Bibliography 05/06/06

A long list of references I’ve found interesting and useful:

Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: The Johns Hopkins University Press, 1997.

Apple Computer, Inc. Quicktime File Format. 2004. pdf. Available: http://developer.apple.com/documentation/QuickTime/QTFF/qtff.pdf. 9/3/04 2004.

Apple Computer, Inc. Quartz Composer. Vers. 2.1.1. Computer software. Apple Computer, Inc., 2005, Development tool for processing and rendering graphical data.

Archer, Michael. “Er… Stolen.” Thomson & Craighead. Eds. Steven Bode and Nina Ernst. London: Film and Video Umbrella, 2005. 6-15.

Argyris, C, and Donald Schön. Organizational Learning: A Theory of Action Perspective. Reading: Addison-Wesley, 1978.

Bolter, Jay David. Digital Media and Cinematic Point of View. 14/2/1997 1997. Web. Available: http://www.heise.de/tp/english/special/film/6105/1.html2003.

Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. Cambridge: MIT Press, 2000.

Brucker-Cohen, Jonah. Mousemiles. 2002. Website. Available: http://www.mousemiles.net/. 8/8 2004.

Brucker-Cohen, Jonah. Interactive Projects. 2004. Website. Available: http://www.coinoperated.com/projects. 8/8 2004.

Burnham, Jack. Great Western Salt Works: Essays on the Meaning of Post-Formalist Art. New York: George Braziller, 1974.

Burnham, Jack. “Real Time Systems.” Get Real: Real Time + Art + Theory + Practice + History. 1969. Ed. Morten Sønengaard. New York: George Braziller, Inc., 2005. 135-47.

Burroughs, William S. “The Cut-up Method of Brion Gysin.” Re/Search. Eds. V Vale and Andrea Juno. Vol. 4. San Francisco: RE/Search Publications, 1982. 35-6.

Candy, L, and E.A. Edmonds. “Interaction in Art and Technology.” Crossings: Electronic Journal of Art and Technology 2.1 (2002).

Cascone, Kim. “The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music.” Computer Music Journal 24.4 (2000): 12-18.

Causey, Matthew. “Postorganic Performance: The Appearance of Theatre in Virtual Spaces.” Cyberspace Textuality: Computer Technology and Literary Theory. Ed. Marie-Laure Ryan. Indiana: Indiana University Press, 1999. 182-201.

Cox, Geoff, and Joasia Krysa, eds. Engineering Culture: On ‘the Author as (Digital) Producer’. Brooklyn: Autonomedia, 2005.

Cubitt, Sean. Digital Aesthetics. London: Sage Publications Ltd, 1998.

Cubitt, Sean. “Spreadsheets, Sitemaps and Search Engines: Why Narrative Is Marginal to Multimedia and Networked Communication, and Why Marginality Is More Vital Than Universality.” New Screen Media: Cinema/Art/Narrative. Eds. Martin Rieser and Andrea Zapp. London: British Film Institute, 2002.

Dick, Bob. What Is Action Research? 1999. Website. Southern Cross University. Available: http://www.scu.edu.au/schools/gcm/ar/whatisar.html. 1/8 2003.

Dixon, Steven. “Just for Your Information: Communication and the Real Time Art Piece.” Get Real: Real Time + Art + Theory + Practice + History. Eds. Morten Sønengaard, Perru Rastas and Björn Norberg. New York: Gorge Braziller, Inc., 2005. 029-42.

Don, Abbe. “Narrative and the Interface.” The Art of Human-Computer Interface Design. Ed. Brenda Laurel. Reading, Massachusetts: Addison-Wesley, 1990. 13.

Douglas, J. Yellowlees. “What Hypertexts Do That Print Narratives Cannot.” The Reader 42.Autumn (1992): 1-23.

Douglas, J. Yellowlees. “Maps, Gaps and Perceptions: What Hypertext Readers (Don’t) Do.” Perforations 3.1.Spring/Summer (1992).

