[1]
‘Soundings: A Contemporary Score’. [Online]. Available: https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf
[2]
‘First ever recording of computer music’. [Online]. Available: https://soundcloud.com/guardianaustralia/first-ever-recording-of-computer-music
[3]
N. Collins, M. Schedel, and S. Wilson, Electronic music. Cambridge: Cambridge University Press, 2013 [Online]. Available: https://www.cambridge.org/core/books/electronic-music/4FD04D2A538AB21D7504B9CEA054DB4F
[4]
S. Reynolds, Energy flash: a journey through rave music and dance culture. London: Picador, 1998.
[5]
‘Global String Video’. [Online]. Available: https://vimeo.com/46800992
[6]
‘Wire Recorder Piece - Halim El-Dabh’. [Online]. Available: https://www.youtube.com/watch?v=j_kbNSdRvgo
[7]
‘Yo-Yo Ma playing the Hypercello at Tanglewood’. [Online]. Available: http://web.media.mit.edu/~joep/MPEGs/YoYo.mpg
[8]
G. Steingo, Kwaito’s promise: music and the aesthetics of freedom in South Africa. Chicago: The University of Chicago Press, 2016.
[9]
‘RA: An alternate history of sexuality in club culture’. [Online]. Available: https://www.residentadvisor.net/features/1927
[10]
Timothy D. Taylor, ‘The Gendered Construction of the Musical Self: The Music of Pauline Oliveros’, The Musical Quarterly, vol. 77, no. 3, pp. 385–396, 1993 [Online]. Available: http://www.jstor.org/stable/742386?seq=2#page_scan_tab_contents
[11]
P. Oliveros, ‘The Contribution of Women Composers’, Software for people: collected writings 1963-1980, pp. 132–137, 1984.
[12]
‘And Don’t Call Them Lady Composers’. [Online]. Available: http://music.ucsc.edu/sites/default/files/22.OliverosDontCallThemLadies.pdf
[13]
‘RA Exchange: EX.293 Pauline Oliveros’. [Online]. Available: https://www.residentadvisor.net/podcast-episode.aspx?exchange=293
[14]
‘The Black Madonna: “I discovered Underground Resistance through the first guy who hit me.”’ [Online]. Available: https://www.traxmag.com/the-black-madonna-i-discovered-underground-resistance-through-the-first-guy-who-hit-me/
[15]
‘The Invisible Woman: A Conversation With Björk | Pitchfork’. [Online]. Available: http://pitchfork.com/features/interview/9582-the-invisible-woman-a-conversation-with-bjork/
[16]
‘RA: Between The Beats: The Black Madonna’. [Online]. Available: https://www.residentadvisor.net/features/2793
[17]
‘The Black Madonna b2b Mike Servito - BOILER ROOM’. [Online]. Available: https://boilerroom.tv/recording/the-black-madonna-mike-servito/
[18]
P. Oliveros, Software for people: collected writings 1963-1980. Baltimore: Smith Publications, 1984.
[19]
‘The girl crew partying for a better world | Dazed’. [Online]. Available: http://www.dazeddigital.com/music/article/30653/1/siren-london-clubbing-zine-partying-collective-female-girl
[20]
‘Discwoman : Discwoman.com’. [Online]. Available: http://www.discwoman.com/
[21]
‘After Robot: Kwaito Music in Johannesburg (26 min, 2002) - YouTube’. [Online]. Available: https://www.youtube.com/watch?v=VPMydKs71Jc
[22]
‘Real Scenes: Johannesburg - YouTube’. [Online]. Available: https://www.youtube.com/watch?v=Ykt2f6o7-e8
[23]
M. J. Butler, Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: Oxford University Press, 2014.
[24]
R. Farrugia and T. Swiss, ‘Tracking the DJs: Vinyl Records, Work, and the Debate over New Technologies’, Journal of Popular Music Studies, vol. 17, no. 1, pp. 30–44, Apr. 2005, doi: 10.1111/j.1524-2226.2005.00032.x.
