Acta Acustica united with Acustica","issued":{"date-parts":[[1998,5]]},"page":"529–542","title":"Physical Modeling of Membranes for Percussion Instruments","type":"article-journal","URL":"http://www.ingentaconnect.com/content/dav/aaua/1998/00000084/00000003/art00014"},
{"id":"fontanaSignaltheoreticCharacterizationWaveguide2001","abstract":"Waveguide meshes are efficient and versatile models of wave propagation along a multidimensional ideal medium. The choice of the mesh geometry affects both the computational cost and the accuracy of simulations. In this paper, we focus on two-dimensional (2-D) geometries and use multidimensional sampling theory to compare the square, triangular, and hexagonal meshes in terms of sampling efficiency and dispersion error under conditions of critical sampling. The analysis shows that the triangular geometry exhibits the most desirable tradeoff between accuracy and computational cost","author":[{"family":"Fontana","given":"F."},{"family":"Rocchesso","given":"D."}],"citation-key":"fontanaSignaltheoreticCharacterizationWaveguide2001","container-title":"Speech and Audio Processing, IEEE Transactions on","container-title-short":"Speech and Audio Processing, IEEE Transactions on","DOI":"10.1109/89.902281","ISSN":"1063-6676","issue":"2","issued":{"date-parts":[[2001,2]]},"page":"152–161","title":"Signal-theoretic characterization of waveguide mesh geometries for models of two-dimensional wave propagation in elastic media","type":"article-journal","URL":"http://dx.doi.org/10.1109/89.902281","volume":"9"},
{"id":"forthMusicalCreativityConceptual2008","author":[{"family":"Forth","given":"Jamie"},{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"forthMusicalCreativityConceptual2008","container-title":"Proceedings of International Joint Workshop on Computational Creativity 2008","issued":{"date-parts":[[2008]]},"page":"21–30","title":"Musical Creativity on the Conceptual Level","type":"paper-conference"},
{"id":"forthUnifyingConceptualSpaces2010","abstract":"We examine Gärdenfors' theory of conceptual spaces, a geometrical form of knowledge representation (Conceptual spaces: The geometry of thought, MIT Press, Cambridge, 2000 ), in the context of the general Creative Systems Framework introduced by Wiggins (J Knowl Based Syst 19(7):449–458, 2006a ; New Generation Comput 24(3):209–222, 2006 b ). Gärdenfors' theory offers a way of bridging the traditional divide between symbolic and sub-symbolic representations, as well as the gap between representational formalism and meaning as perceived by human minds. We discuss how both these qualities may be advantageous from the point of view of artificial creative systems. We take music as our example domain, and discuss how a range of musical qualities may be instantiated as conceptual spaces, and present a detailed conceptual space formalisation of musical metre.","author":[{"family":"Forth","given":"Jamie"},{"family":"Wiggins","given":"Geraint A."},{"family":"McLean","given":"Alex"}],"citation-key":"forthUnifyingConceptualSpaces2010","container-title":"Minds and Machines","DOI":"10.1007/s11023-010-9207-x","ISSN":"0924-6495","issue":"4","issued":{"date-parts":[[2010,11]]},"page":"503–532","title":"Unifying Conceptual Spaces: Concept Formation in Musical Creative Systems","type":"article-journal","URL":"http://dx.doi.org/10.1007/s11023-010-9207-x","volume":"20"},
{"id":"fortuneSweeplineAlgorithmVoronoi1986","author":[{"family":"Fortune","given":"S."}],"citation-key":"fortuneSweeplineAlgorithmVoronoi1986","container-title":"SCG '86: Proceedings of the second annual symposium on Computational geometry","event-place":"New York, NY, USA","issued":{"date-parts":[[1986]]},"page":"313–322","publisher":"ACM Press","publisher-place":"New York, NY, USA","title":"A sweepline algorithm for Voronoi diagrams","type":"paper-conference"},
{"id":"FRAMEWORKBILL","accessed":{"date-parts":[[2017,5,18]]},"citation-key":"FRAMEWORKBILL","title":"FRAME WORK BILL. (Hansard, 27 February 1812)","type":"webpage","URL":"http://hansard.millbanksystems.com/lords/1812/feb/27/frame-work-bill#S1V0021P0_18120227_HOL_3"},
{"id":"franklinRealWorldTechnology1999","abstract":"In this expanded edition of her bestselling 1989 CBC Massey Lectures, renowned scientist and humanitarian Ursula M. Franklin examines the impact of technology upon our lives and addresses the extraordinary changes since The Real World of Technology was first published. In four new chapters, Franklin tackles contentious issues, such as the dilution of privacy and intellectual property rights, the impact of the current technology on government and governance, the shift from consumer capitalism to investment capitalism, and the influence of the Internet upon the craft of writing.","author":[{"family":"Franklin","given":"Ursula"}],"citation-key":"franklinRealWorldTechnology1999","edition":"2nd edition","issued":{"date-parts":[[1999,6,1]]},"language":"English","number-of-pages":"224","publisher":"House of Anansi Press","source":"Amazon","title":"The Real World of Technology","type":"book"},
{"id":"franklinSearchingImaginedEnvironments1990","author":[{"family":"Franklin","given":"N."},{"family":"Tversky","given":"B."}],"citation-key":"franklinSearchingImaginedEnvironments1990","container-title":"Journal of Experimental Psychology","issued":{"date-parts":[[1990]]},"title":"Searching imagined environments","type":"article-journal"},
{"id":"freedAuditoryCorrelatesPerceived1990","abstract":"A psychophysical investigation of timbre was undertaken with the intent of deriving quantitative results that could be useful in musical applications. Recordings of metal objects being struck with percussion mallets were rated by subjects on a unidimensional perceptual scale of perceived mallet hardness. Four acoustical parameters of the attack portion (first 325 ms) were defined and evaluated as predictors of perceived mallet hardness rating. To measure these parameters, a critical-band filter bank was employed. Two curves were extracted from the filter-bank output: (1) spectral level (log of area under spectrum) over time, and (2) spectral centroid over time. For each curve, two parameters were measured: the mean and the slope of the spectral level curve, and the mean and the time-weighted average of the spectral centroid curve. Multiple regression analysis was used to relate the perceptual ratings to these four acoustical parameters, and a good fit was achieved (multiple R-squared=0.725, F=1135.8, p<0.01). The resulting function is suitable for quantitatively predicting the perceptual dimension of perceived mallet hardness.","author":[{"family":"Freed","given":"Daniel J."}],"citation-key":"freedAuditoryCorrelatesPerceived1990","container-title":"The Journal of the Acoustical Society of America","DOI":"10.1121/1.399298","issue":"1","issued":{"date-parts":[[1990]]},"page":"311–322","title":"Auditory correlates of perceived mallet hardness for a set of recorded percussive sound events","type":"article-journal","URL":"http://dx.doi.org/10.1121/1.399298","volume":"87"},
{"id":"freedFeaturesFutureOpen2009","abstract":"The history and future of Open Sound Control (OSC) is discussed and the next iteration of the OSC specification is introduced with discussion of new features to support NIME community activities. The roadmap to a major revision of OSC is developed.","author":[{"family":"Freed","given":"Adrian"},{"family":"Schmeder","given":"Andy"}],"citation-key":"freedFeaturesFutureOpen2009","container-title":"Proceedings of New Interfaces for Musical Expression 2009","issued":{"date-parts":[[2009]]},"title":"Features and Future of Open Sound Control version 1.1 for NIME","type":"paper-conference","URL":"http://cnmat.berkeley.edu/node/7002"},
{"id":"freydShareabilitySocialPsychology1983","abstract":"Psychologists and cognitive scientists interested in the nature of internal representations of human knowledge often use observable regularities or structures to infer what the innate constraints on those representations must be like. It is possible, however, that certain structures might come about only when a group of people share a knowledge domain. Furthermore, it is possible that there are analyzable constraints on knowledge structures that emerge when knowledge is being shared. Such constraints are referred to in this paper as \"shareability\" constraints. A number of examples of observable structures in human knowledge are discussed in terms of shareability constraints. An attempt is made to determine which sorts of structures are most shareable, and how those structures may differ from the sorts of structures that are easily represented by the individual mind but not easily shared between minds.","author":[{"family":"Freyd","given":"Jennifer J."}],"citation-key":"freydShareabilitySocialPsychology1983","container-title":"Cognitive Science","issue":"3","issued":{"date-parts":[[1983]]},"page":"191–210","title":"Shareability: The social psychology of epistemology","type":"article-journal","URL":"http://www.sciencedirect.com/science/article/B6W48-4DXC4B8-1P/2/11b8e1b4950af88436e2b01aa54d7266","volume":"7"},
{"id":"fribergGenerativeRulesMusic1991","author":[{"family":"Friberg","given":"Anders"}],"citation-key":"fribergGenerativeRulesMusic1991","container-title":"Computer Music Journal","issue":"2","issued":{"date-parts":[[1991]]},"page":"56–71","title":"Generative Rules for Music Performance: A Formal Description of a Rule System","type":"article-journal","URL":"http://www.jstor.org/stable/3680917","volume":"15"},
{"id":"fribergOverviewKTHRule2006","author":[{"family":"Friberg","given":"A."},{"family":"Bresin","given":"R."},{"family":"Sundberg","given":"J."}],"citation-key":"fribergOverviewKTHRule2006","container-title":"Advances in Cognitive Psychology, Special Issue on Music Performance","issue":"2-3","issued":{"date-parts":[[2006]]},"page":"145–161","title":"Overview of the KTH rule system for musical performance","type":"article-journal","URL":"http://www.speech.kth.se/prod/publications/files/1330.pdf","volume":"2"},
{"id":"friedlMasteringRegularExpressions2006","abstract":"Regular expressions are a central element of UNIX utilities like egrep and programming languages such as Perl. But whether you're a UNIX user or not, you can benefit from a better understanding of regular expressions since they work with applications ranging from validating data-entry fields to manipulating information in multimegabyte text files. Mastering Regular Expressions quickly covers the basics of regular-expression syntax, then delves into the mechanics of expression-processing, common pitfalls, performance issues, and implementation-specific differences. Written in an engaging style and sprinkled with solutions to complex real-world problems, Mastering Regular Expressions offers a wealth information that you can put to immediate use.
Regular expressions are an extremely powerful tool for manipulating text and data. They are now standard features in a wide range of languages and popular tools, including Perl, Python, Ruby, Java, VB.NET and C# (and any language using the .NET Framework), PHP, and MySQL.
If you don't use regular expressions yet, you will discover in this book a whole new world of mastery over your data. If you already use them, you'll appreciate this book's unprecedented detail and breadth of coverage. If you think you know all you need to know about regular expressions, this book is a stunning eye-opener.
As this book shows, a command of regular expressions is an invaluable skill. Regular expressions allow you to code complex and subtle text processing that you never imagined could be automated. Regular expressions can save you time and aggravation. They can be used to craft elegant solutions to a wide range of problems. Once you've mastered regular expressions, they'll become an invaluable part of your toolkit. You will wonder how you ever got by without them.Yet despite their wide availability, flexibility, and unparalleled power, regular expressions are frequently underutilized. Yet what is power in the hands of an expert can be fraught with peril for the unwary. Mastering Regular Expressions will help you navigate the minefield to becoming an expert and help you optimize your use of regular expressions.
Mastering Regular Expressions, Third Edition, now includes a full chapter devoted to PHP and its powerful and expressive suite of regular expression functions, in addition to enhanced PHP coverage in the central \"core\" chapters. Furthermore, this edition has been updated throughout to reflect advances in other languages, including expanded in-depth coverage of Sun's java.util.regex package, which has emerged as the standard Java regex implementation. Topics include:
Written in the lucid, entertaining tone that makes a complex, dry topic become crystal-clear to programmers, and sprinkled with solutions to complex real-world problems, Mastering Regular Expressions, Third Edition offers a wealth information that you can put to immediate use.
Reviews of this new edition and the second edition:
\"There isn't a better (or more useful) book available on regular expressions.\"
–Zak Greant, Managing Director, eZ Systems
\"A real tour-de-force of a book which not only covers the mechanics of regexes in extraordinary detail but also talks about efficiency and the use of regexes in Perl, Java, and .NET...If you use regular expressions as part of your professional work (even if you already have a good book on whatever language you're programming in) I would strongly recommend this book to you.\"
–Dr. Chris Brown, Linux Format
\"The author does an outstanding job leading the reader from regex novice to master. The book is extremely easy to read and chock full of useful and relevant examples...Regular expressions are valuable tools that every developer should have in their toolbox. Mastering Regular Expressions is the definitive guide to the subject, and an outstanding resource that belongs on every programmer's bookshelf. Ten out of Ten Horseshoes.\"
–Jason Menard, Java Ranch
Parts of Philosophy in the Flesh retrace the ground covered in the authors' earlier Metaphors We Live By, which revealed how we deal with abstract concepts through metaphor. (The previous sentence, for example, relies on the metaphors \"Knowledge is a place\" and \"Knowing is seeing\" to make its point.) Here they reveal the metaphorical underpinnings of basic philosophical concepts like time, causality–even morality–demonstrating how these metaphors are rooted in our embodied experiences. They repropose philosophy as an attempt to perfect such conceptual metaphors so that we can understand how our thought processes shape our experience; they even make a tentative effort toward rescuing spirituality from the heavy blows dealt by the disproving of the disembodied mind or \"soul\" by reimagining \"transcendence\" as \"imaginative empathetic projection.\" Their source list is helpfully arranged by subject matter, making it easier to follow up on their citations. If you enjoyed the mental workout from Steven Pinker's How the Mind Works, Lakoff and Johnson will, to pursue the \"Learning is exercise\" metaphor, take you to the next level of training. –Ron Hogan Two leading thinkers offer a blueprint for a new philosophy.
\"Their ambition is massive, their argument important.…The authors engage in a sort of metaphorical genome project, attempting to delineate the genetic code of human thought.\" -The New York Times Book Review
\"This book will be an instant academic best-seller.\" -Mark Turner, University of Maryland
This is philosophy as it has never been seen before. Lakoff and Johnson show that a philosophy responsible to the science of the mind offers a radically new and detailed understandings of what a person is. After first describing the philosophical stance that must follow from taking cognitive science seriously, they re-examine the basic concepts of the mind, time, causation, morality, and the self; then they rethink a host of philosophical traditions, from the classical Greeks through Kantian morality through modern analytical philosophy.","author":[{"family":"Lakoff","given":"George"},{"family":"Johnson","given":"Mark"}],"citation-key":"lakoffPhilosophyFleshEmbodied1999","ISBN":"0-465-05674-1","issued":{"date-parts":[[1999,12]]},"note":"Published: Paperback","publisher":"HarperCollins Publishers","title":"Philosophy in the Flesh : The Embodied Mind and Its Challenge to Western Thought","type":"book","URL":"http://www.worldcat.org/isbn/0465056741"}, {"id":"lakoffWomenFireDangerous1997","abstract":"
There's a common belief that cyberspace cannot be regulated-that it is, in its very essence, immune from the government's (or anyone else's) control. Code, first published in 2000, argues that this belief is wrong. It is not in the nature of cyberspace to be unregulable; cyberspace has no \"nature.\" It only has code-the software and hardware that make cyberspace what it is. That code can create a place of freedom-as the original architecture of the Net did-or a place of oppressive control. Under the influence of commerce, cyberpsace is becoming a highly regulable space, where behavior is much more tightly controlled than in real space. But that's not inevitable either. We can-we must-choose what kind of cyberspace we want and what freedoms we will guarantee. These choices are all about architecture: about what kind of code will govern cyberspace, and who will control it. In this realm, code is the most significant form of law, and it is up to lawyers, policymakers, and especially citizens to decide what values that code embodies.
Since its original publication, this seminal book has earned the status of a minor classic. This second edition, or Version 2.0, has been prepared through the author's wiki, a web site that allows readers to edit the text, making this the first reader-edited revision of a popular book.","author":[{"family":"Lessig","given":"Lawrence"}],"citation-key":"lessigCodeOtherLaws2006","ISBN":"0-465-03914-6","issued":{"date-parts":[[2006,12]]},"note":"Published: Paperback","publisher":"Basic Books","title":"Code: And Other Laws of Cyberspace, Version 2.0","type":"book","URL":"http://www.worldcat.org/isbn/0465039146"},
{"id":"leveltModelsWordProduction1999","abstract":"Research on spoken word production has been approached from two angles. In one research tradition, the analysis of spontaneous or induced speech errors led to models that can account for speech error distributions. In another tradition, the measurement of picture naming latencies led to chronometric models accounting for distributions of reaction times in word production. Both kinds of models are, however, dealing with the same underlying processes: (1) the speaker's selection of a word that is semantically and syntactically appropriate; (2) the retrieval of the word's phonological properties; (3) the rapid syllabification of the word in context; and (4) the preparation of the corresponding articulatory gestures. Models of both traditions explain these processes in terms of activation spreading through a localist, symbolic network. By and large, they share the main levels of representation: conceptual/semantic, syntactic, phonological and phonetic. They differ in various details, such as the amount of cascading and feedback in the network. These research traditions have begun to merge in recent years, leading to highly constructive experimentation. Currently, they are like two similar knives honing each other. A single pair of scissors is in the making.","author":[{"family":"Levelt","given":"Willem J. M."}],"citation-key":"leveltModelsWordProduction1999","container-title":"Trends in Cognitive Sciences","DOI":"10.1016/s1364-6613(99)01319-4","ISSN":"13646613","issue":"6","issued":{"date-parts":[[1999,6]]},"page":"223–232","title":"Models of word production","type":"article-journal","URL":"http://dx.doi.org/10.1016/s1364-6613(99)01319-4","volume":"3"},
{"id":"levenshteinBinaryCodesCapable1966","author":[{"family":"Levenshtein","given":"V. I."}],"citation-key":"levenshteinBinaryCodesCapable1966","container-title":"Soviet Physics Doklady.","issue":"8","issued":{"date-parts":[[1966]]},"page":"707–710","title":"Binary codes capable of correcting deletions, insertions and reversals.","type":"article-journal","volume":"10"},
{"id":"levi-straussSavageMindNature1968","author":[{"family":"Lévi-Strauss","given":"Claude"}],"citation-key":"levi-straussSavageMindNature1968","ISBN":"0-226-47484-4","issued":{"date-parts":[[1968,9]]},"note":"Published: Paperback","publisher":"University Of Chicago Press","title":"The Savage Mind (Nature of Human Society)","type":"book","URL":"http://www.worldcat.org/isbn/0226474844"},
{"id":"levinInsituSpeechVisualization2004","abstract":"Although we can sense someone's vocalizations with our ears, nose, and haptic sense, speech is invisible to us without the help of technical aids. In this paper, we present three interactive artworks which explore the question: ” if we could see our speech, what might it look like? ” The artworks we present are concerned with the aesthetic implications of making the human voice visible, and were created with a particular emphasis on interaction designs that support the perception of tight spatio-temporal relationships between sound, image, and the body. We coin the term in-situ speech visualization to describe a variety of augmented-reality techniques by which graphic representations of speech can be made to appear coincident with their apparent point of origination.","author":[{"family":"Levin","given":"Golan"}],"citation-key":"levinInsituSpeechVisualization2004","container-title":"In Proceedings of The 3rd International Symposium on Non-Photorealistic Animation and Rendering","issued":{"date-parts":[[2004]]},"page":"7–14","title":"In-situ speech visualization in real-time interactive installation and performance","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.100.4202"},
{"id":"levitinControlParametersMusical2002","abstract":"In this paper we describe a new way of thinking about musical tones, specifically in the context of how features of a sound might be controlled by computer musicians, and how those features might be most appropriately mapped onto musical controllers. Our approach is the consequence of one bias that we should reveal at the outset: we believe that electronically controlled (and this includes computer-controlled)musical instruments need to be emancipated from the keyboard metaphor; although piano-like keyboards are convenient and familiar, they limit the musician's expressiveness (Mathews 1991, Vertegaal and Eaglestone 1996, Paradiso 1997, Levitin and Adams 1998). This is especially true in the domain of computer music,in which timbres can be created that go far beyond the physical constraints of traditional acoustic instruments.","author":[{"family":"Levitin","given":"Daniel J."},{"family":"McAdams","given":"Stephen"},{"family":"Adams","given":"Robert L."}],"citation-key":"levitinControlParametersMusical2002","container-title":"Org. Sound","DOI":"10.1017/s135577180200208x","ISSN":"1355-7718","issue":"2","issued":{"date-parts":[[2002]]},"page":"171–189","title":"Control parameters for musical instruments: a foundation for new mappings of gesture to sound","type":"article-journal","URL":"http://dx.doi.org/10.1017/s135577180200208x","volume":"7"},
{"id":"levyHackersHeroesComputer2002","abstract":"Steven Levy's classic book explains why the misuse of the word \"hackers\" to describe computer criminals does a terrible disservice to many important shapers of the digital revolution. Levy follows members of an MIT model railroad club–a group of brilliant budding electrical engineers and computer innovators–from the late 1950s to the mid-1980s. These eccentric characters used the term \"hack\" to describe a clever way of improving the electronic system that ran their massive railroad. And as they started designing clever ways to improve computer systems, \"hack\" moved over with them. These maverick characters were often fanatics who did not always restrict themselves to the letter of the law and who devoted themselves to what became known as \"The Hacker Ethic.\" The book traces the history of hackers, from finagling access to clunky computer-card-punching machines to uncovering the inner secrets of what would become the Internet. This story of brilliant, eccentric, flawed, and often funny people devoted to their dream of a better world will appeal to a wide audience. Today, technology is cool. Owning the most powerful computer, the latest high-tech gadget, and the whizziest web site is a status symbol on a par with having a flashy car or a designer suit. And a media obsessed with the digital explosion has reappropriated the term \"computer nerd\" so that it's practically synonymous with \"entrepreneur.\" Yet, a mere fifteen years ago, wireheads hooked on tweaking endless lines of code were seen as marginal weirdos, outsiders whose world would never resonate with the mainstream. That was before one pioneering work documented the underground computer revolution that was about to change our world forever. With groundbreaking profiles of Bill Gates, Steve Wozniak, MIT's tech Model Railroad Club, and more, Steven Levy's Hackers brilliantly captures a seminal moment when the risk takers and explorers were poised to conquer twentieth-century America's last great frontier. And in the Internet age, \"the hacker ethic\"–first espoused here–is alive an well.","author":[{"family":"Levy","given":"Steven"}],"citation-key":"levyHackersHeroesComputer2002","ISBN":"0-14-100051-1","issued":{"date-parts":[[2002,1]]},"note":"Published: Paperback","publisher":"Penguin Putnam","title":"Hackers: Heroes of the Computer Revolution","type":"book","URL":"http://www.worldcat.org/isbn/0141000511"},
{"id":"lewisLiveAlgorithmsFuture2007","author":[{"family":"Lewis","given":"G. E."}],"citation-key":"lewisLiveAlgorithmsFuture2007","container-title":"CTWatch Quarterly","issue":"2","issued":{"date-parts":[[2007,5]]},"title":"Live Algorithms and The Future of Music","type":"article-journal","volume":"3"},
{"id":"lewisMaxMusicalContext1993","author":[{"family":"Lewis","given":"George"}],"citation-key":"lewisMaxMusicalContext1993","container-title":"Computer Music Journal","issue":"2","issued":{"date-parts":[[1993]]},"title":"Max in a Musical Context","type":"article-journal","volume":"17"},
{"id":"lewittParagraphsConceptualArt1967","author":[{"family":"LeWitt","given":"Sol"}],"citation-key":"lewittParagraphsConceptualArt1967","container-title":"Artforum","issue":"10","issued":{"date-parts":[[1967]]},"page":"79–83","publisher":"AEIUO Rome","source":"Google Scholar","title":"Paragraphs on conceptual art","type":"article-journal","volume":"5"},
{"id":"leymarieAestheticComputingShape2006","author":[{"family":"Leymarie","given":"Frederic F."}],"citation-key":"leymarieAestheticComputingShape2006","collection-title":"Aesthetic Computing, Paul Fishwick, ed.","issued":{"date-parts":[[2006]]},"publisher":"MIT Press","title":"Aesthetic Computing and Shape","type":"chapter"},
{"id":"libermanMotorTheorySpeech1985","abstract":"A motor theory of speech perception, initially proposed to account for results of early experiments with synthetic speech, is now extensively revised to accommodate recent findings, and to relate the assumptions of the theory to those that might be made about other perceptual modes. According to the revised theory, phonetic information is perceived in a biologically distinct system, a 'module' specialized to detect the intended gestures of the speaker that are the basis for phonetic categories. Built into the structure of this module is the unique but lawful relationship between the gestures and the acoustic patterns in which they are variously overlapped. In consequence, the module causes perception of phonetic structure without translation from preliminary auditory impressions. Thus, it is comparable to such other modules as the one that enables an animal to localize sound. Peculiar to the phonetic module are the relation between perception and production it incorporates and the fact that it must compete with other modules for the same stimulus variations.","author":[{"family":"Liberman","given":"Alvin M."},{"family":"Mattingly","given":"Ignatius G."}],"citation-key":"libermanMotorTheorySpeech1985","container-title":"Cognition","issue":"1","issued":{"date-parts":[[1985]]},"page":"1–36","title":"The motor theory of speech perception revised","type":"article-journal","URL":"http://dx.doi.org/10.1016/0010-0277(85)90021-6","volume":"21"},
{"id":"libermanRelationSpeechLanguage2000","abstract":"There are two widely divergent theories about the relation of speech to language. The more conventional view holds that the elements of speech are sounds that rely for their production and perception on two wholly separate processes, neither of which is distinctly linguistic. Accordingly, the primary motor and perceptual representations are inappropriate for linguistic purposes until a cognitive process of some sort has connected them to language and to each other. The less conventional theory takes the speech elements to be articulatory gestures that are the primary objects of both production and perception. Those gestures form a natural class that serves a linguistic function and no other. Therefore, their representations are immediately linguistic, requiring no cognitive intervention to make them appropriate for use by the other components of the language system. The unconventional view provides the more plausible answers to three important questions: (1) How was the necessary parity between speaker and listener established in evolution, and how maintained? (2) How does speech meet the special requirements that underlie its ability, unique among natural communication systems, to encode an indefinitely large number of meanings? (3) What biological properties of speech make it easier than the reading and writing of its alphabetic transcription?","author":[{"family":"Liberman","given":"A."}],"citation-key":"libermanRelationSpeechLanguage2000","container-title":"Trends in Cognitive Sciences","DOI":"10.1016/s1364-6613(00)01471-6","ISSN":"13646613","issue":"5","issued":{"date-parts":[[2000,5]]},"page":"187–196","title":"On the relation of speech to language","type":"article-journal","URL":"http://dx.doi.org/10.1016/s1364-6613(00)01471-6","volume":"4"},
{"id":"liddicoatIntroductionConversationAnalysis2007","author":[{"family":"Liddicoat","given":"Anthony J."}],"citation-key":"liddicoatIntroductionConversationAnalysis2007","ISBN":"0-8264-9115-4","issued":{"date-parts":[[2007,2]]},"note":"Published: Paperback","publisher":"Continuum","title":"An Introduction to Conversation Analysis","type":"book","URL":"http://www.worldcat.org/isbn/0826491154"},
{"id":"lieh-tzuTaoistTeachingsBook2008","abstract":"This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.","author":[{"family":"Lieh-Tzu","given":"Liezi"}],"citation-key":"lieh-tzuTaoistTeachingsBook2008","ISBN":"978-0-559-27047-5","issued":{"date-parts":[[2008,10,15]]},"language":"English","number-of-pages":"124","publisher":"BiblioLife","source":"Amazon","title":"Taoist Teachings from the Book of Lieh Tzu","type":"book"},
{"id":"lingQuantitativeCharacterizationsSpeech2000","abstract":"British English and Singapore English are said to differ in rhythmic patterning. British English is commonly described as stress-timed, but Singapore English is claimed to be syllable-timed. In the present paper, we explore the acoustic nature of the suggested cross-varietal difference. In directly comparable samples from British English and Singapore English, two types of acoustic measurements were taken; we calculated a variability index reflecting changes in vowel length over utterances, and measurements reflecting vowel quality. Our findings provide acoustic data which support the hypothesized cross-varietal difference in rhythmic patterning; we show (1) that successive vowel durations are more nearly equal in Singapore English than in British English, and (2) that reduced vowels pattern more peripherally in the F1/F2 formant space in Singapore English than in British English. We complete the paper with a comparison of our vowel variability index with a set of acoustic measures for rhythm proposed by Ramus, Nespor, and Mehler (1999), which focus on variability in vocalic and intervocalic intervals. We conclude that our variability index is more successful in capturing rhythmic differences than Ramus et al. (1999)'s measures, and that an application of our index to Ramus et al.'s intervocalic measure may provide a further diagnostic of rhythmic class.","author":[{"family":"Ling","given":"L. E."},{"family":"Grabe","given":"E."},{"family":"Nolan","given":"F."}],"citation-key":"lingQuantitativeCharacterizationsSpeech2000","container-title":"Language and speech","ISSN":"0023-8309","issue":"4","issued":{"date-parts":[[2000]]},"page":"377–401","PMID":"11419223","title":"Quantitative characterizations of speech rhythm: syllable-timing in Singapore English.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/11419223","volume":"43"},
{"id":"LinuxMint20","accessed":{"date-parts":[[2021,3,9]]},"citation-key":"LinuxMint20","title":"Linux Mint 20.1 \"Ulyssa\" - Xfce (64-bit) - Linux Mint","type":"webpage","URL":"https://www.linuxmint.com/edition.php?id=286"},
{"id":"listerMultinationalStudyReading2004","abstract":"A study by a ITiCSE 2001 working group (\"the McCracken Group\") established that many students do not know how to program at the conclusion of their introductory courses. A popular explanation for this incapacity is that the students lack the ability to problem-solve. That is, they lack the ability to take a problem description, decompose it into sub-problems and implement them, then assemble the pieces into a complete solution. An alternative explanation is that many students have a fragile grasp of both basic programming principles and the ability to systematically carry out routine programming tasks, such as tracing (or \"desk checking\") through code. This ITiCSE 2004 working group studied the alternative explanation, by testing students from seven countries, in two ways. First, students were tested on their ability to predict the outcome of executing a short piece of code. Second, students were tested on their ability, when given the desired function of short piece of near-complete code, to select the correct completion of the code from a small set of possibilities. Many students were weak at these tasks, especially the latter task, suggesting that such students have a fragile grasp of skills that are a prerequisite for problem-solving.","author":[{"family":"Lister","given":"Raymond"},{"family":"Adams","given":"Elizabeth S."},{"family":"Fitzgerald","given":"Sue"},{"family":"Fone","given":"William"},{"family":"Hamer","given":"John"},{"family":"Lindholm","given":"Morten"},{"family":"McCartney","given":"Robert"},{"family":"Moström","given":"Jan E."},{"family":"Sanders","given":"Kate"},{"family":"Seppälä","given":"Otto"},{"family":"Simon","given":"Beth"},{"family":"Thomas","given":"Lynda"}],"citation-key":"listerMultinationalStudyReading2004","collection-title":"ITiCSE-WGR '04","container-title":"Working group reports from ITiCSE on Innovation and technology in computer science education","DOI":"10.1145/1044550.1041673","event-place":"Leeds, United Kingdom","issued":{"date-parts":[[2004,12]]},"page":"119–150","publisher":"ACM","publisher-place":"Leeds, United Kingdom","title":"A multi-national study of reading and tracing skills in novice programmers","type":"paper-conference","URL":"http://dx.doi.org/10.1145/1044550.1041673"},
{"id":"LiveEnduserProgramming","accessed":{"date-parts":[[2017,11,28]]},"citation-key":"LiveEnduserProgramming","title":"Live end-user programming: a demo/manifesto - ECOOP 2016","type":"webpage","URL":"https://2016.ecoop.org/event/live-2016-live-end-user-programming-a-demo-manifesto"},
{"id":"lochbaumSpeechSynthesis1962","author":[{"family":"Lochbaum","given":"C. C."},{"family":"Kelly","given":"K. L."}],"citation-key":"lochbaumSpeechSynthesis1962","container-title":"Proc. Fourth ICA","issued":{"date-parts":[[1962]]},"title":"Speech Synthesis","type":"article-journal"},
{"id":"logothetisWhatWeCan2008","abstract":"Functional magnetic resonance imaging (fMRI) is currently the mainstay of neuroimaging in cognitive neuroscience. Advances in scanner technology, image acquisition protocols, experimental design, and analysis methods promise to push forward fMRI from mere cartography to the true study of brain organization. However, fundamental questions concerning the interpretation of fMRI data abound, as the conclusions drawn often ignore the actual limitations of the methodology. Here I give an overview of the current state of fMRI, and draw on neuroimaging and physiological data to present the current understanding of the haemodynamic signals and the constraints they impose on neuroimaging data interpretation.","author":[{"family":"Logothetis","given":"Nikos K."}],"citation-key":"logothetisWhatWeCan2008","container-title":"Nature","DOI":"10.1038/nature06976","ISSN":"0028-0836","issue":"7197","issued":{"date-parts":[[2008,6]]},"page":"869–878","PMID":"18548064","title":"What we can do and what we cannot do with fMRI","type":"article-journal","URL":"http://dx.doi.org/10.1038/nature06976","volume":"453"},
{"id":"londonHearingTimePsychological2004","abstract":"Our sense that a waltz is \"in three\" or a blues song is \"in four with a shuffle\" comes from our sense of musical meter. Hearing in Time explores musical meter from the point of view of cognitive theories of perception and attention. London explores how our ability to follow musical meter is simply a specific instance of our more general ability to synchronize our attention to regularly recurring events in our environment. As such, musical meter is subject to a number of fundamental perceptual and cognitive constraints, which form the cornerstones of London's account. Because listening to music, like many other rhythmic activities, is something that we often do, London views it as a skilled activity for performers and non-performers alike. Hearing in Time approaches musical meter in the context of music as it is actually performed, rather than as a theoretical ideal. Its approach is not based on any particular musical style or cultural practice, so it uses familiar examples from a broad range of music–Beethoven and Bach to Brubeck and Ghanaian drumming. Taking this broad approach brings out a number of fundamental similarities between a variety of different metric phenomena, such as the difference between so-called simple versus complex or additive meters. Because of its accessible style–only a modest ability to read a musical score is presumed–Hearing in Time is for anyone interested in rhythm and meter, including cognitive psychologists, musicologists, musicians, and music theorists.","author":[{"family":"London","given":"Justin"}],"citation-key":"londonHearingTimePsychological2004","ISBN":"0-19-516081-9","issued":{"date-parts":[[2004,9]]},"note":"Published: Hardcover","publisher":"Oxford University Press, USA","title":"Hearing in Time: Psychological Aspects of Musical Meter","type":"book","URL":"http://www.worldcat.org/isbn/0195160819"},
{"id":"lonswayMistakenDimensionalityCAD2002","abstract":"Computer Aided Design software has an unfortunate tendency to suppress the rich dimensions of computational complexity in favor of a feeble representation of dimension appropriately labeled D. 3D and 4D software applications categorically manifest either the three geometric axes of Cartesian space or the four axes of Minkowskian space-time in spatial dimensions. But all that these dimensional representations can portray are geometric simulations of objects in space. Computational multi-dimensionality as expressed in the mechanisms of numeric manipulation offers designers more: a space for design parallel to that space within which architects have traditionally designed.","author":[{"family":"Lonsway","given":"B."}],"citation-key":"lonswayMistakenDimensionalityCAD2002","container-title":"Journal of Architectural Education","DOI":"10.1162/10464880260472549","issue":"2","issued":{"date-parts":[[2002]]},"page":"23–25","title":"The Mistaken Dimensionality of CAD","type":"article-journal","URL":"http://dx.doi.org/10.1162/10464880260472549","volume":"56"},
{"id":"lopezNormativeFrameworkAgentbased2006","abstract":"Abstract One of the key issues in the computational representation of open societies relates to the introduction of norms that help to cope with the heterogeneity, the autonomy and the diversity of interests among their members. Research regarding this issue presents two omissions. One is the lack of a canonical model of norms that facilitates their implementation, and that allows us to describe the processes of reasoning about norms. The other refers to considering, in the model of normative multi-agent systems, the perspective of individual agents and what they might need to effectively reason about the society in which they participate. Both are the concerns of this paper, and the main objective is to present a formal normative framework for agent-based systems that facilitates their implementation.","author":[{"family":"Lopez","given":"Fabiola"},{"family":"Luck","given":"Michael"},{"literal":"D'"}],"citation-key":"lopezNormativeFrameworkAgentbased2006","container-title":"Computational & Mathematical Organization Theory","DOI":"10.1007/s10588-006-9545-7","ISSN":"1381-298X","issue":"2","issued":{"date-parts":[[2006,10]]},"page":"227–250","title":"A normative framework for agent-based systems","type":"article-journal","URL":"http://dx.doi.org/10.1007/s10588-006-9545-7","volume":"12"},
{"id":"lorenzoReducingGenderGap2006","author":[{"family":"Lorenzo","given":"Mercedes"},{"family":"Crouch","given":"Catherine H."},{"family":"Mazur","given":"Eric"}],"citation-key":"lorenzoReducingGenderGap2006","container-title":"American Journal of Physics","DOI":"10.1119/1.2162549","ISSN":"00029505","issue":"2","issued":{"date-parts":[[2006]]},"page":"118+","title":"Reducing the gender gap in the physics classroom","type":"article-journal","URL":"http://dx.doi.org/10.1119/1.2162549","volume":"74"},
{"id":"lottoReflectionsMirrorNeurons2009","abstract":"The discovery of mirror neurons, a class of neurons that respond when a monkey performs an action and also when the monkey observes others producing the same action, has promoted a renaissance for the Motor Theory (MT) of speech perception. This is because mirror neurons seem to accomplish the same kind of one to one mapping between perception and action that MT theorizes to be the basis of human speech communication. However, this seeming correspondence is superficial, and there are theoretical and empirical reasons to temper enthusiasm about the explanatory role mirror neurons might have for speech perception. In fact, rather than providing support for MT, mirror neurons are actually inconsistent with the central tenets of MT.","author":[{"family":"Lotto","given":"Andrew J."},{"family":"Hickok","given":"Gregory S."},{"family":"Holt","given":"Lori L."}],"citation-key":"lottoReflectionsMirrorNeurons2009","container-title":"Trends Cogn Sci","DOI":"10.1016/j.tics.2008.11.008","ISSN":"13646613","issue":"3","issued":{"date-parts":[[2009,2]]},"page":"110–114","title":"Reflections on mirror neurons and speech perception","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.tics.2008.11.008","volume":"13"},
{"id":"luckExploringSpatioTemporalProperties2008","author":[{"family":"Luck","given":"G."},{"family":"Sloboda","given":"J."}],"citation-key":"luckExploringSpatioTemporalProperties2008","container-title":"Music Perception","issue":"3","issued":{"date-parts":[[2008]]},"page":"225–239","title":"Exploring the Spatio-Temporal Properties of Simple Conducting Gestures using a Synchronization Task","type":"article-journal","volume":"25"},
{"id":"LudditesCondescension","abstract":"Event Date: 6 May 2011 Room B34 10:00 – 18:00 Birkbeck, University of London Malet Street, Bloomsbury London WC1E 7HX The Birkbeck Institute for the Humanities presents: The Luddites, without Condescension A Conference on…","accessed":{"date-parts":[[2017,5,18]]},"citation-key":"LudditesCondescension","container-title":"Backdoor Broadcasting Company","title":"The Luddites, without Condescension","type":"post-weblog","URL":"https://backdoorbroadcasting.net/2011/05/the-luddites-without-condescension/"},
{"id":"luddLudditesCondescensionReport","abstract":"The Luddite conference at Birkbeck which took place on May 6th was the most important date so far for those interested in the bicentenary. ...","accessed":{"date-parts":[[2017,5,18]]},"author":[{"family":"Ludd","given":"Ned"}],"citation-key":"luddLudditesCondescensionReport","title":"'Luddites Without Condescension' - a report from the Birkbeck Conference","type":"post-weblog","URL":"http://ludditebicentenary.blogspot.com/2011/05/luddites-without-condescension-report.html"},
{"id":"lunaInkaHistoryKnots2018","abstract":"//static.cambridge.org/content/id/urn%3Acambridge.org%3Aid%3Aarticle%3AS0959774317000889/resource/name/firstPage-S0959774317000889a.jpg","accessed":{"date-parts":[[2018,9,7]]},"author":[{"family":"Luna","given":"José Carlos de la Puente"}],"citation-key":"lunaInkaHistoryKnots2018","container-title":"Cambridge Archaeological Journal","DOI":"10.1017/S0959774317000889","ISSN":"0959-7743, 1474-0540","issue":"3","issued":{"date-parts":[[2018,8]]},"language":"en","page":"514-515","source":"Cambridge Core","title":"Inka History in Knots: Reading khipus as primary sources, by Gary Urton, 2017. Austin (TX): University of Texas Press; ISBN 978-1-4773-1198-1 hardback $85; xvii+319 pp., 13 colour, 48 b/w photos, 22 illus./maps, 15 charts/graphs, 3 tables","title-short":"Inka History in Knots","type":"article-journal","URL":"https://www.cambridge.org/core/journals/cambridge-archaeological-journal/article/inka-history-in-knots-reading-khipus-as-primary-sources-by-gary-urton-2017-austin-tx-university-of-texas-press-isbn-9781477311981-hardback-85-xvii319-pp-13-colour-48-bw-photos-22-illusmaps-15-chartsgraphs-3-tables/C361F71A9CA3F45EB24471D5F980F7E2","volume":"28"},
{"id":"lyonsDisappearanceIntrospection1986","author":[{"family":"Lyons","given":"William E."}],"citation-key":"lyonsDisappearanceIntrospection1986","ISBN":"978-0-262-12115-6","issued":{"date-parts":[[1986]]},"publisher":"MIT Press","title":"The disappearance of introspection","type":"book","URL":"http://www.worldcat.org/isbn/9780262121156"},
{"id":"lyonsFacingMusicFacial2001","abstract":"We describe a novel musical controller which acquires live video input from the user's face, extracts facial feature parameters using a computer vision algorithm, and converts these to expressive musical effects. The controller allows the user to modify synthesized or audio-filtered musical sound in real time by moving the face.","author":[{"family":"Lyons","given":"Michael J."},{"family":"Tetsutani","given":"Nobuji"}],"citation-key":"lyonsFacingMusicFacial2001","collection-title":"CHI EA '01","container-title":"CHI '01 Extended Abstracts on Human Factors in Computing Systems","DOI":"10.1145/634067.634250","event-place":"Seattle, Washington","ISBN":"1-58113-340-5","issued":{"date-parts":[[2001]]},"page":"309–310","publisher":"ACM","publisher-place":"Seattle, Washington","title":"Facing the music: a facial action controlled musical interface","type":"paper-conference","URL":"http://dx.doi.org/10.1145/634067.634250"},
{"id":"MachineBreakersEric","abstract":"The purpose of this essay is clearly stated: to defend British labour movements against what E. P. Thompson was later to call 'the enormous condescension of posterity'; and, one might add, against ideologists of our own times. It was first published in 1952 in the first issue of a historical journal that had been recently founded by the author and a group of friends, and is still published, Past & Present","accessed":{"date-parts":[[2017,5,18]]},"citation-key":"MachineBreakersEric","container-title":"libcom.org","title":"The machine breakers - Eric Hobsbawm","type":"webpage","URL":"http://libcom.org/history/machine-breakers-eric-hobsbawm"},
{"id":"macmahonPhoneticNotation1996","author":[{"family":"MacMahon","given":"Michael K. C."}],"citation-key":"macmahonPhoneticNotation1996","container-title":"The World's Writing Systems","editor":[{"family":"Daniels","given":"Peter T."},{"family":"Bright","given":"William"}],"event-place":"New York","issued":{"date-parts":[[1996]]},"page":"821–847","publisher":"Oxford University Press","publisher-place":"New York","title":"Phonetic Notation","type":"chapter"},
{"id":"magnussonDVDProgrammeNotes2011","author":[{"family":"Magnusson","given":"Thor"},{"family":"McLean","given":"Alex"},{"family":"Collins","given":"Nick"}],"citation-key":"magnussonDVDProgrammeNotes2011","container-title":"Computer Music Journal","issue":"4","issued":{"date-parts":[[2011]]},"page":"119–137","title":"DVD Programme notes","type":"article-journal","volume":"35"},
{"id":"magnussonEpistemicToolsMusical2009","abstract":"This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture.","author":[{"family":"Magnusson","given":"Thor"}],"citation-key":"magnussonEpistemicToolsMusical2009","container-title":"Organised Sound","DOI":"10.1017/s1355771809000272","issue":"2","issued":{"date-parts":[[2009]]},"page":"168–176","title":"Of Epistemic Tools: musical instruments as cognitive extensions","type":"article-journal","URL":"http://dx.doi.org/10.1017/s1355771809000272","volume":"14"},