Drucker, Johanna. “Interactive, Algorithmic, Networked: Aesthetics of New Media Art.” At a Distance: Precursors to Art and Activism on the Internet. Eds. Annmarie Chandler and Norie Neumark. Leonardo. Cambridge: The MIT Press, 2005. 34-59.

Edmonds, Ernest, and Sandra Pauletto. “Audiovisual Discourse in Digital Art.” Siggraph 2004 Electronic Art and Animation Catalogue. New York: ACM Press, 2004. 115-18.

Elsaesser, Thomas. “Cinema Futures: Convergence, Divergence, Difference.” Cinema Futures: Cain, Abel or Cable? Eds. Thomas Elsaesser and Kay Hoffmann. Film Culture in Transition. Amsterdam: Amsterdam University Press, 1998.

Eskilson, Stephen. “Thomas Wilfred and Intermedia: Seeking a Framework for Lumia.” Leonardo 36.1 (2003): 65-68.

Gansing, Kristoffer. “The Myth of Interactivity or the Interactive Myth: Interactive Film as an Imaginary Genre.” MelbourneDAC 2003 Streamingworlds. Ed. Adrian Miles. Melbourne, 2003. 51-58.

Gaver, Bill. “Designing for Homo Ludens.” i3 June 2002 2002: 2-6.

Helfand, Jessica. “The Myth of Real Time.” Screen: Essays on Graphic Design, New Media, and Visual Culture. New York: Princeton Architectural Press, 2001. 3-7.

Helfand, Jessica. “Television Did It First: Ten Myths About “New” Media.” Screen: Essays on Graphic Design, New Media, and Visual Culture. New York: Princeton Architectural Press, 2001. 9-15.

Helfand, Jessica. Screen: Essays on Graphic Design, New Media, and Visual Culture. New York: Princeton Architectural Press, 2001.

Hughes, Bob. Dust or Magic: Secrets of Successful Multimedia Design. Harlow: Pearson Education Limited, 2000.

Huizinga, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: The Beacon Press, 1950 (1938).

Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge: The MIT Press, 1999.

Kahn, Douglas. “Digits on the Historical Pulse: Being a Way to Think About How So Much Is Happening and Has Happened in Sound in the Arts.” Pulse Field. Eds. Craig Dongoski and Robert S. Thompson. Georgia State University School of Art & Design Galleries, Atlanta, Georgia, U.S.A., 2003.

Kelly, Kevin. “Gossip Is Philosophy.” Wired May 1995.

Laurel, Brenda, ed. The Art of Human-Computer Interface Design. Reading: Addison-Wesley Publishing Company, Inc., 1990.

Laurel, Brenda. Computers as Theatre. Reading: Addison-Wesley, 1991.

Lew, Michael. “Live Cinema: Designing an Instrument for Cinema Editing as a Live Performance.” NIME04: New Interfaces for Musical Expression. Japan, 2004.

Lunenfeld, Peter. “Unfinished Business.” The Digital Dialectic: New Essays on New Media. Ed. Peter Lunenfeld. Cambridgw: The MIT Press, 1999. 7-22.

Lyons, Andrew D. “Time Space Texture: An Approach to Audio-Visual Composition.” Doctor of Philosophy. The University of Sydney, 1995.

Maeda, John. Creative Code. London: Thames & Hudson, 2004.

Manovich, Lev. The Language of New Media. Ed. Roger F. Malina. Cambridge: MIT Press, 2001.

Manovich, Lev. “Models of Authorship in New Media.” Switch (2002).

Manovich, Lev. Models of Authorship in New Media. February 1st 2002 2002. Web page / Journal Article. Available: http://switch.sjsu.edu/nextswitch/switch_engine/front/front.php?artc=65.

Manovich, Lev. “From DV Realism to a Universal Recording Machine.” Get Real: Real Time + Art + Theory + Practice + History. Eds. Morten Sønengaard, Perru Rastas and Björn Norberg. New York: Gorge Braziller, Inc., 2005. 017-28.

