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A COGNITIVE APPROACH TO ELECTRONIC MUSIC: THEORETICAL AND EXPERIMENT-BASED PERSPECTIVES
Camci, A. San Francisco; International Computer Music Association 2012 p.1-4
MUSICAL EXPERIENCE BEYOND AUDIBLE SOUND AND ITS RELEVANCE FOR ELECTRO-ACOUSTIC COMPOSITION
Ciciliani, M. San Francisco; International Computer Music Association 2012 p.5-10
ON THE NON-COCHLEARITY OF THE SOUNDS THEMSELVES
Riddoch, M. San Francisco; International Computer Music Association 2012 p.11-15
GENERATIVE SOUND ART AS POEITIC POETRY FOR AN INFORMATION SOCIETY
Eldridge, A. San Francisco; International Computer Music Association 2012 p.16-22
THE ELECTRONIC MUSIC OF ROBERTO GERHARD
Adkins, M.; Duque, C.; Karman, G.G. San Francisco; International Computer Music Association 2012 p.23-29
TOWARDS A TYPOLOGY OF FEEDBACK SYSTEMS
Valle, A.; Sanfilippo, D. San Francisco; International Computer Music Association 2012 p.30-37
THE PRESENCE OF A TRI-POLAR DYNAMIC IN SONIC ART INSTALLATION
Horseman, S. San Francisco; International Computer Music Association 2012 p.38-45
A TURING TEST FOR THE SINGING VOICE AS AN ANTHROPOLOGICAL TOOL: EPISTEMOLOGICAL AND TECHNICAL ISSUES
Georgaki, A.; Kosteletos, G. San Francisco; International Computer Music Association 2012 p.46-51
STRANGE LOOPS IN CFML: A LIVECODER'S RIDDLE
Smith, A.M. San Francisco; International Computer Music Association 2012 p.52-59
CHUGENS, CHUBGRAPHS, CHUGINS: 3 TIERS FOR EXTENDING CHUCK
Salazar, S.; Wang, G. San Francisco; International Computer Music Association 2012 p.60-63