[25]
Kittler, Friedrich, ‘Gramophone, Film, Typewriter’, in Gramophone, Film, Typewriter, vol. 41, 1987 [Online]. Available: 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
[26]
T. Magnusson, ‘Musical Organics: A Heterarchical Approach to Digital Organology’, Journal of New Music Research, vol. 46, no. 3, pp. 286–303, Jul. 2017, doi: 10.1080/09298215.2017.1353636.
[27]
E. Montano, ‘“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, vol. 29, no. 03, pp. 397–416, Oct. 2010, doi: 10.1017/S0261143010000449.
[28]
J. Sterne, MP3: the meaning of a format. Durham: Duke University Press, 2012.
[29]
J. Sterne, MP3: the meaning of a format, vol. Sign, storage, transmission. Durham: Duke University Press, 2012 [Online]. Available: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=1173260
[30]
‘Stems’. [Online]. Available: https://www.native-instruments.com/en/specials/stems/
[31]
‘Clara Rockmore - Summertime’. 20AD [Online]. Available: https://www.youtube.com/watch?v=j0c7p5geJZs
[32]
‘Theremin - Clara Rockmore play “The Swan” (Saint-Saëns)’. 3AD [Online]. Available: https://www.youtube.com/watch?v=pSzTPGlNa5U
[33]
‘Best of NIME 2014’. 1AD [Online]. Available: https://www.youtube.com/watch?v=beLxqGKvI-M
[34]
C. Dobrian and D. Koppelman, ‘The “E” in NIME: musical expression with new computer interfaces’, Proceedings of the 2006 conference on New interfaces for musical expression, pp. 277–282, Apr. 2006 [Online]. Available: http://dl.acm.org/citation.cfm?id=1142283
[35]
E. Montano, ‘’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 [Online]. Available: 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/
[36]
‘DJ Shiva / .noncompliant. @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance | Free Listening on SoundCloud’. [Online]. Available: https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016
[37]
G. Born, ‘Music Research and Psychoacoustics’, London: Routledge, 1995.
[38]
‘Festivals and Venues - Graham, Stephen, 2016 (RECOMMENDED)’. .
[39]
‘Internet-mediated Musics: From Aesthetics to Materialities to Social Forms - Haworth, Christopher and Georgina Born. Forthcoming (BACKGROUND))’. .
[40]
John Driscoll and Matt Rogalsky, ‘David Tudor’s “Rainforest”: An Evolving Exploration of Resonance’, Leonardo Music Journal, vol. 14, pp. 25–30, 2004 [Online]. Available: http://www.jstor.org/stable/1513502?seq=1#page_scan_tab_contents
[41]
‘http://remix.nin.com’. [Online]. Available: http://remix.nin.com
[42]
Caleb Kelly, ‘Sound and art’, Grove Art Online [Online]. Available: http://www.oxfordartonline.com/subscriber/article/grove/art/T079882
[43]
J. T. Demers, Listening through the noise: the aesthetics of experimental electronic music. Oxford: Oxford University Press, 2010.
[44]
J. T. Demers, Listening through the noise: the aesthetics of experimental electronic music. Oxford: Oxford University Press, 2010 [Online]. Available: http://www.oxfordscholarship.com.bham-ezproxy.idm.oclc.org/view/10.1093/acprof:oso/9780195387650.001.0001/acprof-9780195387650
[45]
Douglas Kahn and Christian Marclay, ‘Christian Marclay’s Early Years: An Interview’, Leonardo Music Journal, vol. 13, pp. 17–21, 2003 [Online]. Available: http://www.jstor.org/stable/1513444?seq=1#page_scan_tab_contents
[46]
‘Record without a Cover by Christian Marclay’. [Online]. Available: https://youtu.be/iVyO9BaMvAQ
[47]
Yasunao Tone, ‘John Cage and Recording’, Leonardo Music Journal, vol. 13, pp. 11–15, 2003 [Online]. Available: http://www.jstor.org/stable/1513443?seq=1#page_scan_tab_contents
[48]
M. Iddon, ‘OUTSOURCING PROGRESS: ON CONCEPTUAL MUSIC’, Tempo, vol. 70, no. 275, pp. 36–49, Jan. 2016, doi: 10.1017/S0040298215000613.