{"id":"magnussonEpistemicToolsPhenomenology2009","abstract":"Digital music technologies, and instruments in particular, are the result of specific systems of thought that define and enframe the user’s creative options. Distinctive divisions between digital and acoustic instruments can be traced, contrasting the conceptually based design of software with the affordances and constraints of physical artefacts. Having lost the world’s gift of physical properties, the digital instrument builder becomes more than a mere luthier. The process of designing and building the instrument is transformed into a process of composition, for it typically contains a greater degree of classification and music theory than its acoustic counterpart.\n\nPart I of this thesis begins by framing musical systems in the context of the philosophy of technology. Here technological conditions are questioned and theories introduced that will assist the investigation into the relationship between creativity and technology. After this general grounding, the ramifications digital technologies pose to the human body are explored in the context of human expression through tool use. The human-machine relationship is described from phenomenological perspectives and relevant theories of cognitive science. This analysis serves as a foundation for the concept of epistemic tools, defined as the mechanism whereby techno-cultural models are inscribed into technological artefacts. The cultural element of tool use and tool origins is therefore emphasised, an aspect that is highly relevant in musical technologies. Part I thus frames the material properties of acoustic and digital instruments in relation to human culture, cognition, performance and epistemology.\n\nPart II contextualises these theories in practice. The ixiQuarks, the live improvisation musical environment that resulted from the current research, are presented as a system addressing some of the vital problems of musical performance with digital systems (such as the question of embodiment and theoretical inscriptions), proposing an innovative interaction model for screen-based musical instruments. The concept of virtual embodiment is introduced and framed in the context of the ixi interaction model. Two extensive user studies are described that support the report on ixiQuarks. Furthermore, comparative surveys on the relationship between expression and technology are presented: a) the phenomenology of musical instruments, where the divergence between the acoustic and the digital is investigated; b) the question of expressive freedom versus time constraints in musical environments is explored with practitioners in the field; and c) the key players in the design of audio programming environments explain the rationale and philosophy behind their work. These are the first major surveys of this type conducted to date, and the results interweave smoothly with the observations and findings in the chapters on the nature and the design of digital instruments that make up the majority of Part II.\n\nThis interdisciplinary research investigates the nature of making creative tools in the digital realm, through an active, philosophically framed and ethnographically inspired study, of both practical and theoretical engagement. It questions the nature of digital musical instruments, particularly in comparison with acoustic instruments. Through a survey of material epistemologies, the dichotomy between the acoustic and the digital is employed to illustrate the epistemic nature of digital artefacts, necessitating a theory of epistemic tools. Consequently virtual embodiment is presented as a definition of the specific interaction mode constituting human relations with digital technologies. It is demonstrated that such interactions are indeed embodied, contrasting common claims that interaction with software is a disembodied activity. The role of cultural context in such design is emphasised, through an analysis of how system design is always an intricate process of analyses, categorisations, normalisations, abstractions, and constructions; where the design paths taken are often defined by highly personal, culturally conditioned and often arbitrary reasons.\n\nThe dissertation therefore dissects the digital musical instrument from the perspectives of ontology, phenomenology and epistemology. Respective sections in Part I and Part II deal with these views. The practical outcome of this research – the ixiQuarks – embodies many of the theoretical points made on these pages. The software itself, together with the theoretical elucidation of its context, should therefore be viewed as equal contributions to the field of music technology. The thesis closes by considering what has been achieved through these investigations of the technological context, software development, user studies, surveys, and the phenomenological and epistemological enquiries into the realities of digital musical instruments, emphasising that technology can never be neutral.","accessed":{"date-parts":[[2021,1,29]]},"author":[{"family":"Magnusson","given":"Thor"}],"citation-key":"magnussonEpistemicToolsPhenomenology2009","genre":"doctoral","issued":{"date-parts":[[2009,5,1]]},"language":"en","number-of-pages":"407","publisher":"University of Sussex","source":"sro.sussex.ac.uk","title":"Epistemic tools: the phenomenology of digital musical instruments","title-short":"Epistemic tools","type":"thesis","URL":"http://sro.sussex.ac.uk/id/eprint/83540/"},
{"id":"magnussonIxiLangSuperCollider2011","author":[{"family":"Magnusson","given":"Thor"}],"citation-key":"magnussonIxiLangSuperCollider2011","container-title":"Proceedings of International Computer Music Conference 2011","issued":{"date-parts":[[2011]]},"title":"ixi lang: a SuperCollider parasite for live coding","type":"paper-conference"},
{"id":"magnussonPerformingPatternsTime2018","abstract":"Music is a time-based art form often characterised by patternings; manipulations of sequences over time. Composers and performers may think in terms of patterns, although the structure of patterned sequences are often not made explicit in musical notation. This chapter explores how musical sequences can be created and transformed in real-time performance through patterning functions. Topics related to the use of algorithms for pattern-making are discussed, and two systems are introduced - ixi lang and TidalCycles, as high level and expressive mini-languages for musical pattern.","accessed":{"date-parts":[[2018,4,25]]},"author":[{"family":"Magnusson","given":"Thor"},{"family":"McLean","given":"Alex"}],"citation-key":"magnussonPerformingPatternsTime2018","DOI":"10.5281/zenodo.1193251","ISBN":"978-0-19-022699-2","issued":{"date-parts":[[2018,2,1]]},"language":"eng","publisher":"Oxford University Press","source":"Zenodo","title":"Performing with Patterns of Time","type":"chapter","URL":"https://zenodo.org/record/1193251#.WuBvmnUvzrc"},
{"id":"maloneyScratchProgrammingLanguage2010","abstract":"Scratch is a visual programming environment that allows users (primarily ages 8 to 16) to learn computer programming while working on personally meaningful projects such as animated stories and games. A key design goal of Scratch is to support self-directed learning through tinkering and collaboration with peers. This article explores how the Scratch programming language and environment support this goal.","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Maloney","given":"John"},{"family":"Resnick","given":"Mitchel"},{"family":"Rusk","given":"Natalie"},{"family":"Silverman","given":"Brian"},{"family":"Eastmond","given":"Evelyn"}],"citation-key":"maloneyScratchProgrammingLanguage2010","container-title":"ACM Transactions on Computing Education","container-title-short":"ACM Trans. Comput. Educ.","DOI":"10.1145/1868358.1868363","issue":"4","issued":{"date-parts":[[2010,11,1]]},"page":"16:1–16:15","source":"November 2010","title":"The Scratch Programming Language and Environment","type":"article-journal","URL":"https://doi.org/10.1145/1868358.1868363","volume":"10"},
{"id":"manningThreeBiasedReminders2012","abstract":"\"Three Biased Reminders about Hylomorphism in Early Modern Science and Philosophy\" published on 01 Jan 2012 by Brill.","accessed":{"date-parts":[[2021,1,29]]},"author":[{"family":"Manning","given":"Gideon"}],"citation-key":"manningThreeBiasedReminders2012","DOI":"10.1163/9789004221147_002","ISBN":"978-90-04-22114-7","issued":{"date-parts":[[2012,1,1]]},"language":"en","page":"1-32","publisher":"Brill","section":"Matter and Form in Early Modern Science and Philosophy","source":"brill.com","title":"Three Biased Reminders about Hylomorphism in Early Modern Science and Philosophy","type":"book","URL":"https://brill.com/view/book/edcoll/9789004221147/B9789004221147_002.xml"},
{"id":"markmanStructuralAlignmentSimilarity1993","abstract":"The hypothesis that structured representations can be compared via structural alignment and the prediction that similarity comparisons lead subjects to attend to the matching relational structure of a pair of items were supported through 4 experiments involving 218 undergraduates. Results indicate that similarity involves alignment of structured representations. (SLD)","author":[{"family":"Markman","given":"Arthur B."},{"family":"Gentner","given":"Dedre"}],"citation-key":"markmanStructuralAlignmentSimilarity1993","container-title":"Cognitive Psychology","issue":"4","issued":{"date-parts":[[1993]]},"page":"431–67","title":"Structural Alignment during Similarity Comparisons.","type":"article-journal","URL":"http://www.eric.ed.gov/ERICWebPortal/detail?accno=EJ473789","volume":"25"},
{"id":"martinHumanNeuropsychology2006","author":[{"family":"Martin","given":"G. Neil"}],"citation-key":"martinHumanNeuropsychology2006","edition":"Second","ISBN":"0-13-197452-1","issued":{"date-parts":[[2006,12]]},"note":"Published: Paperback","publisher":"Prentice Hall","title":"Human Neuropsychology","type":"book","URL":"http://www.worldcat.org/isbn/0131974521"},
{"id":"martinoNotationGeneralArticulationParticular1966","author":[{"family":"Martino","given":"Donald"}],"citation-key":"martinoNotationGeneralArticulationParticular1966","container-title":"Perspectives of New Music","DOI":"10.2307/832212","ISSN":"00316016","issue":"2","issued":{"date-parts":[[1966]]},"page":"47–58","title":"Notation in General-Articulation in Particular","type":"article-journal","URL":"http://dx.doi.org/10.2307/832212","volume":"4"},
{"id":"martinsRevisitingArchitectureCurriculum2010","author":[{"family":"Martins","given":"Susana B."}],"citation-key":"martinsRevisitingArchitectureCurriculum2010","container-title":"FUTURE CITIES, 28th eCAADe Conference Proceedings","event-place":"ETH Zurich (Switzerland)","issued":{"date-parts":[[2010,9]]},"publisher":"FUTURE CITIES, 28th eCAADe Conference Proceedings","publisher-place":"ETH Zurich (Switzerland)","title":"Revisiting the Architecture Curriculum - The Programming Perspective","type":"paper-conference"},
{"id":"MathematicalBasisArts","abstract":"Groundbreaking study by the Ukrainian-American composer and theoriest Joseph Schillinger (1895-1943), who presents here nothing less than a \"scientific theory of the arts\" that influenced musicians such as George Gershwin, Burt Bacharach, Earle Brown, and Henry Cowell, and constitutes a crucial text for the history and theory of art in the 20th century.","accessed":{"date-parts":[[2020,3,5]]},"citation-key":"MathematicalBasisArts","language":"English","source":"Internet Archive","title":"The Mathematical Basis Of The Arts ( Joseph Schillinger, 1943)","type":"book","URL":"http://archive.org/details/TheMathematicalBasisOfTheArtsJosephSchillinger1943"},
{"id":"MathematicsRunningMaypole","accessed":{"date-parts":[[2017,3,8]]},"citation-key":"MathematicsRunningMaypole","title":"Mathematics, Running, and Maypole Dancing | Discovering the Art of Mathematics (DAoM)","type":"webpage","URL":"https://www.artofmathematics.org/blogs/cvonrenesse/mathematics-running-and-maypole-dancing"},
{"id":"mathewsTechnologyComputerMusic1969","author":[{"family":"Mathews","given":"Max V."}],"citation-key":"mathewsTechnologyComputerMusic1969","ISBN":"0-262-13050-5","issued":{"date-parts":[[1969]]},"publisher":"The MIT Press","title":"The Technology of Computer Music","type":"book","URL":"http://portal.acm.org/citation.cfm?id=1214123"},
{"id":"matsushitaCoxROpenSource","abstract":"In typical open source software development, developers use revision control systems for product management, mailing list systems for human communications, and bug tracking systems for process management. All of these systems store development histories of the products that show significant information of problems during the development.However, it would be a hard job to retrieve useful information related to a current problem faced by developers. In this paper, we describe a software development supporting system CoxR that is capable of crawling the development histories. CoxR creates software development information web which consists of developers, emails, and program deltas, and provides an interface to search, navigate, browse, and retrieve past development results. Through a case study, we confirmed that CoxR helps developers to solve their problems by making it easier to search development history. 1.","author":[{"family":"Matsushita","given":"Makoto"},{"family":"Sasaki","given":"Kei"},{"family":"Inoue","given":"Katsuro"}],"citation-key":"matsushitaCoxROpenSource","container-title":"In Proceedings of 12th Asia-Pacific Software Engineering Conference, Taipe","page":"821–826","title":"CoxR: Open Source Development History Search System","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.128.714","volume":"2005"},
{"id":"mattinglyDefenseMotorTheory1991","author":[{"family":"Mattingly","given":"Ignatius G."}],"citation-key":"mattinglyDefenseMotorTheory1991","container-title":"Current Phonetic Research Paradigms: Implications for Speech Motor Control","issued":{"date-parts":[[1991]]},"page":"167–172","title":"In Defense of the Motor Theory","type":"paper-conference"},
{"id":"mayoMultidimensionalScalingListener2005","abstract":"The move to unit-selection in speech synthesis has resulted in system improvements being made at subtle sub- and suprasegmental levels. Human perceptual evaluation of such subtle improvements requires a highly sophisticated level of perceptual attention to specific acoustic characteristics or cues. However, it is not well understood what acoustic cues listeners attend to by default when asked to evaluate synthetic speech. It may, therefore, be potentially quite difficult to design an evaluation method that allows listeners to concentrate on only one dimension of the signal, while ignoring others that are perceptually more important to them. This paper describes a pilot study which aims to evaluate multidimensional scaling (MDS) as a possible method of determining what acoustic characteristics of synthetic speech influence listeners' judgements of the naturalness of the speech. Using distance measures (either real or perceived distances), MDS techniques represent stimuli as points in n-dimensional space. The space is configured so that similar stimuli are close together, while different stimuli are farther apart. Additionally, the dimensions of the space correspond to characteristics of the stimuli which influenced the perceived distances. Our results indicate that MDS techniques should be a useful tool in understanding the complex psychoacoustic processes that listeners undergo when evaluating synthetic speech. This method has allowed us to identify a number of cues that appear to be particularly perceptually salient to listeners evaluating synthetic speech naturalness, namely prosodic cues (in terms of duration and/or intonation) and segmental or unit level cues (in terms of appropriateness of units, or number of units).","author":[{"family":"Mayo","given":"Catherine"},{"family":"Clark","given":"Robert A. J."},{"family":"King","given":"Simon"}],"citation-key":"mayoMultidimensionalScalingListener2005","issued":{"date-parts":[[2005]]},"title":"Multidimensional scaling of listener responses to synthetic speech","type":"article-journal","URL":"http://www.isca-speech.org/archive/interspeech_2005"},
{"id":"MaypoleBraidGroup2009","abstract":"Over the weekend I attended a May Day party thrown by one of my colleagues. During the party they had a traditional maypole dance. An example of a maypole dance is shown at left. A maypole is a tal…","accessed":{"date-parts":[[2017,3,8]]},"citation-key":"MaypoleBraidGroup2009","container-title":"Division by Zero","issued":{"date-parts":[[2009,5,4]]},"title":"The maypole braid group","type":"post-weblog","URL":"https://divisbyzero.com/2009/05/04/the-maypole-braid-group/"},
{"id":"MaypoleDanceBritannica","abstract":"Ceremonial folk dance performed around a tall pole garlanded with greenery or flowers and often hung with ribbons that are woven into complex patterns by the dancers. Such dances...","accessed":{"date-parts":[[2017,2,27]]},"citation-key":"MaypoleDanceBritannica","title":"Maypole dance | Britannica.com","type":"webpage","URL":"https://www.britannica.com/art/Maypole-dance"},
{"id":"mcadamsPerceptualScalingSynthesized1995","author":[{"family":"McAdams","given":"Stephen"},{"family":"Winsberg","given":"Suzanne"},{"family":"Donnadieu","given":"Sophie"},{"family":"De Soete","given":"Geert"},{"family":"Krimphoff","given":"Jochen"}],"citation-key":"mcadamsPerceptualScalingSynthesized1995","container-title":"Phychological Research","container-title-short":"Psychological Research","issue":"3","issued":{"date-parts":[[1995]]},"page":"177–192","title":"Perceptual scaling of synthesized musical timbres: Common dimensions, specificities and latent subject classes","type":"article-journal","volume":"58"},
{"id":"mcadamsPerspectivesContributionTimbre1999","author":[{"family":"McAdams","given":"Stephen"}],"citation-key":"mcadamsPerspectivesContributionTimbre1999","container-title":"Computer Music Journal","DOI":"10.2307/3681242","ISSN":"01489267","issue":"3","issued":{"date-parts":[[1999]]},"page":"85–102","title":"Perspectives on the Contribution of Timbre to Musical Structure","type":"article-journal","URL":"http://dx.doi.org/10.2307/3681242","volume":"23"},
{"id":"mcadamsPsychophysicalQuantificationIndividual2000","author":[{"family":"McAdams","given":"S."},{"family":"Winsberg","given":"S."}],"citation-key":"mcadamsPsychophysicalQuantificationIndividual2000","container-title":"Contributions to Psychological Acoustics: Results of the 8th Oldenburg Symposium on Psychological Acoustics","editor":[{"family":"Schick","given":"A."},{"family":"Meis","given":"M."},{"family":"Reckhardt","given":"C."}],"event-place":"Oldenburg","issued":{"date-parts":[[2000]]},"page":"165–182","publisher":"Bis","publisher-place":"Oldenburg","title":"Psychophysical quantification of individual differences in timbre perception","type":"chapter"},
{"id":"mccartneyRethinkingComputerMusic2002","author":[{"family":"McCartney","given":"James"}],"citation-key":"mccartneyRethinkingComputerMusic2002","container-title":"Computer Music Journal","issue":"4","issued":{"date-parts":[[2002]]},"page":"61–68","title":"Rethinking the Computer Music Language: SuperCollider","type":"article-journal","URL":"http://www.mitpressjournals.org/doi/abs/10.1162/014892602320991383","volume":"26"},
{"id":"mccormackGenerativeCompositionNodal2011","author":[{"family":"McCormack","given":"Jon"},{"family":"McIlwain","given":"Peter"}],"citation-key":"mccormackGenerativeCompositionNodal2011","collection-title":"Computer Music and Digital Audio","container-title":"A-Life for Music: Music and Computer Models of Living Systems","editor":[{"family":"Miranda","given":"Eduardo R."}],"issued":{"date-parts":[[2011]]},"page":"99–113","publisher":"A-R Editions, Inc.","title":"Generative Composition with Nodal","type":"chapter"},
{"id":"mccreaFCJ034GesturesDigital","abstract":"Felicity Colman and Christian McCrea take all these questions - very old and very new technics, new intensities and new fragmentation, new relations, the infinite deferral of networks and the way this deferral ties everything into a web - in the direction of what they call the 'digital maypole'. For Colman and McCrea, 'the maypole expresses the network’s torsion balance chart of power. The maypole topology is order through rhythmic tension and torsion, and in this sense its continuous binding of power makes the concept the paradoxical apostate of the network’s labyrinthine structure. The instinctual and biological ties of the etymological maypole enable us to focus upon specific power combinations of the network’s prescience'. There could perhaps be no better description of the problems and possibilities given to us by new mobile intensities, whether for those who are trying to mediate the shifts in social practices and cultural cohensions occasioned by mobility, or those attempting merely to analyse them.","accessed":{"date-parts":[[2017,2,27]]},"author":[{"family":"McCrea","given":"Felicity Colman and Christian"}],"citation-key":"mccreaFCJ034GesturesDigital","title":"FCJ-034 Gestures Towards the Digital Maypole","type":"post-weblog","URL":"http://six.fibreculturejournal.org/fcj-034-gestures-towards-the-digital-maypole/"},
{"id":"mcgurkHearingLipsSeeing1976","abstract":"MOST verbal communication occurs in contexts where the listener can see the speaker as well as hear him. However, speech perception is normally regarded as a purely auditory process. The study reported here demonstrates a previously unrecognised influence of vision upon speech perception. It stems from an observation that, on being shown a film of a young woman's talking head, in which repeated utterances of the syllable [ba] had been dubbed on to lip movements for [ga], normal adults reported hearing [da]. With the reverse dubbing process, a majority reported hearing [bagba] or [gaba]. When these subjects listened to the soundtrack from the film, without visual input, or when they watched untreated film, they reported the syllables accurately as repetitions of [ba] or [ga]. Subsequent replications confirm the reliability of these findings; they have important implications for the understanding of speech perception.","author":[{"family":"McGurk","given":"H."},{"family":"MacDonald","given":"J. W."}],"citation-key":"mcgurkHearingLipsSeeing1976","container-title":"Nature","issue":"246-248","issued":{"date-parts":[[1976]]},"title":"Hearing lips and seeing voices","type":"article-journal","URL":"http://www.nature.com/nature/journal/v264/n5588/abs/264746a0.html;jsessionid=18B8F4F4E09E98C54D5410A41B4F3D4A","volume":"264"},
{"id":"mcilwainComposingNodalNetworks2006","abstract":"This is my music: A graph drawn by Stravinsky when asked to visually represent his music (Craft, 1962). Issues related to compositional technique using the software environment Nodal are discussed. The particular focus in this paper is the use and characterisation of nodal networks. These networks are the generative engine of Nodal. Network configuration is explored by discussing the compositional process for the work ” Network Study #1 ” that employs Nodal exclusively. Observations are made regarding the transformational properties of simple networks.","author":[{"family":"Mcilwain","given":"Peter"},{"family":"Mccormack","given":"Jon"},{"family":"Lane","given":"Aidan"},{"family":"Dorin","given":"Alan"}],"citation-key":"mcilwainComposingNodalNetworks2006","container-title":"Proceedings of the Australasian Computer Music Conference 2006","editor":[{"family":"Opie","given":"T."},{"family":"Brown","given":"A."}],"issued":{"date-parts":[[2006]]},"page":"101–107","title":"Composing With Nodal Networks","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.146.2797"},
{"id":"mckayCommunityMusicHistory2012","author":[{"family":"McKay","given":"George"},{"family":"Higham","given":"Ben"}],"citation-key":"mckayCommunityMusicHistory2012","issued":{"date-parts":[[2012]]},"publisher":"Arts and Humanities Research Council","title":"Community Music: History and Current Practice, its Constructions of \"Community\", Digital Turns and Future Soundings","type":"report"},
{"id":"mcleanAlgoraveDancingAlgorithms2019","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanAlgoraveDancingAlgorithms2019","collection-title":"Cambridge Companions to Music","container-title":"The Cambridge Companion to Music in Digital Culture","DOI":"10.1017/9781316676639.016","editor":[{"family":"Cook","given":"Nicholas"},{"family":"Ingalls","given":"Monique M."},{"family":"Trippett","given":"DavidEditors"}],"issued":{"date-parts":[[2019]]},"page":"175–177","publisher":"Cambridge University Press","title":"Algorave: Dancing to Algorithms","type":"chapter"},
{"id":"mcleanAlgorithmicPattern2020a","abstract":"This paper brings together two main perspectives on algorithmic pattern. First, the writing of musical patterns in live coding performance, and second, the weaving of patterns in textiles. In both cases, algorithmic pattern is an interface between the human and the outcome, where small changes have far-reaching impact on the results. By bringing contemporary live coding and ancient textile approaches together, we reach a common view of pattern as algorithmic movement (e.g. looping, shifting, reflecting, interfering) in the making of things. This works beyond the usual definition of pattern used in musical interfaces, of mere repeating sequences. We conclude by considering the place of algorithmic pattern in a wider activity of making.","accessed":{"date-parts":[[2022,1,9]]},"author":[{"family":"Mclean","given":"Alex"}],"citation-key":"mcleanAlgorithmicPattern2020a","container-title":"Proceedings of the International Conference on New Interfaces for Musical Expression","event":"NIME2020","event-place":"Birmingham, UK","issued":{"date-parts":[[2020,6,1]]},"page":"265--270","publisher-place":"Birmingham, UK","title":"Algorithmic Pattern","type":"paper-conference","URL":"https://zenodo.org/record/4813352"},
{"id":"mcleanAlgorithmicTrajectories2018","abstract":"We jointly designed and edited this volume [Oxford Handbook of Algorithmic Music] because of our complementary, overlapping yet highly contrasting backgrounds (we have performed together and met first in the context of music research). The contrast between us stems both from our differing time frames of involvement, and from the fact that AM makes music primarily (usually solely) via a computer and in real-time whereas RTD is an acoustic instrumentalist (particularly keyboards, often with computers), and a composer (offline) as well as improviser (real-time). While AM was using computers from an early age, and began serious programming around 1986 (aged 11), RTD first used a (desktop) computer in around 1982 (already aged more than 30). So in this final Perspective on Practice, we will discuss our own experiences and the development of our current enthusiasms. We hope that brief consideration of these trajectories will have some interest for readers seeking to engage with the breadth of our field of algorithmic music. We drafted our own sections, and then jointly edited the chapter, providing a brief conclusion; we also took advantage of helpful suggestions from external reviewers. See Note 1 to this chapter for information on cd and other sources of the music mentioned in the two authors’ sections that follow.","accessed":{"date-parts":[[2018,4,25]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Dean","given":"Roger"}],"citation-key":"mcleanAlgorithmicTrajectories2018","DOI":"10.5281/zenodo.1228959","ISBN":"978-0-19-022699-2","issued":{"date-parts":[[2018,2,1]]},"publisher":"Oxford University Press","source":"Zenodo","title":"Algorithmic Trajectories","type":"chapter","URL":"https://zenodo.org/record/1228959#.WuB2PnUvzrc"},
{"id":"mcleanAlternateTimelinesTidalCycles2021","abstract":"The TidalCycles (or Tidal for short) live coding environment has been developed since around 2009, via several rewrites of its core representation. Rather than having fixed goals, this development has been guided by use, motivated by the open aim to make music. This development process can be seen as a long-form improvisation, with insights into the nature of Tidal gained through the process of writing it, feeding back to guide the next steps of development. This brings the worrying thought that key insights will have been missed along this development journey, that would otherwise have lead to very different software. Indeed participants at beginners’ workshops that I have lead or co-lead have often asked questions without good answers, because they made deficiencies or missing features in the software clear. It is well known that a beginner’s mind is able to see much that an expert has become blind to. Running workshops are an excellent way to find new development ideas, but the present paper explores a different technique – the rewrite.","accessed":{"date-parts":[[2022,3,17]]},"author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanAlternateTimelinesTidalCycles2021","DOI":"10.5281/zenodo.5788732","event-place":"Valdivia, Chile","issued":{"date-parts":[[2021,12,15]]},"language":"eng","publisher":"Zenodo","publisher-place":"Valdivia, Chile","title":"Alternate Timelines for TidalCycles","type":"speech","URL":"https://zenodo.org/record/5788732"},
{"id":"mcleanApolloniusDiagramsRepresentation2007","author":[{"family":"McLean","given":"Alex"},{"family":"Leymarie","given":"Frederic F."},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanApolloniusDiagramsRepresentation2007","container-title":"Proceedings of the 4th International Symposium on Voronoi Diagrams in Science and Engineering","issued":{"date-parts":[[2007]]},"page":"276–281","title":"Apollonius diagrams and the Representation of Sounds and Music","type":"paper-conference"},
{"id":"mcleanArtistProgrammersProgrammingLanguages2011","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanArtistProgrammersProgrammingLanguages2011","genre":"PhD Thesis","issued":{"date-parts":[[2011,11]]},"publisher":"Department of Computing, Goldsmiths, University of London","title":"Artist-Programmers and Programming Languages for the Arts","type":"thesis"},
{"id":"mcleanBabble2008","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanBabble2008","issued":{"date-parts":[[2008]]},"note":"Published: online artwork; http://project.arnolfini.org.uk/projects/2008/babble/","title":"Babble","type":"book"},
{"id":"mcleanBricolageProgrammingCreative2010","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanBricolageProgrammingCreative2010","container-title":"22nd Psychology of Programming Interest Group 2010","event-place":"Madrid","issued":{"date-parts":[[2010]]},"publisher-place":"Madrid","title":"Bricolage Programming in the Creative Arts","type":"paper-conference"},
{"id":"mcleanComputerProgrammingCreative2012","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanComputerProgrammingCreative2012","container-title":"Computers and Creativity","editor":[{"family":"McCormack","given":"Jon"},{"family":"Inverno","given":"Mark","non-dropping-particle":"d'"}],"ISBN":"978-3-642-31726-2","issued":{"date-parts":[[2012]]},"page":"235–252","publisher":"Springer","title":"Computer Programming in the Creative Arts","type":"chapter"},
{"id":"mcleanCyclicPatternsMovement2018","abstract":"This article hosts an interdisciplinary exploration of cyclic rhythmic structures, bringing together historical references to ground understanding of algorithmic electronic dance music, and in particular the algorave movement. The role of pattern in uniting dance, music and language is investigated in the ancient practice of weaving, in ancient Greek choral lyric, and contemporary live coding. In this context the TidalCycles environment is introduced, with some visual and audio examples. Cyclic metrical patterns in ancient Greek are then explored in detail, particularly the metrical transformations of Epiplokē. Finally, this jump between contemporary and ancient practice leads us to consider algorave itself as a Luddite movement, its proponents engaged in an unravelling of technology.","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Fanfani","given":"Giovanni"},{"family":"Harlizius-Klück","given":"Ellen"}],"citation-key":"mcleanCyclicPatternsMovement2018","container-title":"Dancecult. Journal of Electronic Music Dance Culture","DOI":"10.12801/1947-5403.2018.10.01.01","issue":"1","issued":{"date-parts":[[2018,11,23]]},"page":"5-30","source":"Zenodo","title":"Cyclic Patterns of Movement Across Weaving, Epiplokē and Live Coding","type":"article-journal","URL":"https://zenodo.org/record/1548969","volume":"10"},
{"id":"mcleanCyclicPatternsMovement2018a","abstract":"This article hosts an interdisciplinary exploration of cyclic rhythmic structures, bringing together historical references to ground understanding of algorithmic electronic dance music, and in particular the algorave movement. The role of pattern in uniting dance, music and language is investigated in the ancient practice of weaving, in ancient Greek choral lyric, and contemporary live coding. In this context the TidalCycles environment is introduced, with some visual and audio examples. Cyclic metrical patterns in ancient Greek are then explored in detail, particularly the metrical transformations of Epiplokē. Finally, this jump between contemporary and ancient practice leads us to consider algorave itself as a Luddite movement, its proponents engaged in an unravelling of technology.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Fanfani","given":"Giovanni"},{"family":"Harlizius-Klück","given":"Ellen"}],"citation-key":"mcleanCyclicPatternsMovement2018a","container-title":"Dancecult: Journal of Electronic Dance Music Culture","container-title-short":"Dancecult","DOI":"http://dx.doi.org/ 10.12801/1947-5403.2018.10.01.01","ISSN":"1947-5403","issue":"1","issued":{"date-parts":[[2018]]},"language":"en-US","page":"5-30","source":"dj.dancecult.net","title":"Cyclic Patterns of Movement across Weaving, Epiplokē and Live Coding","title-short":"Cyclic Patterns of Movement across Weaving, Epiplokē and Live Coding | Dancecult","type":"article-journal","URL":"https://dj.dancecult.net/index.php/dancecult/article/view/1036","volume":"10"},
{"id":"mcleanFabricatingAlgorithmicArt2018","abstract":"“We build our computers the way we build our cities -- over time, without a plan, on top of ruins.” Ellen Ullman (1998) The above quote refers to the historical layers that make up our computer operating systems, where newly developed user interfaces are successively placed on top of the old ones, creating a kind of palimpsest. Behind the graphical user interface we find a text-based one, then a programming language, then a low-level assembly language, then machine and microcode, until we eventually meet with physical electronic circuits. The conventional timeline for computing technology as a whole begins earlier still, with the discovery of the electronic transistor a century ago. Each of these layers has had its heyday as the dominant user interface of its time, and indeed each has been used to make algorithmic systems for, or indeed as, art. There is much artwork to be recognised throughout this period, but if we keep digging, there are many more ruins to be found. Through research during our European Research Council project PENELOPE, we find that algorithms have been present in everyday life for millennia. In the following we will explore some examples which support this claim, with focus on our recent work while resident at the Textiles Zentrum Haslach in Austria.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Harlizius-Klück","given":"Ellen"}],"citation-key":"mcleanFabricatingAlgorithmicArt2018","container-title":"Parsing Digital","DOI":"10.5281/zenodo.2155745","event-place":"London, UK","ISBN":"9789999269391","issued":{"date-parts":[[2018,9,19]]},"language":"eng","page":"10-21","publisher":"Austrian Cultural Forum","publisher-place":"London, UK","source":"Zenodo","title":"Fabricating Algorithmic Art","type":"chapter","URL":"https://zenodo.org/record/2155745"},
{"id":"mcleanFeedforward2020","abstract":"This is an improvised, from-scratch live coding performance. The NIME interface which this performance showcases is the new Feedfoward editor for the TidalCycles live coding environment. Feedforward is written in Haskell using the ncurses library for terminal-based user interfaces. It runs on low-powered hardware including the Raspberry Pi Zero, with formative testing of prototypes conducted with several groups of children between the ages of 8 and 14. Feedforward has a number of features designed to support improvised, multi-pattern live coding. Individual Tidal patterns are addressable with hotkeys for fast mute and unmuting. Each pattern has a stereo VU meter, to aid the quick matching of sound to pattern within a mix. In addition, TidalCycles has been extended to store context with each event, so that source code positions in its polyrhythmic sequence mini-notation are tracked. This allows steps to be highlighted in the source code when- ever they are active. This works even when Tidal combinators have been applied to manipulate the timeline. Formal evaluation has yet to take place, but this feature appears to support learning of how pattern manipulations work in Tidal. Feedforward and TidalCycles is free/open source software under a GPL licence version 3.0.","accessed":{"date-parts":[[2022,6,24]]},"author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanFeedforward2020","container-title":"Proceedings of New Interfaces for Musical Expression","event":"NIME2020","event-place":"Birmingham","issued":{"date-parts":[[2020,7,21]]},"publisher-place":"Birmingham","title":"Feedforward","type":"paper-conference","URL":"https://zenodo.org/record/6353969"},
{"id":"mcleanHackingPerlNightclubs2004","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanHackingPerlNightclubs2004","issued":{"date-parts":[[2004]]},"publisher":"O'Reilly Media, Inc.","title":"Hacking Perl in nightclubs","type":"book","URL":"http://www.perl.com/pub/a/2004/08/31/livecode.html"},
{"id":"mcleanHackingSoundContext2001","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanHackingSoundContext2001","container-title":"Proceedings of Music without walls","editor":[{"family":"Landy","given":"Leigh"}],"issued":{"date-parts":[[2001]]},"publisher":"De Montfort University","title":"Hacking Sound in Context","type":"paper-conference"},
{"id":"mcleanImprovisingSynthesisedVocables2007","abstract":"In the context of the live coding of music and computational creativity, literature examining perceptual relationships between text, speech and instrumental sounds are surveyed, including the use of vocable words in music. A system for improvising polymetric rhythms with vocable words is introduced, together with a working prototype for producing rhythmic continuations within the system. This is shown to be a promising direction for both text based music improvisation and research into creative agents.","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanImprovisingSynthesisedVocables2007","issued":{"date-parts":[[2007]]},"publisher":"Goldsmiths College, University of London","title":"Improvising with Synthesised Vocables, with Analysis Towards Computational Creativity","type":"thesis"},
{"id":"mcleanIntroductionWeavingCodes2017","abstract":"This article introduces the TEXTILE special issue on Weaving Codes, Coding Weaves, and the project of the same name, which was funded by the Arts and Humanities Research Council for 18 months from September 2014. We introduce the collaborators of this interdisciplinary project, spanning textiles, music, arts technology, computer science, mathematics, anthropology, media theory, and philosophy. We tell the multifaceted story of how we met and began to collaborate, following prescient activities in textiles, music performance, live art, and computer programming that have met confluence in our project. This forms an introduction to the articles produced by these collaborators, either as part of the Weaving Codes project, or in parallel with it. We conclude by looking to the future, in particular the five year ERC PENELOPE project now beginning in the Deutsches Museum in Munich.","author":[{"family":"McLean","given":"Alex"},{"family":"Harlizius-Klück","given":"Ellen"},{"family":"Jefferies","given":"Janis"}],"citation-key":"mcleanIntroductionWeavingCodes2017","container-title":"TEXTILE","DOI":"10.1080/14759756.2017.1298232","ISSN":"1475-9756","issue":"2","issued":{"date-parts":[[2017,4,3]]},"page":"118-123","source":"Taylor and Francis+NEJM","title":"Introduction: Weaving Codes, Coding Weaves","title-short":"Introduction","type":"article-journal","URL":"https://doi.org/10.1080/14759756.2017.1298232","volume":"15"},
{"id":"mcleanLiveCodingComputational2010","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanLiveCodingComputational2010","container-title":"Proceedings of the 1st International Conference on Computational Creativity 2010","issued":{"date-parts":[[2010]]},"page":"175–179","title":"Live Coding Towards Computational Creativity","type":"paper-conference"},
{"id":"mcleanLiveCodingFree2008","abstract":"FLOSS+Art critically reflects on the growing relationship between FreeSoftware ideology, open content and digital art. It provides a view onto thesocial, political and economic myths and realities linked to this phenomenon.Topics include: digital art licensing, copying and distributing under opencontent models, the influence of FLOSS on digital art practices, the use offree software to produce art and the art of producing free software, FLOSS asan embedded political message in digital art, paradoxes and limitations ofopen licenses for digital art, FLOSS as a way to quote and embed otherartworks in the making of new works, definitions and manifestos for a freesoftware art... With contributions from: Fabianne Balvedi, Florian Cramer,Sher Doruff, Nancy Mauro Flude, Olga Goriunova, Dave Griffiths, Ross Harley,Martin Howse, Shahee Ilyas, Ricardo Lafuente, Ivan Monroy Lopez, ThorMagnusson, Alex McLean, Rob Myers, Alejandra Maria Perez Nuñez, EleonoraOreggia, oRx-qX, Julien Ottavi, Michael van Schaik, Femke Snelting, PedroSoler, Hans Christoph Steiner, Prodromos Tsiavos, Simon Yuill. Compiled andedited by Aymeric Mansoux and Marloes de Valk.","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanLiveCodingFree2008","container-title":"FLOSS+Art","editor":[{"family":"Mansoux","given":"Aymeric"},{"family":"Valk","given":"Marloes","non-dropping-particle":"de"}],"ISBN":"1-906496-18-8","issued":{"date-parts":[[2008,8]]},"note":"Published: Paperback","publisher":"Mute Publishing Ltd","title":"Live coding for free","type":"chapter","URL":"http://www.worldcat.org/isbn/1906496188"},
{"id":"mcleanLiveLoom2020","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanLiveLoom2020","container-title":"Proceedings of the 5th International Conference on Live Coding","event":"International Conference on Live Coding","event-place":"Limerick, Ireland","issued":{"date-parts":[[2020]]},"publisher":"University of Limerick","publisher-place":"Limerick, Ireland","title":"The Live Loom","type":"paper-conference"},
{"id":"mcleanLiveNotationAcoustic2012","author":[{"family":"McLean","given":"Alex"},{"family":"Reeve","given":"Hester"}],"citation-key":"mcleanLiveNotationAcoustic2012","container-title":"Proceedings of International Computer Music Conference","issued":{"date-parts":[[2012]]},"page":"70–75","title":"Live Notation: Acoustic Resonance?","type":"paper-conference"},
{"id":"mcleanLiveWorkHttpDoc2006","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanLiveWorkHttpDoc2006","issued":{"date-parts":[[2006]]},"title":"LiveWork, http://doc.gold.ac.uk/∼ma503am/software/livework/","type":"manuscript"},
{"id":"mcleanMakingProgrammingLanguages2014","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanMakingProgrammingLanguages2014","container-title":"proceedings of the 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design","DOI":"10.1145/2633638.2633647","issued":{"date-parts":[[2014]]},"title":"Making programming languages to dance to: Live Coding with Tidal","type":"paper-conference","URL":"http://dx.doi.org/10.1145/2633638.2633647"},
{"id":"mcleanMusicalAlgorithmsTools2018","abstract":"This is an introductory chapter to The Oxford Handbook of Algorithmic Music, and the practical, historical, philosophical, and cultural perspectives that it covers. This chapter outlines the structure and scope of the book, provides some background and motivation for its focus, covers points of terminology, and summarizes the development of the field in the modern era. It then signposts the following chapters and relates them to one another in terms of some of the key issues that are covered. As algorithmic music is a fast-developing field, the chapter then outlines contemporary directions in order to look forward to the next steps in both research and practice. The chapter concludes with further signposting, this time to literature which may be read in partnership with the present volume.","accessed":{"date-parts":[[2018,3,30]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Dean","given":"Roger T."}],"citation-key":"mcleanMusicalAlgorithmsTools2018","container-title":"The Oxford Handbook of Algorithmic Music","DOI":"10.1093/oxfordhb/9780190226992.013.24","issued":{"date-parts":[[2018,2,22]]},"language":"en","source":"www.oxfordhandbooks.com","title":"Musical Algorithms as Tools, Languages, and Partners","type":"article-journal","URL":"http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190226992.001.0001/oxfordhb-9780190226992-e-24"},
{"id":"mcleanMusicImprovisationCreative2006","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanMusicImprovisationCreative2006","issued":{"date-parts":[[2006]]},"title":"Music improvisation and creative systems","type":"manuscript"},
{"id":"mcleanOxfordHandbookAlgorithmicundercontract","citation-key":"mcleanOxfordHandbookAlgorithmicundercontract","editor":[{"family":"McLean","given":"Alex"},{"family":"Dean","given":"Roger"}],"issued":{"literal":"under contract"},"publisher":"Oxford University Press","title":"Oxford Handbook on Algorithmic Music","type":"book"},
{"id":"mcleanParalinguisticMicrophone2013","author":[{"family":"McLean","given":"Alex"},{"family":"Shin","given":"EunJoo"},{"family":"Ng","given":"Kia"}],"citation-key":"mcleanParalinguisticMicrophone2013","container-title":"Proceedings of 13th Conference on New Interfaces for Musical Expression","event-place":"Seoul","issued":{"date-parts":[[2013]]},"page":"381–384","publisher-place":"Seoul","title":"The Paralinguistic Microphone","type":"paper-conference"},
{"id":"mcleanPatternCodeAlgorithmic2019","abstract":"A report on Pattern + Code, a project working with primary school children to explore codes through both textiles and musical code, creating an audio/visual installation and live performance. The project came in three parts: Knot Coding, hiding messages in string, inspired by Andean Quipu, Algorithmic Drumming Circles, live coding percussive, cyclic music in groups of eight, and finally a live coding quartet performance. The paper concludes by considering how knot coding and live coding could be brought together in the future.","accessed":{"date-parts":[[2022,3,17]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Bell","given":"Renick"}],"citation-key":"mcleanPatternCodeAlgorithmic2019","DOI":"10.5281/zenodo.3946174","event-place":"Madrid, Spain","ISBN":"9788418299087","issued":{"date-parts":[[2019,1,16]]},"language":"eng","page":"353","publisher":"Medialab Prado / Madrid Destino","publisher-place":"Madrid, Spain","title":"Pattern, Code and Algorithmic Drumming Circles","type":"speech","URL":"https://zenodo.org/record/3946174"},
{"id":"mcleanPatternsMovementLive2009","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanPatternsMovementLive2009","container-title":"Computers and the History of Art (CHArt) conference 2009","issued":{"date-parts":[[2009]]},"title":"Patterns of Movement in Live Languages.","type":"paper-conference"},
{"id":"mcleanPetrolReactivePattern2010","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanPetrolReactivePattern2010","container-title":"Proceedings of the International Computer Music Conference 2010","issued":{"date-parts":[[2010,6]]},"page":"331–334","title":"Petrol: Reactive Pattern Language for Improvised Music","type":"paper-conference"},
{"id":"mcleanProceedings1stInternational2015","author":[{"family":"McLean","given":"Alex"},{"family":"Magnusson","given":"Thor"},{"family":"Ng","given":"Kia"},{"family":"Knotts","given":"Shelly"},{"family":"Armitage","given":"Joanne"}],"citation-key":"mcleanProceedings1stInternational2015","issued":{"date-parts":[[2015]]},"publisher":"ICSRiM, School of Music","title":"Proceedings of the 1st International Conference on Live Coding","type":"paper-conference"},
