diff --git a/.latexmkrc b/.latexmkrc index c6cd8dd..9f06a6b 100644 --- a/.latexmkrc +++ b/.latexmkrc @@ -7,7 +7,7 @@ $pdf_mode = 3; $latex = 'platex --kanji=utf8 -synctex=1 -file-line-error -halt-on-error %O %S'; $max_repeat = 4; -$bibtex = 'pbibtex'; -$biber = 'biber --bblencoding=utf8 -u -U --output_safechars %O %S'; +# $bibtex = 'pbibtex'; +# $biber = 'biber --bblencoding=utf8 -u -U --output_safechars %O %S'; $dvipdf = 'dvipdfmx %O -o %D %S'; $makeindex = 'mendex %O -o %D %S'; \ No newline at end of file diff --git a/ref.bib b/ref.bib deleted file mode 100644 index f8e46e4..0000000 --- a/ref.bib +++ /dev/null @@ -1,156 +0,0 @@ -@inproceedings{arias2021, - title = {The {{W-calculus}}: {{A Synchronous Framework}} for the {{Verified Modelling}} of {{Digital Signal Processing Algorithms}}}, - author = {Arias, Emilio Jesús Gallego and Jouvelot, Pierre and Ribstein, Sylvain and Desblancs, Dorian}, - year = {2021}, - booktitle = {Proceedings of the 9th ACM SIGPLAN International Workshop on Functional Art, Music, Modelling, and Design}, - volume = {12}, - pages = {35--46}, - publisher = {Association for Computing Machinery}, - location = {New York, NY, USA}, - doi = {10.1145/3471872.3472970}, - url = {https://hal-mines-paristech.archives-ouvertes.fr/hal-03322174}, - urldate = {2021-08-30}, - abstract = {We introduce the W-calculus, an extension of the call-byvalue λ-calculus with synchronous semantics, designed to be flexible enough to capture different implementation forms of Digital Signal Processing algorithms, while permitting a direct embedding into the Coq proof assistant for mechanized formal verification. In particular, we are interested in the different implementations of classical DSP algorithms such as audio filters and resonators, and their associated high-level properties such as Linear Time-invariance. We describe the syntax and denotational semantics of the W-calculus, providing a Coq implementation. As a first application of the mechanized semantics, we prove that every program expressed in a restricted syntactic subset of W is linear time-invariant, by means of a characterization of the property using logical relations. This first semantics, while convenient for mechanized reasoning, is still not useful in practice as it requires re-computation of previous steps. To improve on that, we develop an imperative version of the semantics that avoids recomputation of prior stream states. We empirically evaluate the performance of the imperative semantics using a staged interpreter written in OCaml, which, for an input program in W , produces a specialized OCaml program, which is then fed to the optimizing OCaml compiler. The approach provides a convenient path from the high-level semantical description to low-level efficient code. Publication rights licensed to ACM. ACM acknowledges that this contribution was authored or co-authored by an employee, contractor or affiliate of a national government. As such, the Government retains a nonexclusive, royalty-free right to publish or reproduce this article, or to allow others to do so, for Government purposes only.}, - keywords = {Digital Signal Processing,Formal Verification,Linear Time-invariance,Programming Language Semantics,Synchronous Programming}, - file = {/Users/tomoya/Downloads/3472970-vor.pdf;/Users/tomoya/Zotero/storage/C48ATPES/full-text.pdf} -} - -@inproceedings{gaster2018, - title = {{{OUTSIDE THE BLOCK SYNDICATE}}: {{TRANSLATING FAUST}}'{{S ALGEBRA OF BLOCKS TO THE ARROWS FRAMEWORK}}}, - booktitle = {Proceedings of the 1st {{International Faust Conference}}}, - author = {Gaster, Benedict R and Renney, Nathan and Mitchell, Tom}, - year = {2018}, - location = {Mainz,Germany}, - abstract = {Folklore has it that Faust's algebra of blocks can be represented in Hughes' algebra of Arrows. In this paper we formalise this understanding, showing that blocks can indeed be encoded with Causal Commutative Arrows. Whilst an interesting finding in itself, we believe that this formal translation opens up new avenues of research. For instance, recent work in functional reactive programming on well typed clocks, could provide an alternative to the dependent type approach proposed for multi-rate Faust.}, - file = {/Users/tomoya/Zotero/storage/6X7SPZEM/full-text.pdf} -} - -@inproceedings{graf2010, - title = {Term {{Rewriting Extension}} for the {{Faust Programming Language}}}, - booktitle = {International {{Linux Audio Conference}}}, - author = {Gräf, Albert}, - year = {2010}, - url = {https://hal.archives-ouvertes.fr/hal-03162973 https://hal.archives-ouvertes.fr/hal-03162973/document}, - abstract = {This paper discusses a term rewriting extension for the functional signal processing language Faust. The extension equips Faust with a hygienic macro processing facility. Faust macros can be used to define complicated, parameterized block diagrams, and perform arbitrary symbolic manipulations of block diagrams. Thus they make it easier to create elaborate signal processor specifications involving many complicated components.}, - keywords = {Digital signal processing,Faust,functional programming,macro processing,term rewriting}, - file = {/Users/tomoya/Zotero/storage/KXEWFSGX/full-text.pdf} -} - -@inproceedings{matsuura2021a, - title = {Mimium: A Self-Extensible Programming Language for Sound and Music}, - shorttitle = {Mimium}, - booktitle = {Proceedings of the 9th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}}, and {{Design}}}, - author = {Matsuura, Tomoya and Jo, Kazuhiro}, - year = {2021}, - month = aug, - series = {{{FARM}} 2021}, - pages = {1--12}, - publisher = {Association for Computing Machinery}, - address = {New York, NY, USA}, - doi = {10.1145/3471872.3472969}, - urldate = {2024-07-09}, - abstract = {We propose a programming language for music named mimium, which combines temporal-discrete control and signal processing in a single language. mimium has an intuitive imperative syntax and can use stateful functions as Unit Generator in the same way as ordinary function definitions and applications. Furthermore, the runtime performance is made equivalent to that of lower-level languages by compiling the code through the LLVM compiler infrastructure. By using the strategy of adding a minimum number of features for sound to the design and implementation of a general-purpose functional language, mimium is expected to lower the learning cost for users, simplify the implementation of compilers, and increase the self-extensibility of the language. In this paper, we present the basic language specification, semantics for simple task scheduling, the semantics for stateful functions, and the compilation process. mimium has certain specifications that have not been achieved in existing languages. Future works suggested include extending the compiler functionality to combine task scheduling with the functional paradigm and introducing multi-stage computation for parametric replication of stateful functions.