[49]
‘Guitar Drag by Christian Marclay’. [Online]. Available: https://youtu.be/NEIc7YdSFpU
[50]
‘Solo for Wounded CD by Yasunao Tone’. [Online]. Available: https://youtu.be/CEDi-39o5qw
[51]
‘Documentary about Kreidler’s outsourcing works’. [Online]. Available: https://www.youtube.com/watch?v=L72d_0zIT0c
[52]
B. LaBelle, Background noise: perspectives on sound art, Second edition. New York, NY: Bloomsbury Academic, 2015.
[53]
B. LaBelle, Background noise: perspectives on sound art, Second edition. New York, NY: Bloomsbury Academic, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=2003623
[54]
S. Voegelin and S. Voegelin, Listening to noise and silence: towards a philosophy of sound art. New York: Continuum, 2010 [Online]. Available: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601993
[55]
Rosalind Krauss, ‘Two Moments from the Post-Medium Condition’, October, vol. 116, pp. 55–62, 2006 [Online]. Available: http://www.jstor.org/stable/40368424?Search=yes&resultItemClick=true&searchText=sn:01622870&searchText=AND&searchText=year:2006&searchUri=%2Fopenurl%3Fpage%3D2%26amp%3Bed%3D%26amp%3BQuery%3Dsn%253A01622870%2BAND%2Byear%253A2006%26amp%3Bymod%3DYour%2Binbound%2Blink%2Bdid%2Bnot%2Bhave%2Ban%2Bexact%2Bmatch%2Bin%2Bour%2Bdatabase.%2BBut%2Bbased%2Bon%2Bthe%2Belements%2Bwe%2Bcould%2Bmatch%252C%2Bwe%2Bhave%2Breturned%2Bthe%2Bfollowing%2Bresults.%26amp%3Bsd%3D&seq=1#page_scan_tab_contents
[56]
S. Kim-Cohen and S. Kim-Cohen, In the blink of an ear: towards a non-cochlear sonic art. New York: Continuum, 2009 [Online]. Available: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=601811
[57]
‘Soundings: A Contemporary Score’. [Online]. Available: https://www.moma.org/momaorg/shared/pdfs/docs/publication_pdf/3185/Soundings_PREVIEW.pdf
[58]
M. J. Butler, ‘Part III: Electronic Dance Music and the Epic’, in Unlocking the groove: rhythm, meter, and musical design in electronic dance music, vol. Profiles in popular music, Bloomington: Indiana University Press, 2006, pp. 177–254.
[59]
Kronengold, Charles, ‘Exchange Theories in Disco, New Wave, and Album-Oriented Rock’, Criticism, vol. 50, no. 1, pp. 43–82, 2008 [Online]. Available: 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
[60]
R. W. Fink, Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley: University of California Press, 2005 [Online]. Available: http://birmingham.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&package_service_id=3514744190004871&institutionId=4871&customerId=4870
[61]
R. R. Fink, Repeating ourselves: American minimal music as cultural practice. Berkeley: University of California Press, 2005.
[62]
M. SPICER, ‘(Ac)cumulative Form in Pop-Rock Music’, twentieth-century music, vol. 1, no. 1, pp. 29–64, Mar. 2004, doi: 10.1017/S1478572204000052.
[63]
L. Windsor, ‘Through and around the acousmatic: The interpretation of electroacoustic sounds’, in Music, Electronic Media and Culture, 2013, pp. 7–35 [Online]. Available: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture
[64]
S. Emmerson, ‘Music, electronic media and culture’, Aldershot: Ashgate, 2000 [Online]. Available: https://ebookcentral.proquest.com/lib/bham/detail.action?docID=429716&query=Music%2C+Electronic+Media+and+Culture
[65]
Garcia, Luis-Manuel, ‘On and On: Repetition as Process and Pleasure in Electronic Dance    Music’, Music Theory Online, vol. 11, no. 4 [Online]. Available: http://www.mtosmt.org/issues/mto.05.11.4/mto.05.11.4.garcia.html
[66]
S. Emmerson and L. Landy, Eds., Expanding the horizon of electroacoustic music analysis. Cambridge: Cambridge University Press, 2016.