{"id":"mcleanProceedingsFirstInternational","citation-key":"mcleanProceedingsFirstInternational","editor":[{"family":"McLean","given":"Alex"},{"family":"Magnusson","given":"Thor"},{"family":"Ng","given":"Kia"},{"family":"Knotts","given":"Shelly"},{"family":"Armitage","given":"Joanne"}],"ISBN":"978-0-85316-340-4","number-of-pages":"300","publisher":"ICSRiM, University of Leeds","title":"Proceedings of the First International Conference on Live Coding","type":"book"},
{"id":"mcleanReflectionsLiveCoding2015","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanReflectionsLiveCoding2015","container-title":"Proceedings of 3rd conference on Computation, Communication, Aesthetics and X (xCoAx)","issued":{"date-parts":[[2015]]},"title":"Reflections on Live Coding Collaboration","type":"paper-conference"},
{"id":"mcleanSoundChoreographyBody2014","author":[{"family":"McLean","given":"Alex"},{"family":"Sicchio","given":"Kate"}],"citation-key":"mcleanSoundChoreographyBody2014","container-title":"Proceedings of the 2nd conference on Computation, Communication, Aesthetics and X (xCoAx)","issued":{"date-parts":[[2014]]},"page":"355–362","title":"Sound Choreography <> Body Code","type":"paper-conference"},
{"id":"mcleanSpecialIssueLive2014","author":[{"family":"McLean","given":"Alex"},{"family":"Rohrhuber","given":"Julian"},{"family":"Collins","given":"Nick"}],"citation-key":"mcleanSpecialIssueLive2014","container-title":"Computer Music Journal","issue":"1","issued":{"date-parts":[[2014]]},"title":"Special issue on Live Coding: Editor's notes","type":"article-journal","volume":"38"},
{"id":"mcleanTextilityLiveCode2014","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanTextilityLiveCode2014","container-title":"Torque#1. Mind, Language and Technology","issued":{"date-parts":[[2014,9]]},"page":"141–144","publisher":"Link Editions","title":"Textility of Live Code","type":"chapter"},
{"id":"mcleanTextural2013","author":[{"family":"McLean","given":"Alex"}],"citation-key":"mcleanTextural2013","container-title":"Proceedings of first conference on Computation, Communication, Aesthetics and X (xCoAx)","issued":{"date-parts":[[2013]]},"page":"81–88","title":"The Textural X","type":"paper-conference"},
{"id":"mcleanTextureVisualNotation2011","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanTextureVisualNotation2011","container-title":"Proceedings of the International Computer Music Conference 2011","issued":{"date-parts":[[2011]]},"page":"612–628","title":"Texture: Visual Notation for the Live Coding of Pattern","type":"paper-conference"},
{"id":"mcleanTidalPatternLanguage2010","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanTidalPatternLanguage2010","container-title":"Proceedings of the 7th Sound and Music Computing conference 2010","event-place":"Barcelona","issued":{"date-parts":[[2010]]},"page":"331–334","publisher-place":"Barcelona","title":"Tidal - Pattern Language for the Live Coding of Music","type":"paper-conference"},
{"id":"mcleanTidalVortexZero2022","abstract":"In this paper we introduce ‘version zero’ of TidalVortex, an alternative implementation of the TidalCycles live coding system, using the Python programming language. This is open-ended work, exploring what happens when we try to extract the 'essence' of a system like TidalCycles and translate it into another programming language, while taking advantage of the affordance of its new host. First, we review the substantial prior art in porting TidalCycles, and in representing musical patterns in Python. We then compare equivalent patterns written in Haskell (TidalCycles) and Python (TidalVortex), and relate implementation details of how functional reactive paradigms have translated from the pure functional, strongly typed Haskell to the more multi-paradigm, dynamically typed Python. Finally, we conclude with reflections and generalisable outcomes.","accessed":{"date-parts":[[2022,6,24]]},"author":[{"family":"McLean","given":"Alex"},{"family":"Forment","given":"Raphaël"},{"family":"Le Beux","given":"Sylvain"},{"family":"Silvani","given":"Damián"}],"citation-key":"mcleanTidalVortexZero2022","container-title":"Proceedings of the 7th International Conference on Live Coding","DOI":"10.5281/zenodo.6456380","event":"ICMC2022","event-place":"Limerick, Ireland","issued":{"date-parts":[[2022,4,12]]},"publisher":"Zenodo","publisher-place":"Limerick, Ireland","title":"TidalVortex Zero","type":"paper-conference","URL":"https://zenodo.org/record/6456380/export/hx"},
{"id":"mcleanVisualisationLiveCode2010","author":[{"family":"McLean","given":"Alex"},{"family":"Griffiths","given":"Dave"},{"family":"Collins","given":"Nick"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanVisualisationLiveCode2010","container-title":"Proceedings of Electronic Visualisation and the Arts London 2010","issued":{"date-parts":[[2010]]},"page":"26–30","title":"Visualisation of Live Code","type":"paper-conference"},
{"id":"mcleanVocableSynthesis2008","abstract":"In many cultures musicians describe the sounds made by their instruments by speaking, singing or transcribing them as words. This paper proposes applying this approach to synthesised sounds, where these vocable words control physical modelling synthesis systems. We aim to produce instruments played by typing words, allowing a rich range of musical expression. A working prototype of a system for music improvisation is presented, and future work and applications are considered.","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanVocableSynthesis2008","container-title":"Proceedings of International Computer Music Conference 2008","issued":{"date-parts":[[2008]]},"title":"Vocable Synthesis","type":"paper-conference"},
{"id":"mcleanWarpweightedTabletWeaving2015","abstract":"I’m enjoying teaching myself about tablet weaving, through some reading and a lot of trial and error. Over the past few months I’ve spent quite a while experimenting with ways to make sure that I’…","accessed":{"date-parts":[[2018,8,20]]},"author":[{"family":"McLean","given":"Sally"}],"citation-key":"mcleanWarpweightedTabletWeaving2015","container-title":"Celtic Weaving","issued":{"date-parts":[[2015,7,22]]},"language":"en","title":"A warp-weighted Tablet Weaving Loom","type":"post-weblog","URL":"https://celticweaving.com/2015/07/22/a-warp-weighted-tablet-weaving-loom/"},
{"id":"mcleanWordsMovementTimbre2009","author":[{"family":"McLean","given":"Alex"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"mcleanWordsMovementTimbre2009","container-title":"Proceedings of New Interfaces for Musical Expression 2009","issued":{"date-parts":[[2009]]},"page":"276–279","title":"Words, Movement and Timbre.","type":"paper-conference"},
{"id":"medinRespectsSimilarity1993","author":[{"family":"Medin","given":"D. L."},{"family":"Goldstone","given":"R. L."},{"family":"Gentner","given":"D."}],"citation-key":"medinRespectsSimilarity1993","container-title":"Psychological Review","issued":{"date-parts":[[1993]]},"page":"254–278","title":"Respects for Similarity","type":"article-journal","volume":"100"},
{"id":"mehaffyCityNotTree2016","abstract":"In 1965, the architect and design theorist Christopher Alexander published a landmark theoretical critique of modern urban design, and by extension, modern design in general. His critique was different from others of the day in that it was not based on a social or political argument, but rather, on a structural analysis, rooted in then-emerging insights from the fields of mathematics and cognition. Here, published again on its fiftieth anniversary, is Alexander's classic text, together with new interpretive commentaries and discussions by leading theorists and practitioners. This volume is destined to become an invaluable resource for a new generation of students and practitioners.","author":[{"family":"Mehaffy","given":"Michael W."},{"family":"Alexander","given":"Christopher"}],"citation-key":"mehaffyCityNotTree2016","ISBN":"978-0-9893469-7-9","issued":{"date-parts":[[2016]]},"publisher":"Sustasis Press","source":"Amazon","title":"A City is Not a Tree: 50th Anniversary Edition","title-short":"A City is Not a Tree","type":"book"},
{"id":"melaraOptionalProcessesSimilarity1992","abstract":"This research investigates the nature of similarity relations-among three pairs of interacting dimensions: (1) the integral dimensions of auditory pitch and loudness, (2) the configural dimen- sions of paired parentheses, and (3) the cross-modally corresponding dimensions of visual posi- tion and auditory pitch. We evaluated the rules by which information from each di-mens-ion corn— bines in similarity judgments. Our claim is that, when judging similarity, processes that are obligatory, or what we call mandatory processes, can commingle with processes of choice, or what we call optional processes. By varying instructions, we found strong evidence of optional process- ing. Instructions to rate overall similarity encouraged subjects to attend to stimuli as wholes and led to a Euclidean rule in similarity scaling. Instructionsto focus on-dimensions encouraged subjects to consider each stimulus dimension separately and-led-to-a-city-block rule. We argue that optional processes may obscure mandatory ones, and so need to be identified-before-manda- tory processes can be understood.","author":[{"family":"Melara","given":"Robert D."},{"family":"Marks","given":"Lawrence E."},{"family":"Lesko","given":"Kathryn E."}],"citation-key":"melaraOptionalProcessesSimilarity1992","container-title":"Perception & Psychophysics","issue":"2","issued":{"date-parts":[[1992]]},"page":"123–133","title":"Optional processes in similarity judgments","type":"article-journal","volume":"51"},
{"id":"menabreacount.SketchAnalyticalEngine1843","author":[{"family":"MENABREA (Count.)","given":"Luigi Federico"}],"citation-key":"menabreacount.SketchAnalyticalEngine1843","issued":{"date-parts":[[1843]]},"language":"en","number-of-pages":"124","publisher":"R. & J. E. Taylor","source":"Google Books","title":"Sketch of the Analytical Engine invented by Charles Babbage ... with notes by the translator. Extracted from the 'Scientific Memoirs,' etc. [The translator's notes signed: A.L.L. ie. Augusta Ada King, Countess Lovelace.]","title-short":"Sketch of the Analytical Engine invented by Charles Babbage ... with notes by the translator. Extracted from the 'Scientific Memoirs,' etc. [The translator's notes signed","type":"book"},
{"id":"menabreaSketchAnalyticalEngine2020","abstract":"Ada Lovelace was an English mathematician considered by many as the first computer scientist in history. Soon after the (never built) invention of the “Analytical Engine” by Charles Babbage, i.e. the first mechanical computer, Ada Lovelace became interested in this machine. She began an intense exchange of ideas and notes with Charles Babbage through the years and translated an article of the Italian engineer Luigi Menabrea on the Analytical Engine.This book presents the translated article together with Ada Lovelace’s added notes, that constitute the bulk of the text. She included several insights that can be considered seminal contributions to the field, most notably: the outline of the first published computer program in history (Note G), useful to calculate a sequence of Bernoulli numbers with the Analytical Engine, and a groundbreaking description of the Analytical Engine as a general purpose machine, a visionary concept that became reality much later with the contributions of Alan Turing and John von Neumann.Sourced from the public domain, this work has been proof-read, newly typeset, and indexed.","author":[{"family":"Menabrea","given":"Luigi Federico"},{"family":"Lovelace","given":"Ada"}],"citation-key":"menabreaSketchAnalyticalEngine2020","ISBN":"9798629949091","issued":{"date-parts":[[2020,3,23]]},"language":"English","number-of-pages":"99","publisher":"Independently published","source":"Amazon","title":"Sketch of the Analytical Engine Invented by Charles Babbage: Translation and Notes by Ada Lovelace","title-short":"Sketch of the Analytical Engine Invented by Charles Babbage","type":"book"},
{"id":"metzgerLawsSeeing2006","author":[{"family":"Metzger","given":"Wolfgang"}],"citation-key":"metzgerLawsSeeing2006","edition":"1","ISBN":"0-262-13467-5","issued":{"date-parts":[[2006,9]]},"note":"Published: Hardcover","publisher":"The MIT Press","title":"Laws of Seeing","type":"book","URL":"http://www.worldcat.org/isbn/0262134675"},
{"id":"meyerThingsAlgorithm","abstract":"What happens when people's fate hangs on machine learning?","accessed":{"date-parts":[[2021,1,27]]},"author":[{"family":"Meyer","given":"Bertrand"}],"citation-key":"meyerThingsAlgorithm","language":"en","title":"Things To Do To An Algorithm","type":"webpage","URL":"https://cacm.acm.org/blogs/blog-cacm/247225-things-to-do-to-an-algorithm/fulltext"},
{"id":"meyerThingsAlgorithma","abstract":"What happens when people's fate hangs on machine learning?","accessed":{"date-parts":[[2021,1,19]]},"author":[{"family":"Meyer","given":"Bertrand"}],"citation-key":"meyerThingsAlgorithma","language":"en","title":"Things To Do To An Algorithm","type":"webpage","URL":"https://cacm.acm.org/blogs/blog-cacm/247225-things-to-do-to-an-algorithm/fulltext?mobile=false"},
{"id":"millerMagicalNumberSeven1956","author":[{"family":"Miller","given":"G. A."}],"citation-key":"millerMagicalNumberSeven1956","container-title":"Psychological review","ISSN":"0033-295X","issue":"2","issued":{"date-parts":[[1956,3]]},"page":"81–97","PMID":"13310704","title":"The magical number seven plus or minus two: some limits on our capacity for processing information.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/13310704","volume":"63"},
{"id":"millerPerceptualSpaceMusical1975","abstract":"Individual subjects with or without musical training made similarity judgments of pairs of tones on a nine-point scale. Each subject was run in three or four sessions of 351 trials each. The tones had structures like those of musical instruments, being made of all 27 combinations of three dimensions, each at three levels. In Experiment 1, the dimensions were fundamental frequency F0, envelope, and relative amplitudes of harmonics. In Experiment 2, the dimensions were number of harmonics, envelope, and onset rate of harmonics. Analysis of data by means of multidimensional scaling showed a strong context effect. In Experiment 1, F0 had such high saliency that for most subjects no other dimension was present in perceptual space and thus no differences were found between musical and nonmusical subjects. By holding F0 constant in Experiment 2, subjects were able to use harmonic as well as envelope structure in judgments. Differences between musical and nonmusical subjects appeared, and we discuss the basis for these differences. For both experiments, the curve relating latency of response to similarity was parabolic and, although a given subject's perceptual space changes little over successive runs, there is some evidence from Experiment 2 that musical subjects have the more stable space of perceptual dimensions.Subject Classification: 65.52, 65.75; 75.10. doi:10.1121/1.380719 PACS: 43.65.+v, 43.75.+a Additional Information Full Text: [ PDF (874 kB) GZipped PS","author":[{"family":"Miller","given":"James R."},{"family":"Carterette","given":"Edward C."}],"citation-key":"millerPerceptualSpaceMusical1975","container-title":"The Journal of the Acoustical Society of America","DOI":"10.1121/1.380719","issue":"3","issued":{"date-parts":[[1975]]},"page":"711–720","title":"Perceptual space for musical structures","type":"article-journal","URL":"http://dx.doi.org/10.1121/1.380719","volume":"58"},
{"id":"millerRevisionHistoryAware2011","abstract":"Building repositories of computational models of biological systems ensures that published models are available for both education and further research, and can provide a source of smaller, previously verified models to integrate into a larger model. One problem with earlier repositories has been the limitations in facilities to record the revision history of models. Often, these facilities are limited to a linear series of versions which were deposited in the repository. This is problematic for several reasons. Firstly, there are many instances in the history of biological systems modelling where an 'ancestral' model is modified by different groups to create many different models. With a linear series of versions, if the changes made to one model are merged into another model, the merge appears as a single item in the history. This hides useful revision history information, and also makes further merges much more difficult, as there is no record of which changes have or have not already been merged. In addition, a long series of individual changes made outside of the repository are also all merged into a single revision when they are put back into the repository, making it difficult to separate out individual changes. Furthermore, many earlier repositories only retain the revision history of individual files, rather than of a group of files. This is an important limitation to overcome, because some types of models, such as CellML 1.1 models, can be developed as a collection of modules, each in a separate file. The need for revision history is widely recognised for computer software, and a lot of work has gone into developing version control systems and distributed version control systems (DVCSs) for tracking the revision history. However, to date, there has been no published research on how DVCSs can be applied to repositories of computational models of biological systems. We have extended the Physiome Model Repository software to be fully revision history aware, by building it on top of Mercurial, an existing DVCS. We have demonstrated the utility of this approach, when used in conjunction with the model composition facilities in CellML, to build and understand more complex models. We have also demonstrated the ability of the repository software to present version history to casual users over the web, and to highlight specific versions which are likely to be useful to users. Providing facilities for maintaining and using revision history information is an important part of building a useful repository of computational models, as this information is useful both for understanding the source of and justification for parts of a model, and to facilitate automated processes such as merges. The availability of fully revision history aware repositories, and associated tools, will therefore be of significant benefit to the community.","author":[{"family":"Miller","given":"Andrew K."},{"family":"Yu","given":"Tommy"},{"family":"Britten","given":"Randall"},{"family":"Cooling","given":"Mike T."},{"family":"Lawson","given":"James"},{"family":"Cowan","given":"Dougal"},{"family":"Garny","given":"Alan"},{"family":"Halstead","given":"Matt D."},{"family":"Hunter","given":"Peter J."},{"family":"Nickerson","given":"David P."},{"family":"Nunns","given":"Geo"},{"family":"Wimalaratne","given":"Sarala M."},{"family":"Nielsen","given":"Poul M."}],"citation-key":"millerRevisionHistoryAware2011","container-title":"BMC bioinformatics","DOI":"10.1186/1471-2105-12-22","ISSN":"1471-2105","issue":"1","issued":{"date-parts":[[2011]]},"page":"22+","PMCID":"PMC3033326","PMID":"21235804","title":"Revision history aware repositories of computational models of biological systems.","type":"article-journal","URL":"http://dx.doi.org/10.1186/1471-2105-12-22","volume":"12"},
{"id":"milnerDefinitionStandardML1990","abstract":"An abstract is not available.","author":[{"family":"Milner","given":"Robin"},{"family":"Tofte","given":"Mads"},{"family":"Harper","given":"Robert"}],"citation-key":"milnerDefinitionStandardML1990","event-place":"Cambridge, MA, USA","ISBN":"0-262-63132-6","issued":{"date-parts":[[1990]]},"publisher":"MIT Press","publisher-place":"Cambridge, MA, USA","title":"The definition of Standard ML","type":"book","URL":"http://portal.acm.org/citation.cfm?id=77325"},
{"id":"mirandaSymbolsSoundAIbased1994","abstract":"In this paper we investigate the possibility of an intelligent system for sound synthesis that would allow composition with sounds thought of in terms of abstract descriptions and operations rather than low level computer programing. Our research work is aimed at looking for plausible guidelines and strategies to map a composer's intuitive notion of sound structure to the parametric control of electronic sound synthesis. This paper shows how we attempted to approach the problem by means of a compilation of a few well known expert systems design techniques used in Artificial Intelligence (AI) research. We begin introducing the problem from a musician's point of view. Then we focus on two major issues of AI/Music: knowledge representation and machine learning. We propose a suitable representation scheme for sound synthesis followed by an inductive learning experiment towards an example prototype synthesiser. We also introduce the prototype functioning and suggest further work.","author":[{"family":"Miranda","given":"Eduardo R."}],"citation-key":"mirandaSymbolsSoundAIbased1994","container-title":"Contemporary Music Review","DOI":"10.1080/07494469400640441","ISSN":"0749-4467","issued":{"date-parts":[[1994]]},"page":"211–232","title":"From symbols to sound: AI-based investigation of sound synthesis","type":"article-journal","URL":"http://dx.doi.org/10.1080/07494469400640441"},
{"id":"MirrorNeurons2008","citation-key":"MirrorNeurons2008","container-title":"Scholarpedia","issue":"1","issued":{"date-parts":[[2008]]},"page":"2055","title":"Mirror neurons","type":"article-journal","volume":"3"},
{"id":"mithenSingingNeanderthalsOrigins2006","author":[{"family":"Mithen","given":"Steven"}],"citation-key":"mithenSingingNeanderthalsOrigins2006","edition":"First Am edition","ISBN":"0-674-02192-4","issued":{"date-parts":[[2006,3]]},"note":"Published: Hardcover","publisher":"Harvard University Press","title":"The Singing Neanderthals: The Origins of Music, Language, Mind, and Body","type":"book","URL":"http://www.worldcat.org/isbn/0674021924"},
{"id":"moleMotorTheorySpeech2009","author":[{"family":"Mole","given":"Christopher"}],"citation-key":"moleMotorTheorySpeech2009","container-title":"Sounds and Perception: New Philosophical Essays","issued":{"date-parts":[[2009]]},"publisher":"Oxford University Press","title":"The Motor Theory of Speech Perception","type":"chapter"},
{"id":"mollerBayesianImageAnalysis2001","author":[{"family":"Moller","given":"Jesper"},{"family":"Skare","given":"Oivind"}],"citation-key":"mollerBayesianImageAnalysis2001","issued":{"date-parts":[[2001]]},"title":"Bayesian Image Analysis with Coloured Voronoi Tessellations and a View to Applications in Reservoir Modelling","type":"book"},
{"id":"molnar-szakacsMusicMirrorNeurons2006","abstract":"The ability to create and enjoy music is a universal human trait and plays an important role in the daily life of most cultures. Music has a unique ability to trigger memories, awaken emotions and to intensify our social experiences. We do not need to be trained in music performance or appreciation to be able to reap its benefits-already as infants, we relate to it spontaneously and effortlessly. There has been a recent surge in neuroimaging investigations of the neural basis of musical experience, but the way in which the abstract shapes and patterns of musical sound can have such profound meaning to us remains elusive. Here we review recent neuroimaging evidence and suggest that music, like language, involves an intimate coupling between the perception and production of hierarchically organized sequential information, the structure of which has the ability to communicate meaning and emotion. We propose that these aspects of musical experience may be mediated by the human mirror neuron system.","author":[{"family":"Molnar-Szakacs","given":"Istvan"},{"family":"Overy","given":"Katie"}],"citation-key":"molnar-szakacsMusicMirrorNeurons2006","container-title":"Social cognitive and affective neuroscience","ISSN":"1749-5024","issue":"3","issued":{"date-parts":[[2006,12]]},"page":"235–241","PMID":"18985111","title":"Music and mirror neurons: from motion to 'e'motion.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/18985111","volume":"1"},
{"id":"monelleSenseMusicSemiotic2000","abstract":"The fictional Dr. Strabismus sets out to write a new comprehensive theory ofmusic. But music's tendency to deconstruct itself combined with thecomplexities of postmodernism doom him to failure. This is the parable thatframes \"The Sense of Music,\" a novel treatment of music theory thatreinterprets the modern history of Western music in the terms of semiotics.Based on the assumption that music cannot be described without reference toits meaning, Raymond Monelle proposes that works of the Western classicaltradition be analyzed in terms of temporality, subjectivity, and topic theory.Critical of the abstract analysis of musical scores, Monelle argues that thescore does not reveal music's \"sense.\" That sense–what a piece of music saysand signifies–can be understood only with reference to history, culture, andthe other arts. Thus, music is meaningful in that it signifies culturaltemporalities and themes, from the traditional manly heroism of the hunt tomilitary power to postmodern \"polyvocality.\" This theoretical innovationallows Monelle to describe how the Classical style of the eighteenth century–which he reads as a balance of lyric and progressive time–gave way to theRomantic need for emotional realism. He argues that irony and ambiguitysubsequently eroded the domination of personal emotion in Western music aswell as literature, killing the composer's subjectivity with that of theauthor. This leaves Dr. Strabismus suffering from the postmodern condition,and Raymond Monelle with an exciting, controversial new approach tounderstanding music and its history.","author":[{"family":"Monelle","given":"Raymond"}],"citation-key":"monelleSenseMusicSemiotic2000","ISBN":"0-691-05715-X","issued":{"date-parts":[[2000,11]]},"note":"Published: Hardcover","publisher":"Princeton University Press","title":"The Sense of Music: Semiotic Essays","type":"book","URL":"http://www.worldcat.org/isbn/069105715X"},
{"id":"mooreHearingHandbookPerception1995","abstract":"**Hearing** is a comprehensive, authoritative reference work covering both thephysiological and perceptual aspects of hearing. Intended for researchers andadvanced students in the field of hearing, it reviews major areas of researchin addition to new discoveries, including active mechanisms in the cochlea,across-channel processes in auditory masking, and perceptual groupingprocesses.Key Features* Covers both physiological and perceptual aspects of hearing* Authoritative reviews by experts in the field* Comprehensive up-to-date coverage* An integrated work with extensive cross-references between chapters","citation-key":"mooreHearingHandbookPerception1995","edition":"2","editor":[{"family":"Moore","given":"C. J."}],"ISBN":"0-12-505626-5","issued":{"date-parts":[[1995,8]]},"note":"Published: Hardcover","publisher":"Academic Press","title":"Hearing, Handbook of Perception and Cognition","type":"book","URL":"http://www.worldcat.org/isbn/0125056265"},
{"id":"moranRolesCreativitySociety2010","author":[{"family":"Moran","given":"Seana"}],"citation-key":"moranRolesCreativitySociety2010","collection-title":"Cambridge Handbooks in Psychology","container-title":"The Cambridge Handbook of Creativity","editor":[{"family":"Kaufman","given":"James C."},{"family":"Sternberg","given":"Robert J."}],"issued":{"date-parts":[[2010]]},"page":"74–90","publisher":"Cambridge University Press","title":"The Roles of Creativity in Society","type":"chapter"},
{"id":"moranUnsupervisedLearningNonnegativity2005","author":[{"family":"Moran","given":"Ben"}],"citation-key":"moranUnsupervisedLearningNonnegativity2005","issued":{"date-parts":[[2005]]},"publisher":"Sussex University","title":"Unsupervised learning with non-negativity constraints for analysis of polyphonic musical audio","type":"thesis"},
{"id":"mossbergContinuumWordsVoice2005","abstract":"This text offers some principal and methodogical issues on studies of timbre in words, music and vocal performance. Timbral relationships between word and music can be conceptualized as a continuum following an fictive axis running from meaning and timbre of words, through melody and music to performance. Sometimes the order might be different, but the ingredients will always be there. To get a grip on the totality of timbre and meaning involved in the songs and performances of one single artist, Swedish balladeer Olle Adolphson, a study was conducted along this research design. The interplay between the inherent timbres in vowel sounds and melody were firstly studied in the songs themselves and relationships were noted that showed signs of systematic appearance. Perspectives from these observations were intergrated with analyzes of timbral bearings on meaning and signification in words and musical settings of a number of songs. Following the axis to performance, aspects of timbre were studied with aid of visual representations of the signal as waveforms, melograms and spectograms, verifying observations and as tools for identification and discussion. The study points further towards timbre and emotional cues in vocal performances as signs of individual/enviroment interactions.","author":[{"family":"Mossberg","given":"Frans"}],"citation-key":"mossbergContinuumWordsVoice2005","container-title":"Proceedings of the Conference on Interdisciplinary Musicology 2005","issued":{"date-parts":[[2005]]},"title":"The Continuum of words, voice and music. In search for a vocabulary for the timbre of song and voice","type":"paper-conference"},
{"id":"murphyBigBookConcepts2002","abstract":"Concepts embody our knowledge of the kinds of things there are in the world. Tying our past experiences to our present interactions with the environment, they enable us to recognize and understand new objects and events. Concepts are also relevant to understanding domains such as social situations, personality types, and even artistic styles. Yet like other phenomenologically simple cognitive processes such as walking or understanding speech, concept formation and use are maddeningly complex.
Research since the 1970s and the decline of the \"classical view\" of concepts have greatly illuminated the psychology of concepts. But persistent theoretical disputes have sometimes obscured this progress. The Big Book of Concepts goes beyond those disputes to reveal the advances that have been made, focusing on the major empirical discoveries. By reviewing and evaluating research on diverse topics such as category learning, word meaning, conceptual development in infants and children, and the basic level of categorization, the book develops a much broader range of criteria than is usual for evaluating theories of concepts.","author":[{"family":"Murphy","given":"Gregory L."}],"citation-key":"murphyBigBookConcepts2002","ISBN":"0-262-63299-3","issued":{"date-parts":[[2002,8]]},"note":"Published: Paperback","publisher":"The MIT Press","title":"The Big Book of Concepts (Bradford Books)","type":"book","URL":"http://www.worldcat.org/isbn/0262632993"},
{"id":"myersReviewPallThayer2009","author":[{"family":"Myers","given":"Rob"}],"citation-key":"myersReviewPallThayer2009","issued":{"date-parts":[[2009]]},"note":"Published: Online; \\http://www.furtherfield.org/displayreview.php?review_id=337","title":"Review: Pall Thayer's Microcodes","type":"manuscript"},
{"id":"myersTaxonomiesVisualProgramming1990","abstract":"There has been great interest recently in systems that use graphics to aid in the programming, debugging, and understanding of computer systems. The terms 'Visual Programming' and 'Program Visualization' have been applied to these systems. This paper attempts to provide more meaning to these terms by giving precise definitions, and then surveys a number of systems that can be classified as providing Visual Programming or Program Visualization. These systems are organized by classifying them into three different taxonomies.","author":[{"family":"Myers","given":"B."}],"citation-key":"myersTaxonomiesVisualProgramming1990","container-title":"Journal of Visual Languages & Computing","DOI":"10.1016/s1045-926x(05)80036-9","ISSN":"1045926X","issue":"1","issued":{"date-parts":[[1990,3]]},"page":"97–123","title":"Taxonomies of visual programming and program visualization","type":"article-journal","URL":"http://dx.doi.org/10.1016/s1045-926x(05)80036-9","volume":"1"},
{"id":"nafusFLOSSPOLSDeliverable162006","author":[{"family":"Nafus","given":"D"},{"family":"Leach","given":"James"},{"family":"Krieger","given":"B"}],"citation-key":"nafusFLOSSPOLSDeliverable162006","issued":{"date-parts":[[2006,1,1]]},"source":"ResearchGate","title":"FLOSSPOLS Deliverable D 16 Gender: Integrated Report of Findings","title-short":"FLOSSPOLS Deliverable D 16 Gender","type":"article-journal"},
{"id":"nakeComputerArtPersonal2005","abstract":"The story of some early computer art drawings in 1965 is told. It is a story of randomness. Computer art is viewed here as the programming of classes of aesthetic objects. In the mid 1960s, information aesthetics was a powerful and radical theory that had some influence on constructive and concrete forms of art in Europe. A connection is drawn to computer supported works by A. Michael Noll in the US, and Georg Nees in Germany. \"Experiment and tendency\" is identified as an important principle still valid today. The concept of the algorithmic sign appears at the horizon. Digital media are claimed to be explorations of algorithmic signs.","author":[{"family":"Nake","given":"Frieder"}],"citation-key":"nakeComputerArtPersonal2005","collection-title":"C&C '05","container-title":"Proceedings of the 5th conference on Creativity & cognition","DOI":"10.1145/1056224.1056234","event-place":"London, United Kingdom","ISBN":"1-59593-025-6","issued":{"date-parts":[[2005]]},"page":"54–62","publisher":"ACM","publisher-place":"London, United Kingdom","title":"Computer art: a personal recollection","type":"paper-conference","URL":"http://dx.doi.org/10.1145/1056224.1056234"},
{"id":"nakeThereShouldBe1971","author":[{"family":"Nake","given":"Frieder"}],"citation-key":"nakeThereShouldBe1971","container-title":"PAGE","issued":{"date-parts":[[1971]]},"title":"There should be no computer art","type":"article-journal","volume":"18"},
{"id":"nashTrackingVirtuosityFlow2011","author":[{"family":"Nash","given":"C."},{"family":"Blackwell","given":"A. F."}],"citation-key":"nashTrackingVirtuosityFlow2011","container-title":"Proceedings of International Computer Music Conference 2011","issued":{"date-parts":[[2011]]},"title":"Tracking virtuosity and flow in computer music","type":"paper-conference"},
{"id":"nataleSensorimotorDevelopmentObject2005","abstract":"This paper describes a developmental sequence that allows a humanoid robot to learn about the shape of its body and successively about certain parts of the environment. We equipped the humanoid robot with an initial set of motor and perceptual competencies ranging from simple stereotyped actions to more sophisticated visual routines providing a bottom-up attention system. This initial form of sensorimotor coordination is sufficient to initiate the interaction with the environment and allows the robot to improve its motor and perceptual skills by first constructing a \"body-schema\" and later by learning about objects. The body-schema allows controlling movements to fixate, reach and touch objects in the environment. The interaction is further used to form a visual model of the objects grasped by the robot which eventually modulate the attention system in a top-down way. In another experiment we show an initial effort to study the acquisition of object affordances. We discuss the importance of sensorimotor coordination as a required step not only for the control of action but also, and more importantly, for perceptual development","author":[{"family":"Natale","given":"L."},{"family":"Orabona","given":"F."},{"family":"Berton","given":"F."},{"family":"Metta","given":"G."},{"family":"Sandini","given":"G."}],"citation-key":"nataleSensorimotorDevelopmentObject2005","container-title":"5th IEEE-RAS International Conference on Humanoid Robots, 2005.","DOI":"10.1109/ichr.2005.1573572","event-place":"San Diego, Cali, USA","ISBN":"0-7803-9320-1","issued":{"date-parts":[[2005]]},"page":"226–231","publisher":"IEEE","publisher-place":"San Diego, Cali, USA","title":"From sensorimotor development to object perception","type":"paper-conference","URL":"http://dx.doi.org/10.1109/ichr.2005.1573572"},
{"id":"nauertTheoryPracticePorgy1994","accessed":{"date-parts":[[2020,3,11]]},"archive":"JSTOR","author":[{"family":"Nauert","given":"Paul"}],"citation-key":"nauertTheoryPracticePorgy1994","container-title":"The Musical Quarterly","ISSN":"0027-4631","issue":"1","issued":{"date-parts":[[1994]]},"page":"9-33","publisher":"Oxford University Press","source":"JSTOR","title":"Theory and Practice in \"Porgy and Bess\": The Gershwin-Schillinger Connection","title-short":"Theory and Practice in \"Porgy and Bess\"","type":"article-journal","URL":"https://www.jstor.org/stable/742491","volume":"78"},
{"id":"naurHumanKnowingLanguage1992","author":[{"family":"Naur","given":"Peter"}],"citation-key":"naurHumanKnowingLanguage1992","container-title":"Computing: A Human Activity","issued":{"date-parts":[[1992]]},"page":"518–535","publisher":"ACM Press","title":"Human Knowing, Language and Discrete Structures","type":"chapter"},
{"id":"naurProgrammingLanguagesAre1992","author":[{"family":"Naur","given":"Peter"}],"citation-key":"naurProgrammingLanguagesAre1992","container-title":"Computing: A Human Activity","issued":{"date-parts":[[1992]]},"page":"503–510","publisher":"ACM Press","title":"Programming languages are not languages – why `programming language' is a misleading designation","type":"chapter"},
{"id":"nealeRoleMetaphorsUser1997","author":[{"family":"Neale","given":"Dennis C."},{"family":"Carroll","given":"John M."}],"citation-key":"nealeRoleMetaphorsUser1997","container-title":"Handbook of Human-Computer Interaction","edition":"Second","editor":[{"family":"Helander","given":"M."},{"family":"Landauer","given":"T. K."},{"family":"Prabhu","given":"P."}],"issued":{"date-parts":[[1997]]},"page":"441–462","publisher":"Elsevier","title":"The Role of Metaphors in User Interface Design","type":"chapter"},
{"id":"nelsonComputerLibDream1987","author":[{"family":"Nelson","given":"Theodore H."}],"citation-key":"nelsonComputerLibDream1987","edition":"Rev Upd Su","ISBN":"0-914845-49-7","issued":{"date-parts":[[1987,10]]},"note":"Published: Paperback","publisher":"Microsoft Pr","title":"Computer Lib/Dream Machines (Tempus)","type":"book","URL":"http://www.worldcat.org/isbn/0914845497"},
{"id":"neumarkIntroductionParadoxVoice2010","author":[{"family":"Neumark","given":"Norie"}],"citation-key":"neumarkIntroductionParadoxVoice2010","collection-title":"Leonardo Books","container-title":"Voice: Vocal Aesthetics in Digital Arts and Media","editor":[{"family":"Neumark","given":"Norie"},{"family":"Gibson","given":"Ross"},{"family":"Leeuwen","given":"Theo","non-dropping-particle":"van"}],"issued":{"date-parts":[[2010]]},"page":"xv–xxxiii","publisher":"MIT Press","title":"Introduction: The Paradox of Voice","type":"chapter"},
{"id":"nevalainenComparisonThreeEye2004","author":[{"family":"Nevalainen","given":"Seppo"},{"family":"Sajaniemi","given":"Jorma"}],"citation-key":"nevalainenComparisonThreeEye2004","container-title":"Proceedings of Psychology of Programming Interest Group","issued":{"date-parts":[[2004]]},"title":"Comparison of Three Eye Tracking Devices in Psychology of Programming Research","type":"paper-conference"},
{"id":"ngBigDataOptical2014","author":[{"family":"Ng","given":"Kia"},{"family":"McLean","given":"Alex"},{"family":"Marsden","given":"Alan"}],"citation-key":"ngBigDataOptical2014","container-title":"Proceedings of Electronic Visualisation and the Arts","DOI":"10.14236/ewic/eva2014.26","issued":{"date-parts":[[2014,7]]},"title":"Big Data Optical Music Recognition with Multi Images and Multi Recognisers","type":"paper-conference","URL":"http://dx.doi.org/10.14236/ewic/eva2014.26"},
{"id":"ngColourMusicRealtime2014","author":[{"family":"Ng","given":"Kia"},{"family":"Armitage","given":"Joanne"},{"family":"McLean","given":"Alex"}],"citation-key":"ngColourMusicRealtime2014","container-title":"Proceedings of Electronic Visualisation and the Arts","DOI":"10.14236/ewic/eva2014.3","issued":{"date-parts":[[2014,7]]},"title":"The Colour of Music: Real-time Music Visualisation with Synaesthetic Sound-colour Mapping","type":"paper-conference","URL":"http://dx.doi.org/10.14236/ewic/eva2014.3"},
{"id":"ngMusicMotionTransdomain2004","abstract":"This paper presents a framework called Music via Motion (MvM) designed for the transdomain mapping between physical movements of the performer(s) and multimedia events, translating activities from one creative domain to another-for example, from physical gesture to audio output. With a brief background of this domain and prototype designs, the paper describes a number of inter- and multidisciplinary collaborative works for interactive multimedia performances. These include a virtual musical instrument interface, exploring video-based tracking technology to provide an intuitive and nonintrusive musical interface, and sensor-based augmented instrument designs. The paper also describes a distributed multimedia-mapping server which allows multiplatform and multisensory integrations and presents a sample application which integrates a real-time face tracking system. Ongoing developments and plausible future explorations on stage augmentation with virtual and augmented realities as well as gesture analysis on the correlations of musical gesture and physical gesture are also discussed.","author":[{"family":"Ng","given":"K. C."}],"citation-key":"ngMusicMotionTransdomain2004","container-title":"Proceedings of the IEEE","DOI":"10.1109/jproc.2004.825885","ISSN":"0018-9219","issue":"4","issued":{"date-parts":[[2004,4]]},"page":"645–655","title":"Music via motion: transdomain mapping of motion and sound for interactive performances","type":"article-journal","URL":"http://dx.doi.org/10.1109/jproc.2004.825885","volume":"92"},
{"id":"nisbettTellingMoreWe1977","abstract":"Evidence is reviewed which suggests that there may be little or no direct introspective access to higher order cognitive processes. Subjects are sometimes (a) unaware of the existence of a stimulus that importantly influenced a response, (b) unaware of the existence of the response, and (c) unaware that the stimulus has affected the response. It is proposed that when people attempt to report on their cognitive processes, that is, on the processes mediating the effects of a stimulus on a response, the do not do so on the basis of any true introspection. Instead, their reports are based on a priori, implicit casual theories or judgments about the extent to which a particular stimulus is a plausible cause of a given response. This suggests that though people may not be able to observe directly their cognitive processes, the will sometimes be able to report accurately about them. Accurate reports will occur when influential stimuli are salient and are plausible causes of the responses they produce, and will not occur the stimuli are not salient or are not plausible causes.","author":[{"family":"Nisbett","given":"Richard E."},{"family":"Wilson","given":"Timothy D."}],"citation-key":"nisbettTellingMoreWe1977","container-title":"Psychological Review","editor":[{"family":"Devivo","given":"Anita"},{"family":"Silver","given":"Amy"},{"family":"Felder","given":"Deborah S."},{"family":"Hayward","given":"Robert J."},{"family":"Patterson","given":"Kendall C."},{"family":"Redman","given":"Anne"},{"family":"Buchwald","given":"Alexander"},{"family":"Falmagne","given":"Rachel J."},{"family":"Krantz","given":"David H."},{"family":"Olson","given":"Gary M."},{"family":"Shiffrin","given":"Richard M."},{"family":"Smith","given":"Edward E."},{"family":"Theios","given":"John"},{"family":"Wiggins","given":"Jerry S."}],"issue":"3","issued":{"date-parts":[[1977,5]]},"note":"Published: Not available electronically","title":"Telling More Than We Can Know: Verbal Reports on Mental Processes","type":"article-journal","volume":"84"},
{"id":"novelloPerceptualEvaluationMusic2006","author":[{"family":"Novello","given":"Alberto"},{"family":"McKinney","given":"Martin F."},{"family":"Kohlrausch","given":"Armin"}],"citation-key":"novelloPerceptualEvaluationMusic2006","container-title":"Proceedings of the Seventh Annual In- ternational Symposium on Music Information Retrieval: ISMIR 2006","issued":{"date-parts":[[2006]]},"title":"Perceptual evaluation of music similarity","type":"article-journal"},
{"id":"ogbornDktr0WebDirt2022","abstract":"Sampling engine implemented in Web Audio API (rough re-creation of Dirt)","accessed":{"date-parts":[[2022,6,24]]},"author":[{"family":"Ogborn","given":"David"}],"citation-key":"ogbornDktr0WebDirt2022","genre":"JavaScript","issued":{"date-parts":[[2022,6,12]]},"original-date":{"date-parts":[[2016,5,4]]},"source":"GitHub","title":"dktr0/WebDirt","type":"book","URL":"https://github.com/dktr0/WebDirt"},
{"id":"ogbornEstuaryBrowserbasedCollaborative2017","abstract":"This paper describes the initial design and development of Estuary, a browser-based collaborative projectional editing environment built on top of the popular TidalCycles language for the live coding of musical pattern. Key features of Estuary include a strict form of structure editing (making syntactical errors impossible), a click-only border-free approach to interface design, explicit notations to modulate the liveness of different parts of the code, and a server-based network collaboration system that can be used for many simultaneous collaborative live coding performances, as well as to present different views of the same live coding activity. Estuary has been developed using Reflex-DOM, a Haskell-based framework for web development whose strictness promises robustness and security advantages.","author":[{"family":"Ogborn","given":"David"},{"family":"Beverley","given":"Jamie"},{"family":"Navarro del Angel","given":"Luis"},{"family":"Tsabary","given":"Eldad"},{"family":"McLean","given":"Alex"}],"citation-key":"ogbornEstuaryBrowserbasedCollaborative2017","container-title":"Proceedings of the International Conference on Live Coding","event":"ICLC2017","event-place":"Morelia","issued":{"date-parts":[[2017]]},"language":"en","page":"11","publisher-place":"Morelia","source":"Zotero","title":"Estuary: Browser-based Collaborative Projectional Live Coding of Musical Patterns","type":"paper-conference"},
{"id":"ogbornExtramurosMakingMusic2015","author":[{"family":"Ogborn","given":"David"},{"family":"Tsabary","given":"Eldad"},{"family":"Jarvis","given":"Ian"},{"family":"Cardenas","given":"Alexandra"},{"family":"McLean","given":"Alex"}],"citation-key":"ogbornExtramurosMakingMusic2015","container-title":"Proceedings of the First International Conference on Live Coding, University of Leeds, ICSRiM","issued":{"date-parts":[[2015]]},"title":"Extramuros: making music in a browser-based, language-neutral collaborative live coding environment","type":"paper-conference"},
{"id":"ogbornLiveCodingScalable2014","abstract":"Live coding (Collins et al. 2003 and other articles in this special issue of Computer Music Journal) is the central performance practice of the Cybernetic Orchestra, a laptop orchestra at McMaster University in Hamilton, Ontario, Canada. Inspired by the idea of participatory culture, the ensemble has been made open to a diverse and ever changing roster of participants, and may be likened to a human laboratory exploring this question: How is live coding scalable onto larger groups of people coming from diverse backgrounds? This article presents the practices that have developed during the first three years of the Cybernetic Orchestra's existence, starting with a summary of our human organization and physical infrastructure. The EspGrid software, developed for enhanced network synchronization and sharing, is reviewed before a final section presents the live coding practices that have crystallized around this specific collective of people, equipment, and code.","author":[{"family":"Ogborn","given":"David"}],"citation-key":"ogbornLiveCodingScalable2014","container-title":"Computer Music Journal","DOI":"10.1162/comj_a_00217","issue":"1","issued":{"date-parts":[[2014,3]]},"page":"17–30","title":"Live Coding in a Scalable, Participatory Laptop Orchestra","type":"article-journal","URL":"http://dx.doi.org/10.1162/comj_a_00217","volume":"38"},
{"id":"ohalaEthologicalPerspectiveCommon1984","abstract":"The author suggests that the following seemingly disparate phenomena have an underlying relationship: cross-language similarities in the intonation contours for statements versus questions, cross-cultural similarities in the vocal expression via intonation of attitude and affect, cross-language patterns in the use of tone, vowels, and consonants in \"sound symbolic' vocabulary , cross-species use of F0 in threatening or non threatening vocalizations, cross-cultural and cross-species use of certain facial expressions (involving distinct mouth shape), and the existence of sexual dimorphism in the vocal anatomy of humans (and certain non humans). He argues that all arise due to an innately specified \"frequency code', which associates high acoustic frequency with the primary meaning of \"small vocalizer ' and thus such secondary meanings as \"subordinate, submissive, non threatening, desirous of the receiver's goodwill , etc.' and associates with low acoustic frequency the primary meaning of \"large vocalizer ' and such secondary meanings as \"dominant, aggressive, threatening, etc.'","author":[{"family":"Ohala","given":"J. J."}],"citation-key":"ohalaEthologicalPerspectiveCommon1984","container-title":"Phonetica","ISSN":"0031-8388","issue":"1","issued":{"date-parts":[[1984]]},"page":"1–16","PMID":"6204347","title":"An ethological perspective on common cross-language utilization of F0 of voice.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/6204347","volume":"41"},