McCullough, Malcolm. Abstracting Craft. Cambridge: The MIT Press, 1996.

McGonigal, Jane. “‘This Is Not a Game’: Immersive Aesthetics and Collective Play.” MelbourneDAC 2003 Streamingworlds. Ed. Adrian Miles. Melbourne, 2003. 116-25.

Miles, Adrian. “Hypertext Syntagmas: Cinematic Narration with Links.” Journal of Digital Information 1.7 (2000).

Miles, Adrian. “Softvideography: Digital Video as Postliterate Practice.” Digital Tools in Cultural Contexts: Assessing the Implications. Eds. Byron Hawk, James A. Inman and Ollie Oviedo, 2003.

Minard, Robin. “Musique Concréte and Its Importance to the Visual Arts.” Resonances: Aspects of Sound Art. Ed. Bernd Schulz. Heidelberg: Kehrer, 2002. 44-48.

Moulthrop, Stuart. “Misadventure: Future Fiction and the New Networks.” Style 33.2 (1999): 184-203.

Moulthrop, Stuart. A Subjective Chronology of Literary Hypertext. 8/1/2000 2000. Website. Available: http://raven.ubalt.edu/staff/moulthrop/chrono.html. 22/4 2000.

Murphie, Andrew. “The Dusk of the Digital Is the Dawn of the Virtual.” Enculturation 3.1 (2000).

Murphie, Andrew. “Electronicas: Differential Media and Proliferating, Transient Worlds.” MelbourneDAC 2003 streamingworlds 5th International Digital Arts and Culture conference. Melbourne: RMIT University, 2003. 151-61.

Murray, Janet H. Hamlet on the Holodeck. New York: The Free Press, 1997.

Naimark, Michael. “Realness and Interactivity.” The Art of Human-Computer Interface Design. Ed. Brenda Laurel. Reading, Massachusetts: Addison-Wesley, 1990. 13.

Norman, Donald A. “Why Interfaces Don’t Work.” The Art of Human-Computer Interface Design. Ed. Brenda Laurel. Reading, Massachusetts: Addison-Wesley, 1990. 13.

Norman, Donald A. The Design of Everyday Things. The psychology of everyday things. New York: Basic Books, 1988. London: MIT, 1998.

Norman, Donald A. Affordances and Design. 2003. Web essay. Available: http://www.jnd.org/dn.mss/affordances-and-design.html. October 2003.

Norman, Donald A. Emotional Design : Why We Love (or Hate) Everyday Things. New York: Basic Books, 2004.

Pater, Walter. “The School of Giorgione.” The Renaissance. New York, 1877.

Peacock, Kenneth. “Instruments to Perform Color-Music: Two Centuries of Technological Experimentation.” Leonardo 21.4 (1988): 397-406.

Peterson, Matthew. Interactive Quicktime: Authoring Wired Media. Quicktime Developer Series. San Francisco: Morgan Kaufmann Publishers, 2004.

Rieser, Martin, and Andrea Zapp. “An Age of Narrative Chaos.” New Screen Media: Cinema/Art/Narrative. Eds. Martin Reiser and Andrea Zapp. London: British Film Institute, 2002. xxv-xxvii.

Ritter, Don. “Interactive Video as a Way of Life.” Music Works 56 (1993): 48-54.

Rossiter, Ned. “Processual Media Theory.” MelbourneDAC 2003 Streamingworlds. Ed. Adrian Miles. Melbourne, 2003. 173-84.

Rush, Michael. New Media in the Late 20th-Century Art. 1 ed. London: Thames & Hudson Ltd, 1999.

Russolo, Luigi. The Art of Noises: Futurist Manifesto. Trans. Barclay Brown. The Art of Noises: Monographs in Musicology No. 6. New York: Pendragon Press, 1986 (1913).

Salen, Katie, and Eric Zimmerman. Rules of Play: Game Design Fundamentals. Cambridge: The MIT Press, 2004.