[67].
‘noncompliant. (DJ Shiva) @ Room 4 Resistance - ://about Blank garden - 10.09.2016 by Room 4 Resistance’. [Online]. Available: https://soundcloud.com/room4resistance/dj-shiva-non-compliant-room-4-resistance-10092016
[68]
Nick Collins, ‘Live Coding of Consequence’, Leonardo, vol. 44, no. 3, pp. 207–230, 2011 [Online]. Available: http://www.jstor.org/stable/20869451?seq=1#page_scan_tab_contents
[69]
Magnusson, Thor, ‘Confessions of a Live Coder’, in Proceedings of the International Computer Music Conference 2011 [Online]. Available: http://quod.lib.umich.edu/i/icmc/bbp2372.2011.122/5/--confessions-of-a-live-coder?page=root;size=100;view=pdf
[70]
George E. Lewis, ‘Too Many Notes: Computers, Complexity and Culture in “Voyager”’, Leonardo Music Journal, vol. 10, pp. 33–39, 2000 [Online]. Available: http://www.jstor.org/stable/1513376?seq=1#page_scan_tab_contents
[71]
M. J. Butler, ‘Making It Up and Breaking It Down’, in Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance, New York: Oxford University Press, 2014, pp. 113–171 [Online]. Available: http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780195393613.001.0001/acprof-9780195393613-chapter-4
[72]
M. J. Butler, Playing with something that runs: technology, improvisation, and composition in DJ and laptop performance. New York: Oxford University Press, 2014.
[73]
O. Green, ‘Agility and Playfulness: Technology and skill in the performance ecosystem’, Organised Sound, vol. 16, no. 02, pp. 134–144, Aug. 2011, doi: 10.1017/S1355771811000082.
[74]
Simon Waters, ‘Performance Ecosystems: Ecological approaches to musical interaction’. [Online]. Available: http://www.ems-network.org/spip.php?article278
[75]
‘Show Us Your Screens’. [Online]. Available: https://vimeo.com/20241649
[76]
‘Experimental live coding stream -- Yaxu live from Hangar Barcelona.’ 5AD [Online]. Available: https://www.youtube.com/watch?v=FenTeBMkAsQ
[77]
‘The toplap manifesto’. [Online]. Available: https://toplap.org/wiki/ManifestoDraft
[78]
‘TOPLAP | the home of live coding’. [Online]. Available: https://toplap.org
[79]
‘algorave.com’. [Online]. Available: https://algorave.com
[80]
‘ResoNations 2009: International Telematic Concerts for Peace (background watching)’. .
[81]
‘Global String - Atau Tanaka’. [Online]. Available: http://www.ataut.net/site/Global-String
[82]
‘NMF2013: The Hub on Vimeo’. [Online]. Available: https://vimeo.com/65502094
[83]
‘· · · CROSSFADE· · · Chris Brown & John Bischoff - Indigenous to the Net ~ Early Network Bands in the San Francisco Area’. [Online]. Available: http://crossfade.walkerart.org/brownbischoff/index.html
[84]
‘Stuck Note’. [Online]. Available: http://crossfade.walkerart.org/brownbischoff/hub_texts/stucknote.html
[85]
‘Max Neuhaus’. [Online]. Available: https://web.archive.org/web/20180626212759/http://www.max-neuhaus.info/audio-video/
[86]
‘Max Neuhaus - The Broadcast Works and Audium’. [Online]. Available: http://designblog.uniandes.edu.co/blogs/dise2514/files/2009/04/broadcast_works_and_audium_neuahaus.pdf
[87]
Georgina Lewis, Eric Straw, Will Born, ‘Improvisation and Social Aesthetics’, [Online]. Available: 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
[88]
S. Gresham-Lancaster, ‘The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music’, Leonardo Music Journal, vol. 8, 1998, doi: 10.2307/1513398.