{"id":"ohrmanSingingLoomImportance","abstract":"This paper traces Roman acoustic experience of domestic soundscapes, particularly the soundscape of textile production (especially weaving) through a combination of philological analysis of Latin poetry and experimental archaeology. Based on a comprehensive survey of textile sound-mimicking in Latin poetry, the paper highlights consistent features of Roman domestic soundscapes rather than the soundscape of any one specific setting, site, or period. Spectrographic anlaysis of audio recordings of weaving experiments conducted at the Centre for Textile Research in Copenhagen provides the experimental archaeological basis for the literary analysis. Passages from Tibullus’ Elegies 2.1 and the Ciris provide representative examples of literary sound-mimicking of craft processes.","author":[{"family":"Öhrman","given":"Magdalena"}],"citation-key":"ohrmanSingingLoomImportance","language":"en","page":"8","source":"Zotero","title":"The Singing Loom: The Importance of Textile Production in the Roman Domestic Soundscape","type":"article-journal"},
{"id":"ohrmanSingingLoomImportance2018","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Ohrman","given":"Magdalena"}],"citation-key":"ohrmanSingingLoomImportance2018","container-title":"Archaeoacoustics lll : Proceedings of the Third International Multidisciplinary conference","issued":{"date-parts":[[2018,5,3]]},"language":"en","page":"143-150","publisher":"OTS Foundation","source":"repository.uwtsd.ac.uk","title":"The Singing Loom: The Importance of Textile Production in the Roman Domestic Soundscape","title-short":"The singing loom","type":"paper-conference","URL":"http://www.otsf.org/contact.html","volume":"3"},
{"id":"okabeSpatialTessellationsConcepts1992","author":[{"family":"Okabe","given":"Atsuyuki"},{"family":"Boots","given":"Barry"},{"family":"Sugihara","given":"Kokichi"}],"citation-key":"okabeSpatialTessellationsConcepts1992","event-place":"New York, NY, USA","issued":{"date-parts":[[1992]]},"publisher":"John Wiley & Sons, Inc.","publisher-place":"New York, NY, USA","title":"Spatial tessellations: concepts and applications of Voronoi diagrams","type":"book"},
{"id":"okabeSpatialTessellationsConcepts2000","author":[{"family":"Okabe","given":"Atsuyuki"},{"family":"Boots","given":"Barry"},{"family":"Sugihara","given":"Kokichi"},{"family":"Chiu","given":"Sung N."}],"citation-key":"okabeSpatialTessellationsConcepts2000","collection-title":"Series in Probability and Statistics","edition":"Second","issued":{"date-parts":[[2000]]},"publisher":"John Wiley and Sons, Inc.","title":"Spatial Tessellations: Concepts and Applications of Voronoi Diagrams","type":"book"},
{"id":"oliverCriticalEngineeringManifesto","abstract":"The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence. The Critical Engineer considers any technology depended upon to be both a challenge and a threat. The greater the dependence on a technology the greater the need to study and expose its inner workings, regardless of ownership or legal provision. The Critical Engineer raises awareness that with each technological advance our techno-political literacy is challenged. The Critical Engineer deconstructs and incites suspicion of rich user experiences. The Critical Engineer looks beyond the 'awe of implementation' to determine methods of influence and their specific effects. The Critical Engineer recognises that each work of engineering engineers its user, proportional to that user's dependency upon it. The Critical Engineer expands 'machine' to describe interrelationships encompassing devices, bodies, agents, forces and networks. The Critical Engineer observes the space between the production and consumption of technology. Acting rapidly to changes in this space, the Critical Engineer serves to expose moments of imbalance and deception. The Critical Engineer looks to the history of art, architecture, activism, philosophy and invention and finds exemplary works of Critical Engineering. Strategies, ideas and agendas from these disciplines will be adopted, re-purposed and deployed. The Critical Engineer notes that written code expands into social and psychological realms, regulating behaviour between people and the machines they interact with. By understanding this, the Critical Engineer seeks to reconstruct user-constraints and social action through means of digital excavation. The Critical Engineer considers the exploit to be the most desirable form of exposure.","author":[{"family":"Oliver","given":"Julian"},{"family":"Savičić","given":"Gordan"},{"family":"Vasiliev","given":"Danja"}],"citation-key":"oliverCriticalEngineeringManifesto","title":"The Critical Engineering Manifesto","type":"book","URL":"http://criticalengineering.org/"},
{"id":"ongAfricanTalkingDrums1977","author":[{"family":"Ong","given":"Walter J."}],"citation-key":"ongAfricanTalkingDrums1977","container-title":"New Literary History","DOI":"10.2307/468293","ISSN":"00286087","issue":"3","issued":{"date-parts":[[1977]]},"page":"411–429","title":"African Talking Drums and Oral Noetics","type":"article-journal","URL":"http://dx.doi.org/10.2307/468293","volume":"8"},
{"id":"OrderThingsPocketbooks2001","abstract":"Concrete poetry has been called the last great episode of Modernism which continued the experiments of Futurism, Dada, and Constructivism in poetry. \"The Order of Things\" presents the work of Scottish Concrete and sound poets within a national and international perspective, and is accompanied by an audio mini-CD of poetry.","citation-key":"OrderThingsPocketbooks2001","edition":"Min Pap/Co","ISBN":"0-7486-6290-1","issued":{"date-parts":[[2001,7]]},"note":"Published: Paperback","publisher":"Polygon","title":"The Order of Things (Pocketbooks)","type":"book","URL":"http://www.worldcat.org/isbn/0748662901"},
{"id":"osakaConstructionTimbreTheory2004","abstract":"Since the 20 century, timbre has become an important factor in music composition. However, no effective timbre theory for music composition has been yet developed. In this paper, firstly standpoints are described for previous timbre theories. Then the requirements for a new timbre theory are discussed: 1) How timbre should be categorized, 2) hierarchical structure and its self-similar representation, 3) extension of previous timbre (music) representation, 4) discrimination of embedded and exposed structure, and 5) definition of operation and grammatical structure.","author":[{"family":"Osaka","given":"Naotoshi"}],"citation-key":"osakaConstructionTimbreTheory2004","issued":{"date-parts":[[2004]]},"note":"Published: Proceedings of ICMC","title":"Toward Construction of a Timbre Theory for Music Composition","type":"article-journal"},
{"id":"osullivanRealWorldHaskell2008","author":[{"family":"O'Sullivan","given":"Bryan"},{"family":"Goerzen","given":"John"},{"family":"Stewart","given":"Donald B."}],"citation-key":"osullivanRealWorldHaskell2008","issued":{"date-parts":[[2008]]},"publisher":"O'Reilly Media","title":"Real World Haskell","type":"book"},
{"id":"OxfordHandbookAlgorithmic2018","abstract":"Algorithmic music appears to be at a turning point in its history, with many new systems and communities of practice developing together, as vibrant musical culture. This handbook brings together dozens of leading researchers and practitioners in the field, blending technical, artistic, cultural and scientific viewpoints into a whole that considers the making of algorithmic music as a rich, and essentially human activity. The book is organised into four sections, the first grounding the topic in the history, philosophy and psychology of algorithmic music. The second section asks 'what can algorithms in music do?', finding answers in computer science, mathematics, machine learning, bio-inspired computation, manipulation of pattern, computational creativity, and live coding. The third section focuses on the music maker, and the role of algorithms in supporting network music, sonification, music interface design, music in computer games, and spatialisation. The final section opens out to culture at large, and considers algorithmic music in terms of its audience reception, sociology, education, politics and the potential for mass consumption. Perhaps just as importantly, these sections are interleaved with reflective pieces from leading practitioners in the field, allowing us to to grasp the pragmatics of making music with algorithms. Combined, these diverse standpoints provide an absorbing, authoritative survey of research and practice from across the algorithmic music field.","accessed":{"date-parts":[[2018,4,25]]},"citation-key":"OxfordHandbookAlgorithmic2018","DOI":"10.1093/oxfordhb/9780190226992.001.0001","issued":{"date-parts":[[2018,2,22]]},"language":"en","source":"www.oxfordhandbooks.com","title":"The Oxford Handbook of Algorithmic Music","type":"article-journal","URL":"http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190226992.001.0001/oxfordhb-9780190226992"},
{"id":"padillaImprovingOMRDigital2014","author":[{"family":"Padilla","given":"Victor"},{"family":"Marsden","given":"Alan"},{"family":"McLean","given":"Alex"},{"family":"Ng","given":"Kia"}],"citation-key":"padillaImprovingOMRDigital2014","container-title":"Proceedings of the ACM/IEEE International Digital Libraries for Musicology workshop","issued":{"date-parts":[[2014]]},"page":"1–8","publisher":"ACM","title":"Improving OMR for Digital Music Libraries with Multiple Recognisers and Multiple Sources","type":"paper-conference"},
{"id":"padillaImprovingOpticalMusic2015","author":[{"family":"Padilla","given":"Victor"},{"family":"McLean","given":"Alex"},{"family":"Marsden","given":"Alan"},{"family":"Ng","given":"Kia"}],"citation-key":"padillaImprovingOpticalMusic2015","container-title":"ISMIR","issued":{"date-parts":[[2015]]},"page":"517–523","title":"Improving Optical Music Recognition by Combining Outputs from Multiple Sources.","type":"paper-conference"},
{"id":"paivioMentalRepresentationsDual1990","author":[{"family":"Paivio","given":"Allan"}],"citation-key":"paivioMentalRepresentationsDual1990","ISBN":"0-19-506666-9","issued":{"date-parts":[[1990,9]]},"note":"Published: Paperback","publisher":"Oxford University Press, USA","title":"Mental Representations: A Dual Coding Approach (Oxford Psychology Series)","type":"book","URL":"http://www.worldcat.org/isbn/0195066669"},
{"id":"papertMindstormsChildrenComputers1993","author":[{"family":"Papert","given":"Seymour A."}],"citation-key":"papertMindstormsChildrenComputers1993","edition":"2","ISBN":"0-465-04674-6","issued":{"date-parts":[[1993,8]]},"note":"Published: Paperback","publisher":"Basic Books","title":"Mindstorms: Children, Computers, And Powerful Ideas","type":"book","URL":"http://www.worldcat.org/isbn/0465046746"},
{"id":"parkinsonInterfacingNight2014","author":[{"family":"Parkinson","given":"Adam"},{"family":"McLean","given":"Alex"}],"citation-key":"parkinsonInterfacingNight2014","container-title":"Proceedings of the 2nd International Conference on Live Interfaces","issued":{"date-parts":[[2014]]},"title":"Interfacing with the Night","type":"paper-conference"},
{"id":"parmarLiveLoomAlex2020","abstract":"ICLC 2020, University of Limerick, Ireland. 6 Feb 2020.","accessed":{"date-parts":[[2021,6,16]]},"author":[{"family":"Parmar","given":"Robin"}],"citation-key":"parmarLiveLoomAlex2020","issued":{"date-parts":[[2020,2,6]]},"medium":"photo","source":"Flickr","title":"\"The Live Loom\" by Alex McLean","type":"graphic","URL":"https://www.flickr.com/photos/rparmar/49565580827/"},
{"id":"parryCowboyMutantGolfers2011","abstract":"Animation is a significant form in children's lives. Animated films and television programs make up a substantial part of their experience of narratives and as such are an important resource in their talk and play. Making space in schools for this aspect of children's repertoires of narrative, even in the context of animated film production, can be challenging. In this article I explore some of the barriers to incorporating children's experiences of animation and then offer an account of an activity in which six fifth-year children were encouraged to draw on their popular culture experiences of animation in their text productions. These data demonstrate the way the children were able to create meaning using the affordances of all the modes of animation, revealing their implicit understandings of narrative conventions. The data raise questions regarding what constitutes good and acceptable storytelling in animated films in school and how to accommodate collaborative, hybrid, and transgressive texts and text production in the primary classroom. Finally, I examine the way in which the currency of popular culture affects the hierarchy of learners and the necessity of finding new ways to enable children to share their funds of knowledge about animation in the classroom.","author":[{"family":"Parry","given":"Becky"}],"citation-key":"parryCowboyMutantGolfers2011","container-title":"International Journal of Learning and Media","DOI":"10.1162/ijlm_a_00074","issue":"3","issued":{"date-parts":[[2011,7]]},"page":"43–53","title":"Cowboy Mutant Golfers and Dreamcatcher Dogs: Making Space for Popular Culture in Animation Production with Children","type":"article-journal","URL":"http://dx.doi.org/10.1162/ijlm_a_00074","volume":"3"},
{"id":"parryMindingGapsTeachers2010","author":[{"family":"Parry","given":"Becky"}],"citation-key":"parryMindingGapsTeachers2010","collection-title":"New Literacies and Digital Epistemologies","container-title":"Adolescents' Online Literacies: Connecting Classrooms, Digital Media, and Popular Culture","editor":[{"family":"Alvermann","given":"Donna E."}],"issued":{"date-parts":[[2010]]},"page":"183–202","publisher":"Peter Lang Publishing","title":"Minding the gaps: teachers' cultures, students' cultures","type":"chapter","volume":"39"},
{"id":"patelAcousticPerceptualComparison2003","author":[{"family":"Patel","given":"Aniruddh D."},{"family":"Iversen","given":"John R."}],"citation-key":"patelAcousticPerceptualComparison2003","container-title":"Proceedings of the 15th International Congress of Phonetic Sciences (ICPhS)","issued":{"date-parts":[[2003]]},"title":"Acoustic and Perceptual Comparison of Speech and Drum Sounds in the North Indian Tabla Tradition: An Empirical Study of Sound Symbolism","type":"paper-conference"},
{"id":"patelEvolutionaryNeuroscienceMusical2014","abstract":"a perceived periodic pulse that structures the perception of musical rhythm and which serves as a framework for synchronized movement to music. What are the neural mechanisms of musical beat perception, and how did they evolve? One view, which dates back to Darwin and implicitly informs some current models of beat perception, is that the relevant neural mechanisms are relatively general and are widespread among animal species. On the basis of recent neural and cross-species data on musical beat processing, this paper argues for a different view. Here we argue that beat perception is a complex brain function involving temporally-precise communication between auditory regions and motor planning regions of the cortex (even in the absence of overt movement). More specifically, we propose that simulation of periodic movement in motor planning regions provides a neural signal that helps the auditory system predict the timing of upcoming beats. This \"action simulation for auditory prediction\" (ASAP) hypothesis leads to testable predictions. We further suggest that ASAP relies on dorsal auditory pathway connections between auditory regions and motor planning regions via the parietal cortex, and suggest that these connections may be stronger in humans than in non-human primates due to the evolution of vocal learning in our lineage. This suggestion motivates cross-species research to determine which species are capable of human-like beat perception, i.e., beat perception that involves accurate temporal prediction of beat times across a fairly broad range of tempi.","author":[{"family":"Patel","given":"Aniruddh D."},{"family":"Iversen","given":"John R."}],"citation-key":"patelEvolutionaryNeuroscienceMusical2014","container-title":"Frontiers in systems neuroscience","DOI":"10.3389/fnsys.2014.00057","ISSN":"1662-5137","issued":{"date-parts":[[2014]]},"PMCID":"PMC4026735","PMID":"24860439","title":"The evolutionary neuroscience of musical beat perception: the Action Simulation for Auditory Prediction (ASAP) hypothesis.","type":"article-journal","URL":"http://dx.doi.org/10.3389/fnsys.2014.00057","volume":"8"},
{"id":"patelLanguageMusicSyntax2003","abstract":"The comparative study of music and language is drawing an increasing amount of research interest. Like language, music is a human universal involving perceptually discrete elements organized into hierarchically structured sequences. Music and language can thus serve as foils for each other in the study of brain mechanisms underlying complex sound processing, and comparative research can provide novel insights into the functional and neural architecture of both domains. This review focuses on syntax, using recent neuroimaging data and cognitive theory to propose a specific point of convergence between syntactic processing in language and music. This leads to testable predictions, including the prediction that that syntactic comprehension problems in Broca's aphasia are not selective to language but influence music perception as well.","author":[{"family":"Patel","given":"A. D."}],"citation-key":"patelLanguageMusicSyntax2003","container-title":"Nature Neuroscience","DOI":"10.1038/nn1082","ISSN":"1097-6256","issue":"7","issued":{"date-parts":[[2003,6]]},"page":"674–681","PMID":"12830158","title":"Language, music, syntax and the brain","type":"article-journal","URL":"http://dx.doi.org/10.1038/nn1082","volume":"6"},
{"id":"patelMusicalRhythmLinguistic2006","author":[{"family":"Patel","given":"A. D."}],"citation-key":"patelMusicalRhythmLinguistic2006","container-title":"Music Perception","issue":"24","issued":{"date-parts":[[2006]]},"page":"99–104","title":"Musical rhythm, linguistic rhythm, and human evolution","type":"article-journal"},
{"id":"patelMusicLanguageBrain2007","abstract":"In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language
has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one
way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines. This volume provides the first synthesis, arguing that music and language share deep and critical
connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities.","author":[{"family":"Patel","given":"Aniruddh D."}],"citation-key":"patelMusicLanguageBrain2007","edition":"First","ISBN":"0-19-512375-1","issued":{"date-parts":[[2007,12]]},"note":"Published: Hardcover","publisher":"Oxford University Press, USA","title":"Music, Language, and the Brain","type":"book","URL":"http://www.worldcat.org/isbn/0195123751"},
{"id":"patelRhythmLanguageMusic2003","abstract":"Rhythm is widely acknowledged to be an important feature of both speech and music, yet there is little empirical work comparing rhythmic organization in the two domains. One approach to the empirical comparison of rhythm in language and music is to break rhythm down into subcomponents and compare each component across domains. This approach reveals empirical evidence that rhythmic grouping is an area of overlap between language and music, but no empirical support for the long-held notion that language has periodic structure comparable to that of music. Focusing on the statistical patterning of event duration, new evidence suggests that the linguistic rhythm of a culture leaves an imprint on its musical rhythm. The latter finding suggests that one effective strategy for comparing rhythm in language and music is to determine if differences in linguistic rhythm between cultures are reflected in differences in musical rhythm.","author":[{"family":"Patel","given":"Aniruddh D."}],"citation-key":"patelRhythmLanguageMusic2003","container-title":"Annals of the New York Academy of Sciences","DOI":"10.1196/annals.1284.015","ISSN":"0077-8923","issue":"1","issued":{"date-parts":[[2003,11]]},"page":"140–143","PMID":"14681127","title":"Rhythm in language and music: parallels and differences.","type":"article-journal","URL":"http://dx.doi.org/10.1196/annals.1284.015","volume":"999"},
{"id":"pattersonReviewingDefinitionTimbre2010","abstract":"The purpose of this paper is to draw attention to the definition of timbre as it pertains to the vowels of speech. There are two forms of size information in these source-filter sounds, information about the size of the excitation mechanism (the vocal folds), and information about the size of the resonators in the vocal tract that filter the excitation before it is projected into the air. The current definitions of pitch and timbre treat the two forms of size information differently. In this paper, we argue that the perception of speech sounds by humans suggests that the definition of timbre would be more useful if it grouped the size variables together and separated the pair of them from the remaining properties of these sounds.","author":[{"family":"Patterson","given":"Roy D."},{"family":"Walters","given":"Thomas C."},{"family":"Monaghan","given":"Jessica J. M."},{"family":"Gaudrain","given":"Etienne"}],"citation-key":"pattersonReviewingDefinitionTimbre2010","container-title":"The Neurophysiological Bases of Auditory Perception","DOI":"10.1007/978-1-4419-5686-6_21","editor":[{"family":"Lopez-Poveda","given":"Enrique A."},{"family":"Meddis","given":"Ray"},{"family":"Palmer","given":"Alan R."}],"event-place":"New York, NY","ISBN":"978-1-4419-5685-9","issued":{"date-parts":[[2010]]},"page":"223–233","publisher":"Springer New York","publisher-place":"New York, NY","title":"Reviewing the Definition of Timbre as it Pertains to the Perception of Speech and Musical Sounds","type":"chapter","URL":"http://dx.doi.org/10.1007/978-1-4419-5686-6_21"},
{"id":"paulDigitalArt2003","abstract":"Digital technology has revolutionized the way we produce and experience art today. Not only have traditional forms of art such as printing, painting, photography and sculpture been transformed by digital techniques and media, but entirely new forms such as net art, software art, digital installation and virtual reality have emerged as recognized artistic practices, collected by major museums, institutions and private collectors the world over. Here Christiane Paul surveys the developments in digital art from its appearance in the early 1990s right up to the present day, and looks ahead to what the future may hold. Drawing a distinction between work that uses digital technology as a tool to produce traditional forms and work that uses it as a medium to create new types of art, she discusses all the key artists and works. The book explores themes addressed and raised by the art, such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, as well as issues such as the collection, presentation and preservation of digital art, the virtual museum, and ownership and copyright.","author":[{"family":"Paul","given":"Christiane"}],"citation-key":"paulDigitalArt2003","edition":"1st edition","event-place":"London ; New York, N.Y","ISBN":"978-0-500-20367-5","issued":{"date-parts":[[2003,7,1]]},"language":"English","number-of-pages":"224","publisher":"Thames & Hudson Ltd","publisher-place":"London ; New York, N.Y","source":"Amazon","title":"Digital Art","type":"book"},
{"id":"pearceConstructionEvaluationStatistical2005","author":[{"family":"Pearce","given":"Marcus"}],"citation-key":"pearceConstructionEvaluationStatistical2005","issued":{"date-parts":[[2005]]},"publisher":"Department of Computing, City University, London, UK","title":"The Construction and Evaluation of Statistical Models of Melodic Structure in Music Perception and Composition","type":"thesis"},
{"id":"pearceEvaluatingCognitiveModels2007","author":[{"family":"Pearce","given":"Marcus"},{"family":"Wiggins","given":"Geraint"}],"citation-key":"pearceEvaluatingCognitiveModels2007","container-title":"International Joint Workshop on Computational Creativity","issued":{"date-parts":[[2007]]},"page":"73–80","title":"Evaluating Cognitive Models of Musical Composition","type":"paper-conference"},
{"id":"pearceSelectedObservationsAmusia2005","abstract":"Amusia appears primarily as a defect in processing pitch. The deficit extends to musical memory and recognition, singing and timing of music. Clinical studies of acquired brain lesions show that dysphasia is not necessarily accompanied by amusia, and acquired amusia without aphasia has been reported. These dissociations suggest some degree of autonomy in the function of these mechanisms.","author":[{"family":"Pearce","given":"J. M."}],"citation-key":"pearceSelectedObservationsAmusia2005","container-title":"European neurology","DOI":"10.1159/000089606","ISSN":"0014-3022","issue":"3","issued":{"date-parts":[[2005]]},"page":"145–148","PMID":"16282692","title":"Selected observations on amusia.","type":"article-journal","URL":"http://dx.doi.org/10.1159/000089606","volume":"54"},
{"id":"pecherSensorimotorSimulationsUnderlie2004","abstract":"According to the perceptual symbols theory (Barsalou, 1999), sensorimotor simulations underlie the representation of concepts. Simulations are componential in the sense that they vary with the context in which the concept is presented. In the present study, we investigated whether representations are affected by recent experiences with a concept. Concept names (e.g., APPLE) were presented twice in a property verification task with a different property on each occasion. The two properties were either from the same perceptual modality (e.g., green, shiny) or from different modalities (e.g., tart, shiny). All stimuli were words. There was a lag of several intervening trials between the first and second presentation. Verification times and error rates for the second presentation of the concept were higher if the properties were from different modalities than if they were from the same modality.","author":[{"family":"Pecher","given":"D."},{"family":"Zeelenberg","given":"R."},{"family":"Barsalou","given":"L. W."}],"citation-key":"pecherSensorimotorSimulationsUnderlie2004","container-title":"Psychonomic bulletin & review","ISSN":"1069-9384","issue":"1","issued":{"date-parts":[[2004,2]]},"page":"164–167","PMID":"15117003","title":"Sensorimotor simulations underlie conceptual representations: modality-specific effects of prior activation.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/15117003","volume":"11"},
{"id":"PenelopeSlack","accessed":{"date-parts":[[2021,3,3]]},"citation-key":"PenelopeSlack","title":"Penelope | Slack","type":"webpage","URL":"https://app.slack.com/client/T2K15Q9A5/C2K1544LF"},
{"id":"pereiraPeterGardenforsConceptual2007","author":[{"family":"Pereira","given":"Alfredo"}],"citation-key":"pereiraPeterGardenforsConceptual2007","container-title":"Minds and Machines","DOI":"10.1007/s11023-007-9075-1","issue":"4","issued":{"date-parts":[[2007,12]]},"page":"493–496","title":"Peter Gärdenfors, Conceptual Spaces: The Geometry of Thought","type":"article-journal","URL":"http://dx.doi.org/10.1007/s11023-007-9075-1","volume":"17"},
{"id":"PerformanceEcosystemsEcological2007","citation-key":"PerformanceEcosystemsEcological2007","container-title":"Proceedings of EMS","issued":{"date-parts":[[2007]]},"note":"Published: Online; http://www.ems-network.org/IMG/pdf_WatersEMS07.pdf","title":"Performance Ecosystems: Ecological approaches to musical interaction","type":"paper-conference"},
{"id":"petittoBabyHandsThat2004","abstract":"The \"ba, ba, ba\" sound universal to babies' babbling around 7 months captures scientific attention because it provides insights into the mechanisms underlying language acquisition and vestiges of its evolutionary origins. Yet the prevailing mystery is what is the biological basis of babbling, with one hypothesis being that it is a non-linguistic motoric activity driven largely by the baby's emerging control over the mouth and jaw, and another being that it is a linguistic activity reflecting the babies' early sensitivity to specific phonetic-syllabic patterns. Two groups of hearing babies were studied over time (ages 6, 10, and 12 months), equal in all developmental respects except for the modality of language input (mouth versus hand): three hearing babies acquiring spoken language (group 1: \"speech-exposed\") and a rare group of three hearing babies acquiring sign language only, not speech (group 2: \"sign-exposed\"). Despite this latter group's exposure to sign, the motoric hypothesis would predict similar hand activity to that seen in speech-exposed hearing babies because language acquisition in sign-exposed babies does not involve the mouth. Using innovative quantitative Optotrak 3-D motion-tracking technology, applied here for the first time to study infant language acquisition, we obtained physical measurements similar to a speech spectrogram, but for the hands. Here we discovered that the specific rhythmic frequencies of the hands of the sign-exposed hearing babies differed depending on whether they were producing linguistic activity, which they produced at a low frequency of approximately 1 Hz, versus non-linguistic activity, which they produced at a higher frequency of approximately 2.5 Hz - the identical class of hand activity that the speech-exposed hearing babies produced nearly exclusively. Surprisingly, without benefit of the mouth, hearing sign-exposed babies alone babbled systematically on their hands. We conclude that babbling is fundamentally a linguistic activity and explain why the differentiation between linguistic and non-linguistic hand activity in a single manual modality (one distinct from the human mouth) could only have resulted if all babies are born with a sensitivity to specific rhythmic patterns at the heart of human language and the capacity to use them.","author":[{"family":"Petitto","given":"L. A."},{"family":"Holowka","given":"S."},{"family":"Sergio","given":"L. E."},{"family":"Levy","given":"B."},{"family":"Ostry","given":"D. J."}],"citation-key":"petittoBabyHandsThat2004","container-title":"Cognition","DOI":"10.1016/j.cognition.2003.10.007","ISSN":"0010-0277","issue":"1","issued":{"date-parts":[[2004,8]]},"page":"43–73","PMID":"15110725","title":"Baby hands that move to the rhythm of language: hearing babies acquiring sign languages babble silently on the hands.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cognition.2003.10.007","volume":"93"},
{"id":"petreMentalImageryProgram1999","abstract":"There is widespread anecdotal evidence that expert programmers make use of visual mental images when they are designing programs. This evidence is used to justify the use of diagrams and visual programming languages during software design. This paper reports the results of two studies. In the first, expert programmers were directly questioned regarding the nature of their mental representations while they were engaged in a design task. This investigative technique was used with the explicit intention of eliciting introspective reports of mental imagery. In the second, users of a visual programming language responded to a questionnaire in which they were asked about cognitive processes. The resulting transcripts displayed a considerable number of common elements. These suggest that software design shares many characteristics of more concrete design disciplines. The reports from participants in the two studies, together with previous research into imagery use, indicate potential techniques for further investigation of software development support tools and design strategies. 1.","author":[{"family":"Petre","given":"Marian"},{"family":"Blackwell","given":"Alan F."}],"citation-key":"petreMentalImageryProgram1999","container-title":"International Journal of Human-Computer Studies","issued":{"date-parts":[[1999]]},"page":"7–30","title":"Mental imagery in program design and visual programming","type":"article-journal","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.41.1603","volume":"51"},
{"id":"petriCommunicationAutomata1966","author":[{"family":"Petri","given":"C. A."}],"citation-key":"petriCommunicationAutomata1966","issued":{"date-parts":[[1966,1]]},"publisher":"Applied Data Research Inc.","title":"Communication with automata","type":"report"},
{"id":"pettyWarpWeightedLooms2014","abstract":"This thesis examines the warp weighted loom during the Anglo-Saxon and Viking eras in England through archaeological, linguistic, and art evidence, supported by similar information about the loom from Northern Continental Europe. Some evidence from other parts of the world where this specific type of loom was used is also included for clarity. In order to further understanding of the possible functioning and abilities of the loom, modern individuals with experience weaving with this early medieval technology were sought out to answer a questionnaire. The analysis of data gathered is supported with evidence from interviews of some of the respondents. The weavers who answered the questionnaire were primarily associated with the living history or re-enactment movements; therefore a history of these movements and their goals is also included. An analysis of the responses to the questionnaire, including thoughts about how these answers might advance academic understanding of the loom, completes the thesis.","accessed":{"date-parts":[[2018,8,20]]},"author":[{"family":"Petty","given":"Christina"}],"citation-key":"pettyWarpWeightedLooms2014","container-title":"[Thesis]. Manchester, UK: The University of Manchester; 2014.","issued":{"date-parts":[[2014,7,10]]},"language":"en","title":"Warp Weighted Looms: Then and Now Anglo-Saxon and Viking Archaeological Evidence and Modern Practitioners","title-short":"Warp Weighted Looms","type":"webpage","URL":"https://www.escholar.manchester.ac.uk/uk-ac-man-scw:229035"},
{"id":"phillips-silverHearingWhatBody2007","abstract":"Phillips-Silver and Trainor (Phillips-Silver, J., Trainor, L.J., (2005). Feeling the beat: movement influences infants' rhythm perception. Science, 308, 1430) demonstrated an early cross-modal interaction between body movement and auditory encoding of musical rhythm in infants. Here we show that the way adults move their bodies to music influences their auditory perception of the rhythm structure. We trained adults, while listening to an ambiguous rhythm with no accented beats, to bounce by bending their knees to interpret the rhythm either as a march or as a waltz. At test, adults identified as similar an auditory version of the rhythm pattern with accented strong beats that matched their previous bouncing experience in comparison with a version whose accents did not match. In subsequent experiments we showed that this effect does not depend on visual information, but that movement of the body is critical. Parallel results from adults and infants suggest that the movement-sound interaction develops early and is fundamental to music processing throughout life.","author":[{"family":"Phillips-Silver","given":"Jessica"},{"family":"Trainor","given":"Laurel J."}],"citation-key":"phillips-silverHearingWhatBody2007","container-title":"Cognition","DOI":"10.1016/j.cognition.2006.11.006","ISSN":"0010-0277","issue":"3","issued":{"date-parts":[[2007,12]]},"page":"533–546","PMID":"17196580","title":"Hearing what the body feels: auditory encoding of rhythmic movement.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cognition.2006.11.006","volume":"105"},
{"id":"PianoRoll2017","abstract":"A piano roll is a music storage medium used to operate a player piano, piano player or reproducing piano. A piano roll is a continuous roll of paper with perforations (holes) punched into it. The perforations represent note control data. The roll moves over a reading system known as a 'tracker bar' and the playing cycle for each musical note is triggered when a perforation crosses the bar and is read.\n\nThe majority of piano rolls play on three distinct musical scales. The 65-note (with a playing range of A1 to C♯7) format was introduced in 1896 in the USA specifically for piano music. In 1900 an American format playing all 88 notes (A0 to C8) of the standard piano scale was introduced. In 1902 a German 72-note scale (F1, G1 to E7) was introduced. All of these scales were subject to being operated by piano rolls of varying dimensions. The 1908 Buffalo Convention of US manufacturers standardized the US industry to the 88-note scale and fixed the physical dimensions for that scale.\nPiano rolls were in continuous mass production from around 1896 to 2008, and are still available today, with QRS Music claiming to have 45,000 titles available with \"new titles being added on a regular basis\". Largely replacing piano rolls, which are no longer mass-produced today, MIDI files represent a modern way in which musical performance data can be stored. MIDI files accomplish digitally and electronically what piano rolls do mechanically. Software for editing a performance stored as MIDI data often has a feature to show the music in a piano roll representation.\nThe first paper rolls were used commercially by Welte & Sons in their Orchestrions beginning in 1883.\nA rollography is a listing of piano rolls, especially made by a single performer, analogous to a discography.","accessed":{"date-parts":[[2017,4,12]]},"citation-key":"PianoRoll2017","container-title":"Wikipedia","issued":{"date-parts":[[2017,3,6]]},"language":"en","note":"Page Version ID: 768942539","source":"Wikipedia","title":"Piano roll","type":"entry-encyclopedia","URL":"https://en.wikipedia.org/w/index.php?title=Piano_roll&oldid=768942539"},
{"id":"pierrecoupriGraphicalRepresentationAnalytical2004","abstract":"When, in 1998, I began my research into the analysis of electroacoustic music, analysis and representation were two distinct disciplines. One was an integral part of music research and the other was just a possible option for publication.","author":[{"family":"Pierre Coupri","given":"E."}],"citation-key":"pierrecoupriGraphicalRepresentationAnalytical2004","container-title":"Organised Sound","DOI":"10.1017/s1355771804000147","issue":"01","issued":{"date-parts":[[2004]]},"page":"109–113","title":"Graphical representation: an analytical and publication tool for electroacoustic music","type":"article-journal","URL":"http://dx.doi.org/10.1017/s1355771804000147","volume":"9"},
{"id":"pillsburyPlaceMovementConsciousness1911","author":[{"family":"Pillsbury","given":"W. B."}],"citation-key":"pillsburyPlaceMovementConsciousness1911","container-title":"Psychological review","issued":{"date-parts":[[1911]]},"page":"83–99","title":"The place of movement in consciousness","type":"article-journal","volume":"18"},
{"id":"PindarPaeansReading2001","abstract":"The paean, or sacred hymn to Apollo, had a central place in the song-dance culture of classical Greece. The most celebrated examples of the genre in antiquity were Pindar's paeans. These became known to twentieth century scholars thanks to the discovery of papyrus fragments; this book offers the first comprehensive re-evaluation of the poems. It includes the Greek text and translation of all the paeans of Pindar with a supplement comprising fragments from poems of uncertain genres. Ian Rutherford accompanies each fragment with an interpretation regarding issues of religion, performance, and genre.","citation-key":"PindarPaeansReading2001","event-place":"Oxford, New York","ISBN":"978-0-19-814381-9","issued":{"date-parts":[[2001,4,19]]},"number-of-pages":"568","publisher":"Oxford University Press","publisher-place":"Oxford, New York","source":"Oxford University Press","title":"Pindar's Paeans: A Reading of the Fragments with a Survey of the Genre","title-short":"Pindar's Paeans","type":"book"},
{"id":"platinumOltramarWarpweightedLoom2009","accessed":{"date-parts":[[2018,8,20]]},"author":[{"family":"Platinum","given":""}],"citation-key":"platinumOltramarWarpweightedLoom2009","container-title":"Oltramar","issued":{"date-parts":[[2009,6,13]]},"title":"Oltramar: The Warp-weighted Loom","title-short":"Oltramar","type":"post-weblog","URL":"http://oltramar.blogspot.com/2009/06/warp-weighted-loom.html"},
{"id":"pluckerAssessmentCreativity2010","author":[{"family":"Plucker","given":"Jonathan A."},{"family":"Makel","given":"Matthew C."}],"citation-key":"pluckerAssessmentCreativity2010","collection-title":"Cambridge Handbooks in Psychology","container-title":"The Cambridge Handbook of Creativity","editor":[{"family":"Kaufman","given":"James C."},{"family":"Sternberg","given":"Robert J."}],"issued":{"date-parts":[[2010]]},"page":"48–73","publisher":"Cambridge University Press","title":"Assessment of Creativity","type":"chapter"},
{"id":"polanskyHMSLHierarchicalMusic1990","author":[{"family":"Polansky","given":"Larry"},{"family":"Burk","given":"Phil"},{"family":"Rosenboom","given":"David"}],"citation-key":"polanskyHMSLHierarchicalMusic1990","container-title":"Perspectives of New Music","DOI":"10.2307/833016","ISSN":"00316016","issue":"2","issued":{"date-parts":[[1990]]},"page":"136–178","title":"HMSL (Hierarchical Music Specification Language): A Theoretical Overview","type":"article-journal","URL":"http://dx.doi.org/10.2307/833016","volume":"28"},
{"id":"polgarFreaxBriefHistory2005","author":[{"family":"Polgár","given":"Tamár"}],"citation-key":"polgarFreaxBriefHistory2005","ISBN":"3-9810494-0-3","issued":{"date-parts":[[2005,8]]},"note":"Published: Hardcover","publisher":"CSW-Verlag","title":"Freax: The Brief History of the Computer Demoscene","type":"book","URL":"http://www.worldcat.org/isbn/3981049403"},
{"id":"prandoniAnalysisbasedTimbreSpace1994","author":[{"family":"Prandoni","given":"Paolo"}],"citation-key":"prandoniAnalysisbasedTimbreSpace1994","issued":{"date-parts":[[1994]]},"note":"Published: online; http://lcavwww.epfl.ch/∼prandoni/documents/timbre1.pdf","title":"An analysis-based timbre space","type":"manuscript"},
{"id":"pressingCognitiveProcessesImprovisation1984","author":[{"family":"Pressing","given":"Jeff"}],"citation-key":"pressingCognitiveProcessesImprovisation1984","container-title":"Cognitive Processes in the Perception of Art","editor":[{"family":"Crozier","given":"R."},{"family":"Chapman","given":"A."}],"issued":{"date-parts":[[1984]]},"page":"345–363","publisher":"Elsevier Science Publishers","title":"Cognitive Processes in Improvisation","type":"chapter"},
{"id":"pressingImprovisationMethodsModels1987","author":[{"family":"Pressing","given":"Jeff"}],"citation-key":"pressingImprovisationMethodsModels1987","container-title":"Generative Processes in Music","editor":[{"family":"Sloboda","given":"John A."}],"issued":{"date-parts":[[1987]]},"page":"129–178","publisher":"Oxford University Press","title":"Improvisation: Methods and Models","type":"chapter"},
{"id":"pressingReferentialDynamicsCognition1999","author":[{"family":"Pressing","given":"Jeff"}],"citation-key":"pressingReferentialDynamicsCognition1999","container-title":"Psychological Review","issue":"4","issued":{"date-parts":[[1999]]},"page":"714–747","title":"The Referential Dynamics of Cognition and Action","type":"article-journal","volume":"106"},
{"id":"priest-dormanScutulisDividereGallia1998","author":[{"family":"Priest-Dorman","given":"Carolyn"}],"citation-key":"priest-dormanScutulisDividereGallia1998","container-title":"Creating Textiles: Makers, Methods, Markets. Proceedings of the Sixth Biennial Symposium of the Textile Society of America","event-place":"New York City","issued":{"date-parts":[[1998]]},"page":"51-60","publisher-place":"New York City","title":"Scutulis Dividere Gallia: Weaving on Tablets in Western Europe","type":"paper-conference"},
{"id":"priest-dormanScutulisDividereGallia1998a","author":[{"family":"Priest-Dorman","given":"Carolyn"}],"citation-key":"priest-dormanScutulisDividereGallia1998a","issued":{"date-parts":[[1998]]},"title":"Scutulis Dividere Gallia: Weaving on Tablets in Western Europe","title-short":"Scutulis Dividere Gallia","type":"webpage"},
{"id":"princetonRealTimePerformanceControllers2005","author":[{"family":"Princeton","given":"Perry C."}],"citation-key":"princetonRealTimePerformanceControllers2005","issued":{"date-parts":[[2005]]},"title":"Real-Time Performance Controllers for Synthesized Singing","type":"book","URL":"#"},
{"id":"prinzFurnishingMindConcepts2004","abstract":"Western philosophy has long been divided between empiricists, who argue thathuman understanding has its basis in experience, and rationalists, who arguethat reason is the source of knowledge. A central issue in the debate is thenature of concepts, the internal representations we use to think about theworld. The traditional empiricist thesis that concepts are built up fromsensory input has fallen out of favor. Mainstream cognitive science tends toecho the rationalist tradition, with its emphasis on innateness. In_Furnishing the Mind_, Jesse Prinz attempts to swing the pendulum back towardempiricism.Prinz provides a critical survey of leading theories of concepts, includingimagism, definitionism, prototype theory, exemplar theory, the theory theory,and informational atomism. He sets forth a new defense of concept empiricismthat draws on philosophy, neuroscience, and psychology and introduces a newversion of concept empiricism called proxytype theory. He also providesaccounts of abstract concepts, intentionality, narrow content, and conceptcombination. In an extended discussion of innateness, he covers Noam Chomsky'sarguments for the innateness of grammar, developmental psychologists'arguments for innate cognitive domains, and Jerry Fodor's argument for radicalconcept nativism.","author":[{"family":"Prinz","given":"J. J."}],"citation-key":"prinzFurnishingMindConcepts2004","edition":"New edition","ISBN":"0-262-66185-3","issued":{"date-parts":[[2004,9]]},"note":"Published: Paperback","publisher":"MIT Press","title":"Furnishing the Mind: Concepts and Their Perceptual Basis (Representation and Mind Series)","type":"book","URL":"http://www.worldcat.org/isbn/0262661853"},
{"id":"puckettePatcher1988","author":[{"family":"Puckette","given":"M."}],"citation-key":"puckettePatcher1988","container-title":"Proceedings of International Computer Music Conference 1988","issued":{"date-parts":[[1988]]},"page":"420–429","title":"The Patcher","type":"paper-conference"},
{"id":"puckettePureDataAnother1996","author":[{"family":"Puckette","given":"M."}],"citation-key":"puckettePureDataAnother1996","container-title":"In Proceedings, International Computer Music Conference","issued":{"date-parts":[[1996]]},"page":"269–272","title":"Pure data: another integrated computer music environment","type":"paper-conference"},
{"id":"pullumNaturalLanguagesContextfree1982","abstract":"Notice that this paper has not claimed that all natural languages are CFL's. What it has shown is that every published argument purporting to demonstrate the non-context-freeness of some natural language is invalid, either formally or empirically or both.18 Whether non-context-free characteristics can be found in the stringset of some natural language remains an open question, just as it was a quarter century ago.","author":[{"family":"Pullum","given":"Geoffrey K."},{"family":"Gazdar","given":"Gerald"}],"citation-key":"pullumNaturalLanguagesContextfree1982","container-title":"Linguistics and Philosophy","DOI":"10.1007/bf00360802","ISSN":"0165-0157","issue":"4","issued":{"date-parts":[[1982,12]]},"page":"471–504","title":"Natural languages and context-free languages","type":"article-journal","URL":"http://dx.doi.org/10.1007/bf00360802","volume":"4"},
{"id":"pylyshynThingsPlacesHow2007","abstract":"In Things and Places, Zenon Pylyshyn argues that the process of incrementally constructing perceptual representations, solving the binding problem (determining which properties go together), and, more generally, grounding perceptual representations in experience arise from the nonconceptual capacity to pick out and keep track of a small number of sensory individuals. He proposes a mechanism in early vision that allows us to select a limited number of sensory objects, to reidentify each of them under certain conditions as the same individual seen before, and to keep track of their enduring individuality despite radical changes in their properties–all without the machinery of concepts, identity, and tenses. This mechanism, which he calls FINSTs (for \"Fingers of Instantiation\"), is responsible for our capacity to individuate and track several independently moving sensory objects–an ability that we exercise every waking minute, and one that can be understood as fundamental to the way we see and understand the world and to our sense of space.
