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References

Bowers, J., & Archer, P. (2005). Not hyper, not meta, not cyber but infra-instruments. Proceedings of the 2005 Conference on New

Interfaces for Musical Expression, 5–10. National University of Singapore.

 

Bown, O., Bell, R., & Parkinson, A. (2014). Examining the perception of liveness and activity in laptop music: Listeners’ inference

about what the performer is doing from the audio alone.

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Croft, J. (2007a). Theses on liveness. Organised Sound, 12(1), 59–66.

De Assis, P. (2018). Logic of Experimentation: Rethinking Music Performance Through Artistic Research.

Emmerson, S. (2017). Living electronic music. Routledge.

Frengel, M. (2010). A Multidimensional Approach to Relationships between Live and Non-live Sound Sources in Mixed Works.

Organised Sound, 15(02), 96–106.

Green, O. (2011). Agility and Playfulness: Technology and skill in the performance ecosystem. Organised Sound, 16(02), 134 -

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from http://cargocollective.com/hollyherndon/Collusion-w-Reza-Negarestani-Mat-Dryhurst

James, A. (2013). InsomniaX (Version 2.1.8). Retrieved from http://semaja2.net/ye-ol-projects/insomniaxinfo/

Koenig, G. M. (1980). Composition Processes (pp. 105–126). Ottawa: Canadian Commission for UNECSCO.

Mattin. (2011). Against Representation: A Revolution in Front of You. In Unconstituted Praxis (pp. 46–47). Burgo: Taumaturgia

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Sande, K. (2012). Russell Haswell: ‘It’s about exposing how things are done’. Retrieved 01 May 2019, from FACT Magazine website: https://www.factmag.com/2012/07/28/russell-haswell-the-whole-360%c2%b0/

Sanden, P. (2013). Liveness in Modern Music: Musicians, Technology, and the Perception of Performance. Routledge.

Sanfilippo, D., & Valle, A. (2002). Towards a Typology of Feedback Systems.

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