[89]
S. Wilson, N. Lorway, R. Coull, K. Vasilakos, and T. Moyers, ‘Free as in BEER: Some Explorations into Structured Improvisation Using Networked Live-Coding Systems’, Computer Music Journal, vol. 38, no. 1, pp. 54–64, Mar. 2014, doi: 10.1162/COMJ_a_00229.
[90]
R. Chaves and F. Hickman, ‘A Window in Between: Mediation Strategies in Networked Sonic Arts | Interference’. [Online]. Available: http://www.interferencejournal.com/articles/sound-methods/a-window-in-between-mediation-strategies-in-networked-sonic-arts
[91]
G. Föllmer, ‘Lines of net music’, Contemporary Music Review, vol. 24, no. 6, pp. 439–444, Dec. 2005, doi: 10.1080/07494460500296102.
[92]
A. Chandler and N. Neumark, At a distance: precursors to art and activism on the Internet, vol. Leonardo. Cambridge, Mass: MIT Press, 2005.
[93]
B. Truax, Ed., ‘The Handbook for Acoustic Ecology’. [Online]. Available: https://www.sfu.ca/~truax/handbook2.html
[94]
R. M. Schafer, The soundscape: our sonic environment and the tuning of the world. Rochester, Vt: Destiny Books, 1994.
[95]
N. Collins, J. d’Escrivan Rincâon, and J. d’Escrivan Rincón, The Cambridge companion to electronic music. Cambridge: Cambridge University Press, 2007.
[96]
S. Thornton, Club cultures: music, media and subcultural capital. Cambridge: Polity, 1995.
[97]
T. Taylor, ‘A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigma’s ‘Return to Innocence’, in Music and technoculture, vol. Music/culture, Middletown, Conn: Wesleyan University Press, 2003, pp. 64–92.
[98]
J. d’Escrivan Rincón, ‘Music technology’, vol. Cambridge introductions to music, Cambridge: Cambridge University Press, 2012.
[99]
J. dEscrivan, ‘Hacking electronics for music’, in Music technology, Cambridge: Cambridge University Press, 2012, pp. 173–183 [Online]. Available: https://www.cambridge.org/core/books/music-technology/hacking-electronics-for-music/DA332935ADEA72B38C48C48382BFEA25
[100]
‘Music Hackspace’. [Online]. Available: http://musichackspace.org/
[101]
‘Searching For The Perfect Beep -- A Personal History Of Hardware Hacking’. Experimental Media Arts, Brussels, 2006 [Online]. Available: http://nicolascollins.com/texts/perfectbeep.pdf
[102]
‘Hackers Holding Hands’. 20AD [Online]. Available: https://www.youtube.com/watch?v=8E38DX4Cw4A
[103]
‘Technology Featured Instructables’. [Online]. Available: http://www.instructables.com/tag/type-id/category-technology/
[104]
‘Maker Faire | Electric Saxophone’. [Online]. Available: http://makerfaire.com/maker/entry/58025/
[105]
Q. R. Ghazala, ‘The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut’, Leonardo Music Journal, vol. 14, pp. 97–104, Dec. 2004, doi: 10.1162/0961121043067271. [Online]. Available: http://www.jstor.org/stable/1513514
[106]
‘Reed Ghazala’s Anti-Theory Workshop’. [Online]. Available: http://www.anti-theory.com/
[107]
‘Reed Ghazala, the Father of Circuit Bending: Sound Builders’. 31AD [Online]. Available: https://www.youtube.com/watch?v=KHDL9iGxDPM
[108]
‘How Arduino is open-sourcing imagination | Massimo Banzi’. 27AD [Online]. Available: https://www.youtube.com/watch?v=UoBUXOOdLXY
[109]
‘Arduino - Home’. [Online]. Available: https://www.arduino.cc/
[110]
D. Dougherty, ‘The Maker Movement’, Innovations: Technology, Governance, Globalization, vol. 7, no. 3, pp. 11–14, Jul. 2012, doi: 10.1162/INOV_a_00135.