Pylyshyn examines certain empirical phenomena of early vision in light of the FINST mechanism, including tracking and attentional selection. He argues provocatively that the initial selection of perceptual individuals is our primary nonconceptual contact with the perceptual world (a contact that does not depend on prior encoding of any properties of the thing selected) and then draws on a wide range of empirical data to support a radical externalist theory of spatial representation that grows out of his indexing theory.","author":[{"family":"Pylyshyn","given":"Zenon W."}],"citation-key":"pylyshynThingsPlacesHow2007","edition":"First","ISBN":"0-262-16245-8","issued":{"date-parts":[[2007,10]]},"note":"Published: Hardcover","publisher":"The MIT Press","title":"Things and Places: How the Mind Connects with the World (Jean Nicod Lectures)","type":"book","URL":"http://www.worldcat.org/isbn/0262162458"},
{"id":"radcliffeRevolutionChallengingAutomaton2012","abstract":"This chapter examines a performance devised and developed collaboratively by the authors between 2007 -11 which uses a repetitious, machine-inspired nineteenth-century dance to control a digital arts piece, exploring the performative interface between human machine workers and technology. The performance was awarded a Quake contemporary dance festival award in 2008. The dance, the The Machinery, traceable to the1820s, is striking as possibly the earliest example of the creative expression of alienation and dehumanization in the industrial workspace. Nineteenth-century cotton mill workers surrendered to the pace of the machine through necessity; in The Machinery, workers find a means of expression by coalescing with the machine, rather than escaping it, reflecting De Certeau's theories of ?the everyday?. A means of addressing boredom and repetition, the predominantly female workers responded performatively to the otherwise potentially overpowering and isolating noises and actions of ?the uniform and unceasing motion of the automaton? (Marx). The dance can be viewed as a way of maintaining the body's control, interaction and creativity, rather than allowing the body to become solely an extension of the capitalist means of production. Paralleling the working conditions of the nineteenth-century textile workers with those of today's computer operators, Radcliffe and Angliss created a mixed media performance piece inspired by women's interaction with technology. Taking the steps of the early nineteenth-century clog dance, they re-contextualised its history, using it to control a machine of the twenty-first century, the digital computer. Thus, the performers - dancer and computer operator - work together to create an intermedial space where the real world, occupied by the human worker, and virtual world of the machine are coupled to each other and acting in equal partnership. The extreme, machine-like control, virtuosity and physical endurance of the dance reflect the stamina required to survive repetitive labour in both the industrial and the post-industrial workplace.","author":[{"family":"Radcliffe","given":"Caroline"},{"family":"Angliss","given":"Sarah"}],"citation-key":"radcliffeRevolutionChallengingAutomaton2012","container-title":"Performance Research","DOI":"10.1080/13528165.2013.775758","issue":"6","issued":{"date-parts":[[2012,12]]},"page":"40–47","title":"Revolution: Challenging the automaton: Repetitive labour and dance in the industrial workspace","type":"article-journal","URL":"http://dx.doi.org/10.1080/13528165.2013.775758","volume":"17"},
{"id":"ramachandranMirrorNeuronsImitation2000","author":[{"family":"Ramachandran","given":"V. S."}],"citation-key":"ramachandranMirrorNeuronsImitation2000","container-title":"Third Culture","issued":{"date-parts":[[2000]]},"note":"Published: Online; http://www.edge.org/3rd_culture/ramachandran/ramachandran_index.html","title":"Mirror neurons and imitation learning as the driving force behind \"the great leap forward\" in human evolution","type":"article-journal"},
{"id":"ramachandranPsychophysicalInvestigationsNeural2001","abstract":"We studied two otherwise normal, synaesthetic subjects who 'saw' a specific colour every time they saw a specific number or letter. We conducted four experiments in order to show that this was a genuine perceptual experience rather than merely a memory association. (i) The synaesthetically induced colours could lead to perceptual grouping, even though the inducing numerals or letters did not. (ii) Synaesthetically induced colours were not experienced if the graphemes were presented peripherally. (iii) Roman numerals were ineffective: the actual number grapheme was required. (iv) If two graphemes were alternated the induced colours were also seen in alternation. However, colours were no longer experienced if the graphemes were alternated at more than 4 Hz. We propose that grapheme colour synaesthesia arises from 'cross-wiring' between the 'colour centre' (area V4 or V8) and the 'number area', both of which lie in the fusiform gyrus. We also suggest a similar explanation for the representation of metaphors in the brain: hence, the higher incidence of synaesthesia among artists and poets.","author":[{"family":"Ramachandran","given":"V. S."},{"family":"Hubbard","given":"E. M."}],"citation-key":"ramachandranPsychophysicalInvestigationsNeural2001","container-title":"Proceedings. Biological sciences / The Royal Society","DOI":"10.1098/rspb.2000.1576","ISSN":"0962-8452","issue":"1470","issued":{"date-parts":[[2001,5]]},"page":"979–983","PMCID":"PMC1088697","PMID":"11370973","title":"Psychophysical investigations into the neural basis of synaesthesia.","type":"article-journal","URL":"http://dx.doi.org/10.1098/rspb.2000.1576","volume":"268"},
{"id":"ramachandranSynaesthesiaWindowPerception2001","abstract":"We investigated grapheme-colour synaesthesia and found that (1) The induced colours led to perceptual grouping and pop-out, (2) a number rendered invisible through 'crowding' or lateral masking can induce synaesthetic colours – a form of blindsight – and (3) peripherally presented graphemes did not induce colours even when they were clearly visible. Taken collectively, these and other experiments prove conclusively that synaesthesia is a genuine perceptual phenomenon, not an effect based on memory associations from childhood or on vague metaphorical speech. We identify different subtypes of number-colour synaesthesia and propose that they are caused by hyperconnectivity between colour and number areas at different stages in processing; lower synaesthetes may have cross-wiring (or cross-activation) within the fusiform gyrus whereas higher synaesthetes may have cross-activation in the angular gyrus. This hyperconnectivity might be caused by a genetic mutation that causes defective pruning of connections between brain maps. The mutation may further be expressed selectively (due to transcription factors) in the fusiform or angular gyri, and this may explain the existence of different forms of synaesthesia. If expressed very diffusely, there may be extensive cross-wiring between brain regions that represent abstract concepts, which would explain the link between creativity, metaphor and synaesthesia (and the higher incidence of synaesthesia among artists and poets). Also, hyperconnectivity between the sensory cortex and amygdala would explain the heightened aversion synaesthetes experience when seeing numbers printed in the 'wrong' colour. Lastly, kindling – induced hyperconnectivity in the temporal lobes of temporal lobe epilepsy (TLE) patients – may explain the purported higher incidence of synaesthesia in these patients. We conclude with a synaesthesia-based theory of the evolution of language. Thus, our experiments on synaesthesia and our theoretical framework attempt to link several seemingly unrelated facts about the human mind. Far from being a mere curiosity, synaesthesia may provide a window into perception, thought and language.","author":[{"family":"Ramachandran","given":"V. S."},{"family":"Hubbard","given":"E. M."}],"citation-key":"ramachandranSynaesthesiaWindowPerception2001","container-title":"Journal of Consciousness Studies","ISSN":"1355-8250","issue":"12","issued":{"date-parts":[[2001]]},"page":"3–34","title":"Synaesthesia – A window into perception, thought and language","type":"article-journal","URL":"http://www.ingentaconnect.com/content/imp/jcs/2001/00000008/00000012/1244","volume":"8"},
{"id":"ramachandranSynesthesia2008","author":[{"family":"Ramachandran","given":"V. S."},{"family":"Brang","given":"D."}],"citation-key":"ramachandranSynesthesia2008","container-title":"Scholarpedia","issue":"6","issued":{"date-parts":[[2008]]},"page":"3981","title":"Synesthesia","type":"article-journal","volume":"3"},
{"id":"ramseyPraisePattern2005","author":[{"family":"Ramsey","given":"Stephen"}],"citation-key":"ramseyPraisePattern2005","container-title":"TEXT Technology","issue":"2","issued":{"date-parts":[[2005]]},"page":"177–190","title":"In Praise of Pattern","type":"article-journal","URL":"http://digitalcommons.unl.edu/englishfacpubs/57/","volume":"14"},
{"id":"randolphMethodologicalReviewComputer2008","abstract":"Methodological reviews have been used successfully to identify research trends and improve research practice in a variety of academic fields. Although there have been three methodological reviews of the emerging field of computer science education research, they lacked reliability or generalizability. Therefore, because of the capacity for a methodological review to improve practice in computer science education and because the previous methodological reviews were lacking, a large scale, reliable, and generalizable methodological review of the recent research on computer science education is reported here. Our overall research question, which has nine subquestions, involved the methodological properties of research reported in articles in major computer science education research forums from the years 2000-2005. The purpose of this methodological review is to provide a methodologically rigorous basis on which to make recommendations for the improvement of computer science education research and to promote informed dialogue about its practice. Material published as part of this publication, either on-line or in print, is copyrighted by the Informing Science Institute. Permission to make digital or paper copy of part or all of these works for personal or classroom use is granted without fee provided that the copies are not made or distributed for profit or commercial advantage AND that copies 1) bear this notice in full and 2) give the full citation on the first page. It is permissible to abstract these works so long as credit is given. To copy in all other cases or to republish or to post on a server or to redistribute to lists requires specific permission and payment of a fee. Contact","author":[{"family":"Randolph","given":"Justus"},{"family":"Sutinen","given":"Erkki"},{"family":"Julnes","given":"George"},{"family":"Lehman","given":"Steve"}],"citation-key":"randolphMethodologicalReviewComputer2008","container-title":"Journal of Information Technology Education","issued":{"date-parts":[[2008]]},"page":"135–162","title":"A Methodological Review of Computer Science Education Research","type":"article-journal","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.161.5657","volume":"7"},
{"id":"raubalRepresentingConceptsTime2008","abstract":"People make use of concepts in all aspects of their lives. Concepts are mental entities, which structure our experiences and support reasoning in the world. They are usually regarded as static, although there is ample evidence that they change over time with respect to structure, content, and relation to real-world objects and processes. Recent research considers concepts as dynamical systems, emphasizing this potential for change. In order to analyze the alteration of concepts in time, a formal representation of this process is necessary. This paper proposes an algebraic model for representing dynamic conceptual structures, which integrates two theories from geography and cognitive science, i.e., time geography and conceptual spaces. Such representation allows for investigating the development of a conceptual structure along space-time paths and serves as a foundation for querying the structure of concepts at a specific point in time or for a time interval. The geospatial concept of 'landmark' is used to demonstrate the formal specifications.","author":[{"family":"Raubal","given":"Martin"}],"citation-key":"raubalRepresentingConceptsTime2008","container-title":"Proceedings of the international conference on Spatial Cognition VI","DOI":"10.1007/978-3-540-87601-4_24","event-place":"Freiburg, Germany","ISBN":"978-3-540-87600-7","issued":{"date-parts":[[2008]]},"page":"328–343","publisher":"Springer-Verlag","publisher-place":"Freiburg, Germany","title":"Representing Concepts in Time","type":"chapter","URL":"http://dx.doi.org/10.1007/978-3-540-87601-4_24"},
{"id":"rauscherMusicSpatialTask1993","author":[{"family":"Rauscher","given":"Frances H."},{"family":"Shaw","given":"Gordon L."},{"family":"Ky","given":"Catherine N."}],"citation-key":"rauscherMusicSpatialTask1993","container-title":"Nature","DOI":"10.1038/365611a0","ISSN":"0028-0836","issue":"6447","issued":{"date-parts":[[1993,10]]},"page":"611","PMID":"8413624","title":"Music and spatial task performance","type":"article-journal","URL":"http://dx.doi.org/10.1038/365611a0","volume":"365"},
{"id":"raynerWordPerception1994","author":[{"family":"Rayner","given":"Keith"},{"family":"Pollatsek","given":"Alexander"}],"citation-key":"raynerWordPerception1994","container-title":"The Psychology of Reading","ISBN":"0-8058-1872-3","issued":{"date-parts":[[1994,11]]},"note":"Published: Paperback","publisher":"Routledge","title":"Word Perception","type":"chapter","URL":"http://www.worldcat.org/isbn/0805818723"},
{"id":"reasProcessingProgrammingHandbook2007","abstract":"It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software. This book is an introduction to the concepts of computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity.
The ideas in Processing have been tested in classrooms, workshops, and arts institutions, including UCLA, Carnegie Mellon, New York University, and Harvard University. Tutorial units make up the bulk of the book and introduce the syntax and concepts of software (including variables, functions, and object-oriented programming), cover such topics as photography and drawing in relation to software, and feature many short, prototypical example programs with related images and explanations. More advanced professional projects from such domains as animation, performance, and typography are discussed in interviews with their creators. \"Extensions\" present concise introductions to further areas of investigation, including computer vision, sound, and electronics. Appendixes, references to other material, and a glossary contain additional technical details. Processing can be used by reading each unit in order, or by following each category from the beginning of the book to the end. The Processing software and all of the code presented can be downloaded and run for future exploration.
With essays by:
Alexander R. Galloway, Golan Levin, R. Luke DuBois, Simon Greenwold, Francis Li, and Hernando Barragán and interviews with Jared Tarbell, Martin Wattenberg, James Paterson, Erik van Blockland, Ed Burton, Josh On, Jürg Lehni, Auriea Harvey and Michaël Samyn, Mathew Cullen and Grady Hall, Bob Sabiston, Jennifer Steinkamp, Ruth Jarman and Joseph Gerhardt, Sue Costabile, Chris Csikszentmihályi, Golan Levin and Zachary Lieberman, and Mark Hansen.","author":[{"family":"Reas","given":"Casey"},{"family":"Fry","given":"Ben"}],"citation-key":"reasProcessingProgrammingHandbook2007","ISBN":"0-262-18262-9","issued":{"date-parts":[[2007,8]]},"note":"Published: Hardcover","publisher":"The MIT Press","title":"Processing: A Programming Handbook for Visual Designers and Artists","type":"book","URL":"http://www.worldcat.org/isbn/0262182629"},
{"id":"remezBistabilitySineWave2001","abstract":"Our studies revealed two stable modes of perceptual organization, one based on attributes of auditory sensory elements and another based on attributes of patterned sensory variation composed by the aggregation of sensory elements. In a dual-task method, listeners attended concurrently to both aspects, component and pattern, of a sine wave analogue of a word. Organization of elements was indexed by several single-mode tests of auditory form perception to verify the perceptual segregation of either an individual formant of a synthetic word or a tonal component of a sinusoidal word analogue. Organization of patterned variation was indexed by a test of lexical identification. The results show the independence of the perception of auditory and phonetic form, which appear to be differently organized concurrent effects of the same acoustic cause.","author":[{"family":"Remez","given":"Robert E."},{"family":"Pardo","given":"Jennifer S."},{"family":"Piorkowski","given":"Rebecca L."},{"family":"Rubin","given":"Philip E."}],"citation-key":"remezBistabilitySineWave2001","container-title":"Psychological Science","DOI":"10.1111/1467-9280.00305","issue":"1","issued":{"date-parts":[[2001]]},"page":"24–29","title":"On the Bistability of Sine Wave Analogues of Speech","type":"article-journal","URL":"http://dx.doi.org/10.1111/1467-9280.00305","volume":"12"},
{"id":"renesseInquiryBasedLearningArt2015","abstract":"Our particular flavor of inquiry-based learning (IBL) uses mathematical discourse, conversations, and discussions to empower students to deepen their mathematical thinking, building on strengths of students in the humanities. We present an organized catalog of powerful questions, discussion prompts, and talk moves that can help faculty facilitate a classroom focused on mathematical discourse. The paper brings this discourse alive through classroom vignettes and explores various teacher moves and their impacts. The mathematical theme of the classroom investigations, Maypole dance patterns, stems from the learning guide “Discovering the Art of Mathematics: Dance.” Both authors are part of the NSF-funded project “Discovering the Art of Mathematics,” which provides IBL materials for mathematics for liberal arts courses, see www.artofmathematics.org.","accessed":{"date-parts":[[2017,2,27]]},"author":[{"family":"Renesse","given":"Christine","dropping-particle":"von"},{"family":"Ecke","given":"Volker"}],"citation-key":"renesseInquiryBasedLearningArt2015","container-title":"PRIMUS","DOI":"10.1080/10511970.2014.921799","ISSN":"1051-1970","issue":"3","issued":{"date-parts":[[2015,3,16]]},"page":"221-237","source":"Taylor and Francis+NEJM","title":"Inquiry-Based Learning and the Art of Mathematical Discourse","type":"article-journal","URL":"http://dx.doi.org/10.1080/10511970.2014.921799","volume":"25"},
{"id":"reppEmbodimentMusicalStructure2002","author":[{"family":"Repp","given":"B. H."}],"citation-key":"reppEmbodimentMusicalStructure2002","container-title":"Common mechanisms in perception and action: Attention and Performance XIX","editor":[{"family":"Prinz","given":"W."},{"family":"Hommel","given":"B."}],"issued":{"date-parts":[[2002]]},"page":"245–265","publisher":"Oxford University Press","title":"The embodiment of musical structure: Effects of musical context on sensorimotor synchronization with complex timing patterns","type":"chapter"},
{"id":"reppTappingVerySlow2007","author":[{"family":"Repp","given":"Bruno H."},{"family":"Doggett","given":"Rebecca"}],"citation-key":"reppTappingVerySlow2007","container-title":"Music Perception","DOI":"10.1525/mp.2007.24.4.367","issue":"4","issued":{"date-parts":[[2007]]},"page":"367–376","title":"Tapping to a Very Slow Beat: A Comparison of Musicians and Nonmusicians","type":"article-journal","URL":"http://caliber.ucpress.net/doi/abs/10.1525/mp.2007.24.4.367","volume":"24"},
{"id":"resnickScratchProgrammingAll2009","abstract":"\"Digital fluency\" should mean designing, creating, and remixing, not just browsing, chatting, and interacting.","author":[{"family":"Resnick","given":"Mitchel"},{"family":"Maloney","given":"John"},{"family":"Hernández","given":"Andrés M."},{"family":"Rusk","given":"Natalie"},{"family":"Eastmond","given":"Evelyn"},{"family":"Brennan","given":"Karen"},{"family":"Millner","given":"Amon"},{"family":"Rosenbaum","given":"Eric"},{"family":"Silver","given":"Jay"},{"family":"Silverman","given":"Brian"},{"family":"Kafai","given":"Yasmin"}],"citation-key":"resnickScratchProgrammingAll2009","container-title":"Commun. ACM","DOI":"10.1145/1592761.1592779","ISSN":"0001-0782","issue":"11","issued":{"date-parts":[[2009,11]]},"page":"60–67","title":"Scratch: Programming for All","type":"article-journal","URL":"http://dx.doi.org/10.1145/1592761.1592779","volume":"52"},
{"id":"reynoldsEnergyFlash2013","author":[{"family":"Reynolds","given":"Simon"}],"citation-key":"reynoldsEnergyFlash2013","ISBN":"0-571-28913-4","issued":{"date-parts":[[2013,6]]},"note":"Published: Paperback","publisher":"Faber and Faber","title":"Energy Flash","type":"book","URL":"http://www.worldcat.org/isbn/0571289134"},
{"id":"reznikoffSoundResonancePrehistoric2008","abstract":"Caves have natural properties of resonance: some parts sound very well, the sound lasts for some seconds or gives several echoes, some other parts have a dull resonance or no resonance at all. It is extremely interesting to compare in a given cave the map of the most resonant locations with the map of the locations of the paintings: are there correlations between resonance and paintings? We have studied many Paleolithic caves in France in which the answer was remarkably positive; stated shortly: the more resonant the location, the more paintings or signs are situated in this location. Here are presented some studies and results in the caves of Isturitz and Oxocelhaya in Pays Basque and in some other caves. Some considerations are given about the resonance ‐ pictures relationship in open spaces with prehistoric painted rocks. Bibliography I. Reznikoff: Prehistoric Paintings, Sound and Rocks in Studien zur Musikarchäologie III: 2nd International Symposium on Music Archaeology, Sept. 2000, ed. E. Hickmann, Berlin, Rahden, 2002, 39‐56. The Evidence of the Use of Sound Resonance from Palaeolithic to Medieval Times, Archaeoacoustics, C. Scarre & G. Lawson ed., University of Cambridge, Cambridge, 2006, 77‐84. On Primitive Elements of Musical Meaning, www.musicandmeaning.net, JMM 3 (Invited papers), 2005.","author":[{"family":"Reznikoff","given":"Iegor"}],"citation-key":"reznikoffSoundResonancePrehistoric2008","DOI":"10.1121/1.2934773","issue":"5","issued":{"date-parts":[[2008,5]]},"page":"3603","title":"Sound resonance in prehistoric times: A study of Paleolithic painted caves and rocks","type":"article-journal","URL":"http://dx.doi.org/10.1121/1.2934773","volume":"123"},
{"id":"RicardoPrinciplesPolitical","accessed":{"date-parts":[[2017,10,13]]},"citation-key":"RicardoPrinciplesPolitical","title":"Ricardo: Principles of political economy and taxation - Google Scholar","type":"webpage","URL":"https://scholar.google.com/scholar_lookup?publication_year=1817&issue=3&author=David+Ricardo&title=On+the+Principles+of+Political+Economy+and+Taxation&"},
{"id":"RicardoPrinciplesPoliticala","accessed":{"date-parts":[[2017,5,19]]},"citation-key":"RicardoPrinciplesPoliticala","title":"Ricardo, On the Principles of Political Economy and Taxation, Chapters 28-32 | Library of Economics and Liberty","type":"webpage","URL":"http://www.econlib.org/library/Ricardo/ricP7.html#Ch.31,%20On%20Machinery"},
{"id":"richardsAgriculturePerformance1989","accessed":{"date-parts":[[2022,2,7]]},"author":[{"family":"Richards","given":"Paul"}],"citation-key":"richardsAgriculturePerformance1989","container-title":"Farmer first: farmer innovation and agricultural research","editor":[{"family":"Chambers","given":"Robert"},{"family":"Pacey","given":"Arnold"},{"family":"Thrupp","given":"Lori Ann"}],"issued":{"date-parts":[[1989]]},"language":"en","note":"Accepted: 2011-04-14T13:17:39Z","page":"39-42","publisher":"Intermediate Technology Publications","source":"opendocs.ids.ac.uk","title":"Agriculture as Performance","type":"chapter","URL":"https://opendocs.ids.ac.uk/opendocs/handle/20.500.12413/701"},
{"id":"richardsonRESTfulWebServices2007","author":[{"family":"Richardson","given":"Leonard"},{"family":"Ruby","given":"Sam"}],"citation-key":"richardsonRESTfulWebServices2007","issued":{"date-parts":[[2007]]},"title":"RESTful Web Services","type":"article-journal","URL":"http://www.amazon.co.uk/RESTful-Web-Services-Leonard-Richardson/dp/0596529260/ref=pd_bbs_sr_1/203-7038940-8568756?ie=UTF8&s=books&qid=1186069838&sr=8-1"},
{"id":"rizzolattiMirrorNeuronSystem2004","abstract":"A category of stimuli of great importance for primates, humans in particular, is that formed by actions done by other individuals. If we want to survive, we must understand the actions of others. Furthermore, without action understanding, social organization is impossible. In the case of humans, there is another faculty that depends on the observation of others' actions: imitation learning. Unlike most species, we are able to learn by imitation, and this faculty is at the basis of human culture. In this review we present data on a neurophysiological mechanism–the mirror-neuron mechanism–that appears to play a fundamental role in both action understanding and imitation. We describe first the functional properties of mirror neurons in monkeys. We review next the characteristics of the mirror-neuron system in humans. We stress, in particular, those properties specific to the human mirror-neuron system that might explain the human capacity to learn by imitation. We conclude by discussing the relationship between the mirror-neuron system and language.","author":[{"family":"Rizzolatti","given":"Giacomo"},{"family":"Craighero","given":"Laila"}],"citation-key":"rizzolattiMirrorNeuronSystem2004","container-title":"Annual review of neuroscience","DOI":"10.1146/annurev.neuro.27.070203.144230","ISSN":"0147-006X","issue":"1","issued":{"date-parts":[[2004]]},"page":"169–192","PMID":"15217330","title":"The Mirror-Neuron System","type":"article-journal","URL":"http://dx.doi.org/10.1146/annurev.neuro.27.070203.144230","volume":"27"},
{"id":"roachDistinctionStresstimedSyllabletimed1982","author":[{"family":"Roach","given":"Peter"}],"citation-key":"roachDistinctionStresstimedSyllabletimed1982","container-title":"Linguistic controversies : essays in linguistic theory and practice","editor":[{"family":"Crystal","given":"D."}],"issued":{"date-parts":[[1982]]},"page":"73–79","title":"On the distinction between 'stress-timed' and 'syllable-timed' languages","type":"chapter","URL":"https://www.alibris.com/search/books/isbn/0713163496"},
{"id":"roachTranscriptionProsodicParalinguistic1998","abstract":"A study of emotional speech has resulted in a collection of some five hours of recorded material. The analysis of this material has required computer-based annotation incorporating prosodic and paralinguistic transcription as well as the coding of various psychological variables. A version of the prosodic and paralinguistic transcription devised by Crystal and Quirk was developed for use within the xwaves environment. This paper describes this transcription system and its application.","author":[{"family":"Roach","given":"Peter J."},{"family":"Osborne","given":"J."},{"family":"Stibbard","given":"Richard M."},{"family":"Arnfield","given":"S."},{"family":"Setter","given":"J."}],"citation-key":"roachTranscriptionProsodicParalinguistic1998","container-title":"Journal of the International Phonetic Association","issue":"28","issued":{"date-parts":[[1998]]},"page":"83–94","title":"Transcription of Prosodic and Paralinguistic Features of Emotional Speech","type":"article-journal"},
{"id":"robertsEditingExtendedInteraction2015","abstract":"We describe research extending the interactive affordances of textual code fragments in creative coding environments. In particular we examine the potential of source code both to display the state of running processes and also to alter state using means other than traditional text editing. In contrast to previous research that has focused on the inclusion of additional interactive widgets inside or alongside text editors, our research adds a parsing stage to the runtime evaluation of code fragments and imparts additional interactive capabilities on the source code itself. After implementing various techniques in the creative coding environment Gibber, we evaluate our research through a survey on the various methods of visual feedback provided by our research. In addition to results quantifying preferences for certain techniques over others, we found near unanimous support among survey respondents for including similar techniques in other live coding environments.","accessed":{"date-parts":[[2021,1,27]]},"author":[{"family":"Roberts","given":"Charles"},{"family":"Wright","given":"Matthew"},{"family":"Kuchera-Morin","given":"JoAnn"}],"citation-key":"robertsEditingExtendedInteraction2015","collection-title":"NIME 2015","container-title":"Proceedings of the international conference on New Interfaces for Musical Expression","event-place":"Baton Rouge, Louisiana, USA","ISBN":"978-0-692-49547-6","issued":{"date-parts":[[2015,5,30]]},"page":"126–131","publisher":"The School of Music and the Center for Computation and Technology (CCT), Louisiana State University","publisher-place":"Baton Rouge, Louisiana, USA","source":"ACM Digital Library","title":"Beyond Editing: Extended Interaction with Textual Code Fragments","title-short":"Beyond Editing","type":"paper-conference"},
{"id":"robertsGibberLiveCoding2012","abstract":"We present Gibber: a live coding environment for web browsers. Gibber performances are written in pure Java-Script with no syntactical additions or modifications; this enables Gibber code to be executed in any web page viewed inside a browser implementing a realtime audio API. Gib-ber offers an array of synthesis options (FM, granular, subtractive, physical modeling), audio effects and sequenc-ing objects to control them. The Gibber environment en-ables simple networked performances where multiple users simultaneously control a remote instance of Gibber. We strove to make the syntax of Gibber clear and concise; when coupled with the ability to run examples in any web page this gives Gibber interesting possibilities as an edu-cational tool. 1.","author":[{"family":"Roberts","given":"Charles"},{"family":"Kuchera-morin","given":"Joann"}],"citation-key":"robertsGibberLiveCoding2012","container-title":"In Proceedings of the 2012 International Computer Music Conference","issued":{"date-parts":[[2012]]},"source":"CiteSeer","title":"Gibber: Live coding audio in the browser","title-short":"Gibber","type":"paper-conference"},
{"id":"rocchessoSoundingObjects2003","abstract":"Interactive systems, virtual environments, and information display applications need dynamic sound models rather than faithful audio reproductions. This implies three levels of research: auditory perception, physics-based sound modeling, and expressive parametric control. Parallel progress along these three lines leads to effective auditory displays that can complement or substitute visual displays. This article aims to shed some light on how psychologists, computer scientists, acousticians, and engineers can work together and address these and other questions arising in sound design for interactive multimedia systems.","author":[{"family":"Rocchesso","given":"D."},{"family":"Bresin","given":"R."},{"family":"Fernstrom","given":"M."}],"citation-key":"rocchessoSoundingObjects2003","container-title":"IEEE Multimedia","DOI":"10.1109/mmul.2003.1195160","ISSN":"1070-986X","issue":"2","issued":{"date-parts":[[2003,4]]},"page":"42–52","title":"Sounding objects","type":"article-journal","URL":"http://dx.doi.org/10.1109/mmul.2003.1195160","volume":"10"},
{"id":"rodetCHANTProjectSynthesis1984","author":[{"family":"Rodet","given":"Xavier"},{"family":"Potard","given":"Yves"},{"family":"Barriere","given":"Jean B."}],"citation-key":"rodetCHANTProjectSynthesis1984","container-title":"Computer Music Journal","issue":"3","issued":{"date-parts":[[1984]]},"title":"The CHANT Project: From the Synthesis of the Singing Voice to Synthesis in General","type":"article-journal","volume":"8"},
{"id":"rohrhuberAlgorithmicComplementarityImpossibility2014","author":[{"family":"Rohrhuber","given":"Julian"}],"citation-key":"rohrhuberAlgorithmicComplementarityImpossibility2014","container-title":"Collaboration and learning through live coding (Dagstuhl Seminar 13382)","DOI":"http://dx.doi.org/10.4230/DagRep.3.9.130","issue":"9","issued":{"date-parts":[[2014]]},"page":"140-142","title":"Algorithmic Complementarity, or the Impossibility of “Live” Coding","type":"article-journal","URL":"http://drops.dagstuhl.de/opus/volltexte/2014/4420","volume":"3"},
{"id":"rohrhuberAlgorithmsTodayNotes2005","author":[{"family":"Rohrhuber","given":"Julian"},{"family":"Campo","given":"Alberto","non-dropping-particle":"de"},{"family":"Wieser","given":"Renate"}],"citation-key":"rohrhuberAlgorithmsTodayNotes2005","container-title":"Proceedings of International Computer Music Conference 2005","event-place":"San Francisco","issued":{"date-parts":[[2005]]},"publisher-place":"San Francisco","title":"Algorithms Today: Notes On Language Design for Just In Time Programming","type":"paper-conference"},
{"id":"rohrhuberCodingKnots2017","abstract":"In this paper we explore new ways to approach understanding of the mysterious Precolumbian quipus, using both visual and sonic interpretations. We base our investigation on the Harvard Quipu Archive, starting with graphical visualisation techniques that give us an overall view so we can compare textile structures and perform basic cryptanalysis. We use listening and sonification in order to filter and compare the different modes of data representation (knot type, colour, twist and material). This provides new ways to explore both currently understood and unknown patterns of meaning in quipus. This is the open-access author’s version of a closed access article published by Taylor and Francis in TEXTILE: Journal of Cloth and Culture, May 2017. It is shared under the terms of the Creative Commons Attribution 4.0 license, with doi: 10.5281/zenodo.1098248.","accessed":{"date-parts":[[2018,3,1]]},"author":[{"family":"Rohrhuber","given":"Julian"},{"family":"Griffiths","given":"David"}],"citation-key":"rohrhuberCodingKnots2017","container-title":"TEXTILE Journal of Cloth and Culture","DOI":"10.5281/zenodo.1098248","issue":"2: Weaving Codes, Coding Weaves","issued":{"date-parts":[[2017,7,20]]},"page":"143-157","source":"Zenodo","title":"Coding with Knots","type":"article-journal","URL":"https://zenodo.org/record/1098248"},
{"id":"rohrhuberPurloinedLettersDistributed2007","author":[{"family":"Rohrhuber","given":"Julian"},{"family":"Campo","given":"Alberto","non-dropping-particle":"de"},{"family":"Wieser","given":"Renate"},{"family":"Kampen","given":"Jan-Kees","non-dropping-particle":"van"},{"family":"Ho","given":"Echo"},{"family":"Hölzl","given":"Hannes"}],"citation-key":"rohrhuberPurloinedLettersDistributed2007","container-title":"Music in the Global Village Conference 2007","issued":{"date-parts":[[2007]]},"title":"Purloined Letters and Distributed Persons","type":"paper-conference"},
{"id":"rosenblumAudiovisualTestKinematic1996","abstract":"Isolated kinematic properties of visible speech can provide information for lip reading. Kinematic facial information is isolated by darkening an actor's face and attaching dots to various articulators so that only moving dots can be seen with no facial features present. To test the salience of these images, the authors conducted experiments to determine whether the images could visually influence the perception of discrepant auditory syllables. Results showed that these images can influence auditory speech independently of the participant's knowledge of the stimuli. In other experiments, single frozen frames of visible syllables were presented with discrepant auditory syllables to test the salience of static facial features. Although the influence of the kinematic stimuli was perceptual, any influence of the static featural stimuli was likely based on participant's misunderstanding or postperceptual response bias.","author":[{"family":"Rosenblum","given":"L. D."},{"family":"Saldaña","given":"H. M."}],"citation-key":"rosenblumAudiovisualTestKinematic1996","container-title":"Journal of experimental psychology. Human perception and performance","ISSN":"0096-1523","issue":"2","issued":{"date-parts":[[1996,4]]},"page":"318–331","PMID":"8934846","title":"An audiovisual test of kinematic primitives for visual speech perception.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/8934846","volume":"22"},
{"id":"rossierWiringPlumbingBrain2009","author":[{"family":"Rossier","given":"Jean"}],"citation-key":"rossierWiringPlumbingBrain2009","container-title":"Frontiers in human neuroscience","issued":{"date-parts":[[2009]]},"title":"Wiring and Plumbing in the Brain","type":"article-journal","volume":"3"},
{"id":"rossMusicalIntervalsSpeech2007","abstract":"Throughout history and across cultures, humans have created music using pitch intervals that divide octaves into the 12 tones of the chromatic scale. Why these specific intervals in music are preferred, however, is not known. In the present study, we analyzed a database of individually spoken English vowel phones to examine the hypothesis that musical intervals arise from the relationships of the formants in speech spectra that determine the perceptions of distinct vowels. Expressed as ratios, the frequency relationships of the first two formants in vowel phones represent all 12 intervals of the chromatic scale. Were the formants to fall outside the ranges found in the human voice, their relationships would generate either a less complete or a more dilute representation of these specific intervals. These results imply that human preference for the intervals of the chromatic scale arises from experience with the way speech formants modulate laryngeal harmonics to create different phonemes.","author":[{"family":"Ross","given":"Deborah"},{"family":"Choi","given":"Jonathan"},{"family":"Purves","given":"Dale"}],"citation-key":"rossMusicalIntervalsSpeech2007","container-title":"Proceedings of the National Academy of Sciences of the United States of America","DOI":"10.1073/pnas.0703140104","ISSN":"0027-8424","issue":"23","issued":{"date-parts":[[2007,6]]},"page":"9852–9857","PMCID":"PMC1876656","PMID":"17525146","title":"Musical intervals in speech.","type":"article-journal","URL":"http://dx.doi.org/10.1073/pnas.0703140104","volume":"104"},
{"id":"rowellMachineDreams1995","author":[{"family":"Rowell","given":"Mike"}],"citation-key":"rowellMachineDreams1995","container-title":"SF Weekly","issue":"39","issued":{"date-parts":[[1995]]},"title":"Machine Dreams","type":"article-journal","volume":"14"},
{"id":"roweMachineMusicianship2001","author":[{"family":"Rowe","given":"Robert"}],"citation-key":"roweMachineMusicianship2001","ISBN":"0-262-18206-8","issued":{"date-parts":[[2001,3]]},"note":"Published: Hardcover","publisher":"The MIT Press","title":"Machine Musicianship","type":"book","URL":"http://www.worldcat.org/isbn/0262182068"},
{"id":"rushkoffProgramBeProgrammed2010","author":[{"family":"Rushkoff","given":"Douglas"}],"citation-key":"rushkoffProgramBeProgrammed2010","edition":"First Edition","ISBN":"1-935928-15-5","issued":{"date-parts":[[2010,11]]},"note":"Published: Paperback","publisher":"OR Books","title":"Program or Be Programmed: Ten Commands for a Digital Age","type":"book","URL":"http://www.worldcat.org/isbn/1935928155"},
{"id":"russellArtificialIntelligenceModern2002","author":[{"family":"Russell","given":"Stuart J."},{"family":"Norvig","given":"Peter"}],"citation-key":"russellArtificialIntelligenceModern2002","ISBN":"0-13-080302-2","issued":{"date-parts":[[2002,11]]},"note":"Published: Paperback","publisher":"Pearson US Imports & PHIPEs","title":"Artificial Intelligence: A Modern Approach (International Edition)","type":"book","URL":"http://www.worldcat.org/isbn/0130803022"},
{"id":"sackHandbookComputationalGeometry2000","author":[{"family":"Sack","given":"J. R."},{"family":"Urrutia","given":"J."}],"citation-key":"sackHandbookComputationalGeometry2000","event-place":"Amsterdam, The Netherlands, The Netherlands","issued":{"date-parts":[[2000]]},"publisher":"North-Holland Publishing Co.","publisher-place":"Amsterdam, The Netherlands, The Netherlands","title":"Handbook of computational geometry","type":"book"},
{"id":"sadoskiImageryTextDual2000","author":[{"family":"Sadoski","given":"Mark"},{"family":"Paivio","given":"Allan"}],"citation-key":"sadoskiImageryTextDual2000","ISBN":"0-8058-3438-9","issued":{"date-parts":[[2000,12]]},"note":"Published: Hardcover","publisher":"Routledge","title":"Imagery and Text: A Dual Coding Theory of Reading and Writing","type":"book","URL":"http://www.worldcat.org/isbn/0805834389"},
{"id":"saramagoStoneRaftPanther2000","author":[{"family":"Saramago","given":"Jose"}],"citation-key":"saramagoStoneRaftPanther2000","ISBN":"1-86046-721-0","issued":{"date-parts":[[2000,6]]},"note":"Published: Paperback","publisher":"The Harvill Press","title":"The Stone Raft (Panther)","type":"book","URL":"http://www.worldcat.org/isbn/1860467210"},
{"id":"sauerNotations212009","abstract":"Drawing inspiration from John Cages Notations, Notations 21 features illustrated musical scores from more than 100 composers from every continent, all of whom are making amazing breakthroughs in the art of notation. These spectacularly beautiful and fascinatingly creative visual pieces not only make for exciting music, but inspiring visual art as well. Every score is accompanied by written contributions from the artists, which explain how the music manifested visually. Included in this anthology are famous composers such as Karlheinz Stockhausen, Steve Reich, Yuji Takahashi and Kathleen St. John, as well as lesser-known but no less important composers whose compositions are also visually astounding and important. Notations 21 coincides with an exhibit and concert series that will open at the Chelsea Art Museum in New York City and then move across the globe. In the spirit of honoring John Cages book, while furthering it in a 21st century context, a portion of this books sales will be donated to the Foundation for Contemporary Performing Arts.","author":[{"family":"Sauer","given":"Theresa"}],"citation-key":"sauerNotations212009","edition":"1st edition","event-place":"New York, NY","ISBN":"978-0-9795546-4-3","issued":{"date-parts":[[2009,5,18]]},"language":"English","number-of-pages":"318","publisher":"Mark Batty Publisher","publisher-place":"New York, NY","source":"Amazon","title":"Notations 21","type":"book"},
{"id":"sawyerExplainingCreativityScience2006","abstract":"Explaining Creativity is an accessible introduction to the latest scientific research on creativity. In the last 50 yearss, psychologists, anthropologists, and sociologists have increasingly studied creativity, and we now know more about creativity that at any point in history. Explaining Creativity considers not only arts like painting and writing, but also science, stage performance, and business innovation. Until about a decade ago, creativity researchers tended to focus on highly valued activities like fine art painting and Nobel prize winning science. Sawyer brings this research up to date by including movies, music videos, cartoons, videogames, hypertext fiction, and computer technology. For example, this is the first book on creativity to include studies of performance and improvisation. Sawyer draws on the latest research findings to show the importance of collaboration and context in all of these creative activities. Today's science of creativity is interdisciplinary; in addition to psychological studies of creativity, Explaining Creativity includes research by anthropologists on creativity in non-Western cultures, and research by sociologists about the situations, contexts, and networks of creative activity. Explaining Creativity brings these approaches together within the sociocultural approach to creativity pioneered by Howard Becker, Mihaly Csikszentmihalyi and Howard Gardner. The sociocultural approach moves beyond the individual to consider the social and cultural contexts of creativity, emphasizing the role of collaboration and context in the creative process.","author":[{"family":"Sawyer","given":"Keith R."}],"citation-key":"sawyerExplainingCreativityScience2006","ISBN":"0-19-530445-4","issued":{"date-parts":[[2006,1]]},"note":"Published: Paperback","publisher":"Oxford University Press, USA","title":"Explaining Creativity: The Science of Human Innovation","type":"book","URL":"http://www.worldcat.org/isbn/0195304454"},
{"id":"schiettecatteRealTimeAcousticsSimulation2003","author":[{"family":"Schiettecatte","given":"B."},{"family":"Nackaerts","given":"A."},{"family":"De Moor","given":"B."}],"citation-key":"schiettecatteRealTimeAcousticsSimulation2003","container-title":"Proceedings of the International Computer Music Conference 2003","issued":{"date-parts":[[2003]]},"title":"Real-Time Acoustics Simulation using Mesh-Tracing","type":"paper-conference"},
{"id":"schiffmanAestheticsComputationUnveiling1999","author":[{"family":"Schiffman","given":"Jared"}],"citation-key":"schiffmanAestheticsComputationUnveiling1999","issued":{"date-parts":[[1999]]},"publisher":"School of Architecture and Planning, Massachusetts Institute of Technology","title":"Aesthetics of Computation - Unveiling the Visual Machine","type":"thesis"},
{"id":"schmolder-veitPENELOPELabor2019","accessed":{"date-parts":[[2021,4,30]]},"citation-key":"schmolder-veitPENELOPELabor2019","container-title":"Lebendiger Gips: 150 Jahre Museum für Abgüsse Klassischer Bildwerke München","DOI":"10.11588/PROPYLAEUM.549","editor":[{"family":"Schmölder-Veit","given":"Andrea"},{"family":"Schröder-Griebel","given":"Nele"},{"family":"Harlizius-Klück","given":"Ellen"}],"issued":{"date-parts":[[2019]]},"page":"166-171","publisher":"University Library Heidelberg","source":"DOI.org (Datacite)","title":"Das PENELOPE-Labor","title-short":"Lebendiger Gips","type":"article-journal","URL":"https://books.ub.uni-heidelberg.de/index.php/propylaeum/catalog/book/549","version":"1"},
{"id":"schonReflectivePractitionerHow1984","abstract":"A leading MIT social scientist and consultant examines five professions–engineering, architecture, management, psychotherapy, and town planning–toshow how professionals really go about solving problems.","author":[{"family":"Schon","given":"Donald A."}],"citation-key":"schonReflectivePractitionerHow1984","edition":"1","ISBN":"0-465-06878-2","issued":{"date-parts":[[1984,9]]},"note":"Published: Paperback","publisher":"Basic Books","title":"The Reflective Practitioner: How Professionals Think In Action","type":"book","URL":"http://www.worldcat.org/isbn/0465068782"},
{"id":"schwanenflugelOrganizationMentalVerbs1994","abstract":"Folk theories of knowing in North American adults were studied by examining the organization of mental verbs in two tasks: (a) a Similarity Judgment Task in which subjects rated the similarity of verb pairs in terms of the way the mind is used, and (b) a Verb Extension Task in which subjects identified the mental verbs applicable to a variety of scenarios requiring specific mental activities. Organizational structure was assessed using multidimensional scaling and additive similarity tree analyses. An Attribute Rating Task was used to describe the characteristics which organized the various dimensions and clusters obtained in the scaling solutions. The folk theory of mind displayed was a naive information processing model with interactive and constructive components.","author":[{"family":"Schwanenflugel","given":"P."}],"citation-key":"schwanenflugelOrganizationMentalVerbs1994","container-title":"Journal of Memory and Language","DOI":"10.1006/jmla.1994.1018","ISSN":"0749596X","issue":"3","issued":{"date-parts":[[1994,6]]},"page":"376–395","title":"The Organization of Mental Verbs and Folk Theories of Knowing","type":"article-journal","URL":"http://dx.doi.org/10.1006/jmla.1994.1018","volume":"33"},
{"id":"schwarzDataDrivenConcatenativeSound2004","author":[{"family":"Schwarz","given":"Diemo"}],"citation-key":"schwarzDataDrivenConcatenativeSound2004","issued":{"date-parts":[[2004]]},"publisher":"Universite Paris","title":"Data-Driven Concatenative Sound Synthesis","type":"thesis"},
{"id":"schwittersUrsonate1932","author":[{"family":"Schwitters","given":"Kurt"}],"citation-key":"schwittersUrsonate1932","container-title":"Merz","issued":{"date-parts":[[1932]]},"title":"Ursonate","type":"article-journal","volume":"24"},
{"id":"seabrookNobrowCultureMarketing2001","author":[{"family":"Seabrook","given":"John"}],"citation-key":"seabrookNobrowCultureMarketing2001","edition":"1ST","ISBN":"0-375-70451-5","issued":{"date-parts":[[2001,2]]},"note":"Published: Paperback","publisher":"Vintage","title":"Nobrow : The Culture of Marketing, the Marketing of Culture","type":"book","URL":"http://www.worldcat.org/isbn/0375704515"},
{"id":"senghasChildrenCreatingLanguage2001","abstract":"It has long been postulated that language is not purely learned, but arises from an interaction between environmental exposure and innate abilities. The innate component becomes more evident in rare situations in which the environment is markedly impoverished. The present study investigated the language production of a generation of deaf Nicaraguans who had not been exposed to a developed language. We examined the changing use of early linguistic structures (specifically, spatial modulations) in a sign language that has emerged since the Nicaraguan group first came together. In under two decades, sequential cohorts of learners systematized the grammar of this new sign language. We examined whether the systematicity being added to the language stems from children or adults; our results indicate that such changes originate in children aged 10 and younger. Thus, sequential cohorts of interacting young children collectively possess the capacity not only to learn, but also to create, language.","author":[{"family":"Senghas","given":"A."},{"family":"Coppola","given":"M."}],"citation-key":"senghasChildrenCreatingLanguage2001","container-title":"Psychological Science","DOI":"10.1111/1467-9280.00359","ISSN":"1467-9280","issue":"4","issued":{"date-parts":[[2001,7]]},"page":"323–328","PMID":"11476100","title":"Children Creating Language: How Nicaraguan Sign Language Acquired a Spatial Grammar","type":"article-journal","URL":"http://dx.doi.org/10.1111/1467-9280.00359","volume":"12"},
