VSL 2024 – Emergent Networks of Listening and Sounding: Non-Human Agents and Participatory Performance

DIGM 5020/6020 – Vertical Studio-Lab I/II



Week 1 Readings:

Chapman, O. B., & Sawchuk, K. (2012). creation: Intervention, analysis and “family resemblances”. Canadian Journal of Communication, 37(1).

Sawyer, R. K., & DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Psychology of aesthetics, creativity, and the arts, 3(2), 81.

Van Nort, D (2023) “Distributed Networks of Listening and Sounding: 20 Years of Telematic Musicking”, Journal of Network Music and Arts 5 (1), 6.

Week 2 Readings:

Lewis, G (2017). “From Network Bands to Ubiquitous Computing: Rich Gold and the Social Aesthetics of Interactivity.” Improvisation and Social Aesthetics. Edited by Georgina Born, Eric Lewis and Will Straw, Duke UP, pp. 91–110.

Van Nort, D (2020) “Sound, Senses, Musical Meaning, and Digital Performance: Epistemological Reframings”. Special Issue on Sound & Performance. Canadian Theatre Review, 184 2020.

For Week 3 experimentation, please develop/bring a digital media “object” or “instrument” that can:

i) Receive two types of input that immediately causes an output, which can last for either 6-10 seconds, or less than 1 second. The input type determines short or long output duration.

ii) The “output” should be able to be experienced by everyone in the class at once, in the lab space context. It can either by sound, or if another sense modality it should be such that we can experience it without needing to look directly at your “object”.

iii) Bonus: it would be highly beneficial if this object/instrument could received and send OSC as part of this input/output process. I will share a max patch on discord for testing.


Other Readings in addition to the above:

Entire Journals/Conferences:

Jan, Stephen and Robin Laney (ed). Journal of Creative Music Systems. Huddersfield University Press. 2016-2023.

Keislar, Doug (ed.) Computer Music Journal, MIT Press. 1977-2023.

Landy, Leigh (ed.) Organised Sound, Cambridge University Press. 1996-2023.

Marsden, Alan (ed.) Journal of New Music Research, Taylor and Francis. 1984-2023.

MOCO Conference Proceedings (20124-2022). https://www.movementcomputing.org/

MUME Conference Proceedings (2012-2019). https://musicalmetacreation.org/.

NIME Conference Proceedings (2001-2023). www.nime.org


Barad, K. (2003). Posthumanist performativity: Toward an understanding of how matter comes to matter. Signs: Journal of women in culture and society, 28(3), 801-831.

Born, G. (2020). Diversifying MIR: Knowledge and Real-World Challenges, and New Interdisciplinary Futures. Transactions of the International Society for Music Information Retrieval3(1).

Born – On Musical Mediation: Ontology, Technology and Creativity

Bovermann, T., Campo, A. de, Egermann, H., Hardjowirogo, S.-I., & Weinzierl, S. (Eds.). (2016). Musical Instruments in the 21st Century: Identities, Configurations, Practices (1st ed. 2017 edition). New York, NY: Springer.

Chris Brown and John Bischoff – INDIGENOUS TO THE NET: Early Network Music Bands in the San Francisco Bay Area

Cage, J. (2012). Silence: lectures and writings. Wesleyan University Press.

including: The Future of Music: Credo

Cascone, K. (2000). The Aesthetics of Failure:“Post-Digital” Tendencies in Contemporary Computer Music. Computer Music Journal24(4), 12-18.

Cascone – The Aesthetics of Failure

Csikszentmihalyi, Mihaly. Society, culture, and person: A systems view of creativity. Springer Netherlands, 2014.

Bown, O. (2021). Beyond the creative species: Making machines that make art and music. Mit Press.

Celerier, J. M., Baltazar, P., Bossut, C., Vuaille, N., & Couturier, J. M. (2015, May). OSSIA: Towards a unified interface for scoring time and interaction. In TENOR2015.

Costello, P. R. (2012). Layers in Husserl’s Phenomenology: On Meaning and Intersubjectivity. Chapter 2: Intersubjectivity – Syntheses and Product of Encounters with Alien Others.  University of Toronto Press.

Dufrenne, M. (1964). The aesthetic object and the technical object. The Journal of Aesthetics and Art Criticism, 23(1), 113-122.

David Dunn – Music, Language and Environment

Dean, Roger T., ed. The Oxford handbook of computer music. Oxford University Press, 2009.

Godøy, R. I., & Leman, M. (Eds.). (2010). Musical gestures: Sound, movement, and meaning. Routledge.

