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‘Best of NIME 2014’, 1AD. https://www.youtube.com/watch?v=beLxqGKvI-M.
Born, Georgina. ‘Music Research and Psychoacoustics’. London: Routledge, 1995.
Butler, Mark J. ‘Making It Up and Breaking It Down’. In Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance, 113–71. New York: Oxford University Press, 2014. https://doi.org/10.1093/acprof:oso/9780195393613.003.0004.
———. ‘Part III: Electronic Dance Music and the Epic’. In Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Profiles in popular music:177–254. Bloomington: Indiana University Press, 2006.
———. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York: Oxford University Press, 2014.
———. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York: Oxford University Press, 2014.
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‘Clara Rockmore - Summertime’, 20AD. https://www.youtube.com/watch?v=j0c7p5geJZs.
Collins, Nick, Julio d’Escrivan Rincâon, and Julio d’Escrivan Rincón. The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press, 2007.
Collins, Nick, Margaret Schedel, and Scott Wilson. Electronic Music. Cambridge: Cambridge University Press, 2013. https://www.cambridge.org/core/books/electronic-music/4FD04D2A538AB21D7504B9CEA054DB4F.
Demers, Joanna Teresa. Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford: Oxford University Press, 2010.
———. Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford: Oxford University Press, 2010. http://www.oxfordscholarship.com.bham-ezproxy.idm.oclc.org/view/10.1093/acprof:oso/9780195387650.001.0001/acprof-9780195387650.
dEscrivan, Julio. ‘Hacking Electronics for Music’. In Music Technology, 173–83. Cambridge: Cambridge University Press, 2012. https://www.cambridge.org/core/books/music-technology/hacking-electronics-for-music/DA332935ADEA72B38C48C48382BFEA25.
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‘DJ Shiva / .Noncompliant. @ Room 4 Resistance - ://About Blank Garden - 10.09.2016 by Room 4 Resistance | Free Listening on SoundCloud’, n.d. https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016.
Dobrian, Christopher, and Daniel Koppelman. ‘The “E” in NIME: Musical Expression with New Computer Interfaces’. Proceedings of the 2006 Conference on New Interfaces for Musical Expression, 6 April 2006, 277–82. http://dl.acm.org/citation.cfm?id=1142283.
‘Documentary about Kreidler’s Outsourcing Works’, n.d. https://www.youtube.com/watch?v=L72d_0zIT0c.
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Emmerson, Simon. ‘Music, Electronic Media and Culture’. Aldershot: Ashgate, 2000. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture.
Emmerson, Simon, and Leigh Landy, eds. Expanding the Horizon of Electroacoustic Music Analysis. Cambridge: Cambridge University Press, 2016.
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‘Experimental Live Coding Stream -- Yaxu Live from Hangar Barcelona.’, 5AD. https://www.youtube.com/watch?v=FenTeBMkAsQ.
Farrugia, Rebekah, and Thomas Swiss. ‘Tracking the DJs: Vinyl Records, Work, and the Debate over New Technologies’. Journal of Popular Music Studies 17, no. 1 (April 2005): 30–44. https://doi.org/10.1111/j.1524-2226.2005.00032.x.
‘Festivals and Venues - Graham, Stephen, 2016 (RECOMMENDED)’, n.d.
Fink, Robert Russell. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005.
Fink, Robert Wallace. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005. http://birmingham.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3514744190004871&institutionId=4871&customerId=4870.
‘First Ever Recording of Computer Music’, n.d. https://soundcloud.com/guardianaustralia/first-ever-recording-of-computer-music.
Föllmer, Golo. ‘Lines of Net Music’. Contemporary Music Review 24, no. 6 (1 December 2005): 439–44. https://doi.org/10.1080/07494460500296102.
Garcia, Luis-Manuel. ‘On and On: Repetition as Process and Pleasure in Electronic Dance    Music’. Music Theory Online 11, no. 4 (n.d.). http://www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.html.
George E. Lewis. ‘Too Many Notes: Computers, Complexity and Culture in “Voyager”’. Leonardo Music Journal 10 (2000): 33–39. http://www.jstor.org/stable/1513376?seq=1#page_scan_tab_contents.
Georgina Lewis, Eric Straw, Will Born. ‘Improvisation and Social Aesthetics’, n.d. http://www.findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=44BIR_SFX_DS3710000001118533&indx=2&recIds=44BIR_SFX_DS3710000001118533&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=improvisation%20social%20aesthetics%20born%20straw&dum=true&dstmp=1518788387653.
Ghazala, Qubais Reed. ‘The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut’. Leonardo Music Journal 14 (December 2004): 97–104. https://doi.org/10.1162/0961121043067271.
‘Global String - Atau Tanaka’, n.d. http://www.ataut.net/site/Global-String.
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Green, Owen. ‘Agility and Playfulness: Technology and Skill in the Performance Ecosystem’. Organised Sound 16, no. 02 (August 2011): 134–44. https://doi.org/10.1017/S1355771811000082.
Gresham-Lancaster, Scot. ‘The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music’. Leonardo Music Journal 8 (1998). https://doi.org/10.2307/1513398.
‘Guitar Drag by Christian Marclay’, n.d. https://youtu.be/NEIc7YdSFpU.
‘Hackers Holding Hands’, 20AD. https://www.youtube.com/watch?v=8E38DX4Cw4A.
‘How Arduino Is Open-Sourcing Imagination | Massimo Banzi’, 27AD. https://www.youtube.com/watch?v=UoBUXOOdLXY.
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Iddon, Martin. ‘OUTSOURCING PROGRESS: ON CONCEPTUAL MUSIC’. Tempo 70, no. 275 (January 2016): 36–49. https://doi.org/10.1017/S0040298215000613.