Schön, Donald. The Reflective Practitioner: How Professionals Think in Action. London: Temple Smith, 1983.

Scultz, Pit. “The Producer as Power User.” Engineering Culture: On ‘the Author as (Digital) Producer’. Eds. Geoff Cox and Joasia Krysa. Data Browser. Brooklyn: Autonomedia, 2005. 111-25.

Skog, Tobias. “Activity Wallpaper: Ambient Visualization of Activity Information.” Symposium on Designing Interactive Sysems. Cambridge, MA, USA, 2004.

Slater, Josaphine Berry. “Bare Code: Net Art and the Free Software Movement.” Engineering Culture: On ‘the Author as (Digital) Producer’. Eds. Geoff Cox and Joasia Krysa. Data Browser. Brooklyn: Autonomedia, 2005. 133-49.

Smith, Hazel, and Roger T. Dean. Improvisation, Hypermedia and the Arts since 1945. Performing Arts Studies. Ed. Christopher Bodman. Amsterdam: Harwood Academic Publishers, 1997.

Sobchack, Vivian. “Nostalgia for a Digital Object: Regrets on the Quickening of Quicktime.” Future Cinema: The Cinematic Imaginary after Film. Eds. Jeffrey Shaw and Peter Weibel. Massachusetts: MIT Press, 2003. 66-73.

Sønengaard, Morten, Perru Rastas, and Björn Norberg, eds. Get Real: Real Time + Art + Theory + Practice + History. New York: George Braziller, Inc., 2005.

Speigel, Laurie. “Graphical Groove: Memorium for a Visual Music System.” Organised Sound 3.3 (1998): 187-91.

Spinard, Paul. The Vj Book. Los Angeles: Feral House, 2005.

Stallabrass, Julian. “Reasons to Hate Thomson & Craighead.” Thomson & Craighead. Eds. Steven Bode and Nina Ernst. London, 2005. 68-75.

Stanza. “Amorphoscapes.” COSIGN 2002: Computational Semiotics in Games and New Media. Augsburg, Germany, 2002.

Thompson, Jon, et al. Thompson & Craighead. London: Film and Video Umbrella, 2005.

van Campen, Crétien. “Synesthesia and Artistic Experimentation.” Psyche 3.6 (1997).

Walker, Jill. “Do You Think You’re Part of This? Digital Texts and the Second Person Address.” Cybertext Yearbook 2000. Eds. Markku Esklinen and Raine Koskimaa. Saarijärvi, Finland: Gummerus Printing, 2001. 34-51.

Walker, Jill. “Performing Fictions: Interaction and Depiction.” MelbourneDAC 2003 Streamingworlds. Ed. Adrian Miles. Melbourne, 2003. 207-16.

Ward, Adrian, et al. “Live Algorithm Programming and a Temporary Organisation for Its Promotion.” Read_Me: Software Art & Cultures. Eds. Olga Goriunova and Alexi Sculgin. Aarhus, Denmark: Aarhus, 2004. 242-61.

Wardrip-Fruin, Noah. “From Instrumental Texts to Textual Instruments.” MelbourneDAC 2003 Streamingworlds 5th International Digital Arts and Culture conference. Melbourne: RMIT, 2003.

Whitney, John. Digital Harmony: On the Complementarity of Music and Visual Art. Petersborough New Hampshire: McGraw-Hill, 1980.

Wolf, David. “An Experiment in the Design and Production of a Rhizomatic Interactive Video Narrative.” Honours. Deakin University Rusden, 2001.

Youngblood, Gene. Expanded Cinema. Toronto and Vancouver: Clarke, Irwin & Company Limited, 1970.

Youngblood, Gene. “Cinema and the Code.” Future Cinema: The Cinematic Imaginary after Film. Eds. Jeffrey Shaw and Peter Weibel. Electronic Culture: History, Theory, Practice. Massachusetts: MIT Press, 2003. 156-61.