{"id":"serajScratchGoogleBlockly2019","abstract":"Block-based programming has become popular to teach programming to young students in introductory programming environments. Nevertheless, in most western countries, girls show a lack of interest in computer science, including programming. This paper presents the results of two user studies with 24 female German secondary school students in two programming workshops. We use and compare two environments based on Scratch and Google Blockly in fostering the students' programming skills and changing their attitudes towards programming. The two block-based programming editors have been chosen as they are popular in the current educational use of block-based programming. The results support the usage of Scratch-based environment in order to support the acquisition of programming skills. However, those students who used the Blockly-based environment showed greater interest in future programming learning opportunities. The contribution of this paper is showing the different impacts of Scratch and Google Blockly on young female students' interest in programming and the acquisition of programming skills in extra-curricular programming workshops.","accessed":{"date-parts":[[2021,4,30]]},"author":[{"family":"Seraj","given":"Mazyar"},{"family":"Katterfeldt","given":"Eva-Sophie"},{"family":"Bub","given":"Kerstin"},{"family":"Autexier","given":"Serge"},{"family":"Drechsler","given":"Rolf"}],"citation-key":"serajScratchGoogleBlockly2019","collection-title":"Koli Calling '19","container-title":"Proceedings of the 19th Koli Calling International Conference on Computing Education Research","DOI":"10.1145/3364510.3364515","event-place":"New York, NY, USA","ISBN":"978-1-4503-7715-7","issued":{"date-parts":[[2019,11,21]]},"page":"1–10","publisher":"Association for Computing Machinery","publisher-place":"New York, NY, USA","source":"ACM Digital Library","title":"Scratch and Google Blockly: How Girls' Programming Skills and Attitudes are Influenced","title-short":"Scratch and Google Blockly","type":"paper-conference","URL":"https://doi.org/10.1145/3364510.3364515"},
{"id":"sezovLiferayActionOfficial2011","author":[{"family":"Sezov","given":"Rich"}],"citation-key":"sezovLiferayActionOfficial2011","edition":"1","ISBN":"1-935182-82-X","issued":{"date-parts":[[2011,9]]},"note":"Published: Paperback","publisher":"Manning Publications","title":"Liferay in Action: The Official Guide to Liferay Portal Development","type":"book","URL":"http://www.worldcat.org/isbn/193518282X"},
{"id":"shamosClosestPointProblems1975","author":[{"family":"Shamos","given":"M. I."},{"family":"Hoey","given":"D."}],"citation-key":"shamosClosestPointProblems1975","container-title":"Proceedings 16th IEEE Symposium on Foundations of Computer Science","issued":{"date-parts":[[1975]]},"page":"151–162","title":"Closest-Point Problems","type":"paper-conference"},
{"id":"shamsIllusionsWhatYou2000","abstract":"Vision is believed to dominate our multisensory perception of the world. Here we overturn this established view by showing that auditory information can qualitatively alter the perception of an unambiguous visual stimulus to create a striking visual illusion. Our findings indicate that visual perception can be manipulated by other sensory modalities.","author":[{"family":"Shams","given":"Ladan"},{"family":"Kamitani","given":"Yukiyasu"},{"family":"Shimojo","given":"Shinsuke"}],"citation-key":"shamsIllusionsWhatYou2000","container-title":"Nature","DOI":"10.1038/35048669","ISSN":"0028-0836","issue":"6814","issued":{"date-parts":[[2000,12]]},"page":"788","PMID":"11130706","title":"Illusions: What you see is what you hear","type":"article-journal","URL":"http://dx.doi.org/10.1038/35048669","volume":"408"},
{"id":"shapiroPrimerTB303Bassline2009","author":[{"family":"Shapiro","given":"Peter"}],"citation-key":"shapiroPrimerTB303Bassline2009","container-title":"The Wire Magazine","issue":"303","issued":{"date-parts":[[2009,5]]},"page":"40–45","title":"The Primer: The TB-303 Bassline","type":"article-journal"},
{"id":"shepardAnalysisProximitiesMultidimensional1962","abstract":"Abstract A computer program is described that is designed to reconstruct the metric configuration of a set of points in Euclidean space on the basis of essentially nonmetric information about that configuration. A minimum set of Cartesian coordinates for the points is determined when the only available information specifies for each pair of those points—not the distance between them—but some unknown, fixed monotonic function of that distance. The program is proposed as a tool for reductively analyzing several types of psychological data, particularly measures of interstimulus similarity or confusability, by making explicit the multidimensional structure underlying such data.","author":[{"family":"Shepard","given":"Roger"}],"citation-key":"shepardAnalysisProximitiesMultidimensional1962","container-title":"Psychometrika","container-title-short":"Psychometrika","DOI":"10.1007/bf02289630","issue":"2","issued":{"date-parts":[[1962,6]]},"page":"125–140","title":"The analysis of proximities: Multidimensional scaling with an unknown distance function. I.","type":"article-journal","URL":"http://dx.doi.org/10.1007/bf02289630","volume":"27"},
{"id":"shepardMentalRotationThreeDimensional1971","abstract":"The time required to recognize that two perspective drawings portray objects of the same three-dimensional shape is found to be (i) a linearly increasing function of the angular difference in the portrayed orientations of the two objects and (ii) no shorter for differences corresponding simply to a rigid rotation of one of the two-dimensional drawings in its own picture plane than for differences corresponding to a rotation of the three-dimensional object in depth.","author":[{"family":"Shepard","given":"Roger N."},{"family":"Metzler","given":"Jacqueline"}],"citation-key":"shepardMentalRotationThreeDimensional1971","container-title":"Science","DOI":"10.1126/science.171.3972.701","ISSN":"1095-9203","issue":"3972","issued":{"date-parts":[[1971,2]]},"page":"701–703","PMID":"5540314","title":"Mental Rotation of Three-Dimensional Objects","type":"article-journal","URL":"http://dx.doi.org/10.1126/science.171.3972.701","volume":"171"},
{"id":"shepardUniversalLawGeneralization1987","author":[{"family":"Shepard","given":"Roger N."}],"citation-key":"shepardUniversalLawGeneralization1987","collection-title":"New Series","container-title":"Science","issue":"4820","issued":{"date-parts":[[1987]]},"page":"1317–1323","title":"Toward a Universal Law of Generalization for Psychological Science","type":"article-journal","URL":"http://www.jstor.org/stable/1700004","volume":"237"},
{"id":"shintelSoundMotionSpoken2007","abstract":"Language is generally viewed as conveying information through symbols whose form is arbitrarily related to their meaning. This arbitrary relation is often assumed to also characterize the mental representations underlying language comprehension. We explore the idea that visuo-spatial information can be analogically conveyed through acoustic properties of speech and that such information is integrated into an analog perceptual representation as a natural part of comprehension. Listeners heard sentences describing objects, spoken at varying speaking rates. After each sentence, participants saw a picture of an object and judged whether it had been mentioned in the sentence. Participants were faster to recognize the object when motion implied by speaking rate matched the motion implied by the picture. Results suggest that visuo-spatial referential information can be analogically conveyed and represented.","author":[{"family":"Shintel","given":"H."},{"family":"Nusbaum","given":"H."}],"citation-key":"shintelSoundMotionSpoken2007","container-title":"Cognition","DOI":"10.1016/j.cognition.2006.11.005","ISSN":"00100277","issue":"3","issued":{"date-parts":[[2007,12]]},"page":"681–690","title":"The sound of motion in spoken language: Visual information conveyed by acoustic properties of speech","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cognition.2006.11.005","volume":"105"},
{"id":"shulginListenToolsInterview2003","author":[{"family":"Shulgin","given":"Alexei"}],"citation-key":"shulginListenToolsInterview2003","container-title":"read_me 2.3 reader","issued":{"date-parts":[[2003]]},"publisher":"NIFCA","title":"Listen to the tools, interview with Alex McLean and Adrian Ward","type":"chapter"},
{"id":"sicchioDataManagementPart2014","author":[{"family":"Sicchio","given":"Kate"}],"citation-key":"sicchioDataManagementPart2014","container-title":"Media-N: Journal of the New Media Caucus","editor":[{"family":"Badani","given":"Pat"},{"family":"Hamilton","given":"Kevin"},{"family":"Weissman","given":"Terri"}],"issue":"3","issued":{"date-parts":[[2014]]},"title":"Data Management Part III: An Artistic Framework for Understanding Technology without Technology","type":"article-journal","volume":"10"},
{"id":"sicchioExploringSoftwareProgrammer2010","author":[{"family":"Sicchio","given":"Kate"}],"citation-key":"sicchioExploringSoftwareProgrammer2010","container-title":"Digital Resources for Humanities and Arts","issued":{"date-parts":[[2010]]},"title":"Exploring the software programmer as choreographer","type":"paper-conference"},
{"id":"sicchioHackingChoreographyDance2014","abstract":"This article explores the intersection of live coding and choreography, discussing the ?practice as research? project Hacking Choreography. It examines the use of computer programming languages within dance scores, the creation of scores in real time, and the transparency of these scores to the audience during performance. Four pieces created by the author are discussed in terms of these elements and compared to live-coding practices for computer music. Through this, not only does live coding emerge as a performance practice related to sound or visuals, but it also continues its trajectory as a transdisciplinary approach to live performance events.","author":[{"family":"Sicchio","given":"Kate"}],"citation-key":"sicchioHackingChoreographyDance2014","container-title":"Computer Music Journal","DOI":"10.1162/comj_a_00218","issue":"1","issued":{"date-parts":[[2014,3]]},"page":"31–39","title":"Hacking Choreography: Dance and Live Coding","type":"article-journal","URL":"http://dx.doi.org/10.1162/comj_a_00218","volume":"38"},
{"id":"sicchioSoundChoreographyBody2017","accessed":{"date-parts":[[2018,3,30]]},"author":[{"family":"Sicchio","given":"Kate"},{"family":"McLean","given":"Alex"}],"citation-key":"sicchioSoundChoreographyBody2017","container-title":"Contemporary Theatre Review","DOI":"10.1080/10486801.2017.1343244","ISSN":"1048-6801","issue":"3","issued":{"date-parts":[[2017,7,3]]},"page":"405-410","source":"Taylor and Francis+NEJM","title":"Sound Choreography <> Body Code: Software Deployment and Notational Engagement without Trace","title-short":"Sound Choreography <> Body Code","type":"article-journal","URL":"https://doi.org/10.1080/10486801.2017.1343244","volume":"27"},
{"id":"SignsInkaKhipu","citation-key":"SignsInkaKhipu","source":"Amazon","title":"Signs of the Inka Khipu: Binary Coding in the Andean Knotted-String Records","title-short":"Signs of the Inka Khipu","type":"book"},
{"id":"simonPatternMusic1992","author":[{"family":"Simon","given":"Herbert A."},{"family":"Sumner","given":"Richard K."}],"citation-key":"simonPatternMusic1992","container-title":"Machine models of music","editor":[{"family":"Schwanauer","given":"Stephen"},{"family":"Levitt","given":"David"}],"event-place":"Cambridge, MA, USA","ISBN":"0-262-19319-1","issued":{"date-parts":[[1992]]},"page":"83–110","publisher":"MIT Press","publisher-place":"Cambridge, MA, USA","title":"Pattern in music","type":"chapter","URL":"http://portal.acm.org/citation.cfm?id=167781"},
{"id":"singerMutualAssessmentSocial2013","abstract":"The multitude of social media channels that programmers can use to participate in software development has given rise to online developer profiles that aggregate activity across many services. Studying members of such developer profile aggregators, we found an ecosystem that revolves around the social programmer. Developers are assessing each other to evaluate whether other developers are interesting, worth following, or worth collaborating with. They are self-conscious about being assessed, and thus manage their public images. They value passion for software development, new technologies, and learning. Some recruiters participate in the ecosystem and use it to find candidates for hiring; other recruiters struggle with the interpretation of signals and issues of trust. This mutual assessment is changing how software engineers collaborate and how they advance their skills.","author":[{"family":"Singer","given":"Leif"},{"family":"Filho","given":"Fernando F."},{"family":"Cleary","given":"Brendan"},{"family":"Treude","given":"Christoph"},{"family":"Storey","given":"Margaret A."},{"family":"Schneider","given":"Kurt"}],"citation-key":"singerMutualAssessmentSocial2013","collection-title":"CSCW '13","container-title":"Proceedings of the 2013 Conference on Computer Supported Cooperative Work","DOI":"10.1145/2441776.2441791","event-place":"San Antonio, Texas, USA","ISBN":"978-1-4503-1331-5","issued":{"date-parts":[[2013]]},"page":"103–116","publisher":"ACM","publisher-place":"San Antonio, Texas, USA","title":"Mutual Assessment in the Social Programmer Ecosystem: An Empirical Investigation of Developer Profile Aggregators","type":"paper-conference","URL":"http://dx.doi.org/10.1145/2441776.2441791"},
{"id":"siySegmentationbasedApproachTemporal2008","abstract":"Time series segmentation is a promising approach to discover temporal patterns from time-stamped numeric data. A novel approach to apply time series segmentation to discern temporal information from software version repositories is proposed. Data from such repositories, both numeric and non-numeric, are represented as item-set time series data. A dynamic programming algorithm for optimal segmentation is presented. The algorithm automatically produces a compacted item-set time series that can be analyzed to identify temporal patterns. The effectiveness of the approach is illustrated by analyzing version control repositories of several open-source projects to identify time-varying patterns of developer activity. The experimental results show that the segmentation algorithm produces segments that capture meaningful information and is superior to the information content obtained by arbitrarily segmenting software history into regular time intervals. Copyright \\copyright 2008 John Wiley & Sons, Ltd. A preliminary version [1] of this paper appears in the proceedings of the 2007 International Conference On Software Maintenance (ICSM '07), Paris, France.","author":[{"family":"Siy","given":"Harvey"},{"family":"Chundi","given":"Parvathi"},{"family":"Rosenkrantz","given":"Daniel J."},{"family":"Subramaniam","given":"Mahadevan"}],"citation-key":"siySegmentationbasedApproachTemporal2008","container-title":"J. Softw. Maint. Evol.","ISSN":"1532-060X","issued":{"date-parts":[[2008,5]]},"page":"199–222","title":"A segmentation-based approach for temporal analysis of software version repositories","type":"article-journal","URL":"http://portal.acm.org/citation.cfm?id=1379054","volume":"20"},
{"id":"SketchAnalyticalEngine","citation-key":"SketchAnalyticalEngine","language":"en","page":"63","source":"Zotero","title":"Sketch of the Analytical Engine Invented by Charles Babbage","type":"article-journal"},
{"id":"SketchAnalyticalEnginea","accessed":{"date-parts":[[2021,2,17]]},"citation-key":"SketchAnalyticalEnginea","title":"Sketch of the analytical engine invented by Cha...","type":"webpage","URL":"https://repository.ou.edu/uuid/6235e086-c11a-56f6-b50d-1b1f5aaa3f5e#page/1/mode/2up"},
{"id":"slawsonSoundColour1985","author":[{"family":"Slawson","given":"Wayne"}],"citation-key":"slawsonSoundColour1985","ISBN":"0-520-05185-8","issued":{"date-parts":[[1985]]},"note":"Published: Hardcover","publisher":"University of California Press","title":"Sound Colour","type":"book","URL":"http://www.worldcat.org/isbn/0520051858"},
{"id":"smalleyDefiningTimbreRefining1994","abstract":"Timbre is defined as the attribution of spectromorphological identity. Electroacoustic music experience, particularly acousmatic music, questions the viability of a notion of timbre. Of primary significance is the traditional linking of timbre to the source and cause of a sound: the concept of source-cause texture is introduced to define this link. The ambiguous relationship between pitch and timbre indicates that timbre cannot be defined as that part of the sound which is not pitch. Problems in establishing the existence of sonic identities within the musical context, and of maintaining the coherence of identities are discussed, opening up questions relating to musical discourse. Two types of discourse transformational and typological are defined, leading to the notion of generic timbre. In a spectromorphological music where defining identities becomes problematic it becomes impossible to disentangle timbre from discourse: here the notion of timbre has a limited viability.","author":[{"family":"Smalley","given":"Denis"}],"citation-key":"smalleyDefiningTimbreRefining1994","container-title":"Contemporary Music Review","DOI":"10.1080/07494469400640281","issue":"2","issued":{"date-parts":[[1994]]},"page":"35–48","title":"Defining timbre Refining timbre","type":"article-journal","URL":"http://dx.doi.org/10.1080/07494469400640281","volume":"10"},
{"id":"smalleyPracticalCommentsComposers1989","author":[{"family":"Smalley","given":"Dennis"}],"citation-key":"smalleyPracticalCommentsComposers1989","container-title":"Structure and Perception of Electroacoustic Sound and Music, Proceedings of the Marcus Wallenberg symposium 1998","editor":[{"family":"Nielzén","given":"Sören"},{"family":"Olsson","given":"Olle"}],"issued":{"date-parts":[[1989]]},"page":"195–196","publisher":"Excerpta Medica","title":"Practical comments on composers and scientists","type":"paper-conference"},
{"id":"smallMusickingMeaningsPerforming1998","abstract":"Extending the inquiry of his early groundbreaking books, Christopher Small strikes at the heart of traditional studies of Western music by asserting that music is not a thing, but rather an activity. In this new book, Small outlines a theory of what he terms \"musicking,\" a verb that encompasses all musical activity from composing to performing to listening to a Walkman to singing in the shower.
Using Gregory Bateson's philosophy of mind and a Geertzian thick description of a typical concert in a typical symphony hall, Small demonstrates how musicking forms a ritual through which all the participants explore and celebrate the relationships that constitute their social identity. This engaging and deftly written trip through the concert hall will have readers rethinking every aspect of their musical worlds.","author":[{"family":"Small","given":"Christopher"}],"citation-key":"smallMusickingMeaningsPerforming1998","edition":"First","ISBN":"0-8195-2257-0","issued":{"date-parts":[[1998,6]]},"note":"Published: Paperback","publisher":"Wesleyan","title":"Musicking: The Meanings of Performing and Listening (Music Culture)","type":"book","URL":"http://www.worldcat.org/isbn/0819522570"},
{"id":"smallMusicSocietyEducation1996","abstract":"Cited by Soundpost as \"remarkable and revolutionary\" upon its publication in1977, Music, Society, Education has become a classic in the study of music asa social force. Christopher Small sets out to examine the social implicationsof Western classical music, effects that until recently have been largelyignored or dismissed by most musicologists. He strives to view the Westernmusical tradition \"through the mirror of these other musics [Balinese andAfrican] as it were from the outside, and in so doing to learn something ofthe inner unspoken nature of Western culture as a whole.\"As series co-editor Robert Walser writes, \"By pointing to the complicity ofWestern culture with Western imperialism, Small challenges us to create afuture that is more humane than the past. And by writing a book that enablesus to rethink so fundamentally our involvements with music, he teaches us howwe might get there.\"","author":[{"family":"Small","given":"Christopher"}],"citation-key":"smallMusicSocietyEducation1996","edition":"New edition","ISBN":"0-8195-6307-2","issued":{"date-parts":[[1996,10]]},"note":"Published: Paperback","publisher":"Wesleyan University Press","title":"Music, Society, Education (Music/Culture)","type":"book","URL":"http://www.worldcat.org/isbn/0819563072"},
{"id":"smithProgrammingExperienceInspiration1995","abstract":"The Self system attempts to integrate intellectual and nonintellectual aspects of programming to create an overall experience. The language semantics, user interface, and implementation each help create this integrated experience. The language semantics embed the programmer in a uniform world of simple objects that can be modified without appealing to definitions of abstractions. In a similar way, the graphical interface puts the user into a uniform world of tangible objects that can be direcdy manipulated and changed without switching modes. The implementation strives to support the world-of-objects illusion by minimizing perceptible pauses and by providing true source-level semantics without sacrificing performance. As a side benefit, it encourages factoring. Although we see areas that fall short of the vision, on the whole, the language, interface, and implementation conspire so that die Self programmer lives and acts in a consistent and malleable world of objects.","author":[{"family":"Smith","given":"Randall B."},{"family":"Ungar","given":"David"}],"citation-key":"smithProgrammingExperienceInspiration1995","collection-title":"ECOOP '95","container-title":"Proceedings of the 9th European Conference on Object-Oriented Programming","event-place":"London, UK, UK","ISBN":"3-540-60160-0","issued":{"date-parts":[[1995]]},"page":"303–330","publisher":"Springer-Verlag","publisher-place":"London, UK, UK","title":"Programming as an Experience: The Inspiration for Self","type":"paper-conference","URL":"http://portal.acm.org/citation.cfm?id=679530"},
{"id":"smithReflectingDevelopmentInterpretative2004","abstract":"This paper reflects on the development of interpretative phenomenological analysis (IPA) as one particular qualitative approach to psychology. After a brief introduction to IPA, the paper outlines what can be described as its characteristic features: idiographic, inductive, interrogative, illustrating each feature with examples from studies which have been conducted with IPA. The paper then considers the different levels of interpretation, which are possible with IPA and discusses the notion of when an interpretation is ?good enough?. It goes on to consider issues around the types of topics for which IPA is suitable and the emerging pattern of work using the approach. The next section considers how IPA studies can widen the type of participants included and also examines the suitability of different data collection methods. The paper finishes by bringing together some thoughts on the future development of IPA.","author":[{"family":"Smith","given":"Jonathan A."}],"citation-key":"smithReflectingDevelopmentInterpretative2004","container-title":"Qualitative Research in Psychology","DOI":"10.1191/1478088704qp004oa","issue":"1","issued":{"date-parts":[[2004,1]]},"page":"39–54","title":"Reflecting on the development of interpretative phenomenological analysis and its contribution to qualitative research in psychology","type":"article-journal","URL":"http://dx.doi.org/10.1191/1478088704qp004oa","volume":"1"},
{"id":"snyderWebSongWeaving1981","author":[{"family":"Snyder","given":"Jane M."}],"citation-key":"snyderWebSongWeaving1981","container-title":"The Classical Journal","issue":"3","issued":{"date-parts":[[1981]]},"title":"The Web of Song: Weaving Imagery in Homer and the Lyric Poets","type":"article-journal","URL":"http://www.jstor.org/stable/3297321","volume":"76"},
{"id":"solomonPurescriptocarina2022","abstract":"Web audio graphs as a stream","accessed":{"date-parts":[[2022,6,24]]},"author":[{"family":"Solomon","given":"Mike"}],"citation-key":"solomonPurescriptocarina2022","genre":"PureScript","issued":{"date-parts":[[2022,6,20]]},"original-date":{"date-parts":[[2021,3,25]]},"source":"GitHub","title":"purescript-ocarina","type":"book","URL":"https://github.com/mikesol/purescript-ocarina"},
{"id":"sorensenAacellPracticeApproach2007","author":[{"family":"Sorensen","given":"A."},{"family":"Brown","given":"A. R."}],"citation-key":"sorensenAacellPracticeApproach2007","container-title":"Proceedings of the International Computer Music Conference","event-place":"Copenhagen, Denmark","issued":{"date-parts":[[2007]]},"publisher-place":"Copenhagen, Denmark","title":"aa-cell in Practice: An approach to musical live coding","type":"paper-conference"},
{"id":"sorensenDistributedMemoryNetworked2010","author":[{"family":"Sorensen","given":"Andrew"}],"citation-key":"sorensenDistributedMemoryNetworked2010","container-title":"Proceedings of International Computer Music Conference 2010","issued":{"date-parts":[[2010]]},"title":"A Distributed Memory For Networked Livecoding Performance","type":"paper-conference"},
{"id":"sorensenImpromptuInteractiveProgramming2005","author":[{"family":"Sorensen","given":"Andrew"}],"citation-key":"sorensenImpromptuInteractiveProgramming2005","container-title":"Proceedings of the Australasian Computer Music Conference 2005","issued":{"date-parts":[[2005]]},"page":"149–153","title":"Impromptu: An interactive programming environment for composition and performance","type":"paper-conference"},
{"id":"sorensenProgrammingTimeCyberphysical2010","abstract":"The act of computer programming is generally considered to be temporally removed from a computer program's execution. In this paper we discuss the idea of programming as an activity that takes place within the temporal bounds of a real-time computational process and its interactions with the physical world. We ground these ideas within the con- text of livecoding – a live audiovisual performance practice. We then describe how the development of the programming environment \"Impromptu\" has addressed our ideas of programming with time and the notion of the programmer as an agent in a cyber-physical system.","author":[{"family":"Sorensen","given":"Andrew"},{"family":"Gardner","given":"Henry"}],"citation-key":"sorensenProgrammingTimeCyberphysical2010","container-title":"Proceedings of ACM OOPLSA","DOI":"10.1145/1869459.1869526","ISBN":"978-1-4503-0203-6","issued":{"date-parts":[[2010]]},"page":"822–834","title":"Programming with time: cyber-physical programming with impromptu","type":"paper-conference","URL":"http://dx.doi.org/10.1145/1869459.1869526"},
{"id":"SoundChoreographerBody2017","author":[{"family":"","given":"CTR"}],"citation-key":"SoundChoreographerBody2017","container-title":"Contemporary Theatre Review","issued":{"date-parts":[[2017,11,1]]},"language":"English","title":"Sound Choreographer <> Body Code","type":"post-weblog","URL":"https://www.contemporarytheatrereview.org/2017/sound-choreographer-body-code/"},
{"id":"spencerSpeedAnalysesStimulus1996","abstract":"The functional substitutability of stimuli in equivalence classes was examined through analyses of the speed of college students' accurate responding. After training subjects to respond to 18 conditional relations, subjects' accuracy and speed of accurate responding were compared across trial types (baseline, symmetry, transitivity, and combined transitivity and symmetry) and nodal distance (one- through five-node transitive and combined transitive and symmetric relations). Differences in accuracy across nodal distance and trial type were significant only on the first tests of equivalence, whereas differences in speed were significant even after extended testing. Response speed was inversely related to the number of nodes on which the tested relations were based. Significant differences in response speed were also found across trial types, except between transitivity and combined trials. To determine the generality of these comparisons, three groups of subjects were included: An instructed group was given an instruction that specified the interchangeability of stimuli related through training; a queried group was queried about the basis for test-trial responding: and a standard group was neither instructed nor queried. There were no significant differences among groups. These results suggest the use of response speed and response accuracy to measure the strength of matching relations.","author":[{"family":"Spencer","given":"T. J."},{"family":"Chase","given":"P. N."}],"citation-key":"spencerSpeedAnalysesStimulus1996","container-title":"Journal of the experimental analysis of behavior","DOI":"10.1901/jeab.1996.65-643","ISSN":"0022-5002","issue":"3","issued":{"date-parts":[[1996,5]]},"page":"643–659","PMID":"8636663","title":"Speed analyses of stimulus equivalence.","type":"article-journal","URL":"http://dx.doi.org/10.1901/jeab.1996.65-643","volume":"65"},
{"id":"spiegelManipulationsMusicalPatterns1981","author":[{"family":"Spiegel","given":"Laurie"}],"citation-key":"spiegelManipulationsMusicalPatterns1981","container-title":"Proceedings of the Symposium on Small Computers and the Arts","issued":{"date-parts":[[1981]]},"page":"19–22","title":"Manipulations of Musical Patterns","type":"paper-conference"},
{"id":"spiegelShortHistoryIntelligent1987","author":[{"family":"Spiegel","given":"Laurie"}],"citation-key":"spiegelShortHistoryIntelligent1987","container-title":"Computer Music Journal","issue":"3","issued":{"date-parts":[[1987]]},"title":"A Short History of Intelligent Instruments","type":"article-journal","volume":"11"},
{"id":"spolskyDonLetArchitecture2004","author":[{"family":"Spolsky","given":"Joel"}],"citation-key":"spolskyDonLetArchitecture2004","container-title":"Joel on Software","ISBN":"1-59059-389-8","issued":{"date-parts":[[2004,8]]},"note":"Published: Paperback","page":"111–114","publisher":"Apress","title":"Don't Let Architecture Astronauts Scare You","type":"chapter","URL":"http://www.worldcat.org/isbn/1590593898"},
{"id":"standageReturnMachineryQuestion2016","accessed":{"date-parts":[[2017,5,18]]},"author":[{"family":"Standage","given":"Tom"}],"citation-key":"standageReturnMachineryQuestion2016","container-title":"The Economist, edição de","issued":{"date-parts":[[2016]]},"source":"Google Scholar","title":"The return of the machinery question","type":"article-journal","URL":"http://www.egr.msu.edu/aesc310/resources/Big%20data%20and%20AI/Artificial%20Intelligence%20-%20Economist.pdf","volume":"25"},
{"id":"steadUserConfigurableMachine2011","author":[{"family":"Stead","given":"Alistair G."}],"citation-key":"steadUserConfigurableMachine2011","container-title":"Proceedings of Psychology of Programming Interest Group 2011","issued":{"date-parts":[[2011]]},"title":"User configurable machine vision for mobiles","type":"paper-conference"},
{"id":"steeleMysteryMozartEffect1999","abstract":"The Mozart effect is the purported increase in spatial-reasoning performance immediately after exposure to a Mozart piano sonata. Several laboratories have been unable to confirm the existence of the effect despite two positive reports from the original laboratory. The authors of the original studies have provided a list of key procedural components to produce the effect. This experiment attempted to produce a Mozart effect by following those procedural instructions and replicating the procedure of one of the original positive reports. The experiment failed to produce either a statistically significant Mozart effect or an effect size suggesting practical significance. This general lack of effect is consistent with previous work by other investigators. We conclude that there is little evidence to support basing intellectual intervention programs on the existence of the Mozart effect.","author":[{"family":"Steele","given":"Kenneth M."},{"family":"Bass","given":"Karen E."},{"family":"Crook","given":"Melissa D."}],"citation-key":"steeleMysteryMozartEffect1999","container-title":"Psychological Science","DOI":"10.1111/1467-9280.00169","ISSN":"0956-7976","issued":{"date-parts":[[1999,7]]},"page":"366–369","title":"The Mystery of the Mozart Effect: Failure to Replicate","type":"article-journal","URL":"http://dx.doi.org/10.1111/1467-9280.00169"},
{"id":"stefanowitschCorpusBasedApproachesMetaphor2006","citation-key":"stefanowitschCorpusBasedApproachesMetaphor2006","collection-title":"Trends in Linguistics. Studies and Monographs 171","editor":[{"family":"Stefanowitsch","given":"Anatol"},{"family":"Th","given":"Stefan"}],"event-place":"Berlin","issued":{"date-parts":[[2006]]},"publisher":"Mouton de Gruyter","publisher-place":"Berlin","title":"Corpus-Based Approaches to Metaphor and Metonymy","type":"book","URL":"http://linguistlist.org/pubs/books/get-book.cfm?BookID=19056"},
{"id":"steinbeisSharedNeuralResources2008","abstract":"Harmonic tension-resolution patterns have long been hypothesized to be meaningful to listeners familiar with Western music. Even though it has been shown that specifically chosen musical pieces can prime meaningful concepts, the empirical evidence in favor of such a highly specific semantic pathway has been lacking. Here we show that 2 event-related potentials in response to harmonic expectancy violations, the early right anterior negativity (ERAN) and the N500, could be systematically modulated by simultaneously presented language material containing either a syntactic or a semantic violation. Whereas the ERAN was reduced only when presented concurrently with a syntactic language violation and not with a semantic language violation, this pattern was reversed for the N500. This is the first piece of evidence showing that tension- resolution patterns represent a route to meaning in music.","author":[{"family":"Steinbeis","given":"Nikolaus"},{"family":"Koelsch","given":"Stefan"}],"citation-key":"steinbeisSharedNeuralResources2008","container-title":"Cerebral cortex (New York, N.Y. : 1991)","DOI":"10.1093/cercor/bhm149","ISSN":"1460-2199","issue":"5","issued":{"date-parts":[[2008,5]]},"page":"1169–1178","PMID":"17720685","title":"Shared neural resources between music and language indicate semantic processing of musical tension-resolution patterns.","type":"article-journal","URL":"http://dx.doi.org/10.1093/cercor/bhm149","volume":"18"},
{"id":"stenningCognitiveTheoryGraphical1995","abstract":"We discuss external and internal graphical and linguistic representational systems. We argue that a cognitive theory of peoples' reasoning performance must account for (a) the logical equivalence of inferences expressed in graphical and linguistic form, and (b) the implementational differences that affect facility of inference. Our theory proposes that graphical representation limit abstraction and thereby aid ” processibility”. We discuss the ideas of specificity and abstraction, and their cognitive relevance. Empirical support both comes from tasks which involve the manipulation of external graphics and tasks that do not. For the former, we take Euler's (1772) circles, provide a novel computational reconstruction, show how it captures abstractions, and contrast it with earlier construals and with Johnson-Laird's (1983) mental models representations. We demonstrate equivalence of the graphical Euler system, and the nongraphical mental models system. For tasks not involving manipulation of external graphics, we discuss text comprehension, and the mental performance of syllogisms. By positing an internal system with the same specificity as Euler's circles, we cover the mental models data, and generate new empirical predictions. Finally, we consider how the architecture of working memory explains why such specific representations are relatively easy to store.","author":[{"family":"Stenning","given":"Keith"},{"family":"Oberlander","given":"Jon"}],"citation-key":"stenningCognitiveTheoryGraphical1995","container-title":"Cognitive Science","DOI":"10.1207/s15516709cog1901_3","issue":"1","issued":{"date-parts":[[1995,1]]},"page":"97–140","title":"A Cognitive Theory of Graphical and Linguistic Reasoning: Logic and Implementation","type":"article-journal","URL":"http://dx.doi.org/10.1207/s15516709cog1901_3","volume":"19"},
{"id":"sterlingArtPrologAdvanced1994","abstract":"This second edition contains revised chapters taking into account recent research advances. More advanced exercises have been included, and \"Part II The Prolog Language\" has been modified to be compatible with the new Prolog standard. This is a graduate level text that can be used for self-study.","author":[{"family":"Sterling","given":"Leon"},{"family":"Shapiro","given":"Ehud"}],"citation-key":"sterlingArtPrologAdvanced1994","edition":"Second","ISBN":"0-262-19338-8","issued":{"date-parts":[[1994,3]]},"note":"Published: Hardcover","publisher":"MIT Press","title":"The art of Prolog : advanced programming techniques","type":"book","URL":"http://www.worldcat.org/isbn/0262193388"},
{"id":"stewartCiboV2Realtime2020","abstract":"Cibo v2 is a live-coding artificial intelligence (AI) agent that performs TidalCycles and is trained on recorded performances by several TidalCycles performers. This paper presents an entirely new architecture from the original Cibo agent for realizing autonomous performing agents.","accessed":{"date-parts":[[2021,1,21]]},"author":[{"family":"Stewart","given":"Jeremy"},{"family":"Lawson","given":"Shawn"},{"family":"Hodnick","given":"Mike"},{"family":"Gold","given":"Ben"}],"citation-key":"stewartCiboV2Realtime2020","DOI":"10.5281/zenodo.3939174","event-place":"Limerick, Ireland","ISBN":"9781911620235","issued":{"date-parts":[[2020,2,5]]},"page":"20-31","publisher":"University of Limerick","publisher-place":"Limerick, Ireland","title":"Cibo v2: Realtime Livecoding A.I. Agent","title-short":"Cibo v2","type":"speech","URL":"https://zenodo.org/record/3939174#.YAldAFn7SV4"},
{"id":"stewartDynamicApplicationsGround2005","abstract":"Some Lisp programs such as Emacs, but also the Linux kernel (when fully modularised) are mostly dynamic; i.e., apart from a small static core, the significant functionality is dynamically loaded. In this paper, we explore fully dynamic applications in Haskell where the static core is minimal and code is hot swappable. We demonstrate the feasibility of this architecture by two applications: Yi, an extensible editor, and Lambdabot, a plugin-based IRC robot. Benefits of the approach include hot swappable code and sophisticated application configuration and extension via embedded DSLs. We illustrate both benefits in detail at the example of a novel embedded DSL for editor interfaces.","author":[{"family":"Stewart","given":"Don"},{"family":"Chakravarty","given":"Manuel M. T."}],"citation-key":"stewartDynamicApplicationsGround2005","container-title":"Proceedings of ACM SIGPLAN workshop on Haskell 2005","DOI":"10.1145/1088348.1088352","event-place":"Tallinn, Estonia","ISBN":"1-59593-071-X","issued":{"date-parts":[[2005]]},"page":"27–38","publisher":"ACM","publisher-place":"Tallinn, Estonia","title":"Dynamic applications from the ground up","type":"paper-conference","URL":"http://dx.doi.org/10.1145/1088348.1088352"},
{"id":"stewartFearfulSymmetryGod2010","abstract":"From the shapes of clouds to dewdrops on a spider's web, this accessible book employs the mathematical concepts of symmetry to portray fascinating facets of the physical and biological world. More than 120 illustrations.","author":[{"family":"Stewart","given":"Ian"}],"citation-key":"stewartFearfulSymmetryGod2010","event-place":"Mineola, N.Y","ISBN":"978-0-486-47758-9","issued":{"date-parts":[[2010,9,24]]},"language":"English","number-of-pages":"320","publisher":"Dover Publications Inc.","publisher-place":"Mineola, N.Y","source":"Amazon","title":"Fearful Symmetry: Is God a Geometer?","title-short":"Fearful Symmetry","type":"book"},
{"id":"stewartMusicBrainDisorders2006","author":[{"family":"Stewart","given":"Lauren"},{"family":"Kriegstein","given":"Katharina","non-dropping-particle":"von"},{"family":"Warren","given":"Jason D."},{"family":"Griffiths","given":"Timothy D."}],"citation-key":"stewartMusicBrainDisorders2006","container-title":"Brain","DOI":"10.1093/brain/awl171","ISSN":"0006-8950","issue":"10","issued":{"date-parts":[[2006,10]]},"page":"2533–2553","PMID":"16845129","title":"Music and the brain: disorders of musical listening","type":"article-journal","URL":"http://dx.doi.org/10.1093/brain/awl171","volume":"129"},
{"id":"stewartMusicPerceptionSounds2007","abstract":"A recent study of spatial processing in amusia makes a controversial claim that such musical deficits may be understood in terms of a problem in the representation of space. If such a link is demonstrated to be causal, it would challenge the prevailing view that deficits in amusia are specific to the musical or even the auditory domain.","author":[{"family":"Stewart","given":"L."},{"family":"Walsh","given":"V."}],"citation-key":"stewartMusicPerceptionSounds2007","container-title":"Current biology : CB","DOI":"10.1016/j.cub.2007.08.012","ISSN":"0960-9822","issue":"20","issued":{"date-parts":[[2007,10]]},"PMID":"17956751","title":"Music perception: sounds lost in space.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.cub.2007.08.012","volume":"17"},
{"id":"stockhausenStockhausenMusic2000","author":[{"family":"Stockhausen","given":"Karlheinz"},{"family":"Maconie","given":"Robin"}],"citation-key":"stockhausenStockhausenMusic2000","ISBN":"0-7145-2918-4","issued":{"date-parts":[[2000,5]]},"note":"Published: Paperback","publisher":"Marion Boyars Publishers Ltd","title":"Stockhausen on Music","type":"book","URL":"http://www.worldcat.org/isbn/0714529184"},
{"id":"stoffregenSpecificationSenses2001","author":[{"family":"Stoffregen","given":"Thomas"},{"family":"Bardy","given":"Benoit"}],"citation-key":"stoffregenSpecificationSenses2001","container-title":"Behavioral and Brain Sciences","event-place":"USA","issued":{"date-parts":[[2001]]},"page":"195–265","publisher-place":"USA","title":"On specification and the senses","type":"paper-conference","URL":"http://www.bbsonline.org/documents/a/00/00/04/75/bbs00000475-00/bbs.stoffregen.html","volume":"24"},
{"id":"storeyTheoriesToolsResearch2006","author":[{"family":"Storey","given":"Margaret-Anne"}],"citation-key":"storeyTheoriesToolsResearch2006","container-title":"Software Quality Journal","DOI":"10.1007/s11219-006-9216-4","issued":{"date-parts":[[2006]]},"page":"187–208","title":"Theories, tools and research methods in program comprehension: past, present and future","type":"article-journal","URL":"http://dx.doi.org/10.1007/s11219-006-9216-4","volume":"14"},
{"id":"stowellCharacteristicsBeatboxingVocal2008","abstract":"Nice and short description of beatboxing techniques, including IPA (where possible). The requirement to produce convincing imitations of drum tracks, in part by suppressing vocal cues differentiates beat-boxing from e.g. bol syllables and scat singing. This is done in part by inhalation, unusual trills and clicks and close micing techniques.","author":[{"family":"Stowell","given":"Dan"}],"citation-key":"stowellCharacteristicsBeatboxingVocal2008","issued":{"date-parts":[[2008]]},"publisher":"Queen Mary, University of London","title":"Characteristics of the beatboxing vocal style, C4DM-TR-08-01","type":"report"},
{"id":"stowellEvaluationLiveHuman2009","abstract":"Live music-making using interactive systems is not completely amenable to traditional HCI evaluation metrics such as task-completion rates. In this paper we discuss quantitative and qualitative approaches which provide opportunities to evaluate the music-making interaction, accounting for aspects which cannot be directly measured or expressed numerically, yet which may be important for participants. We present case studies in the application of a qualitative method based on Discourse Analysis, and a quantitative method based on the Turing Test. We compare and contrast these methods with each other, and with other evaluation approaches used in the literature, and discuss factors affecting which evaluation methods are appropriate in a given context.","author":[{"family":"Stowell","given":"D."},{"family":"Robertson","given":"A."},{"family":"Bryan-Kinns","given":"N."},{"family":"Plumbley","given":"M. D."}],"citation-key":"stowellEvaluationLiveHuman2009","container-title":"International Journal of Human-Computer Studies","DOI":"10.1016/j.ijhcs.2009.05.007","ISSN":"10715819","issue":"11","issued":{"date-parts":[[2009,11]]},"page":"960–975","title":"Evaluation of live human–computer music-making: Quantitative and qualitative approaches","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.ijhcs.2009.05.007","volume":"67"},
{"id":"stowellLiveMusicmakingRich2011","abstract":"In this position paper we present some themes of our research, strands of which reflect our title's assertion in various ways. Our focus here is on live musicmaking, in particular improvised or part-improvised performances which incorporate digital technologies.","author":[{"family":"Stowell","given":"Dan"},{"family":"McLean","given":"Alex"}],"citation-key":"stowellLiveMusicmakingRich2011","container-title":"Proceedings of BCS HCI 2011 Workshop - When Words Fail: What can Music Interaction tell us about HCI?","issued":{"date-parts":[[2011]]},"title":"Live music-making: a rich open task requires a rich open interface","type":"paper-conference"},
{"id":"stowellLiveMusicMakingRich2012","author":[{"family":"Stowell","given":"Dan"},{"family":"McLean","given":"Alex"}],"citation-key":"stowellLiveMusicMakingRich2012","container-title":"Music and Human-Computer Interaction","editor":[{"family":"Holland","given":"S."},{"family":"Wilkie","given":"K."},{"family":"Mulholland","given":"P."},{"family":"Seago","given":"A."}],"ISBN":"978-1-4471-2989-9","issued":{"date-parts":[[2012,5]]},"page":"139–152","publisher":"Springer","title":"Live Music-Making: a Rich Open Task Requires a Rich Open Interface","type":"chapter"},
{"id":"stringfellowDerivingChangeArchitectures2004","author":[{"family":"Stringfellow","given":"C."},{"family":"Amory","given":"C. D."},{"family":"Potnuri","given":"D."},{"family":"Georg","given":"M."},{"family":"Andrews","given":"A."}],"citation-key":"stringfellowDerivingChangeArchitectures2004","issued":{"date-parts":[[2004]]},"number-of-pages":"210+","title":"Deriving change architectures from RCS history","type":"book"},
{"id":"stroopStudiesInterferenceSerial1935","author":[{"family":"Stroop","given":"J. R."}],"citation-key":"stroopStudiesInterferenceSerial1935","container-title":"Journal of Experimental Psychology","issue":"6","issued":{"date-parts":[[1935]]},"title":"Studies of interference in serial verbal reactions.","type":"article-journal","volume":"18"},
{"id":"sundbergMusicalSignificanceMusicians1994","author":[{"family":"Sundberg","given":"J."}],"citation-key":"sundbergMusicalSignificanceMusicians1994","container-title":"Phonetica","issue":"51","issued":{"date-parts":[[1994]]},"page":"132–145","title":"Musical significance of musicians' syllable choice in improvized nonsense-text singing. A preliminary study","type":"article-journal","volume":"1-3"},
{"id":"SuperDirt2022","abstract":"Tidal Audio Engine","accessed":{"date-parts":[[2022,6,24]]},"citation-key":"SuperDirt2022","genre":"SuperCollider","issued":{"date-parts":[[2022,6,24]]},"original-date":{"date-parts":[[2015,11,3]]},"publisher":"musikinformatik","source":"GitHub","title":"SuperDirt","type":"book","URL":"https://github.com/musikinformatik/SuperDirt"},
{"id":"sutton-spenceLinguisticsBritishSign1999","abstract":"This is the first textbook dealing specifically with British sign linguistics. It provides essential support for learners of British Sign Language and others interested in the structure and use of BSL, and assumes no previous knowledge of linguistics and sign language. Technical terms and linguistic jargon are kept to a minimum. The book contains over three hundred illustrations and an index of signs and sign phrases. There are also exercises and a reading list for further independent study.","author":[{"family":"Sutton-Spence","given":"Rachel"},{"family":"Woll","given":"Bencie"}],"citation-key":"sutton-spenceLinguisticsBritishSign1999","ISBN":"0-521-63718-X","issued":{"date-parts":[[1999,3]]},"note":"Published: Paperback","publisher":"Cambridge University Press","title":"The Linguistics of British Sign Language: An Introduction","type":"book","URL":"http://www.worldcat.org/isbn/052163718X"},
{"id":"SweetAnticipation","accessed":{"date-parts":[[2017,10,23]]},"citation-key":"SweetAnticipation","container-title":"MIT Press","title":"Sweet Anticipation","type":"webpage","URL":"https://mitpress.mit.edu/books/sweet-anticipation"},
{"id":"szaboAnfaengeGriechischenMathematik1969","abstract":"Gerade heute, wo sich die Aufmerksamkeit der führenden Philosophen, Logiker und Mathematiker erneut auf die Grundlagen der systematisch-deduktiven Mathematik richtet, ist dieses Buch von zeitnaher und tiefer Bedeutung.","author":[{"family":"Szabo","given":"Arpad"}],"citation-key":"szaboAnfaengeGriechischenMathematik1969","edition":"Reprint 2015","event-place":"München","ISBN":"978-3-486-47201-1","issued":{"date-parts":[[1969,12,1]]},"language":"Deutsch","number-of-pages":"494","publisher":"De Gruyter Oldenbourg","publisher-place":"München","source":"Amazon","title":"Anfänge der griechischen Mathematik","type":"book"},