‘Internet-Mediated Musics: From Aesthetics to Materialities to Social Forms - Haworth, Christopher and Georgina Born. Forthcoming (BACKGROUND))’, n.d.
John Driscoll and Matt Rogalsky. ‘David Tudor’s “Rainforest”: An Evolving Exploration of Resonance’. Leonardo Music Journal 14 (2004): 25–30. http://www.jstor.org/stable/1513502?seq=1#page_scan_tab_contents.
Kim-Cohen, Seth, and Seth Kim-Cohen. In the Blink of an Ear: Towards a Non-Cochlear Sonic Art. New York: Continuum, 2009. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601811.
Kittler, Friedrich. ‘Gramophone, Film, Typewriter’. In Gramophone, Film, Typewriter, Vol. 41, 1987. http://www.findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_proquest1300028062&indx=2&recIds=TN_proquest1300028062&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&&dscnt=0&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&mode=Basic&vid=44BIR_VU1&srt=rank&tab=local&vl(freeText0)=%22gramophone%20film%20typewriter%22&dum=true&dstmp=1509016471785.
Kronengold, Charles. ‘Exchange Theories in Disco, New Wave, and Album-Oriented Rock’. Criticism 50, no. 1 (2008): 43–82. http://findit.bham.ac.uk/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=TN_museS1536034208100036&indx=1&recIds=TN_museS1536034208100036&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&frbrSourceidDisplay=muse&frbrIssnDisplay=0011-1589&dscnt=0&frbrRecordsSource=Primo+Central&mode=Basic&vid=44BIR_VU1&lastPag=&rfnGrp=frbr&tab=local&frbrJtitleDisplay=&dstmp=1513963325182&frbg=260652882879128926&lastPagIndx=1&frbrEissnDisplay=1536-0342&scp.scps=scope%3A%2844BIR_PDA1_DS%29%2Cscope%3A%2844BIR_ETH1_DS%29%2Cscope%3A%2844BIR_LGUI_DS%29%2Cscope%3A%2844BIR_PURE_FT%29%2Cscope%3A%2844BIR_ALEPH_DS%29%2Cscope%3A%2844BIR_MIM_DS+%29%2Cscope%3A%2844BIR_RLIST_DS%29%2Cscope%3A%2844BIR_ML_DS%29%2Cscope%3A%2844BIR_SFX_DS%29%2Cscope%3A%2844BIR_DR1_DS%29%2Cscope%3A%2844BIR_DR2_DS%29%2C44BIR_Ebsco_1%2Cprimo_central_multiple_fe&cs=frb&fctV=260652882879128926&srt=rank&fctN=facet_frbrgroupid&dum=true&vl(freeText0)=kronengold%20exchange%20disco.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. Second edition. New York, NY: Bloomsbury Academic, 2015.
———. Background Noise: Perspectives on Sound Art. Second edition. New York, NY: Bloomsbury Academic, 2015. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2003623.
Magnusson, Thor. ‘Confessions of a Live Coder’. In Proceedings of the International Computer Music Conference 2011, n.d. http://quod.lib.umich.edu/i/icmc/bbp2372.2011.122/5/--confessions-of-a-live-coder?page=root;size=100;view=pdf.
Magnusson, Thor. ‘Musical Organics: A Heterarchical Approach to Digital Organology’. Journal of New Music Research 46, no. 3 (3 July 2017): 286–303. https://doi.org/10.1080/09298215.2017.1353636.
‘Maker Faire | Electric Saxophone’, n.d. http://makerfaire.com/maker/entry/58025/.
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Montano, Ed. ‘“How Do You Know He’s Not Playing Pac-Man While He’s Supposed to Be DJing?”: Technology, Formats and the Digital Future of DJ Culture’. Popular Music 29, no. 03 (October 2010): 397–416. https://doi.org/10.1017/S0261143010000449.
———. ‘’You’re Not A Real Dj Unless You Play Vinyl’ : Technology And Formats : The Progression Of Dance Music And Dj Culture’. Journal on the Art of Record Production, 2008. http://arpjournal.com/%E2%80%98you%E2%80%99re-not-a-real-dj-unless-you-play-vinyl%E2%80%99-%E2%80%93-technology-and-formats-%E2%80%93-the-progression-of-dance-music-and-dj-culture/.
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Simon Waters. ‘Performance Ecosystems: Ecological Approaches to Musical Interaction’. Electroacoustic Music Studies Network, n.d. http://www.ems-network.org/spip.php?article278.
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Sterne, Jonathan. MP3: The Meaning of a Format. Durham: Duke University Press, 2012.
———. MP3: The Meaning of a Format. Vol. Sign, storage, transmission. Durham: Duke University Press, 2012. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173260.
‘Stuck Note’, n.d. http://crossfade.walkerart.org/brownbischoff/hub_texts/stucknote.html.
Taylor, Timothy. ‘A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigma’s ‘Return to Innocence’. In Music and Technoculture, Music/culture:64–92. Middletown, Conn: Wesleyan University Press, 2003.
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Voegelin, Salomé, and Salomâe Voegelin. Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York: Continuum, 2010. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601993.
Wilson, Scott, Norah Lorway, Rosalyn Coull, Konstantinos Vasilakos, and Tim Moyers. ‘Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems’. Computer Music Journal 38, no. 1 (March 2014): 54–64. https://doi.org/10.1162/COMJ_a_00229.
Windsor, Luke. ‘Through and around the Acousmatic: The Interpretation of Electroacoustic Sounds’. In Music, Electronic Media and Culture, 7–35, 2013. https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture.
‘Wire Recorder Piece - Halim El-Dabh’, n.d. https://www.youtube.com/watch?v=j_kbNSdRvgo.
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