}, - isbn = {978-1-4503-8613-5}, - file = {/Users/tomoya/Zotero/storage/TDBLJQTL/Matsuura and Jo - 2021 - mimium a self-extensible programming language for.pdf} -} - - -@article{norilo2015, - title = {Kronos: {{A Declarative Metaprogramming Language}} for {{Digital Signal Processing}}}, - author = {Norilo, Vesa}, - year = {2015}, - journal = {Computer Music Journal}, - volume = {39}, - number = {4}, - pages = {30--48}, - doi = {10.1162/COMJ_a_00330}, - url = {https://dl.acm.org/doi/abs/10.1162/COMJ_a_00330}, - abstract = {Kronos is a signal-processing programming language based on the principles of semifunctional reactive systems. It is aimed at efficient signal processing at the elementary level, and built to scale towards higher-level tasks by utilizing the powerful programming paradigms of "metaprogramming" and reactive multirate systems. The Kronos language features expressive source code as well as a streamlined, efficient runtime. The programming model presented is adaptable for both sample-stream and event processing, offering a cleanly functional programming paradigm for a wide range of musical signal-processing problems, exemplified herein by a selection and discussion of code examples.}, - file = {/Users/tomoya/Zotero/storage/THAKVEM6/m-api-574ff3be-cfe2-7867-406a-df50770bf1cb.pdf} -} - -@article{Orlarey2004, - title = {Syntactical and Semantical Aspects of {{Faust}}}, - author = {Orlarey, Yann and Fober, Dominique and Letz, Stephane}, - year = {2004}, - journal = {Soft Computing}, - volume = {8}, - number = {9}, - pages = {623--632}, - issn = {14327643}, - doi = {10.1007/s00500-004-0388-1}, - isbn = {0050000403}, - keywords = {Compiler,Dataflow,Functional programming,Real-time,Signal processing}, - file = {/Users/tomoya/Zotero/storage/YZVBLW85/Orlarey, Fober, Letz_2004_Syntactical and semantical aspects of Faust.pdf} -} - -@article{ierusalimschy2005, - title = {The {{Implementation}} of {{Lua}} 5.0}, - author = {Ierusalimschy, Roberto and de Figueiredo, Luiz Henrique and Celes, Waldemar}, - year = {2005}, - month = jul, - journal = {JUCS - Journal of Universal Computer Science}, - volume = {11}, - number = {7}, - pages = {1159--1176}, - publisher = {Journal of Universal Computer Science}, - issn = {0948-6968}, - doi = {10.3217/jucs-011-07-1159}, - urldate = {2024-07-09}, - abstract = {We discuss the main novelties of the implementation of Lua 5.0: its register-based virtual machine, the new algorithm for optimizing tables used as arrays, the implementation of closures, and the addition of coroutines.}, - copyright = {2005 Roberto Ierusalimschy, Luiz Henrique de Figueiredo, Waldemar Celes}, - language = {en}, - file = {/Users/tomoya/Zotero/storage/GQRQSVPC/Ierusalimschy et al. - 2005 - The Implementation of Lua 5.0.pdf} -} - -@book{nystrom2021, - title = {{Crafting Interpreters}}, - author = {Nystrom, Robert}, - year = {2021}, - month = jul, - publisher = {Genever Benning}, - address = {Daryaganj Delhi}, - abstract = {Despite using them every day, most software engineers know little about how programming languages are designed and implemented. For many, their only experience with that corner of computer science was a terrifying "compilers" class that they suffered through in undergrad and tried to blot from their memory as soon as they had scribbled their last NFA to DFA conversion on the final exam.That fearsome reputation belies a field that is rich with useful techniques and not so difficult as some of its practitioners might have you believe. A better understanding of how programming languages are built will make you a stronger software engineer and teach you concepts and data structures you'll use the rest of your coding days. You might even have fun.This book teaches you everything you need to know to implement a full-featured, efficient scripting language. You'll learn both high-level concepts around parsing and semantics and gritty details like bytecode representation and garbage collection. Your brain will light up with new ideas, and your hands will get dirty and calloused.Starting from main(), you will build a language that features rich syntax, dynamic typing, garbage collection, lexical scope, first-class functions, closures, classes, and inheritance. All packed into a few thousand lines of clean, fast code that you thoroughly understand because you wrote each one yourself.}, - isbn = {978-0-9905829-3-9} -} -@article{Taha1997, - title = {Multi-{{Stage Programming}} with {{Explicit Annotations}}}, - author = {Taha, Walid and Sheard, Tim}, - year = {1997}, - month = dec, - journal = {SIGPLAN Notices (ACM Special Interest Group on Programming Languages)}, - volume = {32}, - number = {12}, - pages = {203--214}, - publisher = {Association for Computing Machinery (ACM)}, - issn = {03621340}, - doi = {10.1145/258994.259019}, - urldate = {2021-05-12}, - abstract = {We introduce MetaML, a statically-typed multi-stage programming language extending Nielson and Nielson's two stage notation to an arbitrary number of stages. MetaML extends previous work by introducing four distinct staging annotations which generalize those published previously [25, 12, 7, 6] We give a static semantics in which type checking is done once and for all before the first stage, and a dynamic semantics which introduces a new concept of cross-stage persistence, which requires that variables available in any stage are also available in all future stages. We illustrate that staging is a manual form of binding time analysis. We explain why, even in the presence of automatic binding time analysis, explicit annotations are useful, especially for programs with more than two stages. A thesis of this paper is that multi-stage languages are useful as programming languages in their own right, and should support features that make it possible for programmers to write staged computations without significantly changing their normal programming style. To illustrate this we provide a simple three stage example, and an extended two-stage example elaborating a number of practical issues.}, - file = {/Users/tomoya/Zotero/storage/KFYY25CM/Taha, Sheard - 1997 - Multi-Stage Programming with Explicit Annotations.pdf;/Users/tomoya/Zotero/storage/X3DDM6HN/full-text.pdf} -} - -@inproceedings{kiselyov2014a, - title = {The {{Design}} and {{Implementation}} of {{BER~MetaOCaml}}}, - booktitle = {{Proceedings of the 12th International Symposium on Functional and Logic Programming}}, - author = {Kiselyov, Oleg}, - editor = {Codish, Michael and Sumii, Eijiro}, - year = {2014}, - pages = {86--102}, - publisher = {Springer International Publishing}, - address = {Cham}, - doi = {10.1007/978-3-319-07151-0_6}, - abstract = {MetaOCaml is a superset of OCaml extending it with the data type for program code and operations for constructing and executing such typed code values. It has been used for compiling domain-specific languages and automating tedious and error-prone specializations of high-performance computational kernels. By statically ensuring that the generated code compiles and letting us quickly run it, MetaOCaml makes writing generators less daunting and more productive.