All these texts are optional readings (but highly recommended). The tutor will provide key texts in PDF format.Key tutorial books (many more to be found down in the other categories) -- Recent Books -- Collins, Nicolas. Handmade Electronic Music: The Art of Hardware Hacking. New York. Routledge, 2006. Gere, Charlie. Art, Time and Technology. Oxford: Berg Publishers, 2006. Greene, Rachel. Internet Art. New York: Thames and Hudson, 2004. Labelle, Brandon. Background Noise: Perspectives on Sound Art. London: Continuum,2006. Paul, Christine. Digital Art. New York: Thames and Hudson, 2003. Rush, Micheal. New Media in Art (World of Art). New York: Times and Hudson, 2005. Tribe, Mark. New Media Art. Los Angeles: Taschen America, 2005. Wands, Bruce. Art of the Digital Age. New York: Thames and Hudson, 2006. -- Older Books -- Arata, Luis O. Reflections about Interactivity. Webarticle: http://media-in-transition.mit.edu/articles/arata.html. Des, 1999. Ascott, Roy. Turning on Technology. http://www.cooper.edu/art/techno/essays/ascott.html, May 2002. Attali, Jacques. Noise: The Political Economy of Music. Minneapolis: University of Minnisota Press, 1985. Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. (ed.) Hannah Arendt. New York: Schocken Books, 1969. pp. 217-251. Bigus, Joseph P & Bigus, Jennifer. Constructing Intelligent Agents Using Java. Wiley. New York. 2001. Blaine, Tina. "The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment" in Proceedings of NIME 2005. (eds.) Fels, Sidney & Blaine, Tina. University of British Columbia. Vancouver: 2005. Boden, Margaret A. The Creative Mind: Myths and Mechanisms. Wiedenfield and Nicholson. London. 1990. Brown, Paul. “Breaking the Art and Science Standoff” in Leonardo. Vol. 34, No. 4, pp. 335-336, 2001. ------. Stepping Stones in the Midst. http://www.paul-brown.com/WORDS/STEPPING.HTM, July 2002. ------. Networks and Artworks: The Failure of the User Friendly Interface. http://www.paul-brown.com/WORDS/NETART.HTM, July 2002. Bukatman, Scott. Terminal Identity: The Virtual Subject in Post-Modern Science Fiction. Durham: Duke University Press, 1993. Burger, Peter. Theory of the Avant-Garde. Minneapolis: University of Minnesota Press, 1996. Cage, John. Silence. Hanover: Wesleyan University Press, 1961. Card, S.K., Moran, T.P. and Newell, A. The Psychology of Human-Computer Interaction. Hillsdale, New Jersey: Lawrence Erlbaum Associates. Carrol, J.M. (ed.) Interfacing Thought. Cambridge, MA: MIT Press Clark, Andy. Natural-Born Cyborgs: Minds, Technologies, and the Future of Human Intelligence. Oxford: Oxford University Press, 2003. Cooper, Alan. The Inmates are Running the Asylum, or, Why High Technology Products Drive Us Crazy and How to Restore the Sanity. Indianapolis: SAMS, 1999. Daniels, Dieter. “Art and Media in the XXth Century” in The Age of Modernism, Art in the 20th Century. (eds) Christos M. Joachimides, Norman Rosenthal, Ostfildern: Gerd Hatje Verlag, 1997 Danto, Arthur C. After the End of Art: Contemporary Art and the Pale of History. New Jersey: Princeton University Press, 1997. De Landa, Manuel. A Thousand Years of Nonlinear History. New York: Zone Books, 1997. ------. Homes: Meshwork or Hierarchy. Webarticle: http://www.doorsofperception.com/doors/revamped_frameset.html. Feb. 2000. ------. Uniformity and Variability: An Essay in the Philosophy of Matter. Webarticle: http://www.doorsofperception.com/doors/revamped_frameset.html. Feb. 2000. ------. Art and the Military. http://switch.sjsu.edu/web/v3n3/DeLanda/delanda.html, May 2002. ------. Meshworks, Hierarchies and Interfaces. http://www.t0.or.at/delanda/meshwork.htm, May 2002. Dennet, Daniel C. Consciousness Explained. Penguin. London: 1991. Dinkla, Söke. The History of the Interface in Interactive Art. Webarticle: http://www.isea.qc.ca/symposium/archives/isea94/pr208.html. December, 2000. Dourish, Paul. Where the Action Is: The Foundation of Embodied Interaction. Cambridge: MIT Press, 2001. Dorin, Alan. “Generative processes and the electronic arts” in Organised Sound 6(1), pp. 47-53. 