{"id":"takateraColorOrderWeave1988","abstract":"An efficient algorithm is developed for determining the color ordering of the warp and weft threads which yields a given pattern of color-and-weave effect. The conditions for the interlacement matrix determined by the color order of the threads are also given. All of the weaves satisfy the conditions which can be briefly represented by a design of “conditional weave”.The pattern of a two colored color-and-weave effect can be classified into three types by an adaptation of the Newton's8) weave classification scheme. It was found that only type 3 (that classified as a multilayer weave without stitching) is a pattern suitable for color-and-weave effect.","author":[{"family":"Takatera","given":"Masayuki"},{"family":"Shinohara","given":"Akira"}],"citation-key":"takateraColorOrderWeave1988","container-title":"Sen'i Gakkaishi","DOI":"10.2115/fiber.44.7_339","issue":"7","issued":{"date-parts":[[1988]]},"page":"339-346","source":"J-Stage","title":"Color Order and Weave on a Given Color-and-Weave Effect","type":"article-journal","volume":"44"},
{"id":"TalaMusic2016","abstract":"A Tala (IAST tāla), sometimes spelled Taala, Taal or Tal, literally means a \"clap, tapping one's hand on one's arm, a musical measure\". It is the term used in Indian classical music to refer to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the South Asian traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the time cycle and thereby constitutes one of the two foundational elements of Indian music.\nTala is an ancient music concept traceable to Vedic era texts of Hinduism, such as the Samaveda and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the raga and tala systems, were not considered as distinct till about the 16th century. There on, during the turmoils of Islamic rule period of the Indian subcontinent, the traditions separated and evolved into distinct forms. The tala system of the north is called Hindustani, while the south is called Carnatic. However, the tala system between them continues to have more common features than differences.\nTala in the Indian tradition embraces the time dimension of music, the means by which musical rhythm and form were guided and expressed. While a tala carries the musical meter, it does not necessarily imply a regularly recurring pattern. In the major classical Indian music traditions, the beats are hierarchically arranged based on how the music piece is to performed. The most widely used tala in the South Indian system is adi tala. In the North Indian system, the most common tala is teental.\nTala has other contextual meanings in ancient Sanskrit texts of Hinduism. For example, it means trochee in Sanskrit prosody.","accessed":{"date-parts":[[2017,3,22]]},"citation-key":"TalaMusic2016","container-title":"Wikipedia","issued":{"date-parts":[[2016,12,17]]},"language":"en","note":"Page Version ID: 755258067","source":"Wikipedia","title":"Tala (music)","type":"entry-encyclopedia","URL":"https://en.wikipedia.org/w/index.php?title=Tala_(music)&oldid=755258067"},
{"id":"tamarizExploringAdaptiveStructure2005","author":[{"family":"Tamariz","given":"Monica"}],"citation-key":"tamarizExploringAdaptiveStructure2005","issued":{"date-parts":[[2005]]},"publisher":"Department of theoretical and applied linguistics, Univerisity of Edinburgh","title":"Exploring the Adaptive Structure of the Mental Lexicon","type":"thesis","URL":"http://www.isrl.uiuc.edu/∼amag/langev/paper/tamariz05phd.html"},
{"id":"tanimotoVIVAVisualLanguage1990","abstract":"Visual languages have been developed to help new programmers express algorithms easily. They also help to make experienced programmers more productive by simplifying the organization of a program through the use of visual representations. However, visual languages have not reached their full potential because of several problems including the following: difficulty of producing visual representations for the more abstract computing constructs; the lack of adequate computing power to update the visual representations in response to user actions; the immaturity of the subfield of visual programming and need for additional breakthroughs and standardization of existing mechanisms. Visualization of Vision Algorithms (VIVA) is a proposed visual language for image processing. Its main purpose is to serve as an effective teaching tool for students of image processing. Its design also takes account of several secondary goals, including the completion of a software platform for research in human/image interaction, the creation of a vehicle for studying algorithms and architectures for parallel image processing, and the establishment of a presentation medium for image-processing algorithms.","author":[{"family":"Tanimoto","given":"Steven L."}],"citation-key":"tanimotoVIVAVisualLanguage1990","container-title":"J. Vis. Lang. Comput.","DOI":"10.1016/s1045-926x(05)80012-6","ISSN":"1045-926X","issued":{"date-parts":[[1990,6]]},"page":"127–139","title":"VIVA: A visual language for image processing","type":"article-journal","URL":"http://dx.doi.org/10.1016/s1045-926x(05)80012-6","volume":"1"},
{"id":"taubeNotesMetalevelIntroduction2004","author":[{"family":"Taube","given":"Heinrich K."}],"citation-key":"taubeNotesMetalevelIntroduction2004","event-place":"Lisse, The Netherlands","ISBN":"90-265-1957-5","issued":{"date-parts":[[2004]]},"publisher":"Swets & Zeitlinger","publisher-place":"Lisse, The Netherlands","title":"Notes from the Metalevel: Introduction to Algorithmic Music Composition","type":"book","URL":"http://portal.acm.org/citation.cfm?id=993717"},
{"id":"TaxReturnAlex","accessed":{"date-parts":[[2021,1,29]]},"citation-key":"TaxReturnAlex","title":"Tax Return - alex@slab.org - Slab Mail","type":"webpage","URL":"https://mail.google.com/mail/u/0/#search/duncan+accountants/FMfcgxwKkRCgfbjpdlxGdPjSVhxGwrXx"},
{"id":"TaxReturnAlexa","accessed":{"date-parts":[[2021,1,29]]},"citation-key":"TaxReturnAlexa","title":"Tax Return - alex@slab.org - Slab Mail","type":"webpage","URL":"https://mail.google.com/mail/u/0/#search/duncan+accountants/FMfcgxwKkRCgfbjpdlxGdPjSVhxGwrXx"},
{"id":"tedreLongQuestComputational2016","abstract":"Computational thinking (CT) is a popular phrase that refers to a collection of computational ideas and habits of mind that people in computing disciplines acquire through their work in designing programs, software, simulations, and computations performed by machinery. Recently a computational thinking for K-12 movement has spawned initiatives across the education sector, and educational reforms are under way in many countries. However, modern CT initiatives should be well aware of the broad and deep history of computational thinking, or risk repeating already refuted claims, past mistakes, and already solved problems, or losing some of the richest and most ambitious ideas in CT. This paper presents an overview of three important historical currents from which CT has developed: evolution of computing's disciplinary ways of thinking and practicing, educational research and efforts in computing, and emergence of computational science and digitalization of society. The paper examines a number of threats to CT initiatives: lack of ambition, dogmatism, knowing versus doing, exaggerated claims, narrow views of computing, overemphasis on formulation, and lost sight of computational models.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"Tedre","given":"Matti"},{"family":"Denning","given":"Peter J."}],"citation-key":"tedreLongQuestComputational2016","collection-title":"Koli Calling '16","container-title":"Proceedings of the 16th Koli Calling International Conference on Computing Education Research","DOI":"10.1145/2999541.2999542","event-place":"Koli, Finland","ISBN":"978-1-4503-4770-9","issued":{"date-parts":[[2016,11,24]]},"page":"120–129","publisher":"Association for Computing Machinery","publisher-place":"Koli, Finland","source":"ACM Digital Library","title":"The long quest for computational thinking","type":"paper-conference","URL":"https://doi.org/10.1145/2999541.2999542"},
{"id":"tenenbaumGeneralizationSimilarityBayesian2001","author":[{"family":"Tenenbaum","given":"Joshua B."},{"family":"Griffiths","given":"Thomas L."}],"citation-key":"tenenbaumGeneralizationSimilarityBayesian2001","container-title":"Behavioral and Brain Sciences","DOI":"10.1017/S0140525X01000061","issue":"04","issued":{"date-parts":[[2001]]},"page":"629–640","title":"Generalization, similarity, and Bayesian inference","type":"article-journal","URL":"http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=117253&fulltextType=RA&fileId=S0140525X01000061","volume":"24"},
{"id":"terasawaPerceptualDistanceTimbre2005","author":[{"family":"Terasawa","given":"Hiroko"},{"family":"Slaney","given":"Malcolm"},{"family":"Berger","given":"Jonathan"}],"citation-key":"terasawaPerceptualDistanceTimbre2005","container-title":"Proceedings of ICAD 05-Eleventh Meeting of the International Conference on Auditory Display","issued":{"date-parts":[[2005]]},"title":"Perceptual Distance in Timbre Space","type":"paper-conference"},
{"id":"terasawaThirteenColorsTimbre2005","abstract":"We describe a perceptual space for timbre, define an objective metric that takes into account perceptual orthogonality and measure the quality of timbre interpolation. We discuss three timbre representations and measure perceptual judgments. We determine that a timbre space based on mel-frequency cepstral coefficients (MFCC) is a good model for a perceptual timbre space.","author":[{"family":"Terasawa","given":"H."},{"family":"Slaney","given":"M."},{"family":"Berger","given":"J."}],"citation-key":"terasawaThirteenColorsTimbre2005","container-title":"Applications of Signal Processing to Audio and Acoustics, 2005. IEEE Workshop on","issued":{"date-parts":[[2005]]},"title":"The thirteen colors of timbre","type":"paper-conference","URL":"http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?arnumber=1540234"},
{"id":"terzidisExpressiveFormConceptual2003","author":[{"family":"Terzidis","given":"Kostas"}],"citation-key":"terzidisExpressiveFormConceptual2003","edition":"1","ISBN":"0-415-31744-4","issued":{"date-parts":[[2003,11]]},"note":"Published: Paperback","publisher":"Routledge","title":"Expressive Form: A Conceptual Approach to Computational Design","type":"book","URL":"http://www.worldcat.org/isbn/0415317444"},
{"id":"thielemannLiveMusikprogrammierungHaskell2012","author":[{"family":"Thielemann","given":"Henning"}],"citation-key":"thielemannLiveMusikprogrammierungHaskell2012","container-title":"CoRR","issued":{"date-parts":[[2012]]},"title":"Live-Musikprogrammierung in Haskell","type":"article-journal","volume":"abs/1202.4269"},
{"id":"toddComputationalModelRubato1989","abstract":"Presented is a model of rubato, implemented in Lisp, in which expression is viewed as the mapping of musical structure into the variables of expression. The basic idea is that the performer uses “phrase final lengthening” as a device to reflect some internal representation of the phrase structure. The representation is based on Lardahl and Jackendoff's time-span reduction. The basic heuristic in the model is recursive involving look-ahead and planning at a number of levels. The planned phrasings are superposed beat by beat and the output from the program is a list of durations which could easily be adapted to be sent to a synthesiser given a suitable system.","author":[{"family":"Todd","given":"Neil"}],"citation-key":"toddComputationalModelRubato1989","container-title":"Contemporary Music Review","DOI":"10.1080/07494468900640061","ISSN":"0749-4467","issued":{"date-parts":[[1989]]},"page":"69–88","title":"A computational model of rubato","type":"article-journal","URL":"http://dx.doi.org/10.1080/07494468900640061"},
{"id":"toopHauntedWeatherMusic2005","author":[{"family":"Toop","given":"David"}],"citation-key":"toopHauntedWeatherMusic2005","edition":"Main edition","event-place":"London","ISBN":"978-1-85242-789-4","issued":{"date-parts":[[2005,10,13]]},"language":"English","number-of-pages":"352","publisher":"Serpent's Tail","publisher-place":"London","source":"Amazon","title":"Haunted Weather: Music, Silence, and Memory","title-short":"Haunted Weather","type":"book"},
{"id":"toplaPrehistoryLiveCoding2007","author":[{"family":"Topla","given":"P."}],"citation-key":"toplaPrehistoryLiveCoding2007","issued":{"date-parts":[[2007]]},"note":"Published: Audio CD","title":"A prehistory of live coding","type":"book"},
{"id":"toussaintEuclideanAlgorithmGenerates2005","abstract":"The Euclidean algorithm (which comes down to us from Euclid's Elements) computes the greatest common divisor of two given integers. It is shown here that the structure of the Euclidean algorithm may be used to automatically generate, very efficiently, a large family of rhythms used as timelines (ostinatos), in traditional world music. These rhythms, here dubbed Euclidean rhythms, have the property that their onset patterns are distributed as evenly as possible in a mathematically precise sense, and optimal manner.","author":[{"family":"Toussaint","given":"Godfried"}],"citation-key":"toussaintEuclideanAlgorithmGenerates2005","container-title":"In Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science","issued":{"date-parts":[[2005]]},"page":"47–56","title":"The Euclidean Algorithm Generates Traditional Musical Rhythms","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.62.231"},
{"id":"toussaintGeometryMusicalRhythm2019","abstract":"The original edition of The Geometry of Musical Rhythm was the first book to provide a systematic and accessible computational geometric analysis of the musical rhythms of the world. It explained how the study of the mathematical properties of musical rhythm generates common mathematical problems that arise in a variety of seemingly disparate fields. The book also introduced the distance approach to phylogenetic analysis and illustrated its application to the study of musical rhythm. The new edition retains all of this, while also adding 100 pages, 93 figures, 225 new references, and six new chapters covering topics such as meter and metric complexity, rhythmic grouping, expressive timbre and timing in rhythmic performance, and evolution phylogenetic analysis of ancient Greek paeonic rhythms. In addition, further context is provided to give the reader a fuller and richer insight into the historical connections between music and mathematics.","author":[{"family":"Toussaint","given":"Godfried T."}],"citation-key":"toussaintGeometryMusicalRhythm2019","edition":"2nd edition","ISBN":"978-0-8153-7097-0","issued":{"date-parts":[[2019,12,13]]},"language":"English","number-of-pages":"370","publisher":"Routledge","source":"Amazon","title":"The Geometry of Musical Rhythm: What Makes a \"Good\" Rhythm Good?, Second Edition","title-short":"The Geometry of Musical Rhythm","type":"book"},
{"id":"trainorInfantDirectedSpeechProsody2000","abstract":"Many studies have found that infant-directed (ID) speech has higher pitch, has more exaggerated pitch contours, has a larger pitch range, has a slower tempo, and is more rhythmic than typical adult-directed (AD) speech. We show that the ID speech style reflects free vocal expression of emotion to infants, in comparison with more inhibited expression of emotion in typical AD speech. When AD speech does express emotion, the same acoustic features are used as in ID speech. We recorded ID and AD samples of speech expressing love-comfort, fear, and surprise. The emotions were equally discriminable in the ID and AD samples. Acoustic analyses showed few differences between the ID and AD samples, but robust differences across the emotions. We conclude that ID prosody itself is not special. What is special is the widespread expression of emotion to infants in comparison with the more inhibited expression of emotion in typical adult interactions.","author":[{"family":"Trainor","given":"Laurel J."},{"family":"Austin","given":"Caren M."},{"family":"Desjardins","given":"Renée N."}],"citation-key":"trainorInfantDirectedSpeechProsody2000","container-title":"Psychological Science","DOI":"10.1111/1467-9280.00240","issue":"3","issued":{"date-parts":[[2000]]},"page":"188–195","title":"Is Infant-Directed Speech Prosody a Result of the Vocal Expression of Emotion?","type":"article-journal","URL":"http://dx.doi.org/10.1111/1467-9280.00240","volume":"11"},
{"id":"traubePhoneticGesturesUnderlying2004","author":[{"family":"Traube","given":"Caroline"},{"family":"Depalle","given":"Philippe"}],"citation-key":"traubePhoneticGesturesUnderlying2004","container-title":"8th International Conference on Music Perception and Cognition (ICMPC8)","event-place":"Evanston, IL, USA","issued":{"date-parts":[[2004]]},"publisher-place":"Evanston, IL, USA","title":"Phonetic Gestures underlying Guitar Timbre Description","type":"paper-conference"},
{"id":"traubeTimbralAnalogiesVowels2004","abstract":"Classical guitarists vary plucking position to achieve different timbres from nasal and metallic - closer to the bridge - to round and mellow -closer to the middle of the string. An interesting set of timbre descriptors commonly used by guitarists seem to refer to phonetic gestures: thin, nasal, round, open, etc. The magnitude spectrum of guitar tones being comb-filter shaped, we propose to see the local maxima of that comb filter structure as vocal formants. When guitarists talk about a guitar sound as being round, it would mean that it sounds like a round-shaped-mouth sound, such as the vowel /O/. Although the acoustic systems of the guitar and of the voice mechanism are structurally different, we highlight the fact that guitar tones and a particular set of vowels display similar formant regions. We also investigate the possibility of applying some distinctive features of speech sounds to guitar sounds.","author":[{"family":"Traube","given":"Caroline"},{"family":"Depalle","given":"Philippe"}],"citation-key":"traubeTimbralAnalogiesVowels2004","container-title":"Proceedings of IEEE International Conference on Acoustics, Speech, and Signal Processing.","issued":{"date-parts":[[2004]]},"title":"Timbral analogies between vowels and plucked string tones","type":"paper-conference","volume":"4"},
{"id":"traubeVerbalDescriptorsTimbre2004","author":[{"family":"Traube","given":"Caroline"},{"family":"McCutcheon","given":"Peter"},{"family":"Depalle","given":"Philippe"}],"citation-key":"traubeVerbalDescriptorsTimbre2004","container-title":"Conference on Interdisciplinary Musicology (CIM04)","event-place":"Graz, Austria","issued":{"date-parts":[[2004]]},"publisher-place":"Graz, Austria","title":"Verbal descriptors for the timbre of the classical guitar","type":"paper-conference"},
{"id":"traubeVocalSynthesisGraphical2005","author":[{"family":"Traube","given":"Caroline"},{"family":"D'Alessandro","given":"Nicolas"}],"citation-key":"traubeVocalSynthesisGraphical2005","container-title":"8th International Conference on Digital Audio Effects (DAFx'05)","event-place":"Madrid, Spain","issued":{"date-parts":[[2005]]},"page":"104–109","publisher-place":"Madrid, Spain","title":"Vocal Synthesis and Graphical Representation of the Phonetic Gestures underlying Guitar Timbre Description","type":"paper-conference"},
{"id":"trehubMusicSpeechProcessing1993","author":[{"family":"Trehub","given":"S. E."},{"family":"Trainor","given":"L. J."},{"family":"Unyk","given":"A. M."}],"citation-key":"trehubMusicSpeechProcessing1993","container-title":"Advances in child development and behavior","ISSN":"0065-2407","issued":{"date-parts":[[1993]]},"page":"1–35","PMID":"8447246","title":"Music and speech processing in the first year of life.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/8447246","volume":"24"},
{"id":"tressetSketchesPaulRobot2012","accessed":{"date-parts":[[2017,5,18]]},"author":[{"family":"Tresset","given":"Patrick A."},{"family":"Leymarie","given":"F."}],"citation-key":"tressetSketchesPaulRobot2012","container-title":"Proceedings of the Eighth Annual Symposium on Computational Aesthetics in Graphics, Visualization, and Imaging","issued":{"date-parts":[[2012]]},"page":"17–24","publisher":"Eurographics Association","source":"Google Scholar","title":"Sketches by Paul the robot","type":"paper-conference","URL":"http://dl.acm.org/citation.cfm?id=2328892"},
{"id":"tuckerClassificationTransientSonar2005","abstract":"This paper describes a novel framework for classifying underwater transient signals recorded by passive sonar. The proposed approach involves two key ideas. Firstly, a feature-selection algorithm is used to identify those acoustic features that optimally model each class of transient sound. Secondly, features that are perceptually motivated are proposed, i.e., they encode information that human listeners are likely to use in transient classification tasks. Three perceptual features are proposed, which encode timbre, the physical material of the sound source, and the temporal context (pattern) in which the transient occurred. The authors show how these features, which are computed over different temporal windows, can be combined to make classification decisions. The performance of the proposed classifier is evaluated on a corpus of transient signals extracted from passive sonar recordings. Specifically, the performance of the perceptual features is compared with spectral features and with those that encode statistics of time, frequency, and power. The present results show that the perceptual features provide valuable cues to the class of a transient. However, the best performing classifier was obtained by selecting a subset of perceptual, spectral, and statistical features in a class-dependent manner.","author":[{"family":"Tucker","given":"S."},{"family":"Brown","given":"G. J."}],"citation-key":"tuckerClassificationTransientSonar2005","container-title":"IEEE Journal of Oceanic Engineering","DOI":"10.1109/joe.2005.850910","ISSN":"0364-9059","issue":"3","issued":{"date-parts":[[2005,7]]},"page":"588–600","title":"Classification of Transient Sonar Sounds Using Perceptually Motivated Features","type":"article-journal","URL":"http://dx.doi.org/10.1109/joe.2005.850910","volume":"30"},
{"id":"turingComputingMachineryIntelligence1950","author":[{"family":"Turing","given":"Alan M."}],"citation-key":"turingComputingMachineryIntelligence1950","container-title":"Mind","issued":{"date-parts":[[1950]]},"page":"433–460","title":"Computing Machinery and Intelligence","type":"article-journal","volume":"LIX"},
{"id":"turingIntelligentMachineryReport1992","author":[{"family":"Turing","given":"A. M."}],"citation-key":"turingIntelligentMachineryReport1992","container-title":"Collected Works of A. M. Turing: Mechanical Intelligence","editor":[{"family":"Ince","given":"D. C."}],"event-place":"Amsterdam","issued":{"date-parts":[[1992]]},"page":"107–127","publisher":"Elsevier","publisher-place":"Amsterdam","title":"Intelligent Machinery. Report, National Physics Laboratory","type":"chapter"},
{"id":"turkleEpistemologicalPluralismRevaluation1992","author":[{"family":"Turkle","given":"Sherry"},{"family":"Papert","given":"Seymour"}],"citation-key":"turkleEpistemologicalPluralismRevaluation1992","container-title":"Journal of Mathematical Behavior","issue":"1","issued":{"date-parts":[[1992,3]]},"page":"3–33","title":"Epistemological Pluralism and the Revaluation of the Concrete","type":"article-journal","volume":"11"},
{"id":"turkleEpistemologicalPluralismStyles1990","author":[{"family":"Turkle","given":"Sherry"},{"family":"Papert","given":"Seymour"}],"citation-key":"turkleEpistemologicalPluralismStyles1990","container-title":"Signs","DOI":"10.2307/3174610","ISSN":"00979740","issue":"1","issued":{"date-parts":[[1990]]},"page":"128–157","title":"Epistemological Pluralism: Styles and Voices within the Computer Culture","type":"article-journal","URL":"http://dx.doi.org/10.2307/3174610","volume":"16"},
{"id":"turkleSecondSelfComputers2005","abstract":"In The Second Self, Sherry Turkle looks at the computer not as a \"tool,\" but as part of our social and psychological lives; she looks beyond how we use computer games and spreadsheets to explore how the computer affects our awareness of ourselves, of one another, and of our relationship with the world. \"Technology,\" she writes, \"catalyzes changes not only in what we do but in how we think.\" First published in 1984, The Second Self is still essential reading as a primer in the psychology of computation. This twentieth anniversary edition allows us to reconsider two decades of computer culture–to (re)experience what was and is most novel in our new media culture and to view our own contemporary relationship with technology with fresh eyes. Turkle frames this classic work with a new introduction, a new epilogue, and extensive notes added to the original text.
Turkle talks to children, college students, engineers, AI scientists, hackers, and personal computer owners–people confronting machines that seem to think and at the same time suggest a new way for us to think–about human thought, emotion, memory, and understanding. Her interviews reveal that we experience computers as being on the border between inanimate and animate, as both an extension of the self and part of the external world. Their special place betwixt and between traditional categories is part of what makes them compelling and evocative. (In the introduction to this edition, Turkle quotes a PDA user as saying, \"When my Palm crashed, it was like a death. I thought I had lost my mind.\") Why we think of the workings of a machine in psychological terms–how this happens, and what it means for all of us–is the ever more timely subject of The Second Self.","author":[{"family":"Turkle","given":"Sherry"}],"citation-key":"turkleSecondSelfComputers2005","edition":"Twentieth Anniversary","ISBN":"0-262-70111-1","issued":{"date-parts":[[2005,9]]},"note":"Published: Paperback","publisher":"The MIT Press","title":"The Second Self: Computers and the Human Spirit","type":"book","URL":"http://www.worldcat.org/isbn/0262701111"},
{"id":"tverskyCognitiveOriginsGraphic1995","author":[{"family":"Tversky","given":"B."}],"citation-key":"tverskyCognitiveOriginsGraphic1995","container-title":"In F. T. Marchese (Editor). Understanding images. Pp","issued":{"date-parts":[[1995]]},"page":"29–53","publisher":"Springer-Verlag","title":"Cognitive origins of graphic conventions","type":"paper-conference"},
{"id":"tverskyFeaturesSimilarity1977","abstract":"Questions the metric and dimensional assumptions that underlie the geometric representation of similarity on both theoretical and empirical grounds. A new set-theoretical approach to similarity is developed in which objects are represented as collections of features and similarity is described as a feature-matching process. Specifically, a set of qualitative assumptions is shown to imply the contrast model, which expresses the similarity between objects as a linear combination of the measures of their common and distinctive features. Several predictions of the contrast model are tested in studies of similarity with both semantic and perceptual stimuli. The model is used to uncover, analyze, and explain a variety of empirical phenomena such as the role of common and distinctive features, the relations between judgments of similarity and difference, the presence of asymmetric similarities, and the effects of context on judgments of similarity. The contrast model generalizes standard representations of similarity data in terms of clusters and trees. It is also used to analyze the relations of prototypicality and family resemblance.","author":[{"family":"Tversky","given":"A."}],"citation-key":"tverskyFeaturesSimilarity1977","container-title":"Psychological Review","issue":"4","issued":{"date-parts":[[1977]]},"page":"327–352","title":"Features of Similarity","type":"article-journal","URL":"http://psycnet.apa.org/index.cfm?fa=search.displayRecord&uid=1978-09287-001","volume":"84"},
{"id":"tyteStandardBeatboxNotation2008","author":[{"family":"Tyte","given":"T."}],"citation-key":"tyteStandardBeatboxNotation2008","issued":{"date-parts":[[2008]]},"note":"Published: online; http://www.humanbeatbox.com/tips/p2_articleid/2","title":"Standard Beatbox Notation","type":"book","URL":"http://www.google.co.uk/search?q=standard+beatbox+notation&ie=utf-8&oe=utf-8&aq=t&rls=com.ubuntu:en-GB:unofficial&client=firefox-a"},
{"id":"uehleckeTanzMaschinencode2006","author":[{"family":"Uehlecke","given":"Jens"}],"citation-key":"uehleckeTanzMaschinencode2006","container-title":"Zeitwissen","issued":{"date-parts":[[2006]]},"title":"Tanz den Maschinencode","type":"article-journal"},
{"id":"unknownPsychologyProgrammingComputers1990","author":[{"family":"Unknown","given":"Author"}],"citation-key":"unknownPsychologyProgrammingComputers1990","editor":[{"family":"Hoc","given":"J. M."},{"family":"Green","given":"T. R. G."},{"family":"Samurçay","given":"R."},{"family":"Gilmore","given":"D. J."}],"ISBN":"0-12-350772-3","issued":{"date-parts":[[1990,2]]},"note":"Published: Hardcover","publisher":"Academic Press","title":"Psychology of Programming (Computers and People Series)","type":"book","URL":"http://www.worldcat.org/isbn/0123507723"},
{"id":"urtonInkaHistoryKnots2017","abstract":"Winner, PROSE Award, Biological Anthropology, Ancient History, Archaeology, Association of American Publishers (AAP), 2018Inka khipus―spun and plied cords that record information through intricate patterns of knots and colors―constitute the only available primary sources on the Inka empire not mediated by the hands, minds, and motives of the conquering Europeans. As such, they offer direct insight into the worldview of the Inka―a view that differs from European thought as much as khipus differ from alphabetic writing, which the Inka did not possess. Scholars have spent decades attempting to decipher the Inka khipus, and Gary Urton has become the world's leading authority on these artifacts.In Inka History in Knots, Urton marshals a lifetime of study to offer a grand overview of the types of quantative information recorded in khipus and to show how these records can be used as primary sources for an Inka history of the empire that focuses on statistics, demography, and the \"longue durée\" social processes that characterize a civilization continuously adapting to and exploiting its environment. Whether the Inka khipu keepers were registering census data, recording tribute, or performing many other administrative tasks, Urton asserts that they were key players in the organization and control of subject populations throughout the empire and that khipu record-keeping vitally contributed to the emergence of political complexity in the Andes. This new view of the importance of khipus promises to fundamentally reorient our understanding of the development of the Inka state and the possibilities for writing its history.","author":[{"family":"Urton","given":"Gary"}],"citation-key":"urtonInkaHistoryKnots2017","event-place":"Austin","ISBN":"978-1-4773-1199-8","issued":{"date-parts":[[2017,4,4]]},"language":"English","number-of-pages":"319","publisher":"University of Texas Press","publisher-place":"Austin","source":"Amazon","title":"Inka History in Knots: Reading Khipus as Primary Sources","title-short":"Inka History in Knots","type":"book"},
{"id":"UsingActiveColloids","abstract":"National Academy of Sciences","accessed":{"date-parts":[[2017,3,9]]},"citation-key":"UsingActiveColloids","container-title":"Proceedings of the National Academy of Sciences","title":"Using active colloids as machines to weave and braid on the micrometer scale","type":"webpage","URL":"http://www.pnas.org/content/114/2/257.full"},
{"id":"usselmannDilemmaMediaArt2003","author":[{"family":"Usselmann","given":"Rainer"}],"citation-key":"usselmannDilemmaMediaArt2003","container-title":"Leonardo","issue":"5","issued":{"date-parts":[[2003]]},"page":"389–396","title":"The Dilemma of Media Art: Cybernetic Serendipity at the ICA London","type":"article-journal","URL":"http://muse.jhu.edu/journals/leonardo/v036/36.5usselmann.pdf","volume":"36"},
{"id":"valimakiInterpolatedWarped2D2000","author":[{"family":"Välimäki","given":"Vesa"},{"family":"Savioja","given":"Lauri"}],"citation-key":"valimakiInterpolatedWarped2D2000","container-title":"DAFX-00","issued":{"date-parts":[[2000]]},"title":"Interpolated and warped 2D digital waveguide mesh algorithms","type":"paper-conference"},
{"id":"vandeursenDomainspecificLanguagesAnnotated2000","abstract":"We survey the literature available on the topic of domain-specific languages as used for the construction and maintenance of software systems. We list a selection of 75 key publications in the area, and provide a summary for each of the papers. Moreover, we discuss terminology, risks and benefits, example domain-specific languages, design methodologies, and implementation techniques.","author":[{"family":"Deursen","given":"Arie","non-dropping-particle":"van"},{"family":"Klint","given":"Paul"},{"family":"Visser","given":"Joost"}],"citation-key":"vandeursenDomainspecificLanguagesAnnotated2000","container-title":"SIGPLAN Not.","DOI":"10.1145/352029.352035","ISSN":"0362-1340","issue":"6","issued":{"date-parts":[[2000,6]]},"page":"26–36","title":"Domain-specific Languages: An Annotated Bibliography","type":"article-journal","URL":"http://dx.doi.org/10.1145/352029.352035","volume":"35"},
{"id":"vanduyne2DDigitalWaveguide1993","abstract":"An extremely efficient method for modeling wave propagation in a membrane is provided by the multidimensional extension of the digital waveguide. The 2-D digital waveguide mesh is constructed out of bi-directional delay units and scattering junctions. We show that it coincides with the standard finite difference scheme in the lossless case. Wave propagation in the mesh is compared with wave propagation in an ideal membrane; the dissipation and dispersion error is derived","author":[{"family":"Van Duyne","given":"Scott A."},{"family":"Smith","given":"Julius O."}],"citation-key":"vanduyne2DDigitalWaveguide1993","container-title":"Applications of Signal Processing to Audio and Acoustics","issued":{"date-parts":[[1993]]},"page":"177–180","title":"The 2-D digital waveguide mesh","type":"paper-conference","URL":"http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=379968"},
{"id":"vangulikLoreChineseLute1940","author":[{"family":"Van Gulik","given":"R. H."}],"citation-key":"vangulikLoreChineseLute1940","edition":"2","issued":{"date-parts":[[1940]]},"publisher":"The Voyagers' Press","title":"The Lore of the Chinese Lute","type":"book"},
{"id":"victorBretVictorFuture2013","abstract":"For references and more information, see http://worrydream.com/dbx Presented at Dropbox's DBX conference on July 9, 2013. Bret Victor -- http://worrydream.com","accessed":{"date-parts":[[2020,6,22]]},"citation-key":"victorBretVictorFuture2013","dimensions":"PT00H32M55S","director":[{"family":"Victor","given":"Bret"}],"issued":{"date-parts":[[2013,7,29]]},"source":"Vimeo","title":"Bret Victor - The Future of Programming","type":"motion_picture","URL":"https://vimeo.com/71278954"},
{"id":"victorHumaneRepresentationThought2014","abstract":"New representations of thought – written language, mathematical notation, information graphics, etc – have been responsible for some of the most significant leaps in the progress of civilization, by expanding humanity's collectively-thinkable territory. But at debilitating cost. These representations, having been invented for static media such as paper, tap into a small subset of human capabilities and neglect the rest. Knowledge work means sitting at a desk, interpreting and manipulating symbols. The human body is reduced to an eye staring at tiny rectangles and fingers on a pen or keyboard. Like any severely unbalanced way of living, this is crippling to mind and body. But less obviously, and more importantly, it is enormously wasteful of the vast human potential. Human beings naturally have many powerful modes of thinking and understanding. Most are incompatible with static media. In a culture that has contorted itself around the limitations of marks on paper, these modes are undeveloped, unrecognized, or scorned. We are now seeing the start of a dynamic medium. To a large extent, people today are using this medium merely to emulate and extend static representations from the era of paper, and to further constrain the ways in which the human body can interact with external representations of thought. But the dynamic medium offers the opportunity to deliberately invent a humane and empowering form of knowledge work. We can design dynamic representations which draw on the entire range of human capabilities – all senses, all forms of movement, all forms of understanding – instead of straining a few and atrophying the rest. This talk suggests how each of the human activities in which thought is externalized (conversing, presenting, reading, writing, etc) can be redesigned around such representations.","author":[{"family":"Victor","given":"Bret"}],"citation-key":"victorHumaneRepresentationThought2014","collection-title":"SPLASH '14","container-title":"Proceedings of the Companion Publication of the 2014 ACM SIGPLAN Conference on Systems, Programming, and Applications: Software for Humanity","DOI":"10.1145/2660252.2661746","event-place":"Portland, Oregon, USA","ISBN":"978-1-4503-3208-8","issued":{"date-parts":[[2014]]},"page":"5","publisher":"ACM","publisher-place":"Portland, Oregon, USA","title":"Humane Representation of Thought: A Trail Map for the 21st Century","type":"paper-conference","URL":"http://dx.doi.org/10.1145/2660252.2661746"},
{"id":"viroPeachnoteMusicScore2011","author":[{"family":"Viro","given":"Vladimir"}],"citation-key":"viroPeachnoteMusicScore2011","container-title":"Proceedings of the 12th International Society for Music Information Retrieval Conference","event-place":"Miami (Florida), USA","issued":{"date-parts":[[2011,10]]},"page":"359–362","publisher-place":"Miami (Florida), USA","title":"Peachnote: Music Score Search and Analysis Platform","type":"paper-conference"},
{"id":"voelterLanguageModularizationComposition2010","author":[{"family":"Voelter","given":"Markus"},{"family":"Solomatov","given":"Konstantin"}],"citation-key":"voelterLanguageModularizationComposition2010","collection-title":"Lecture Notes in Computer Science","container-title":"Software Language Engineering, Third International Conference, SLE 2010","editor":[{"family":"Brand","given":"Mark","non-dropping-particle":"van den"},{"family":"Malloy","given":"Brian"},{"family":"Staab","given":"Steffen"}],"issued":{"date-parts":[[2010]]},"publisher":"Springer","title":"Language Modularization and Composition with Projectional Language Workbenches illustrated with MPS","type":"paper-conference"},
{"id":"vogelCerebralLateralizationSpatial2003","abstract":"There is a substantial disagreement in the existing literature regarding which hemisphere of the brain controls spatial abilities. In an attempt to resolve this dispute, we conducted a meta-analysis to decipher which hemisphere truly dominates and under what circumstances. It was found that across people and situations, the right hemisphere is the more dominant for spatial processing. However, consideration of specific moderator variables yielded a more complex picture. For example, females showed no hemisphere preference while males showed a right hemisphere advantage. Also, no hemisphere preference was indicated for spatial visualization tasks while subjects performing spatial orientation and manual manipulation tasks displayed a predictable right hemisphere preference. These findings are discussed in terms of their implications for exiting theoretical positions as well as future empirical research.","author":[{"family":"Vogel","given":"J."}],"citation-key":"vogelCerebralLateralizationSpatial2003","container-title":"Brain and Cognition","DOI":"10.1016/s0278-2626(03)00056-3","ISSN":"02782626","issue":"2","issued":{"date-parts":[[2003,7]]},"page":"197–204","title":"Cerebral lateralization of spatial abilities: A meta-analysis","type":"article-journal","URL":"http://dx.doi.org/10.1016/s0278-2626(03)00056-3","volume":"52"},
{"id":"vontycowiczMalleableDrumPoster2008","author":[{"family":"Tycowicz","given":"Christoph","non-dropping-particle":"von"},{"family":"Loviscach\\dag","given":"Jörn"}],"citation-key":"vontycowiczMalleableDrumPoster2008","container-title":"Proceedings of SIGGRAPH 2008","issued":{"date-parts":[[2008]]},"title":"A Malleable Drum (poster)","type":"paper-conference"},
{"id":"vul1VoodooCorrelationsSocial2008","abstract":"The newly emerging field of Social Neuroscience has drawn much attention in recent years, with high-profile studies frequently reporting extremely high (e.g., >.8) correlations between behavioral and self-report measures of personality or emotion and measures of brain activation obtained using fMRI. We show that these correlations often exceed what is statistically possible assuming the (evidently rather limited) reliability of both fMRI and personality/emotion measures. The implausibly high correlations are all the more puzzling because social-neuroscience method sections rarely contain sufficient detail to ascertain how these correlations were obtained. We surveyed authors of 54 articles that reported findings of this kind to determine the details of their analyses. More than half acknowledged using a strategy that computes separate correlations for individual voxels, and reports means of just the subset of voxels exceeding chosen thresholds. We show how this non-independent analysis grossly inflates correlations, while yielding reassuring-looking scattergrams. This analysis technique was used to obtain the vast majority of the implausibly high correlations in our survey sample. In addition, we argue that other analysis problems likely created entirely spurious correlations in some cases. We outline how the data from these studies could be reanalyzed with unbiased methods to provide the field with accurate estimates of the correlations in question. We urge authors to perform such reanalyses and to correct the scientific record.","author":[{"family":"Vul1","given":"Edward"},{"family":"Harris","given":"Christine"},{"family":"Winkielman","given":"Piotr"},{"family":"Pashler","given":"Harold"}],"citation-key":"vul1VoodooCorrelationsSocial2008","container-title":"Perspectives on Psychological Science","issued":{"date-parts":[[2008]]},"title":"Voodoo Correlations in Social Neuroscience","type":"article-journal"},
{"id":"vygotskyImaginationCreativityChildhood2004","author":[{"family":"Vygotsky","given":"Lev"}],"citation-key":"vygotskyImaginationCreativityChildhood2004","container-title":"Journal of Russian and East European Psychology","issue":"1","issued":{"date-parts":[[2004]]},"title":"Imagination and Creativity in Childhood","type":"article-journal","volume":"42"},
{"id":"vygotskyThoughtLanguageStudies1962","author":[{"family":"Vygotsky","given":"Lev"}],"citation-key":"vygotskyThoughtLanguageStudies1962","editor":[{"family":"Hanfmann","given":"Eugenia"},{"family":"Vakar","given":"Gertrude E."}],"issued":{"date-parts":[[1962]]},"title":"Thought and language. Studies in communication.","type":"article-journal"},
{"id":"waisviszComposingNowNotes2003","author":[{"family":"Waisvisz","given":"Michel"}],"citation-key":"waisviszComposingNowNotes2003","container-title":"IPEM Symposium","event-place":"Gent","issued":{"date-parts":[[2003]]},"publisher-place":"Gent","title":"Composing the now - notes for a lecture","type":"paper-conference","URL":"http://crackle.org/composingthenow.htm"},
{"id":"walensteinObservingMeasuringCognitive2003","abstract":"A key desideratum for many software comprehension tools is to reduce the mental burdens of software engineers. That is, the tools should support cognition. This key benefit is difficult to directly observe and measure, so evaluating such tools has been problematic. This paper describes an investigation into the application of distributed cognition theories to analyzing and observing cognitive support. Theories of cognitive support are used to generate an analysis of potential cognitive benefits provided by the compilation-error tracking facilities of a commercial software development environment. This analysis is used to generate a scheme for coding user observations such that cognitive support related activity can be tracked. Experiences in applying the technique on data from a field study are reported. The study also serves to provide a glimpse into the ways that programmers and tools cooperate. Implications are drawn for future practices of tool evaluation and engineering.","author":[{"family":"Walenstein","given":"Andrew"}],"citation-key":"walensteinObservingMeasuringCognitive2003","collection-title":"IWPC '03","container-title":"Proceedings of the 11th IEEE International Workshop on Program Comprehension","event-place":"Washington, DC, USA","ISBN":"0-7695-1883-4","issued":{"date-parts":[[2003]]},"publisher":"IEEE Computer Society","publisher-place":"Washington, DC, USA","title":"Observing and Measuring Cognitive Support: Steps Toward Systematic Tool Evaluation and Engineering","type":"paper-conference","URL":"http://portal.acm.org/citation.cfm?id=851042.857038"},
{"id":"wallasArtThought","author":[{"family":"Wallas","given":"Graham"}],"citation-key":"wallasArtThought","note":"Published: Hardcover","publisher":"Harcourt","title":"The art of Thought","type":"book"},
{"id":"waltonEducationSkillDevelopment2010","abstract":"This paper examines an intervention in Europe which enables untypical individuals to acquire skills and competences in order to enter IT related employment. To do this they need to acquire a threshold level of intellectual capital so that they are considered sufficiently competent to gain employment. This can therefore provide the industry with a solid foundation of the necessary support staff, capable of providing services to the local community supporting such educational initiatives. This initiative can then release the more conventionally educated to work at the cutting edge of industry. As a driver for wealth generation in India, the IT industry is remarkable. It demands a wide spectrum of intellectual capital. As diffusion of IT technology is predicted to pervade throughout the subcontinent, the demand for all levels of competence would seem to be buoyant. The training environment covered in this case study complements the traditional educational system and could furnish alternative career opportunities to certain sections of the community.\\ensuremath
Human-Computer Interaction spans many disciplines, from the social and behavioral sciences to information and computer technology. But of all the textbooks on HCI technology and applications, none has adequately addressed HCI's multidisciplinary foundationsuntil now.
HCI Models, Theories, and Frameworks fills a huge void in the education and training of advanced HCI students. Its authors comprise a veritable house of diamondsinternationally known HCI researchers, every one of whom has successfully applied a unique scientific method to solve practical problems.
Each chapter focuses on a different scientific analysis or approach, but all in an identical format, especially designed to facilitate comparison of the various models.
HCI Models, Theories, and Frameworks answers the question raised by the other HCI textbooks:
How can HCI theory can support practice in HCI?
* Traces HCI research from its origins
* Surveys 14 different successful research approaches in HCI
* Presents each approach in a common format to facilitate comparisons
* Web-enhanced with teaching tools at http://www.HCImodels.com
*Contributors are leading researchers in the field of Human-Comptuter Interaction
*Fills a major gap in current literature about the rich scientific foundations of HCI
*Provides a thorough pedogological survey of the science of HCI","author":[{"family":"Ware","given":"Colin"}],"citation-key":"wareDesignAppliedPerception2003","container-title":"HCI Models, Theories, and Frameworks: Toward a Multidisciplinary Science","edition":"1","editor":[{"family":"Carroll","given":"John M."}],"ISBN":"1-55860-808-7","issued":{"date-parts":[[2003,4]]},"note":"Published: Hardcover","page":"11–26","publisher":"Morgan Kaufmann","title":"Design as Applied Perception","type":"chapter","URL":"http://www.worldcat.org/isbn/1558608087"},
{"id":"wareInformationVisualizationSecond2004","abstract":"Most designers know that yellow text presented against a blue background reads clearly and easily, but how many can explain why? Information Visualization: Perception for Design explores the art and science of why we see objects the way we do.
Although more technical than most graphic design books, the book \"is intended to make [the data from the science and study of visualization] available to the non-specialist.\" Each chapter focuses on a different facet of human vision, like \"Lightness, Brightness, Contrast, and Constancy\" in chapter 3, or \"Static and Moving Patterns\" in chapter 4.
Although the author tries to put a great deal of scientific research data into pedestrian terms, the nature of the subject matter and the papers from which he culls his information make this task an uphill battle from the start. As a result, the book is full of valuable information, but it may not necessarily be right for the average graphic designer looking for a new inspirational spin. Serious interface designers, presentation designers, data analyzers, or any artist tasked with presenting ideas in a visual format, though, should come away from Information Visualization with a clearer understanding of the inner workings of perception. At the very least, they'll be able to explain why yellow text against blue is a good combination. –Mike Caputo Most designers know that yellow text presented against a blue background reads clearly and easily, but how many can explain why, and what really are the best ways to help others and ourselves clearly see key patterns in a bunch of data?