}, - isbn = {978-3-319-07151-0}, - language = {en} -} -@article{jouvelotDependentVectorTypes2011, - title = {Dependent Vector Types for Data Structuring in Multirate {{Faust}}}, - author = {Jouvelot, Pierre and Orlarey, Yann}, - year = {2011}, - journal = {Computer Languages, Systems \& Structures}, - volume = {37}, - number = {3}, - pages = {113--131}, - publisher = {Elsevier} -} diff --git a/src/main.tex b/src/main.tex index e4e59f8..13aa6ba 100755 --- a/src/main.tex +++ b/src/main.tex @@ -13,7 +13,7 @@ \affiliate{TOMOYA}{東京藝術大学芸術情報センター} -\author{松浦 知也}{Matsuura Tomoya}{TOMYOA}[me@matsuuratomoya.com] +\author{松浦 知也}{Matsuura Tomoya}{TOMOYA}[me@matsuuratomoya.com] \begin{abstract} @@ -29,15 +29,17 @@ % Body %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \section{はじめに-音楽プログラミング言語の分業化} -音楽のためのプログラミング言語・環境は、Cycling'74 Max\cite{max}やPure Data\cite{pd}、CSound、SuperCollider、ChucKといった言語を代表として様々なものが開発されてきている。こうした言語の多くは歴史を遡ると1950年代にベル研究所でマックス・マシューズらが開発したMUSICシリーズに遡ることができる。MUSICシリーズは音圧波形を時間・音圧の2次元で離散化・量子化した数列として表すことで、計算によって任意の波形を生成することが可能になるパルス符号変調という理論に基づいて計算機で音を出した最初の事例である。 +音楽のためのプログラミング言語・環境は、Cycling'74 MaxやPure Data、CSound、SuperCollider、ChucKといった言語を代表として様々なものが開発されてきている\cite{roads2001,Lazzarini2013,Nishino2016,Dannenberg2018}。こうした言語の多くは歴史を遡ると1950年代にベル研究所でマックス・マシューズらが開発したMUSICシリーズに遡ることができる\cite{mathews1963,park2009}。MUSICシリーズは音圧波形を時間・音圧の2次元で離散化・量子化した数列として表すことで、計算によって任意の波形を生成することが可能になるパルス符号変調という理論に基づいて計算機で音を出した最初の事例である。 CやC++といった汎用プログラミング言語で音声合成を行う場合も、基本的にPCMの理論に基づいてプログラミングを行うことになるが、こうした汎用の言語はメモリ管理や並行処理といったハードウェアに近い処理への理解を要求されるため、一般に音楽の記述を行う場合にはより抽象化されたライブラリや、専用のドメイン固有言語を利用するのが普通である。 そうしたライブラリや言語では、Unit Generator(UGen)と呼ばれる、オシレーターやフィルターといった基礎的な処理単位を、モジュラーシンセサイザーの様に組み合わせていくことで処理を行う。\footnote{モジュラーシンセサイザーとUnit Generatorは実際には同時期に現れたコンセプトではあるが、音楽プログラミング言語は積極的にビジュアル的なメタファーを物理的なシンセサイザーから取り入れてきている。} -2000年代以降では、Sonic PiやTidalCyclesに代表される、メロディやリズムパターンをソースコードから生成し、リアルタイムでソースコードを書き換えることで演奏を行うライブコーディング環境が開発されてきたが、これらの言語は信号処理をSuperColliderなどのUGenベースの言語に任せ、それらの言語ランタイムへ命令を送信をするクライアントとして実装されている。そして、多くの言語でUGen自体の実装にはC++などの低級言語が用いられ、動的ロードライブラリの形で提供される。 +2000年代以降では、Sonic Pi\cite{Aaron2013}やTidalCycles\cite{McLean2014}に代表される、メロディやリズムパターンをソースコードから生成し、リアルタイムでソースコードを書き換えることで演奏を行うライブコーディング環境が開発されてきたが、これらの言語は信号処理をSuperColliderなどのUGenベースの言語に任せ、それらの言語ランタイムへ命令を送信をするクライアントとして実装されている。そして、多くの言語でUGen自体の実装にはC++などの低級言語が用いられ、動的ロードライブラリの形で提供される。 -このように音楽のためのプログラミング言語は、表現可能な範囲をユーザーや実装者の関心のある領域ごとに細分化する形で発展してきている。その一方で、NishinoとNakatsuによるサーベイで指摘されているように、近年のコンピューター音楽実践ではマイクロサウンド\footnote{音声波形を細かく切り刻んで再構成するような音声合成手法\cite{roadsmicrosound}。シンセサイザーのカテゴリとして、グラニュラー合成と呼ばれる物の基礎的な考え方でもある。}や、サンプル単位精度でのイベント処理のような高度な処理が求められる中で、Unit Generatorというコンセプトを基礎に置くこと自体の妥当性が問われてもいる\cite{Nishino2016}。 +%--[p42] Nishino2016にしたい + +このように音楽のためのプログラミング言語は、表現可能な範囲をユーザーや実装者の関心のある領域ごとに細分化する形で発展してきている。その一方で、NishinoとNakatsuによるサーベイで指摘されている\cite{Nishino2016}ように、近年のコンピューター音楽実践ではマイクロサウンド\footnote{音声波形を細かく切り刻んで再構成するような音声合成手法\cite{roads2004}。シンセサイザーのカテゴリとして、グラニュラー合成と呼ばれる物の基礎的な考え方でもある。}や、サンプル単位精度でのイベント処理のような高度な処理が求められる中で、Unit Generatorというコンセプトを基礎に置くこと自体の妥当性が問われてもいる。 ユーザーおよび開発者の利便性に限った点に絞ったとしても、UGenパラダイムにはいくつかの問題点が指摘できる。まず1つはコードの再利用性である。多くの言語では、実際にはほとんど同じような内容であるにも関わらず、それぞれが基本的なUGenを実装し直しており、言語間での相互運用性に欠けている。2つ目は、UGenがプリミティブなデータ型として提供されており、非線系オシレーターの用に既存のUGenの組み合わせでは表現できない新たなUGenの定義がその言語上では難しいことである。3つ目に、UGen自体のパラメトリックな接続の抽象化（例えば、オシレーターを任意の本数複製したり、フィルターをカスケードしたり）することが難しい点である。これは言い換えると、多くの言語では、UGenを引数として受け取って新たなUGenを定義するような関数を定義できないということである。 @@ -45,13 +47,9 @@ CやC++といった汎用プログラミング言語で音声合成を行う場 Unit Generatorコンセプトに基づく言語の問題点は、既存の音楽プログラミング言語の多くが実装に依存しており、言語としての意味論が形式化されているものがほとんど無い、とも言い換えられる。 -この観点で、実用的に使われている音楽プログラミング言語の中では、例外的に強く形式化された言語としてFaustが挙げられる\cite{Faust2002}。 +この観点で、実用的に使われている音楽プログラミング言語の中では、例外的に強く形式化された言語としてFaust\cite{Orlarey2004}が挙げられるFaustは、入出力を持つブロックを、並列、直列、分岐、合流、再帰の5つの合成子を用いて組み合わせる。基本的な算術演算、条件分岐、遅延をプリミティブなブロックとして提供することで、ほぼあらゆる種類の信号処理を記述することができる。また後の拡張では、項書き換え系に基づくマクロを導入することで、ユーザーによる任意の数の入出力を持つブロックの抽象化を可能にした\cite{graf2010}。 -Faustは、入出力を持つブロックを、並列、直列、分岐、合流、再帰の5つの合成子を用いて組み合わせる。基本的な算術演算、条件分岐、遅延をプリミティブなブロックとして提供することで、ほぼあらゆる種類の信号処理を記述することができる。また後の拡張では、項書き換え系に基づくマクロを導入することで、ユーザーによる任意の数の入出力を持つブロックの抽象化を可能にした[2]。 - -この形式化を通じた強力な抽象化能力により、FaustはC、C++、Rust、LLVM IRなどの様々なバックエンドにコンパイルでき、あらかじめ用意されたアーキテクチャファイルと呼ばれるボイラープレートコードと組み合わせることで、MaxやSuperColliderのUGenとしてエクスポートすることも可能になっている。 - -その一方、Faustの理論的基盤であるブロックダイアグラム代数（Block Diagram Algebra-BDA）は、一般的なプログラミング言語との理論的・実用的な互換性に欠ける。Faustでは外部のC関数を呼び出すことは可能だが、ポインタや参照を扱えないのでホストの内部状態をFaust側から制御することは難しい。 +この形式化を通じた強力な抽象化能力により、FaustはC、C++、Rust、LLVM IRなどの様々なバックエンドにコンパイルでき、あらかじめ用意されたアーキテクチャファイルと呼ばれるボイラープレートコードと組み合わせることで、MaxやSuperColliderのUGenとしてエクスポートすることも可能になっている。その一方、Faustの理論的基盤であるブロックダイアグラム代数（Block Diagram Algebra-BDA）は、一般的なプログラミング言語との理論的・実用的な互換性に欠ける。Faustでは外部のC関数を呼び出すことは可能だが、ポインタや参照を扱えないのでホストの内部状態をFaust側から制御することは難しい。 また、Faustのマクロは、パターンマッチに基づいてBDAを生成する独立した項書き換え系である。そのため、パターンマッチングのための数値引数は暗黙のうちに整数であることが要求され、BDA上では整数と実数の方の区分けは存在しないにもかかわらず、コンパイル時エラーを起こすことある。この暗黙の型付けルールは、初学者のユーザーにとっては直感的なものとは言い難い。 @@ -59,7 +57,12 @@ Faustは、入出力を持つブロックを、並列、直列、分岐、合流 Kronos[4]とW-calculus[5]は、それぞれFaustに影響を受けたラムダ計算ベースの抽象化の例である。Kronosは理論的基盤としてSystem-$F\omega$ というラムダ計算のバリエーションに基づいており、型を入力として受け取り、新しい型を返す関数を定義することができる。Kronosでは、型レベルの計算が信号処理グラフの生成に対応し、値の計算が実際の処理に対応する。Kronosにおいては遅延だけが唯一の特殊なプリミティブ演算であり、フィードバックを伴うルーティングは型計算における再帰的関数適用として表現される。ただし、意味論の厳密な形式化はなされていない。 -W-calculusは、変数の過去の値にアクセスする機能（すなわち遅延）とともに、プリミティブ操作としてフィードバックを含む。W-calculusでは、記述する対象をフィルタやリバーブのような線形時不変システムに限定した上で、Coqを用いた厳密な意味論の定義がなされている。W-calculusで書かれたシステムではシステムの線形性が保証されるほか、異なる表記のシステムの同一性の証明などが可能になる。他方でW-calculusでは高階関数の使用は許されていない。 +W-calculusは、変数の過去の値にアクセスする機能（すなわち遅延）とともに、プリミティブ操作としてフィードバックを含む。W-calculusでは、定理証明支援システムCoqを用いた厳密な意味論の定義がなされている。他方で、W-calculusは記述する対象をフィルタやリバーブのような線形時不変システムに限定している。その代わりに、書かれたシステムではシステムの線形性が保証されるほか、異なる表記のシステム間の同一性を証明することなどが可能になる。またもう1つの制限として、W-calculusでは高階関数の使用は許されていない。 + +筆者が開発している音楽のためのプログラミング言語mimium(MInimal-Musical-medIUM)\cite{Matsuura2021}では、ラムダ計算に遅延とフィードバックを基本構文として組み込むことで、汎用プログラミング言語と同様の構文を維持しながら、信号処理を簡潔に表現することができる。ただ、mimiumのこれまでの問題として、意味論が厳密に定義できていないために、遅延やフィードバックを含む内部状態を伴う関数と、再帰的関数や高階関数の組み合わせを含むコードをコンパイルできないという点があった。 + +本稿では、W-calculusの2つの制限（非線形システムと高階関数）を緩和する形で設計された、mimiumの中間表現となる計算モデル$\lambda_{mmm}$を提案する。以降の節では、まず第2節で$\lambda_{mmm}$のシンタックスと型付け規則、ナイーブな操作的意味論を簡単に紹介する。この操作的意味論は現実的に直接リアルタイム実行することが難しいため、実際のmimiumの実行環境では、$\lambda_{mmm}$を実際に実行するための仮想機械(VM)とその命令セットを持つ。第3章ではこのVMおよび命令セットの設計について概説する。第4節では、現状の$\lambda_{mmm}$を下敷きにしたmimiumの設計の今後の課題および展望を3つの視点で議論する。1つ目は、計算がグローバル環境の評価時に発生するのか、実際の信号処理中に発生するのかをユーザーが区別しなければならないという問題である。2つ目は、if式による部分的な内部状態更新を許すかどうかが信号処理の表現できる範囲およびユーザー体験に大きな影響を与えるという点である。3つ目は、$\lambda_{mmm}$の中間表現を取り入れることで外部関数の呼び出しが容易になるという点である。 + \section{音楽のためのプログラミング言語mimiumの仕様} @@ -84,7 +87,7 @@ mimiumの開発は、2019年度未踏IT人材発掘・育成事業の支援の % BibTeX を使用する場合 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% \bibliographystyle{ipsjsort} -\bibliography{ref} +\bibliography{ref_bibtex} % BibTeX を使用しない場合 % \begin{thebibliography}{9} diff --git a/src/ref.bib b/src/ref.bib new file mode 100644 index 0000000..b3fb30b --- /dev/null +++ b/src/ref.bib @@ -0,0 +1,11387 @@ +@inproceedings{10.1007/978-3-030-39197-3_9, + title = {A {{Timed IO Monad}}}, + booktitle = {Practical {{Aspects}} of {{Declarative Languages}}}, + author = {Janin, David}, + editor = {Komendantskaya, Ekaterina and Liu, Yanhong Annie}, + date = {2020}, + pages = {131--147}, + publisher = {Springer International Publishing}, + location = {Cham}, + abstract = {Programming with explicit timing information is often tedious and error prone. This is especially visible in music programming where, when played, the specified durations of notes and rests must be shortened in order to compensate the actual duration of all surrounding processing. In this paper, we develop the notion of timed extension of a monad that aims at relieving programmers from such a burden. We show how, under simple conditions, such extensions can be built, and how useful features of monad programming such as asynchronous concurrency with promises or data-flow programming with monadic streams can be uniformly lifted to the resulting timed programming framework. Even though presented and developed in the abstract, the notion of timed extension of a monad is nevertheless illustrated by two concrete instances: a default timed IO monad where programmers specify durations in microseconds, and a musically timed IO monad, where programmers specify durations in number of beats, the underlying tempo, that is, the speed of the music in beats per minute, possibly changed whenever needed.}, + isbn = {978-3-030-39197-3}, + file = {/Users/tomoya/Zotero/storage/TAG26UB7/timediomonads.pdf} +} + +@inproceedings{10.1007/BFb0031988, + title = {Logics and Models of Real Time: {{A}} Survey}, + booktitle = {Real-{{Time}}: {{Theory}} in {{Practice}}}, + author = {Alur, Rajeev and Henzinger, Thomas A}, + editor = {family=Bakker, given=J W, prefix=de, useprefix=true and Huizing, C and family=Roever, given=W P, prefix=de, useprefix=true and Rozenberg, G}, + date = {1992}, + pages = {74--106}, + publisher = {Springer Berlin Heidelberg}, + location = {Berlin, Heidelberg}, + abstract = {We survey logic-based and automata-based languages and techniques for the specification and verification of real-time systems. In particular, we discuss three syntactic extensions of temporal logic: time-bounded operators, freeze quantification, and time variables. We also discuss the extension of finite-state machines with clocks and the extension of transition systems with time bounds on the transitions. All of the resulting notations can be interpreted over a variety of different models of time and computation, including linear and branching time, interleaving and true concurrency, discrete and continuous time. For each choice of syntax and semantics, we summarize the results that are known about expressive power, algorithmic finite-state verification, and deductive verification.}, + isbn = {978-3-540-47218-6} +} + +@article{10.2307/23133906, + title = {{{WHAT IS NEW MEDIA}}? {{TEN YEARS AFTER}} "{{THE LANGUAGE OF NEW MEDIA}}"}, + author = {Galloway, Alexander R}, + date = {2011}, + journaltitle = {Criticism}, + volume = {53}, + number = {3}, + eprint = {23133906}, + eprinttype = {jstor}, + pages = {377--384}, + publisher = {Wayne State University Press}, + issn = {00111589, 15360342}, + url = {http://www.jstor.org/stable/23133906}, + file = {/Users/tomoya/Zotero/storage/X5QALB7Y/23133906.pdf} +} + +@article{10.2307/3681015, + title = {The {{Implementation}} of {{Nyquist}}, {{A Sound Synthesis Language}}}, + author = {Dannenberg, Roger B}, + date = {1997}, + journaltitle = {Computer Music Journal}, + volume = {21}, + number = {3}, + eprint = {3681015}, + eprinttype = {jstor}, + pages = {71--82}, + publisher = {The MIT Press}, + issn = {01489267, 15315169}, + url = {http://www.jstor.org/stable/3681015}, + file = {/Users/tomoya/Zotero/storage/4ADKXUTL/3681015.pdf;/Users/tomoya/Zotero/storage/S74K7X8G/3681015.pdf} +} + +@book{2001, + title = {振動工学 応用編}, + author = {安田, 仁彦}, + date = {2001}, + publisher = {コロナ社}, + isbn = {4-339-04558-6} +} + +@book{2001, + title = {ポスト・テクノ(ロジー)ミュージック―拡散する「音楽」、解体する「人間」}, + editor = {久保田, 晃弘}, + date = {2001}, + publisher = {大村書店}, + isbn = {978-4-7563-2026-1} +} + +@online{2003, + title = {音楽における３つの「相」に基づく「逆シミュレーション音楽」の定義}, + author = {眞弘, 三輪}, + date = {2003}, + url = {http://www.iamas.ac.jp/~mmiwa/rsmDefinition.html}, + urldate = {2019-01-14} +} + +@incollection{2005, + title = {技術と音楽についての自動筆記風覚書}, + booktitle = {ユリイカ 特集＊ポスト・ノイズ 越境するサウンド}, + author = {村井, 啓哲}, + date = {2005}, + volume = {37}, + number = {3}, + pages = {133--140}, + publisher = {青土社}, + isbn = {4-7917-0131-3} +} + +@article{2005, + title = {ポスト・ノイズ/ポスト・デジタルへの断章}, + author = {畠中, 実}, + date = {2005}, + journaltitle = {ユリイカ 特集＊ポスト・ノイズ 越境するサウンド}, + volume = {37}, + number = {3}, + pages = {70--77} +} + +@online{2006, + title = {Byte {{Magazine}} - {{Talking Terminal Article}}}, + date = {2006-06-25}, + url = {https://web.archive.org/web/20060625225004/http://www.edstoffel.com/david/talkingterminals.html}, + urldate = {2024-06-18}, + file = {/Users/tomoya/Zotero/storage/NPZJ5BK2/talkingterminals.html} +} + +@article{2015, + title = {「話す機械」としてのフォノグラフ―録音再生技術史再考}, + author = {秋吉, 康晴}, + date = {2015}, + journaltitle = {京都精華大学紀要}, + volume = {47}, + pages = {4--31}, + file = {/Users/tomoya/Zotero/storage/78AH62S8/秋吉_2015_「話す機械」としてのフォノグラフ―録音再生技術史再考.pdf} +} + +@book{2015, + title = {融けるデザイン ―ハード×ソフト×ネット時代の新たな設計論}, + author = {恵太, 渡邊}, + date = {2015}, + publisher = {BNN新社}, + isbn = {4-86100-938-3} +} + +@article{2015, + title = {算道 - 演算によって計算が表出する瞬間 -}, + author = {山本, 一彰 and 三輪, 眞弘}, + date = {2015}, + journaltitle = {先端芸術音楽創作学会 会報}, + volume = {7}, + number = {3}, + pages = {13--18}, + abstract = {任意のアルゴリズムを実行できることを計算完備とい う。つまり計算完備であれば四則演算はもちろんのこ と、条件分岐や繰り返し処理 および構造体を用いた計 算が可能である。したがってノイマン型計算機は計算完 備であり、計算器 (人間が計算するために用いる補助道 具) であるそろばんは計算完備ではなかった。しかし、 計算完備である計算器は構築できると考え、実際に論理 珠算という計算手法とそれに対応する計算器"論理算盤" を開発した。そして「計算とは何か」を求めるために算 道という概念を論理珠算を内包する形で構成した。 一般に計算の方法は数学によって整然と構築されてお り、明解であるように思えるが、計算そのものは静的な ものではなく動的であるがゆえに捉えづらい。つまり、 計算が行われる瞬間とそれを含む連続的な空間にこそ計 算があり、それは記述不可能である。しかしながら、論 理珠算を実際に行うことによって計算の実体を表出させ ることができる、ということが本論文の主旨であり、算 道の理念の根拠にもなっている。