2001. Cambridge University Press. Dorin, Alan & Jon McCormack. “First Iteration: A Conference on Generative Systems in the Electronic Arts” in Leonardo. Vol 34. no 3. pp. 239-242, 2001. Edens, Aden. Sound Ideas: Music, Machines, and Experience. Minneapolis: University of Minnesoda Press, 2005. Ezzl, Karlheins. Composing in Cyberspace. http://www.essl.at/bibliogr/cyberkomp-e.html, February 2002. Fuller, Matthew. Behind the Blip: Essays on the Culture of Software . Autonomedia. New York: 2003. Föllmer, Golo. Soft Music. Webarticle: http://crossfade.walkerart.org/foellmer/text_print.html, July, 2002. Garnett, Guy E. “The Aesthetics of Interactive Computer Music.” Computer Music Journal, 25:1, pp. 22-33, Spring 2001. Massachusetts Institute of Technology. Gartland-Jones, Andrew; Copley, Peter. "The Suitability of Genetic Algorithms for Musical Composition" in Contemporary Music Review. Vol. 22, no. 3, 2003. Gärdenfors, Peter. Conceptual Spaces: The Geometry of Thought. Cambridge: The MIT Press, 2000. Gascone, Kim. “The Aesthetics of Failure: ”Post-Digital” Tendencies in Contemporary Computer Music.” Computer Music Journal, 24:4, pp. 12-18, Winter 2000. Massachusetts Institute of Technology. Gerhard, David; Hepting, Daryl & McKague, Matthew. "Exploration of the Correspondence Between Visual and Acoustic Parameter Spaces" in Proceedings of NIME 2004. http://hct.ece.ubc.ca/nime/2004/NIME04/paper/index.html (May, 2005). Gibson, James J. The Ecological Approach to Visual Perception. Houghton Mifflin, 1979. Gohlke, Gerrit. (ed.) Software Art - A Reportage about Source Code. Berlin: The Media Arts Lab, 2003. Hayles, N. Katherine. How We Became Posthuman. University of Chicago Press, Chicago, 1999. Heidegger, Martin. The Question Concerning Technology and Other Essays. New York: Harper and Row, 1977. Huhtamo, Erkki, “Time Traveling in the Gallery: An Archeological Approach in Media Art” pp. 233-268. Immersed in Technology: Art and Virtual Environments. (ed.) Moser, Mary Anne. Cambridge: The MIT Press, 1996. Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana University Press, 1986. Ihde, Don. Technology and the Lifeworld: From Garden to Earth. Bloomington: Indiana University Press, 1990. -----. Bodies in Technology. University of Minnesota Press, Minneapolis: 2002. Jacob, Bruce L. “Algorithmic composition as a model of creativity” in Organised Sound 1(3), pp. 157-65. 1996. Cambridge University Press. Jacob, Robert J. K; Sibert, Linda E; McFarlane, Daniel C & Mullen, M. Preston Jr. "Integrality and Separability of Input Devices" in ACM Transactions on Computer-Human Interaction, Vol. 1, No. 1, 1994. Jackson, Tim. Towards a New Media Aesthetic. http://www.uoregon.edu/~ucurrent/uc6/6-jackson.html, June 2002. Jameson, Frederic. Postmodernism, or, the Cultural Logic of Late Capitalism. New York: Duke University Press, 1991. Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. MIT Press, Cambridge, 1999. Kurzweil, Ray. The Age of Spiritual Machines. London: Phoenix, 1999. LaBelle, Brandon & Steve Roden. Site of Sound: of Architecture and the Ear. Los Angeles: Errant Bodies Press, 1999. Langton, Christopher G. Artificial Life: An Overview. Cambridge, MIT Press, 1997. ----- (ed.) Artificial Life. Redwood City: Addison-Wesley, 1989. Lansdown, John. Artificial Creativity: An Algorithmic Approach to Art. http://www.cea.mdx.ac.uk/CEA/External/Staff96/John/artCreat.html, May 2002. Link, Stan. “The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise” in Computer Music Journal, 25:1, pp. 34-47, Spring 2001. Massachusetts Institute of Technology. Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media. (2nd. ed.) New Jersey: Prentice Hall, 1997. Lövgren, Jonas. Human-Computer Interaction: What Every System Developer Should Know. Lund: Studentlitteratur, 1993. Maeda, John. Maeda @ Maeda. London: Thames and Hudson, 2000. ------. Design by Numbers. Cambridge: The MIT Press, 1999. Magnusson, Thor. "Processor Art: Currents in the Process Oriented works of Generative and Software Art", Copenhagen: 2002. http://www.ixi-software.net/thor Manovich, Lev. The Language of New Media. Cambridge: The MIT Press, 2001. Maybury, Mark T & Wahlster, Wolfgang. Readings in Intelligent User Interfaces. Morgan Kaufmann Publishers, San Francisco, 1998. Mateas, Michael. “Expressive AI: A Hybrid Art and Science Practise” in Leonardo, vol. 34, No. 2, pp. 147-153, 2001. Mayer, Paul A. Computer Media and Communication: A Reader. Oxford: Oxford University Press, 1999. McCartney, James. "A Few Quick Notes on Opportunities and Pitfalls of the Application of Computers in Art and Music" in Ars Electronica, 2003. Ars Electronica. McCullough, Malcolm. Abstracting Craft: The Practiced Digital Hand. Cambridge: MIT Press, 1996. -----. Digital Ground: Architecture, Pervasive Computing, and Environmental Knowing. Cambridge: MIT Press, 2004. Mitchell, Melanie. An Introduction to Genetic Algorithms. Cambridge, MIT Press, 1996. Nelson, Peter & Nigel Osborne. (eds.) "Aesthetics of Live Electronic Music". New Jersey: Contemporary Music Review, Volume 18, Part 3. 1999. Norman, Donald A. "Affordances, Conventions, and Design". in Interactions, 6 (3) 1999. p. 38-41. -----. The Design of Everyday Things. New York: Doubleday, 1988. Nyman, Michael. Experimental Music: Cage and Beyond. Cambridge: Cambridge University Press, 1974. Paiva, Ana. Affective Interactions: Towards a New Generation of Computer Interfaces. Springer, London. 2000. Popper, Frank. Art of the Electronic Age. London: Thames and Hudson, 1993. Pratella, Balilla, Manifesto of Futurist Musicians, 1912, http://www.futurism.fsnet.co.uk/manifestos/manifesto05.htm Preece, Jennifer. Interaction Design: Beyond Human-Computer Interaction. Wiley, New York. 2002. -----. Human-computer Interaction. Pearson Education Limited. The Open University. Harlow. 1994. Reich, Steve. Music as Gradual Process. (1968). Webarticle: http://www.oberlin.edu/~jaltieri/gradualprocess.html. June, 2002. Richard, Dominique. “Code-notes-music: an epistemological investigation of algorithmic music” in Organised Sound 1(3), pp. 173-7. 1996. Cambridge University Press. Riddell, Alistair. “Data Culture Generation: After Content, Process as Aesthetic” in Leonardo, Vol. 34, No. 4, pp. 337-343, 2001. Roads, Curtis. The Computer Music Tutorial. The MIT Press, Cambridge, Massachusetts, 1996. -----. Microsound. MIT Press, Cambridge, Massachussets, 2001. Rokeby, David. The Construction of Experience : Interface as Content. http://www.interlog.com/~drokeby/experience.html, June 2002. ------. Lecture for "Info Art": Kwangju Biennale, http://www.interlog.com/~drokeby/install.html. June 2002. ------. The Harmonics of Interaction. http://www.interlog.com/~drokeby/harm.html, June 2002. Root-Bernstein, Robert S. “Music, Creativity and Scientific Thinking” in Leonardo. Vol. 34, No. 1, pp. 63-68, 2001. Russolo, Luigi. The Art of Noise, 1913. (webarticle) http://www.futurism.fsnet.co.uk/manifestos/manifesto09.htm, Jan, 2002. Rutsky, R.L. High Techné: Art and Technology From the Machine Aesthetic to the Posthuman. Minneapolis: University of Minnesota Press, 1999. Ryan, Joel. Instrument Design at STEIM. http://www.steim.org/steim/texts.php Schneider-Hufschmidt, M; Kuhme, T & Malinowski, U. Adaptive User Interfaces: Principles and Practice. North-Holland, London. 