Gottschalk, J. (2016). Experimental music since 1970. Bloomsbury Publishing USA.

Hayes, L., & Marquez-Borbon, A. (2020). Addressing NIME’s Prevailing Sociotechnical, Political, and Epistemological Exigencies. Computer Music Journal44(2-3), 24-38.

Hayes, L. (2019). Beyond skill acquisition: Improvisation, interdisciplinarity, and enactive music cognition. Contemporary Music Review38(5), 446-462.

Fiebrink, R., Caramiaux, B., Dean, R., & McLean, A. (2016). The machine learning algorithm as creative musical tool. Oxford University Press.

Fiebrink, R., & Cook, P. R.  The Wekinator: a system for real-time, interactive machine learning in music.

Caramiaux et al. – Mapping through listening

Françoise et al. –Probabilistic Models for Designing Motion and Sound Relationships

Haworth – Sound Synthesis Procedures as Texts: An Ontological Politics in Electroacoustic and Computer Music

Heidegger, M. (1954). The question concerning technology. Technology and values: Essential readings, 99, 113.

Javis and Van Nort – Posthuman Gesture

Leman, M. (2008). Embodied music cognition and mediation technology. Cambridge, Mass: MIT Press.

Lewis, G. E. (2000). Too many notes: Computers, complexity and culture in voyager. Leonardo Music Journal, 33-39.

Lewis, G. E. (2008). A power stronger than itself: The AACM and American experimental music. University of Chicago Press.

Lewis, G. E. (1996). Improvised music after 1950: Afrological and Eurological perspectives. Black music research journal, 91-122.

Magnusson, T. (2019). Sonic writing: technologies of material, symbolic, and signal inscriptions. Bloomsbury Academic.

Massumi, B. (2002). On the Superiority of the Analog. Parables for the Virtual.

Magnusson – Sonic Writing, part 1 

Magnusson – Sonic Writing, part 2 and part 3

Magnusson – Sonic Writing, part 4 and part 5

Maturana, H. R., & Varela, F. J. (1991). Autopoiesis and cognition: The realization of the living (Vol. 42). Springer Science & Business Media.

Merleau-Ponty, M. (2013). Phenomenology of perception. Chapter 2: Space. Routledge.

Morris, D. (2002). Touching intelligence. Journal of the Philosophy of Sport, 29(2), 149-162.

Papetti, S., & Saitis, C. (Eds.). (2018). Musical Haptics. Springer.

Robert Seyfert, Jonathan Roberge (eds.), Algorithmic Cultures: Essays on Meaning, Performance and New Technologies

Russolo, L. (1913). The art of noise (pp. 35-41). Glover, VT: Something else press.

Ryan, J. (1991). Some remarks on musical instrument design at STEIM. Contemporary music review6(1), 3-17.

Rodgers, T. (2010). Pink Noises: Women on Electronic Music and Sound. Durham NC: Duke Univ Pr.

Roads, Curtis. The Computer Music tutorial. MIT press, 1996.

Roads, C. (2004). Microsound. MIT press.

Roads, C. (2015). Composing electronic music: a new aesthetic. Oxford University Press, USA.

Salter, C. (2023). Alien agency: Experimental encounters with art in the making. MIT Press.

Schwarz et al. – Real-time corpus-based concatenative synthesis with catart

Stengers, I. (2005). Ecology of practices and technology of belonging. Cultural Studies Review, 11.

Steven Miller: Listening Modes and Strategies

Oliveros, P. (1984). Software for people: Collected writings 1963-80. Unpub Editions.

Van Nort – Instrumental listening: sonic gesture as design principle

Van Nort, D. (2018). Conducting the in-between: improvisation and intersubjective engagement in soundpainted electro-acoustic ensemble performance. Digital Creativity, 29(1), 68-81.

Van Nort, D – Distributed Listening in  Electroacoustic Improvisation

Van Nort, D (2023) “Distributed Networks of Listening and Sounding: 20 Years of Telematic Musicking”, Journal of Network Music and Arts 5 (1), 6.

Van Nort, D., Oliveros, P., & Braasch, J. (2013). Electro/acoustic improvisation and deeply listening machines. Journal of New Music Research42(4), 303-324.

Voegelin, S. (2010). Listening to noise and silence: Towards a philosophy of sound art. Bloomsbury Publishing USA.

Varela, F. J. (1992). Autopoiesis and a biology of intentionality. In Proceedings of the workshop “Autopoiesis and Perception”(pp. 4-14). Dublin City University.

Wessel, D., & Wright, M. (2002). Problems and prospects for intimate musical control of computersComputer music journal26(3), 11-22.