}, + file = {/Users/tomoya/Zotero/storage/3YYU92QL/m-api-3274f4fb-2158-77bd-0771-b259dc699adf.pdf} +} + +@online{2016, + title = {メディアアートへの視座（2）----メディア考古学-- - メディア芸術カレントコンテンツ}, + author = {太田, 純貴}, + date = {2016}, + url = {https://mediag.bunka.go.jp/article/media-archeology/}, + urldate = {2019-01-23} +} + +@article{2017, + title = {音声音響符号化技術の進展―線形予測分析の貢献}, + author = {守谷, 健弘 and 鎌本, 優 and 原田, 登 and 杉浦, 亮介}, + date = {2017}, + journaltitle = {電子情報通信学会 基礎・境界ソサイエティ Fundamentals Review}, + volume = {10}, + number = {4}, + pages = {246--256}, + file = {/Users/tomoya/Zotero/storage/IVQES9XC/m-api-510c5c55-707b-404b-0787-3ddd61a7144f.pdf} +} + +@thesis{2019, + title = {メディア考古学的視点から音の生成を再考する3つの作品制作}, + author = {松浦, 知也}, + date = {2019}, + institution = {九州大学大学院}, + file = {/Users/tomoya/Zotero/storage/6CUS4SVW/松浦 - 2019 - メディア考古学的視点から音の生成を再考する3つの作品制作.pdf} +} + +@online{2020, + title = {Make: {{Japan}} | ものをつくらないものづくり \#1 — 『{{Handmade Electronic Music}}』から再考する「手作り」のルーツ}, + author = {久保田, 晃弘}, + date = {2020}, + url = {https://makezine.jp/blog/2020/08/make_without_making_01.html}, + urldate = {2021-10-19} +} + +@online{2020a, + title = {『The Last of Us Part II』アクセシビリティ機能の詳細を紹介}, + date = {2020-06-10T18:00:48+09:00}, + url = {https://blog.ja.playstation.com/2020/06/10/20200610-tlou2/}, + urldate = {2024-06-19}, + abstract = {◆2020年8月21日(金)更新2020年8月14日(金)に行なわれたアップデートにより各種設定、アクセシビリティ機能が追加、調整されました。詳細は記事末尾の追加情報をご覧ください。 ※本記事はUS版PlayStatio […]}, + language = {ja}, + organization = {PlayStation.Blog 日本語}, + file = {/Users/tomoya/Zotero/storage/DCZHDRQJ/20200610-tlou2.html} +} + +@online{2024, + title = {Low {{Vision Game Review}} - {{The Last}} of {{Us Part II Remastered}} - {{Game Accessibility Nexus}}}, + date = {2024-01-16}, + url = {https://www.gameaccessibilitynexus.com/blog/2024/01/16/the-last-of-us-part-ii-remastered-low-vision-review/}, + urldate = {2024-06-19}, + abstract = {The Last of Us Part 2 is a renowned game, praised for its accessibility features. This Remastered version introduces the No Return mode, a roguelike experience. This is our Low Vision Accessibility review.}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/GY3CEV2H/the-last-of-us-part-ii-remastered-low-vision-review.html} +} + +@book{a.satutimanPurantoZhuangKuangDeXingWeiRenJianJiJiekomiyunikesiyonnoKeNengXing28, + title = {プランと状況的行為ー人間‐機械コミュニケーションの可能性}, + author = {A. サッチマン, ルーシー}, + translator = {佐伯, 胖 and 水川, 喜文 and 上野, 直樹 and 鈴木, 栄幸}, + date = {28}, + publisher = {産業図書}, + isbn = {978-4-7828-0126-0}, + pagetotal = {218} +} + +@article{Aaron2013, + title = {From {{Sonic Pi}} to Overtone: {{Creative}} Musical Experiences with Domain-Specific and Functional Languages}, + author = {Aaron, Samuel and Blackwell, Alan F.}, + date = {2013}, + journaltitle = {Proceedings of the ACM SIGPLAN International Conference on Functional Programming, ICFP}, + pages = {35--46}, + doi = {10.1145/2505341.2505346}, + abstract = {Domain Specific and Functional languages provide an excellent linguistic context for exploring new forms of music notation - not just for formalising compositions but also for live interaction workflows. This experience report describes two novel live coding systems that employ code execution to modify live sounds and music. The first of these systems, Sonic Pi, aims at teaching core computing notions to school students using live-coded music as a means of stimulating and maintaining student engagement. We describe how an emphasis on a functional style improves the ease in which core computer science concepts can be communicated to students. Secondly we describe Overtone, a functional language and live coding environment aimed towards professional electronic musicians. We describe how Overtone's abstractions and architecture strongly benefit from a functional-oriented implementation. Both Sonic Pi and Overtone are freely available open-source platforms.}, + isbn = {9781450323864}, + keywords = {Computational thinking,Live coding,Pedagogy,Raspberry Pi,Sound synthesis}, + file = {/Users/tomoya/Zotero/storage/BDBWTQLL/2505341.2505346.pdf;/Users/tomoya/Zotero/storage/I4Z4L95Y/2505341.2505346.pdf} +} + +@article{aarondominicorchardalanblackwellTemporalSemanticsLive2014, + title = {Temporal Semantics for a Live Coding Language}, + author = {Aaron Dominic Orchard Alan Blackwell, Samuel F}, + date = {2014}, + doi = {10.1145/2633638.2633648}, + url = {http://kar.kent.ac.uk/57489/}, + urldate = {2021-03-18}, + abstract = {Sonic Pi is a music live coding language that has been designed for educational use as a first programming language. However, it is not straightforward to achieve the necessary simplicity of a first language in a music live coding setting, for reasons largely related to the manipulation of time. The original version of Sonic Pi used a 'sleep' function for managing time, blocking computation for a specified time period. However, while this approach was conceptually simple, it resulted in badly timed music, especially when multiple musical threads were executing concurrently. This paper describes an alternative programming approach for timing (imple-mented in Sonic Pi v2.0) which maintains syntactic compatibility with v1.0, yet provides accurate timing via interaction between real time and a "virtual time". We provide a formal specification of the temporal behaviour of Sonic Pi, motivated in relation to other recent approaches to the semantics of time in live coding and general computation. We then define a monadic model of the Sonic Pi temporal semantics which is sound with respect to this specification, using Haskell as a metalanguage.}, + isbn = {9781450330398}, + keywords = {D32 [Programming Languages]: Applicative (func-tional) languages,F32 [Logics and Meanings of Programs]: Semantics of Programming Languages,H55 [Information Inter-faces and Presentation]: Sound and Music Computing,J5 [Arts and Humanities]: Music Keywords time,live coding,monads,music,temporal semantics}, + file = {/Users/tomoya/Zotero/storage/7NL2HPZZ/full-text.pdf} +} + +@article{abdulrazzaqSeparationAzeotropicMixtures2016, + title = {Separation of Azeotropic Mixtures Using Air Microbubbles Generated by Fluidic Oscillation}, + author = {Abdulrazzaq, Nada and Al-Sabbagh, Baseem and Rees, Julia M. and Zimmerman, William B.}, + date = {2016}, + journaltitle = {AIChE Journal}, + volume = {62}, + number = {4}, + eprint = {23641116}, + eprinttype = {pmid}, + pages = {1192--1199}, + issn = {00011541}, + doi = {10.1002/aic.15097}, + abstract = {The effect of fouling in heat-transfer devices (HTDs) is complicated by aging of the fouling deposits. Aging is, like deposition, often sensitive to temperature, so that heat transfer, deposition, and aging are coupled phenomena. Ishiyama et al. (AIChE J. 2010;56:531–545) presented a distributed model of the aging of deposits formed by chemical reaction fouling and illustrated its effect on thermal and hydraulic performance of a HTD operating in the turbulent flow regime. Two-layer models, simpler than the distributed model, are explored. The deposit is considered to consist of two layers, fresh and aged; this simple picture is shown to be sufficient to interpret thermal and hydraulic aspects of deposit aging when HTDs are operated at constant heat flux (as reflecting laboratory experiments) but not in cases where the constant wall temperature approximation is more realistic.