1993. Schwarz, K. Robert. Minimalists. London: Phaidon, 1996. Sidner, C.L.; Kidd, C.D.; Lee, C.H.; Lesh, N.B., "Where to Look: A Study of Human-Robot Engagement", ACM International Conference on Intelligent User Interfaces (IUI), pp. 78-84, January 2004 Sullivan, Joseph W & Tyler, Sherman W. Intelligent User Interfaces. ACM Press, New York. 1991. Supper, Martin. “A Few Remarks on Algorithmic Composition” in Computer Music Journal, 25:1, pp. 48-53, Spring 2001. Massachusetts Institute of Technology. Tanaka, Atau. "Mobile Music Making" in Proceedings of NIME 2004. http://hct.ece.ubc.ca/nime/2004/NIME04/paper/index.html (May, 2005). Tanzi, Dante. “Observations about Music and Decentralised Environments” in Leonardo. Vol. 34, No. 5, pp. 431-436, 2001. Taylor, Mark C. Hiding. Chicago: The University of Chicago Press, 1997. Tokui Nao & Hitoshi Iba. Music Composition with Interactive Evolutionary Computation. http://www.miv.t.u-tokyo.ac.jp/~tokui/research/iec-music/, July, 2002. Toop, David. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds. London: Serpent’s Tail, 1995. Vaggione, Horacio. “Some Ontological Remarks about Music Composition Processes” in Computer Music Journal, 25:1, pp. 54-61, Spring 2001. Massachusetts Institute of Technology. Verotsko, Roman. Epigenetic Painting: Software as Genotype, A New Dimension of Art. http://www.verostko.com/epigenet.html, June 2002. ------. Algorithmic Art: Composing the Score for Visual Art. http://www.verostko.com/algorithm.html, June 2002. ------. Algorithms and the Artist. http://www.verostko.com/alg-isea94.html, June 2002. Whitelaw, Mitchell. “The Abstract Organism: Towards a Prehistory for A-Life Art” in Leonardo. Vol. 34, No. 4, pp. 345-348, 2001. -----. Metacreation: Art and Artificial Life. MIT Press, Cambridge: 2004. Wilson, Stephen. Information Arts: Intersections of Art, Science and Technology. Cambridge, The MIT Press, 2002. Wiggins, Geraint. “Searching for Computational Creativity". New Generation Computing 24(3), pp. 209-222 -----. "Understanding (Musical) Creativity using AI methods". AI Symposium at the ESCOM 10th Anniversary Conference on Musical Creativity, Liège, Belgium, 2002. -----. "Characterising Creative Systems". Proceedings of the IJCAI'03 Workshop on Creative Systems, ed. Bento, Cardoso & Gero, IJCAI, 2003. Winograd, Terry & Fernando Flores. Understanding Computers and Cognition. Norwood NJ: Ablex, 1986. Wishart, Trevor. On Sonic Art. Hardwood Academic Publishers, Amsterdam. 1996. Wittgenstein, Ludwig. The Blue And Brown Books. Oxford: Blackwell Publishers, 1993. -----. Philosohpical Investigations. Oxford: Blackwell Publishers, 1994. Xenakis, Iannis. “Tutorial Article. Determinacy and indeterminacy” in Organised Sound 1(3), pp. 143-55. 1996. Cambridge University Press. Young, John P. Networked Music: Bridging Real and Virtual Space. http://www.netmuse.org/intro.html, July 2002. Z, Pamela. A Tool is a Tool. http://www.pamelaz.com/tool.htm, July 2002. Zee, Emile van der & Nikanne, Urpo. Cognitive Interfaces: Constraints on Linking Cognitive Information. Oxford University Press, Oxford, 2000. |