This book explores the art and science of why we see objects the way we do. Based on the science of perception and vision, the author presents the key principles at work for a wide range of applications–resulting in visualization of improved clarity, utility, and persuasiveness. The book offers practical guidelines that can be applied by anyone: interaction designers, graphic designers of all kinds (including web designers), data miners, and financial analysts.
*First work to use the science of perception to help serious designers and analysts optimize understanding and perception of their data visualizations.
* Major revision of this classic work, with a new chapter on visual thinking, new sections on face perception and flow visualization, and a much expanded chapter on color and color sequences.
*New to this edition is the full color treatment throughout, to better display over 400 illustrations. Most designers know that yellow text presented against a blue background reads clearly and easily, but how many can explain why, and what really are the best ways to help others and ourselves clearly see key patterns in a bunch of data? When we use software, access a web site, or view business or scientific graphics, our understanding is greatly enhanced or impeded by the way the information is presented. This book explores the art and science of why we see objects the way we do. Based on the science of perception and vision, the author presents the key principles at work for a wide range of applications–resulting in visualization of improved clarity, utility, and persuasiveness. The book offers practical guidelines that can be applied by anyone: interaction designers, graphic designers of all kinds (including web designers), data miners, and financial analysts.","author":[{"family":"Ware","given":"Colin"}],"citation-key":"wareInformationVisualizationSecond2004","edition":"2","ISBN":"1-55860-819-2","issued":{"date-parts":[[2004,4]]},"note":"Published: Hardcover","publisher":"Morgan Kaufmann","title":"Information Visualization, Second Edition: Perception for Design (Interactive Technologies)","type":"book","URL":"http://www.worldcat.org/isbn/1558608192"},
{"id":"washburnSymmetryComesAge2004","abstract":"This is the companion volume to the authors' groundbreaking Symmetries of Culture, the classic reference for symmetry analysis of pattern for anthropologists, archaeologists, art historians, mathematicians, and designers. Central to symmetry analysis is the use of symmetry in the more precise sense of its geometrical isometries in contrast to its everyday meaning of balance. For this volume, Donald Crowe and Dorothy Washburn invited colleagues from several disciplines to apply the method of symmetry analysis to actual case studies from cultures around the world. The essays compiled here explore how cultural information is embedded in the symmetrical structure of pattern. From descriptions of patterns on objects as diverse as Nasca embroideries, Ica Valley ceramics, Quechua textiles, Yombe mats, and Zulu beadwork, as well as from Amazonian shamanic therapy, ceramic design among the Shipibo, and Turkish Yörük weaving, the contributors reveal how the symmetrical structures in the patterns describe aspects of each culture's fundamental principles for living in the world. This approach offers a profoundly fresh way to read the meaning in pattern by arguing that pattern communicates through the structural metaphors embedded in the symmetrical relationship of the pattern parts. The two volumes together offer readers a revolutionary new window into the communicative importance of design.","author":[{"family":"Washburn","given":"Washburn","suffix":"Dorothy Koster"},{"family":"Washburn","given":"Dorothy Koster"},{"family":"Crowe","given":"Donald W."},{"family":"Crowe","given":"Donald Warren"}],"citation-key":"washburnSymmetryComesAge2004","ISBN":"978-0-295-98366-0","issued":{"date-parts":[[2004]]},"language":"en","number-of-pages":"396","publisher":"University of Washington Press","source":"Google Books","title":"Symmetry Comes of Age: The Role of Pattern in Culture","title-short":"Symmetry Comes of Age","type":"book"},
{"id":"weberVisualImageryWords1974","author":[{"family":"Weber","given":"R. J."},{"family":"Harnish","given":"R."}],"citation-key":"weberVisualImageryWords1974","container-title":"Journal of experimental psychology","ISSN":"0022-1015","issue":"3","issued":{"date-parts":[[1974,3]]},"page":"409–414","PMID":"4815188","title":"Visual imagery for words: the Hebb test.","type":"article-journal","URL":"http://view.ncbi.nlm.nih.gov/pubmed/4815188","volume":"102"},
{"id":"weisbergCreativityUnderstandingInnovation2006","abstract":"How cognitive psychology explains human creativity
Conventional wisdom holds that creativity is a mysterious quality present in a select few individuals. The rest of us, the common view goes, can only stand in awe of great creative achievements: we could never paint Guernica or devise the structure of the DNA molecule because we lack access to the rarified thoughts and inspirations that bless geniuses like Picasso or Watson and Crick. Presented with this view, today's cognitive psychologists largely differ finding instead that \"ordinary\" people employ the same creative thought processes as the greats. Though used and developed differently by different people, creativity can and should be studied as a positive psychological feature shared by all humans.
Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts presents the major psychological theories of creativity and illustrates important concepts with vibrant and detailed case studies that exemplify how to study creative acts with scientific rigor.
Creativity includes:
Clearly and engagingly written by noted creativity expert Robert Weisberg, Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts takes both students and lay readers on an in-depth journey through contemporary cognitive psychology, showing how the discipline understands one of the most fundamental and fascinating human abilities.
\"This book will be a hit. It fills a large gap in the literature. It is a well-written, scholarly, balanced, and engaging book that will be enjoyed by students and faculty alike.\"
—David Goldstein, University of Toronto","author":[{"family":"Weisberg","given":"Robert W."}],"citation-key":"weisbergCreativityUnderstandingInnovation2006","ISBN":"0-471-73999-5","issued":{"date-parts":[[2006,4]]},"note":"Published: Hardcover","publisher":"Wiley","title":"Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts","type":"book","URL":"http://www.worldcat.org/isbn/0471739995"},
{"id":"weissteinNotation2010","author":[{"family":"Weisstein","given":"Eric W."}],"citation-key":"weissteinNotation2010","issued":{"date-parts":[[2010]]},"note":"Published: From MathWorld–A Wolfram Web Resource http://mathworld.wolfram.com/Notation.html","title":"Notation","type":"book","URL":"http://mathworld.wolfram.com/Notation.html"},
{"id":"wellerSystematicDataCollection1988","author":[{"family":"Weller","given":"Susan C."},{"family":"Romney","given":"A. Kimball"}],"citation-key":"wellerSystematicDataCollection1988","edition":"First","ISBN":"0-8039-3074-7","issued":{"date-parts":[[1988,2]]},"note":"Published: Paperback","publisher":"Sage Publications, Inc","title":"Systematic Data Collection (Qualitative Research Methods Series 10)","type":"book","URL":"http://www.worldcat.org/isbn/0803930747"},
{"id":"wesselTimbreSpaceMusical1979","author":[{"family":"Wessel","given":"David L."}],"citation-key":"wesselTimbreSpaceMusical1979","container-title":"Computer Music Journal","issue":"2","issued":{"date-parts":[[1979]]},"page":"45–52","title":"Timbre Space as a Musical Control Structure","type":"article-journal","volume":"3"},
{"id":"WhatComputationalThinking","abstract":"Introducing computational thinking","accessed":{"date-parts":[[2020,4,15]]},"citation-key":"WhatComputationalThinking","container-title":"BBC Bitesize","language":"en-GB","source":"www.bbc.co.uk","title":"What is computational thinking? - Introduction to computational thinking - KS3 Computer Science Revision","title-short":"What is computational thinking?","type":"webpage","URL":"https://www.bbc.co.uk/bitesize/guides/zp92mp3/revision/1"},
{"id":"whelanEffectiveAnalysisReaction2008","abstract":"Most analyses of reaction time (RT) data are conducted by using the statistical techniques with which psychologists are most familiar, such as analysis of vari- ance on the sample mean. Unfortunately, these methods are usually inappropri- ate for RT data, because they have little power to detect genuine differences in RT between conditions. In addition, some statistical approaches can, under cer- tain circumstances, result in findings that are artifacts of the analysis method itself. A corpus of research has shown more effective analytical methods, such as analyzing the whole RT distribution, although this research has had limited influence. The present article will summarize these advances in methods for analyzing RT data.","author":[{"family":"Whelan","given":"Robert"}],"citation-key":"whelanEffectiveAnalysisReaction2008","container-title":"The Psychological Record","issued":{"date-parts":[[2008]]},"page":"475–482","title":"Effective analysis of reaction time data","type":"article-journal","volume":"58"},
{"id":"whiteheadDialoguesAlfredNorth2001","author":[{"family":"Whitehead","given":"Alfred N."}],"citation-key":"whiteheadDialoguesAlfredNorth2001","ISBN":"1-56792-129-9","issued":{"date-parts":[[2001,8]]},"note":"Published: Paperback","publisher":"David R Godine","title":"Dialogues of Alfred North Whitehead (A Nonpareil Book)","type":"book","URL":"http://www.worldcat.org/isbn/1567921299"},
{"id":"whitneyDigitalHarmonyComplementarity1981","author":[{"family":"Whitney","given":"John"}],"citation-key":"whitneyDigitalHarmonyComplementarity1981","event-place":"USA","ISBN":"978-0-07-070015-4","issued":{"date-parts":[[1981]]},"number-of-pages":"200","publisher":"McGraw-Hill, Inc.","publisher-place":"USA","source":"ACM Digital Library","title":"Digital Harmony: On the Complementarity of Music and Visual Art","title-short":"Digital Harmony","type":"book"},
{"id":"wigginsMusicSyntaxMeaning1998","abstract":"I discuss the issue of meaning, and the definition of ” meaning ” in music. I propose that it is a mistake to import the linguistic notion of semantics into a musical context on the grounds that musical communication serves a different function and is of a different nature from linguistic communication, and that there is no evidence to support the suggestion that the two should function in a strongly similar way. 1","author":[{"family":"Wiggins","given":"Geraint A."}],"citation-key":"wigginsMusicSyntaxMeaning1998","container-title":"Proceedings of the First Symposium on Music and Computers","issued":{"date-parts":[[1998]]},"page":"18–23","title":"Music, syntax, and the Meaning of \"Meaning\"","type":"paper-conference","URL":"http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.4.734"},
{"id":"wigginsPreliminaryFrameworkDescription2006","author":[{"family":"Wiggins","given":"G. A."}],"citation-key":"wigginsPreliminaryFrameworkDescription2006","container-title":"Journal of Knowledge Based Systems","issue":"7","issued":{"date-parts":[[2006]]},"page":"449–470","title":"A Preliminary Framework for Description, Analysis and Comparison of Creative Systems","type":"article-journal","volume":"19"},
{"id":"wigginsSearchingComputationalCreativity2006","author":[{"family":"Wiggins","given":"G. A."}],"citation-key":"wigginsSearchingComputationalCreativity2006","container-title":"New Generation Computing","issue":"3","issued":{"date-parts":[[2006]]},"page":"209–222","title":"Searching for Computational Creativity","type":"article-journal","volume":"24"},
{"id":"williamsDataMiningSurvivor","author":[{"family":"Williams","given":"Graham"}],"citation-key":"williamsDataMiningSurvivor","title":"Data Mining Survivor: dmsurvivor - Contents","type":"book","URL":"http://datamining.togaware.com/survivor/Contents.html"},
{"id":"williamsPhenomenologyError1981","author":[{"family":"Williams","given":"Joseph M."}],"citation-key":"williamsPhenomenologyError1981","container-title":"College Composition and Communication","DOI":"10.2307/356689","ISSN":"0010096X","issue":"2","issued":{"date-parts":[[1981]]},"page":"152–168","title":"The Phenomenology of Error","type":"article-journal","URL":"http://dx.doi.org/10.2307/356689","volume":"32"},
{"id":"wingComputationalThinking2006","abstract":"It represents a universally applicable attitude and skill set everyone, not just computer scientists, would be eager to learn and use.","author":[{"family":"Wing","given":"Jeannette M."}],"citation-key":"wingComputationalThinking2006","container-title":"Commun. ACM","DOI":"10.1145/1118178.1118215","ISSN":"0001-0782","issue":"3","issued":{"date-parts":[[2006,3]]},"page":"33–35","title":"Computational Thinking","type":"article-journal","URL":"http://dx.doi.org/10.1145/1118178.1118215","volume":"49"},
{"id":"wingComputationalThinking2006a","abstract":"It represents a universally applicable attitude and skill set everyone, not just computer scientists, would be eager to learn and use.","accessed":{"date-parts":[[2020,4,9]]},"author":[{"family":"Wing","given":"Jeannette M."}],"citation-key":"wingComputationalThinking2006a","issued":{"date-parts":[[2006,3,1]]},"publisher":"Association for Computing Machinery","source":"ACM Digital Library","title":"Computational thinking","type":"document","URL":"https://doi.org/10.1145/1118178.1118215"},
{"id":"winklerModelingAuditoryScene2009","abstract":"Predictive processing of information is essential for goal-directed behavior. We offer an account of auditory perception suggesting that representations of predictable patterns, or 'regularities', extracted from the incoming sounds serve as auditory perceptual objects. The auditory system continuously searches for regularities within the acoustic signal. Primitive regularities may be encoded by neurons adapting their response to specific sounds. Such neurons have been observed in many parts of the auditory system. Representations of the detected regularities produce predictions of upcoming sounds as well as alternative solutions for parsing the composite input into coherent sequences potentially emitted by putative sound sources. Accuracy of the predictions can be utilized for selecting the most likely interpretation of the auditory input. Thus in our view, perception generates hypotheses about the causal structure of the world.","author":[{"family":"Winkler","given":"István"},{"family":"Denham","given":"Susan L."},{"family":"Nelken","given":"Israel"}],"citation-key":"winklerModelingAuditoryScene2009","container-title":"Trends in cognitive sciences","DOI":"10.1016/j.tics.2009.09.003","ISSN":"1879-307X","issue":"12","issued":{"date-parts":[[2009,12]]},"page":"532–540","PMID":"19828357","title":"Modeling the auditory scene: predictive regularity representations and perceptual objects.","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.tics.2009.09.003","volume":"13"},
{"id":"winklerNewbornInfantsDetect2009","abstract":"To shed light on how humans can learn to understand music, we need to discover what the perceptual capabilities with which infants are born. Beat induction, the detection of a regular pulse in an auditory signal, is considered a fundamental human trait that, arguably, played a decisive role in the origin of music. Theorists are divided on the issue whether this ability is innate or learned. We show that newborn infants develop expectation for the onset of rhythmic cycles (the downbeat), even when it is not marked by stress or other distinguishing spectral features. Omitting the downbeat elicits brain activity associated with violating sensory expectations. Thus, our results strongly support the view that beat perception is innate.","author":[{"family":"Winkler","given":"István"},{"family":"Háden","given":"Gábor P. P."},{"family":"Ladinig","given":"Olivia"},{"family":"Sziller","given":"István"},{"family":"Honing","given":"Henkjan"}],"citation-key":"winklerNewbornInfantsDetect2009","container-title":"Proceedings of the National Academy of Sciences of the United States of America","DOI":"10.1073/pnas.0809035106","ISSN":"1091-6490","issue":"7","issued":{"date-parts":[[2009,2]]},"page":"2468–2471","PMCID":"PMC2631079","PMID":"19171894","title":"Newborn infants detect the beat in music.","type":"article-journal","URL":"http://dx.doi.org/10.1073/pnas.0809035106","volume":"106"},
{"id":"winsbergLatentClassApproach1993","abstract":"Abstract A weighted Euclidean distance model for analyzing three-way proximity data is proposed that incorporates a latent class approach. In this latent class weighted Euclidean model, the contribution to the distance function between two stimuli is per dimension weighted identically by all subjects in the same latent class. This model removes the rotational invariance of the classical multidimensional scaling model retaining psychologically meaningful dimensions, and drastically reduces the number of parameters in the traditional INDSCAL model. The probability density function for the data of a subject is posited to be a finite mixture of spherical multivariate normal densities. The maximum likelihood function is optimized by means of an EM algorithm; a modified Fisher scoring method is used to update the parameters in the M-step. A model selection strategy is proposed and illustrated on both real and artificial data.","author":[{"family":"Winsberg","given":"Suzanne"},{"family":"De Soete","given":"Geert"}],"citation-key":"winsbergLatentClassApproach1993","container-title":"Psychometrika","DOI":"10.1007/bf02294578","issue":"2","issued":{"date-parts":[[1993,6]]},"page":"315–330","title":"A latent class approach to fitting the weighted Euclidean model, clascal","type":"article-journal","URL":"http://dx.doi.org/10.1007/bf02294578","volume":"58"},
{"id":"wishartSonicArtContemporary1996","abstract":"In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.
About the Author
Trevor Wishart is a composer, living and working in the North of England. His musical works cover a wide range, from environmental music events staged in spe","author":[{"family":"Wishart","given":"Trevor"}],"citation-key":"wishartSonicArtContemporary1996","ISBN":"3-7186-5847-X","issued":{"date-parts":[[1996,7]]},"note":"Published: Hardcover","publisher":"Routledge","title":"On Sonic Art (Contemporary Music Studies)","type":"book","URL":"http://www.worldcat.org/isbn/371865847X"},
{"id":"wittgensteinPhilosophicalInvestigations2009","author":[{"family":"Wittgenstein","given":"Ludwig"}],"citation-key":"wittgensteinPhilosophicalInvestigations2009","edition":"Fourth","ISBN":"1-4051-5928-6","issued":{"date-parts":[[2009,10]]},"note":"Published: Hardcover","publisher":"Wiley-Blackwell","title":"Philosophical Investigations","type":"book","URL":"http://www.worldcat.org/isbn/1405159286"},
{"id":"wolframNewKindScience2002","abstract":"Physics and computer science genius Stephen Wolfram, whose Mathematica computer language launched a multimillion-dollar company, now sets his sights on a more daunting goal: understanding the universe. Wolfram lets the world see his work in A New Kind of Science, a gorgeous, 1,280-page tome more than a decade in the making. With patience, insight, and self-confidence to spare, Wolfram outlines a fundamental new way of modeling complex systems.
On the frontier of complexity science since he was a boy, Wolfram is a champion of cellular automata–256 \"programs\" governed by simple nonmathematical rules. He points out that even the most complex equations fail to accurately model biological systems, but the simplest cellular automata can produce results straight out of nature–tree branches, stream eddies, and leopard spots, for instance. The graphics in A New Kind of Science show striking resemblance to the patterns we see in nature every day.
Wolfram wrote the book in a distinct style meant to make it easy to read, even for nontechies; a basic familiarity with logic is helpful but not essential. Readers will find themselves swept away by the elegant simplicity of Wolfram's ideas and the accidental artistry of the cellular automaton models. Whether or not Wolfram's revolution ultimately gives us the keys to the universe, his new science is absolutely awe-inspiring. –Therese Littleton This long-awaited work from one of the world's most respected scientists presents a series of dramatic discoveries never before made public. Starting from a collection of simple computer experiments—illustrated in the book by striking computer graphics—Wolfram shows how their unexpected results force a whole new way of looking at the operation of our universe.
Wolfram uses his approach to tackle a remarkable array of fundamental problems in science: from the origin of the Second Law of thermodynamics, to the development of complexity in biology, the computational limitations of mathematics, the possibility of a truly fundamental theory of physics, and the interplay between free will and determinism.
Written with exceptional clarity, and illustrated by more than a thousand original pictures, this seminal book allows scientists and non-scientists alike to participate in what promises to be a major intellectual revolution.","author":[{"family":"Wolfram","given":"Stephen"}],"citation-key":"wolframNewKindScience2002","edition":"First","ISBN":"1-57955-008-8","issued":{"date-parts":[[2002,5]]},"note":"Published: Hardcover","publisher":"Wolfram Media","title":"A New Kind of Science","type":"book","URL":"http://www.worldcat.org/isbn/1579550088"}, {"id":"wolfSpielenUndBedienen2016","abstract":"Author: Wolf, Rebecca; Genre: Book Chapter; Published in Print: 2016; Title: Spielen und bedienen : das selbstspielende Klavier als virtuose Maschine","accessed":{"date-parts":[[2021,1,28]]},"author":[{"family":"Wolf","given":"Rebecca"}],"citation-key":"wolfSpielenUndBedienen2016","ISBN":"978-3-8376-3036-7","issued":{"date-parts":[[2016]]},"language":"deu","page":"137-156","publisher":"Transcript Verlag","source":"pure.mpg.de","title":"Spielen und bedienen : das selbstspielende Klavier als virtuose Maschine","title-short":"Spielen und bedienen","type":"book","URL":"https://pure.mpg.de/pubman/faces/ViewItemOverviewPage.jsp?itemId=item_2430330_5"}, {"id":"woodWomenWorkWomen2019","abstract":"Several surviving artifacts of Roman imperial date consist of two small plaques designed for connection by balks (rectangular beams) and cylindrical dowels. All but one of the surviving specimens are of ivory and were probably luxurious versions of utilitarian objects. All have decorative details; three particularly lavish specimens bear mythological narratives in relief on both sides of each plaque. The original function of these objects is controversial, but the strongest evidence supports their identification as looms for weaving narrow strips to be used as decorative trim. If this reconstruction is correct, then their intended owners were primarily women, and the viewers of them were the members of those women's private households. Although most of the craftsmen who carved these very technically demanding works were probably male, the iconography of the decorated examples may reflect the social roles of their owners. The relief-decorated specimens in the Museo Archeologico Nazionale di Napoli and the Römisch-Germanisches Museum in Cologne appear to depict myths that concern childbirth and motherhood. This essay examines how the functions of these objects dictated the reading of their narrative content as their viewers interacted physically with them. The narratives delivered didactic, comforting, and stimulating messages.","accessed":{"date-parts":[[2019,10,21]]},"archive":"JSTOR","author":[{"family":"Wood","given":"Susan"}],"citation-key":"woodWomenWorkWomen2019","container-title":"American Journal of Archaeology","DOI":"10.3764/aja.123.3.0411","ISSN":"0002-9114","issue":"3","issued":{"date-parts":[[2019]]},"page":"411-438","source":"JSTOR","title":"Women's Work and Women's Myths: Mothers and Children on Ivory Looms","title-short":"Women's Work and Women's Myths","type":"article-journal","URL":"https://www.jstor.org/stable/10.3764/aja.123.3.0411","volume":"123"}, {"id":"woolfordCraftingCriticalTechnical2010","abstract":"Abstract In recent years, the category of ?practice-based research? has become an essential component of discourse around public funding and evaluation of the arts in British higher education. When included under the umbrella of public policy concerned with ?the creative industries\", technology researchers often find themselves collaborating with artists who consider their own participation to be a form of practice-based research. We are conducting a study under the ?Creator? Digital Economies project asking whether technologists, themselves, should be considered as engaging in ?practice-based? research, whether this occurs in collaborative situations, or even as a component of their own personal research [1]. Abstract In recent years, the category of ?practice-based research? has become an essential component of discourse around public funding and evaluation of the arts in British higher education. When included under the umbrella of public policy concerned with ?the creative industries\", technology researchers often find themselves collaborating with artists who consider their own participation to be a form of practice-based research. We are conducting a study under the ?Creator? Digital Economies project asking whether technologists, themselves, should be considered as engaging in ?practice-based? research, whether this occurs in collaborative situations, or even as a component of their own personal research [1].","author":[{"family":"Woolford","given":"Kirk"},{"family":"Blackwell","given":"Alan F."},{"family":"Norman","given":"Sally J."},{"family":"Chevalier","given":"Cecile"}],"citation-key":"woolfordCraftingCriticalTechnical2010","container-title":"Leonardo","DOI":"10.1162/leon.2010.43.2.202","issue":"2","issued":{"date-parts":[[2010,4]]},"page":"202–203","title":"Crafting a Critical Technical Practice","type":"article-journal","URL":"http://dx.doi.org/10.1162/leon.2010.43.2.202","volume":"43"}, {"id":"wrightOpenSoundControlSpecification2002","author":[{"family":"Wright","given":"Matt"}],"citation-key":"wrightOpenSoundControlSpecification2002","issued":{"date-parts":[[2002]]},"publisher":"Center for New Music and Audio Technologies, UC Berkeley","title":"OpenSound Control Specification","type":"book"}, {"id":"wylieMindfCkCambridge2019","abstract":"For the first time, the Cambridge Analytica whistleblower tells the inside story of the data mining and psychological manipulation behind the election of Donald Trump and the Brexit referendum, connecting Facebook, WikiLeaks, Russian intelligence, and international hackers.“Mindf*ck demonstrates how digital influence operations, when they converged with the nasty business of politics, managed to hollow out democracies.”—The Washington Post Mindf*ck goes deep inside Cambridge Analytica’s “American operations,” which were driven by Steve Bannon’s vision to remake America and fueled by mysterious billionaire Robert Mercer’s money, as it weaponized and wielded the massive store of data it had harvested on individuals—in excess of 87 million—to disunite the United States and set Americans against each other. Bannon had long sensed that deep within America’s soul lurked an explosive tension. Cambridge Analytica had the data to prove it, and in 2016 Bannon had a presidential campaign to use as his proving ground. Christopher Wylie might have seemed an unlikely figure to be at the center of such an operation. Canadian and liberal in his politics, he was only twenty-four when he got a job with a London firm that worked with the U.K. Ministry of Defense and was charged putatively with helping to build a team of data scientists to create new tools to identify and combat radical extremism online. In short order, those same military tools were turned to political purposes, and Cambridge Analytica was born. Wylie’s decision to become a whistleblower prompted the largest data-crime investigation in history. His story is both exposé and dire warning about a sudden problem born of very new and powerful capabilities. It has not only laid bare the profound vulnerabilities—and profound carelessness—in the enormous companies that drive the attention economy, it has also exposed the profound vulnerabilities of democracy itself. What happened in 2016 was just a trial run. Ruthless actors are coming for your data, and they want to control what you think.","author":[{"family":"Wylie","given":"Christopher"}],"citation-key":"wylieMindfCkCambridge2019","ISBN":"978-1-984854-64-3","issued":{"date-parts":[[2019,10,8]]},"language":"en","number-of-pages":"290","publisher":"Random House Publishing Group","source":"Google Books","title":"Mindf*ck: Cambridge Analytica and the Plot to Break America","title-short":"Mindf*ck","type":"book"}, {"id":"wylieMindfCkCambridge2019a","abstract":"'Freewheeling and profane ... Wylie covers plenty of ground, explaining in illuminating and often scary detail how Cambridge Analytica exploited the data to create Facebook pages that would needle \"neurotic, conspiratorial citizens\", propagating an outraged solidarity.'Jennifer Szalai, New York TimesWhat if you could peer into the minds of an entire population? What if you could target the weakest with rumours that only they saw? In 2016, an obscure British military contractor turned the world upside down. Funded by a billionaire on a crusade to start his own far-right insurgency, Cambridge Analytica combined psychological research with private Facebook data to make an invisible weapon with the power to change what voters perceived as real. The firm was created to launch the then unknown Steve Bannon's ideological assault on America. But as it honed its dark arts in elections from Trinidad to Nigeria, 24-year-old research director Christopher Wylie began to see what he and his colleagues were unleashing. He had heard the disturbing visions of the investors. He saw what CEO Alexander Nix did behind closed doors. When Britain shocked the world by voting to leave the EU, Wylie realised it was time to expose his old associates. The political crime of the century had just taken place - the weapon had been tested - and nobody knew.","author":[{"family":"Wylie","given":"Christopher"}],"citation-key":"wylieMindfCkCambridge2019a","edition":"Main edition","event-place":"S.l.","ISBN":"978-1-78816-499-3","issued":{"date-parts":[[2019,10,8]]},"language":"English","number-of-pages":"288","publisher":"Profile Books","publisher-place":"S.l.","source":"Amazon","title":"Mindf*ck: Inside Cambridge Analytica’s Plot to Break the World","title-short":"Mindf*ck","type":"book"}, {"id":"yamadaAppreciatingArtVerbally2009","abstract":"Two experiments examined whether appreciating art verbally would aesthetically confuse viewers. Participants were asked to verbalize why they either liked or disliked two different kinds of paintings; one piece was representational, the other piece was abstract. Those who verbalized their reasons for liking the artworks were more likely to prefer the representational painting, whereas those who verbalized their reasons for disliking the paintings were also more likely to dislike the representational painting. While it was easy to describe reasons for both liking and disliking representational art, the same proved difficult for abstract art. The findings suggest that due to its figurative qualities people will be encouraged to generate reasons to describe representational art, rather than abstract art, and that these reasons could potentially be biased and cause them to change their preferences in line with these reasons.","author":[{"family":"Yamada","given":"Ayumi"}],"citation-key":"yamadaAppreciatingArtVerbally2009","container-title":"Journal of Experimental Social Psychology","DOI":"10.1016/j.jesp.2009.06.016","ISSN":"00221031","issue":"5","issued":{"date-parts":[[2009,9]]},"page":"1140–1143","title":"Appreciating art verbally: Verbalization can make a work of art be both undeservedly loved and unjustly maligned","type":"article-journal","URL":"http://dx.doi.org/10.1016/j.jesp.2009.06.016","volume":"45"}, {"id":"youngbloodExpandedCinema1970","author":[{"family":"Youngblood","given":"Gene"}],"citation-key":"youngbloodExpandedCinema1970","edition":"First","ISBN":"0-525-47263-0","issued":{"date-parts":[[1970]]},"note":"Published: Paperback","publisher":"E P Dutton","title":"Expanded Cinema","type":"book","URL":"http://www.worldcat.org/isbn/0525472630"}, {"id":"youngHowCriticallyAppraise2009","author":[{"family":"Young","given":"Jane M."},{"family":"Solomon","given":"Michael J."}],"citation-key":"youngHowCriticallyAppraise2009","container-title":"Nat Clin Pract Gastroenterol Hepatol","DOI":"10.1038/ncpgasthep1331","issue":"2","issued":{"date-parts":[[2009,2]]},"page":"82–91","title":"How to critically appraise an article","type":"article-journal","URL":"http://dx.doi.org/10.1038/ncpgasthep1331","volume":"6"}, {"id":"youngNNMusicImprovising2008","abstract":"A live algorithm describes an ideal autonomous performance system able to engage in performance with abilities analogous, if not identical, to a human musician. This paper proposes five attributes of a live algorithm: adaptability, empowerment, intimacy, opacity and unimagined music. These attributes are explored in NN Music, a performer-machine system for Max/MSP that fosters listening and learning. Live improvisation is encoded statistically to train a feed-forward neural network, mapped to stochastic processes for musical output. Through adaptation, mappings are learnt and covertly assigned, to be revisited by both player and machine as a performance develops.","author":[{"family":"Young","given":"Michael"}],"citation-key":"youngNNMusicImprovising2008","collection-title":"Lecture Notes in Computer Science","container-title":"Computer Music Modeling and Retrieval. Sense of Sounds","DOI":"10.1007/978-3-540-85035-9_23","editor":[{"family":"Kronland-Martinet","given":"Richard"},{"family":"Ystad","given":"Sølvi"},{"family":"Jensen","given":"Kristoffer"}],"issued":{"date-parts":[[2008]]},"page":"337–350","publisher":"Springer Berlin Heidelberg","title":"NN Music: Improvising with a 'Living' Computer","type":"chapter","URL":"http://dx.doi.org/10.1007/978-3-540-85035-9_23","volume":"4969"}, {"id":"yuillAllProblemsNotation2008","abstract":"In the 1960s and '70s musicians devised innovative forms of notation and protocol to liberate themselves from aesthetic and social conventions. Today's digital devotees of code based production and improvisation are continuing this tradition, argues Simon Yuill*","accessed":{"date-parts":[[2021,1,25]]},"author":[{"family":"Yuill","given":"Simon"}],"citation-key":"yuillAllProblemsNotation2008","container-title":"Mute","genre":"Text","ISSN":"1356-7748","issued":{"literal":"23/05/2008 - 17:56"},"language":"en","publisher":"Mute Publishing Limited","title":"All Problems of Notation Will Be Solved By the Masses","type":"webpage","URL":"https://www.metamute.org/editorial/articles/all-problems-notation-will-be-solved-masses"}, {"id":"zareeiNoiseGridRhythmic2013","author":[{"family":"Zareei","given":"Mohammadhossein"},{"family":"Kapur","given":"Dr A."},{"family":"Carnegie","given":"Prof D."}],"citation-key":"zareeiNoiseGridRhythmic2013","container-title":"Proceedings of the International Computer Music Conference","issued":{"date-parts":[[2013]]},"publisher":"ICMC","title":"Noise on the Grid: Rhythmic Pulse in Experimental and Electronic Noise Music","type":"paper-conference"}, {"id":"zatorreNeuralSpecializationsSpeech2008","abstract":"The idea that speech processing relies on unique, encapsulated, domain-specific mechanisms has been around for some time. Another well-known idea, often espoused as being in opposition to the first proposal, is that processing of speech sounds entails general-purpose neural mechanisms sensitive to the acoustic features that are present in speech. Here, we suggest that these dichotomous views need not be mutually exclusive. Specifically, there is now extensive evidence that spectral and temporal acoustical properties predict the relative specialization of right and left auditory cortices, and that this is a parsimonious way to account not only for the processing of speech sounds, but also for non-speech sounds such as musical tones. We also point out that there is equally compelling evidence that neural responses elicited by speech sounds can differ depending on more abstract, linguistically relevant properties of a stimulus (such as whether it forms part of one's language or not). Tonal languages provide a particularly valuable window to understand the interplay between these processes. The key to reconciling these phenomena probably lies in understanding the interactions between afferent pathways that carry stimulus information, with top-down processing mechanisms that modulate these processes. Although we are still far from the point of having a complete picture, we argue that moving forward will require us to abandon the dichotomy argument in favour of a more integrated approach.","author":[{"family":"Zatorre","given":"Robert J."},{"family":"Gandour","given":"Jackson T."}],"citation-key":"zatorreNeuralSpecializationsSpeech2008","container-title":"Philosophical Transactions of the Royal Society B: Biological Sciences","DOI":"10.1098/rstb.2007.2161","ISSN":"1471-2970","issue":"1493","issued":{"date-parts":[[2008,3]]},"page":"1087–1104","PMID":"17890188","title":"Neural specializations for speech and pitch: moving beyond the dichotomies","type":"article-journal","URL":"http://dx.doi.org/10.1098/rstb.2007.2161","volume":"363"}, {"id":"zatorreWhenBrainPlays2007","abstract":"Music performance is both a natural human activity, present in all societies, and one of the most complex and demanding cognitive challenges that the human mind can undertake. Unlike most other sensory–motor activities, music performance requires precise timing of several hierarchically organized actions, as well as precise control over pitch interval production, implemented through diverse effectors according to the instrument involved. We review the cognitive neuroscience literature of both motor and auditory domains, highlighting the value of studying interactions between these systems in a musical context, and propose some ideas concerning the role of the premotor cortex in integration of higher order features of music with appropriately timed and organized actions.","author":[{"family":"Zatorre","given":"Robert J."},{"family":"Chen","given":"Joyce L."},{"family":"Penhune","given":"Virginia B."}],"citation-key":"zatorreWhenBrainPlays2007","container-title":"Nature Reviews Neuroscience","DOI":"10.1038/nrn2152","ISSN":"1471-003X","issue":"7","issued":{"date-parts":[[2007,7]]},"page":"547–558","PMID":"17585307","title":"When the brain plays music: auditory–motor interactions in music perception and production","type":"article-journal","URL":"http://dx.doi.org/10.1038/nrn2152","volume":"8"}, {"id":"zbikowskiMetaphorMusic2008","author":[{"family":"Zbikowski","given":"Lawrence M."}],"citation-key":"zbikowskiMetaphorMusic2008","container-title":"The Cambridge Handbook of Metaphor and Thought","editor":[{"family":"Gibbs","given":"Raymond W."}],"issued":{"date-parts":[[2008]]},"page":"502–524","publisher":"Cambridge University Press","title":"Metaphor and music","type":"chapter"}, {"id":"zbikowskiMetaphorMusicTheory1998","abstract":"A recent discussion on the smt-list focused on Nicholas Cook's claim in Music, Imagination, and Culture that musical analysis is essentially metaphorical. This essay investigates this claim through a review of recent work on metaphor by cognitive scientists. This work both supports and modifies Cook's original claim. The latter portion of the essay presents examples of two applications of research on metaphor to music theory.","author":[{"family":"Zbikowski","given":"Lawrence M."}],"citation-key":"zbikowskiMetaphorMusicTheory1998","container-title":"The Online Journal of the Society for Music Theory","editor":[{"family":"Rothfarb","given":"Lee"}],"issue":"1","issued":{"date-parts":[[1998]]},"title":"Metaphor and Music Theory: Reflections from Cognitive Science","type":"article-journal","URL":"http://mto.societymusictheory.org/issues/mto.98.4.1/mto.98.4.1.zbikowski.html","volume":"4"}, {"id":"zbikowskiOleKuhlMusical","author":[{"family":"Zbikowski","given":"Lawrence"}],"citation-key":"zbikowskiOleKuhlMusical","container-title":"Music\\a e Scienti\\a e","title":"Ole Kühl's Musical Semantics: Cognitive Musicology and the Challenge of Musical Meaning","type":"article-journal"}, {"id":"zhangCreativeTryComposing2010","abstract":"Woven fabrics are widely used in clothing because of their parallel and interlaced properties, which are formed by weaving. Creating a weaving pattern, especially hand weaving for interlacing yarns is a cumbersome task in the textile industry. In this paper, we propose two kinds of playing for creating weaving patterns on multi-input devices: the tie-up plan and the lift plan. Discrete notes on the treble staff are translated into signatures of treadling sequences and discrete notes in the bass staff are translated into signatures of theadling sequences. Artists can use their right hand to compose a treadling sequence for weft yarns and their left hand to play a threading sequence for warp yarns. The treadling and threading sequences become the notes on the full gamut of shafts and treadles. Our result shows that we are able to compose a family of weaving patterns in a similar way to playing the piano in a short time.","author":[{"family":"Zhang","given":"Jiahua"},{"family":"Baciu","given":"George"},{"family":"Liang","given":"Shuang"},{"family":"Liang","given":"Cheng"}],"citation-key":"zhangCreativeTryComposing2010","collection-title":"VRST '10","container-title":"Proceedings of the 17th ACM Symposium on Virtual Reality Software and Technology","DOI":"10.1145/1889863.1889890","event-place":"Hong Kong","ISBN":"978-1-4503-0441-2","issued":{"date-parts":[[2010]]},"page":"127–130","publisher":"ACM","publisher-place":"Hong Kong","title":"A Creative Try: Composing Weaving Patterns by Playing on a Multi-input Device","type":"paper-conference","URL":"http://dx.doi.org/10.1145/1889863.1889890"}, {"id":"zhangDynamicFMRIStudy2006","abstract":"Functional MRI (fMRI) combined with the paired-stimuli paradigms (referred as dynamic fMRI) was used to study the illusory double-flash effect on brain activity in the human visual cortex. Three experiments were designed. The first two experiments aimed to examine the cross-modal neural interaction between the visual and auditory sensory systems caused by the illusory double-flash effect using combined auditory (beep sound) and visual (light flash) stimuli. The fMRI signal in the visual cortex was significantly increased in response to the illusory double flashes compared to the physical single flash when the inter-stimuli delay between the auditory and visual stimuli was 25 ms. This increase disappeared when the delay was prolonged to ∼300 ms. These results reveal that the illusory double-flash effect can significantly affect the brain activity in the visual cortex, and the degree of this effect is dynamically sensitive to the inter-stimuli delay. The third experiment was to address the spatial differentiation of brain activation in the visual cortex in response to the illusory double-flash stimulation. It was found that the illusory double-flash effect in the human visual cortex is much stronger in the periphery than the fovea. This finding suggests that the periphery may be involved in high-level brain processing beyond the retinotopic visual perception. The behavioral measures conducted in this study indicate an excellent correlation between the fMRI results and behavioral performance. Finally, this work demonstrates a unique merit of fMRI for providing both temporal and spatial information regarding cross-modal neural interaction between different sensory systems.","author":[{"family":"Zhang","given":"Nanyin"},{"family":"Chen","given":"Wei"}],"citation-key":"zhangDynamicFMRIStudy2006","container-title":"Experimental Brain Research","DOI":"10.1007/s00221-005-0304-7","ISSN":"0014-4819","issue":"1","issued":{"date-parts":[[2006,6]]},"page":"57–66","title":"A dynamic fMRI study of illusory double-flash effect on human visual cortex","type":"article-journal","URL":"http://dx.doi.org/10.1007/s00221-005-0304-7","volume":"172"}, {"id":"zimmermannMiningVersionHistories2005","abstract":"We apply data mining to version histories in order to guide programmers along related changes: \"Programmers who changed these functions also changed....\" Given a set of existing changes, the mined association rules 1) suggest and predict likely further changes, 2) show up item coupling that is undetectable by program analysis, and 3) can prevent errors due to incomplete changes. After an initial change, our ROSE prototype can correctly predict further locations to be changed; the best predictive power is obtained for changes to existing software. In our evaluation based on the history of eight popular open source projects, ROSE's topmost three suggestions contained a correct location with a likelihood of more than 70 percent.","author":[{"family":"Zimmermann","given":"T."},{"family":"Zeller","given":"A."},{"family":"Weissgerber","given":"P."},{"family":"Diehl","given":"S."}],"citation-key":"zimmermannMiningVersionHistories2005","container-title":"Software Engineering, IEEE Transactions on","container-title-short":"Software Engineering, IEEE Transactions on","DOI":"10.1109/tse.2005.72","ISSN":"0098-5589","issue":"6","issued":{"date-parts":[[2005,6]]},"page":"429–445","title":"Mining version histories to guide software changes","type":"article-journal","URL":"http://dx.doi.org/10.1109/tse.2005.72","volume":"31"}, {"id":"zittrainFutureInternetHow2009","author":[{"family":"Zittrain","given":"Jonathan"}],"citation-key":"zittrainFutureInternetHow2009","ISBN":"0-300-15124-1","issued":{"date-parts":[[2009,3]]},"note":"Published: Paperback","publisher":"Yale University Press","title":"The Future of the Internet–And How to Stop It","type":"book","URL":"http://www.worldcat.org/isbn/0300151241"}, {"id":"zivanovicDevelopmentCyberneticSculptor2005","abstract":"Edward Ihnatowicz (1926-1988) built one of the world's first computer-controlled robotic sculptures, The Senster, in 1968-70. Rather than concentrate entirely on this groundbreaking and influential piece of work, this paper describes the stages he went through in developing his ideas, as an illustration of how a conventional artist became a cybernetic sculptor.","author":[{"family":"Zivanovic","given":"Aleksandar"}],"citation-key":"zivanovicDevelopmentCyberneticSculptor2005","container-title":"C&C '05: Proceedings of the 5th conference on Creativity & cognition","DOI":"10.1145/1056224.1056240","event-place":"London, United Kingdom","ISBN":"1-59593-025-6","issued":{"date-parts":[[2005]]},"page":"102–108","publisher":"ACM","publisher-place":"London, United Kingdom","title":"The development of a cybernetic sculptor: Edward Ihnatowicz and the senster","type":"paper-conference","URL":"http://dx.doi.org/10.1145/1056224.1056240"}, {"id":"CsoundWebAssembly","abstract":"This paper describes WebAssembly AudioWorklet (WAAW)\r\nCsound, one of the implementations of Web Audio Csound.\r\nWe begin by introducing the background to this current implementation, stemming from the two first ports of Csound\r\nto the web platform using Native Clients and asm.js. The\r\ntechnology of WebAssembly is then introduced and discussed in its more relevant aspects. The AudioWorklet interface of Web Audio API is explored, together with its use in\r\nWAAW Csound. We complement this discussion by considering the overarching question of support for multiple platforms, which implement different versions of Web Audio.\r\nSome initial examples of the system are presented to illustrate various potential applications. Finally, we complement\r\nthe paper by discussing current issues that are fundamental\r\nfor this project and others that rely on the development of\r\na robust support for WASM-based audio computing.","author":[{"family":"Yi","given":"Steven"},{"family":"Lazzarini","given":"Victor"},{"family":"Costello","given":"Edward"}],"citation-key":"CsoundWebAssembly","event-place":"Berlin, Germany","issued":{"date-parts":[[2018]]},"publisher-place":"Berlin, Germany","title":"WebAssembly AudioWorklet Csound","type":"paper-conference","URL":"https://mural.maynoothuniversity.ie/16018/"}, {"id":"StrudelWAC2022","publisher":"Zenodo","DOI":"10.5281/zenodo.6768844","language":"eng","title":"Strudel: Algorithmic Patterns for the Web","issued":{"date-parts":[[2022,6,28]]},"abstract":"This paper introduces Strudel (or sometimes StrudelCycles), an alternative implementation of the Tidal (or Tidal-Cycles) live coding system, using the JavaScript programming language. Strudel is an attempt to make live coding more accessible, by creating a system that runs entirely in the browser, while opening Tidals approach to algorithmic patterns (Mclean 2020) up to modern audio/visual web technologies. The Strudel REPL is a live code editor dedicated to manipulating Strudel patterns while they play, with builtin visual feedback. While Strudel is written in JavaScript, the API is optimized for simplicity and readability by applying code transformations on the syntax tree level, allowing language operations that would otherwise be impossible. The application supports multiple ways to output sound, including Tone.js, Web Audio nodes, OSC (Open Sound Control) messages, Web Serial andWeb MIDI. The project is split into multiple packages, allowing granular reuse in other applications. Apart from TidalCycles, Strudel draws inspiration from many prior existing projects like TidalVortex (McLean et al. 2022), Gibber (Roberts and Kuchera-morin 2012), Estuary (Ogborn et al. 2017), Hydra (Jack [2022] 2022), Ocarina (Solomon [2021] 2022) and Feedforward (McLean 2020).","author":[{"family":"Roos", "given":"Felix "},{"family":"McLean","given":"Alex"}],"note":"Demo paper","event-place":"Cannes, France","type":"paper-conference","event":"Web Audio Conference 2022 (WAC 2022)"} ]