}, + isbn = {9783902661548}, + keywords = {bubble columns,distillation,evaporation,heat transfer,mass transfer}, + file = {/Users/tomoya/Zotero/storage/3QSYP9MY/Abdulrazzaq et al._2016_Separation of azeotropic mixtures using air microbubbles generated by fluidic oscillation.pdf} +} + +@online{Ableton2019, + title = {Max for {{Live}}}, + author = {{Ableton}}, + date = {2019}, + url = {https://www.ableton.com/ja/live/max-for-live/}, + urldate = {2019-05-27} +} + +@thesis{ABuZhengYingJinHuaLunDeJiSuanShouFaniyoruShiYingdeizitaruhuirutaniGuansuruYanJiu1999, + title = {進化論的計算手法による 適応ディジタルフィルタに 関する研究}, + author = {{阿部正英}}, + date = {1999}, + institution = {Tohoku University}, + pagetotal = {1-150}, + file = {/Users/tomoya/Zotero/storage/Z8XIUYAY/阿部正英_1999_進化論的計算手法による 適応ディジタルフィルタに 関する研究.pdf} +} + +@online{AcousticalSocietyAmerica, + title = {Acoustical {{Society}} of {{America}} - {{Acousto-Fluidic Sound Augmentation}} for {{Orthodox Jewish Worship Spaces}}}, + url = {https://acoustics.org/pressroom/httpdocs/132nd/2aaa8.html}, + urldate = {2021-01-06} +} + +@article{agonOMChromaCompositionalControl2013, + title = {{{OMChroma}} : {{Compositional Control}} of {{Sound Synthesis OMChroma}} : {{Compositional Control}} of {{Sound Synthesis}}}, + author = {Agon, Carlos and Bresson, Jean and Stroppa, Marco}, + date = {2013}, + volume = {35}, + number = {2}, + pages = {67--83}, + file = {/Users/tomoya/Zotero/storage/I5K25XSF/Agon, Bresson, Stroppa_2013_OMChroma Compositional Control of Sound Synthesis OMChroma Compositional Control of Sound Synthesis.pdf} +} + +@online{AirPodsYaBeats, + title = {AirPods や Beats で空間オーディオを体験する}, + url = {https://support.apple.com/ja-jp/HT211775}, + urldate = {2022-01-31}, + abstract = {ただ映画やビデオを観るだけでも、空間オーディオとダイナミックヘッドトラッキングで映画館さながらのサウンドを体感できます。まるで全方位から音に包み込まれるかのような感覚です。}, + language = {ja}, + organization = {Apple Support}, + file = {/Users/tomoya/Zotero/storage/PSCCPQRL/HT211775.html} +} + +@article{Akiyoshi2016, + title = {電話の考古学 ―話す機械，音響合成器，フォノトグラフ―}, + author = {秋吉, 康晴}, + date = {2016}, + journaltitle = {人文学部研究論集}, + volume = {37}, + pages = {45--69}, + issn = {1344-6037}, + url = {https://researchmap.jp/akiyoshi-/published_papers/21863924}, + file = {/Users/tomoya/Zotero/storage/YQN6SET3/秋吉_2016_電話の考古学 ―話す機械，音響合成器，フォノトグラフ―.pdf} +} + +@article{akiyoshiLivingInstrumentsCircuitbending, + title = {Living {{Instruments}}: {{Circuit-bending}} toward a New Materialism of Technoculture in the {{Anthropocene}}}, + author = {Akiyoshi, Yasuharu}, + journaltitle = {Journal of Global pop Cultures}, + volume = {2}, + url = {https://journalofglobalpopcultures.com/issues/real-fake-fake-realness/living-instruments-circuit-bending-toward-a-new-materialism-of-technoculture-in-the-anthropocene} +} + +@article{alanizBlackBoxInputs2020, + title = {Before the “{{Black Box}}”: {{The Inputs}} and {{Outputs}} of {{Nineteenth-century Deep-sea Science}}}, + author = {Alaniz, Rodolfo John}, + date = {2020}, + journaltitle = {Science Technology and Human Values}, + volume = {45}, + number = {4}, + pages = {596--617}, + issn = {15528251}, + doi = {10.1177/0162243919881201}, + abstract = {Nineteenth-century investigations of the deep sea provide a case study for black box science. Naturalists were forced to theorize about a space for which they had no direct sensory observations. This study traces the emergence of bathymetry and deep-sea biology and then analyzes how men of science dealt with the uncertainty associated with their black box practices. I argue that these investigators created multiple types of black boxes based on their uncertainties and that these black boxes did not operate equivalently. Consequently, scholars should be aware of the different categories of black boxes when they describe scientific practices.}, + isbn = {0162243919881}, + keywords = {bathymetry,black box,deep-sea biology,history of science,modeling the unobservable,scientific uncertainty}, + file = {/Users/tomoya/Zotero/storage/URNANW4W/10.1177@0162243919881201.pdf} +} + +@article{algorithmicMichaelEdwardsAlgorithmic2011, + title = {Michael {{Edwards}}. {{Algorithmic Composition}}: {{Computational Thinking}} in {{Music}}}, + author = {Algorithmic, Michael Edwards and Edwards, Michael}, + date = {2011}, + journaltitle = {Communications of the Association for Computing Machinery}, + volume = {54}, + number = {7}, + pages = {58--67}, + publisher = {ACM}, + url = {https://www.research.ed.ac.uk/en/publications/michael-edwards-algorithmic-composition-computational-thinking-in}, + urldate = {2021-03-16}, + abstract = {Despite the still-prevalent but essentially nineteenth century perception of the Western creative artist, an algorithmic approach to music composition has been in evidence in Western classical music for at least one thousand years. The history of algorithmic composition-from both before and after the invention of the digital computer-will be presented along with specific techniques and musical examples from the distant and recent past.}, + isbn = {1254130101}, + keywords = {Algorithmic Composition,Au-tomatic Composition,Computer Music,Computer-aided Composition,Lejaren Hiller,Ligeti,Stochastic Music,Xenakis}, + file = {/Users/tomoya/Zotero/storage/ZF3ZU8KC/full-text.pdf} +} + +@article{Allen2015, + title = {Aerophones in Flatland}, + author = {Allen, Andrew and Raghuvanshi, Nikunj}, + date = {2015-07-27}, + journaltitle = {ACM Transactions on Graphics}, + volume = {34}, + number = {4}, + pages = {134:1-134:11}, + publisher = {ACM}, + issn = {07300301}, + doi = {10.1145/2767001}, + url = {http://dl.acm.org/citation.cfm?doid=2809654.2767001}, + urldate = {2019-01-23}, + keywords = {graphics processor (GPU),radiation,scattering,sound synthesis,wave equation,wind instruments} +} + +@thesis{allenRurataePhysicsbasedAudio2014, + title = {Ruratae: A Physics-Based Audio Engine {{Permalink}}}, + author = {Allen, Andrew Stewert}, + date = {2014}, + institution = {University of California, San Diego}, + url = {https://escholarship.org/uc/item/2cq7z9kv}, + file = {/Users/tomoya/Zotero/storage/KB26HRVL/Allen_2014_Ruratae a physics-based audio engine Permalink.pdf} +} + +@article{allenTX0PRESENT1984, + title = {{{THE TX-0}}: {{PAST}} and {{PRESENT}}}, + author = {Allen, John and Bell, Gordon and Dennis, Jack and Gilmore, Jack and Graetz, Shag and Gross, Dave and Kotok, Alan and McKenzie, John and Morse, Harrison Dit and Peterson, Phil and Ross, Doug and Shultz, Stan and Ward, John}, + date = {1984}, + journaltitle = {THE COMPUTER MUSIC REPORT}, + volume = {8}, + pages = {2--11}, + url = {http://tcm.computerhistory.org/reports/TCMReportSpring1984.pdf}, + file = {/Users/tomoya/Zotero/storage/28ZDLFGI/TCMReportSpring1984.pdf} +} + +@online{alvinlucierMyAffairsFeedback, + title = {My {{Affairs}} with {{Feedback}}}, + author = {{Alvin Lucier}}, + url = {http://mikroton.net/feedback/my-affairs-with-feedback/}, + urldate = {2018-07-14} +} + +@thesis{amatriainObjectOrientedMetamodelDigital2005, + title = {An {{Object-Oriented Metamodel}} for {{Digital Signal Processing}} with a Focus on {{Audio}} and {{Music}}}, + author = {Amatriain, X.}, + date = {2005}, + journaltitle = {Department of Information and Communication Technologies}, + institution = {Universitat Pompeu Fabra}, + url = {http://hdl.handle.net/10803/667051}, + urldate = {2020-03-20}, + abstract = {Classical models for information transmission such as Shannon and Weaver's still tend to be looked at as the only possible scenarios where signal processing applications can be formally modeled. Meanwhile, other disciplines like Computer Science have developed different paradigms that offer the possibility of looking at the same problem from a different perspective. One of the most favored approaches for software analysis and design is the Object Oriented paradigm, which proposes to model a system in terms of objects and relations between objects. An object is an instance of a real world or abstract concept and it is made up of an identity, a state, and a behavior. An object oriented system is thus described in terms of its internal objects, messages that are passed in between them and the way these objects respond to incoming messages by executing a particular method. Although object oriented technologies have been applied to signal processing systems, no previous comprehensive approach has been made to translate all the advantages and consequences, both practical and formal, of this paradigm to the signal processing domain. This dissertation defends the thesis that a generic signal processing system can be thoroughly and effectively described using the object oriented paradigm. For doing so, the Digital Signal Processing Object Oriented Metamodel offers a classification of signal processing objects in terms of their role in a DSP system. Objects are classified into two main categories: objects that process and objects that act as data containers. This 00 metamodel turns out to be closely related to Dataflow Process Networks, a graphical model of computation that has already proven useful for modeling signal processing systems. In our study we highlight the similarities of both models to conclude that object-orientation is in fact a superset of process-oriented models and therefore the object-oriented paradigm can be proposed as a general approach for system modeling. Furthermore, it turns out that nowadays the natural target for many signal processing applications is the computer and its software environment and the objectoriented paradigm becomes a natural conceptual framework where the different development phases fit. CLAM (C++ Library for Audio and Music) is a framework for developing music and audio applications that has been designed bearing this conceptual model in mind. CLAM is both the origin and the proof of concept of the Metamodel. On one hand its design process and rationale has led to the definition of the metamodel. On the other hand, it demonstrates that the metamodel proposed is more than an abstract wish-list and can be used to model working and efficient applications in the music and audio domain. The basic Object Oriented metamodel for signal processing systems can be extended to include the idea of Content Based Processing. 00 concepts like Inheritance Hierarchies, Polymorphism or Late Binding can be used to model run-time classification of media objects and to deal with the semantic information present in the signal rather than just treating the signal itself. This leads us to the definition of a new metamodel of information transmission that, unlike the traditional ones, does care about meaning. Finally, the 00 paradigm can also be used to model higher-level symbolic domains related to signal processing. For example, music (as a whole) can be effectively modeled using the 00 paradigm. An 00 model for music is proposed as an instance of the basic signal processing metamodel and the MetriX language is presented as its proof of concept.} +} + +@article{amyc.bealjohnholzaepfeldouglaskahnlizkotztamaralevitzjudylochheadArtDavidTudor2004, + title = {The {{Art}} of {{David Tudor}}: {{Indeterminacy}} and {{Performance}} in {{Postwar Culture}}}, + author = {Amy C. Beal, John Holzaepfel, Douglas Kahn, Liz Kotz, Tamara Levitz, Judy Lochhead, Tyrus H. Miller {and} Kristine Stiles}, + date = {2004}, + journaltitle = {Leonardo Music Journal}, + volume = {53}, + number = {9}, + eprint = {25246403}, + eprinttype = {pmid}, + pages = {1689--1699}, + issn = {1098-6596}, + doi = {10.1017/CBO9781107415324.004}, + abstract = {Predicting the binding mode of flexible polypeptides to proteins is an important task that falls outside the domain of applicability of most small molecule and protein−protein docking tools. Here, we test the small molecule flexible ligand docking program Glide on a set of 19 non-α-helical peptides and systematically improve pose prediction accuracy by enhancing Glide sampling for flexible polypeptides. In addition, scoring of the poses was improved by post-processing with physics-based implicit solvent MM- GBSA calculations. Using the best RMSD among the top 10 scoring poses as a metric, the success rate (RMSD ≤ 2.0 Å for the interface backbone atoms) increased from 21\% with default Glide SP settings to 58\% with the enhanced peptide sampling and scoring protocol in the case of redocking to the native protein structure. This approaches the accuracy of the recently developed Rosetta FlexPepDock method (63\% success for these 19 peptides) while being over 100 times faster. Cross-docking was performed for a subset of cases where an unbound receptor structure was available, and in that case, 40\% of peptides were docked successfully. We analyze the results and find that the optimized polypeptide protocol is most accurate for extended peptides of limited size and number of formal charges, defining a domain of applicability for this approach.}, + isbn = {9788578110796}, + keywords = {icle}, + file = {/Users/tomoya/Zotero/storage/8YKZ5VHQ/Amy C. Beal, John Holzaepfel, Douglas Kahn, Liz Kotz, Tamara Levitz, Judy Lochhead_2004_The Art of David Tudor Indeterminacy and Perform.pdf} +} + +@report{andaquartergetsyoucoffeeZincOxideBased2009, + title = {Zinc {{Oxide}}­{{Based Thin}}­{{Film Transistor Experiments}}, {{Episode I}}}, + author = {{andaquartergetsyoucoffee}}, + date = {2009}, + url = {https://www.andaquartergetsyoucoffee.com/wp/wp-content/uploads/2009/05/zinc-oxide-experiments-i.pdf}, + urldate = {2023-08-09}, + file = {/Users/tomoya/Zotero/storage/C4S76DSG/zinc-oxide-experiments-i ja.pdf;/Users/tomoya/Zotero/storage/SDGFNT4I/zinc-oxide-experiments-i.pdf} +} + +@online{andaquartergetsyoucoffeeZincOxideBased2012, + title = {Zinc {{Oxide}}­{{Based Thin}}­{{Film Transistor Experiments}}, {{Episode II}}}, + author = {{andaquartergetsyoucoffee}}, + date = {2012-01-13}, + url = {https://web.archive.org/web/20120113013520/http://www.andaquartergetsyoucoffee.com/wp/wp-content/uploads/2009/06/zinc-oxide-experiments-ii.pdf}, + urldate = {2023-08-09}, + file = {/Users/tomoya/Zotero/storage/SP7PHBQA/2012 - Wayback Machine ja.pdf;/Users/tomoya/Zotero/storage/TEAVR8QE/2012 - Wayback Machine.pdf} +} + +@article{Anderson1990, + title = {A {{System}} for {{Computer Music Performance}}}, + author = {Anderson, David P. and Kuivila, Ron}, + date = {1990}, + journaltitle = {ACM Transactions on Computer Systems (TOCS)}, + volume = {8}, + number = {1}, + pages = {56--82}, + issn = {15577333}, + doi = {10.1145/77648.77652}, + abstract = {A computer music performance system 1990 is a computer system connected to input devices (including musical keyboards or other instruments) and to graphic and audio output devices. A human performer generates input events using the input devices. The CMPS responds to these events by computing and performing sequences of output actions whose intended timing is determined algorithmically. Because of the need for accurate timing of output actions, the scheduling requirements of a CMPS differ from those of general-purpose or conventional real-time systems. This paper describes the scheduling facilities of FORMULA, a CMPS used by many musicians. In addition to providing accurate timing of output action sequences, FORMULA provides other basic functions useful in musical applications: (1) per-process virtual time systems with independent relationships to real time; (2) process grouping mechanisms and language-level control structures with time-related semantics, and (3) integrated scheduling of tasks (such as compiling and editing) whose real-time constraints are less stringent than those of output action computations. © 1990, ACM. All rights reserved.}, + keywords = {Action buffering,deadline scheduling,Design,Human Factors,Languages,message-passing,Performance,process groups,virtual time systems}, + file = {/Users/tomoya/Zotero/storage/627PI276/p56-anderson.pdf;/Users/tomoya/Zotero/storage/PA4GN5XG/p56-anderson.pdf} +} + +@article{andersonAirduinoInexpensiveDiy2012, + title = {Airduino: An {{Inexpensive Diy Midi Wind Controller}}}, + author = {Anderson, Timothy}, + date = {2012}, + journaltitle = {Proceedings of the International Computer Music Conference}, + pages = {420--422}, + issn = {2223-3881}, + url = {http://scholar.google.com/scholar?hl=en&btnG=Search&q=intitle:AIRduino+:+An+Inexpensive+DIY+MIDI+Wind+Controller#0}, + abstract = {windcontroller made with arduino}, + isbn = {1259723275}, + keywords = {accessible to musicians,arduino,breath pressure interested in,bridge the gap of,building a midi controller,cc work to further,diy,electronic instrument,examples on arduino,it becomes much more,midi,the tutorials and}, + file = {/Users/tomoya/Zotero/storage/KU9LMVEA/Anderson_2012_Airduino an Inexpensive Diy Midi Wind Controller.pdf} +} + +@online{andreassend2023, + title = {A {{History}} of {{Audio Description}}}, + author = {Andreassend, Monique}, + date = {2023-04-26T02:26:35+00:00}, + url = {https://www.ai-media.tv/knowledge-hub/insights/history-audio-description/}, + urldate = {2024-06-24}, + language = {en-AU}, + organization = {AI-Media}, + file = {/Users/tomoya/Zotero/storage/S5BBFVH5/history-audio-description.html} +} + +@online{Andrew2016, + title = {Time in {{Extempore}} — {{Extempore}} 0.7.0 Documentation}, + author = {Sorensen, Andrew Carl}, + date = {2016}, + url = {https://digego.github.io/extempore/time.html}, + urldate = {2020-04-06} +} + +@article{antonelloFuturismBrunoMunari2009, + title = {Beyond {{Futurism}}: {{Bruno Munari}}'s {{Useless Machines}}}, + author = {Antonello, Pierpaolo}, + date = {2009}, + pages = {1--45}, + abstract = {This essay is part of an ongoing research project on the relationship between technology and the arts in 20 University of Cambridge}, + issue = {Restany 1999}, + file = {/Users/tomoya/Zotero/storage/N96TS5N3/Antonello_2009_Beyond Futurism Bruno Munari's Useless Machines(2).pdf;/Users/tomoya/Zotero/storage/W9YVD3A9/Antonello_2009_Beyond Futurism Bruno Munari's Useless Machines.pdf} +} + +@online{Ardour, + title = {Lua {{Scripting}} | {{The Ardour Manual}}}, + author = {{Ardour}}, + pages = {2019}, + url = {http://manual.ardour.org/lua-scripting/}, + urldate = {2019-05-27} +} + +@inproceedings{arias2021, + title = {The {{W-calculus}}: {{A Synchronous Framework}} for the {{Verified Modelling}} of {{Digital Signal Processing Algorithms}}}, + booktitle = {Proceedings of the 9th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}}, and {{Design}}}, + author = {Arias, Emilio Jesús Gallego and Jouvelot, Pierre and Ribstein, Sylvain and Desblancs, Dorian}, + date = {2021-08-22}, + volume = {12}, + pages = {35--46}, + publisher = {ACM}, + location = {New York, NY, USA}, + doi = {10.1145/3471872.3472970}, + url = {https://hal-mines-paristech.archives-ouvertes.fr/hal-03322174}, + urldate = {2021-08-30}, + abstract = {We introduce the W-calculus, an extension of the call-byvalue λ-calculus with synchronous semantics, designed to be flexible enough to capture different implementation forms of Digital Signal Processing algorithms, while permitting a direct embedding into the Coq proof assistant for mechanized formal verification. In particular, we are interested in the different implementations of classical DSP algorithms such as audio filters and resonators, and their associated high-level properties such as Linear Time-invariance. We describe the syntax and denotational semantics of the W-calculus, providing a Coq implementation. As a first application of the mechanized semantics, we prove that every program expressed in a restricted syntactic subset of W is linear time-invariant, by means of a characterization of the property using logical relations. This first semantics, while convenient for mechanized reasoning, is still not useful in practice as it requires re-computation of previous steps. To improve on that, we develop an imperative version of the semantics that avoids recomputation of prior stream states. We empirically evaluate the performance of the imperative semantics using a staged interpreter written in OCaml, which, for an input program in W , produces a specialized OCaml program, which is then fed to the optimizing OCaml compiler. The approach provides a convenient path from the high-level semantical description to low-level efficient code. Publication rights licensed to ACM. ACM acknowledges that this contribution was authored or co-authored by an employee, contractor or affiliate of a national government. As such, the Government retains a nonexclusive, royalty-free right to publish or reproduce this article, or to allow others to do so, for Government purposes only.}, + keywords = {Digital Signal Processing,Formal Verification,Linear Time-invariance,Programming Language Semantics,Synchronous Programming}, + file = {/Users/tomoya/Downloads/3472970-vor.pdf;/Users/tomoya/Zotero/storage/C48ATPES/full-text.pdf} +} + +@article{Ariza2011, + title = {Two {{Pioneering Projects}} from the {{Early History}} of {{Computer-Aided Algorithmic Composition}}}, + author = {Ariza, Christopher}, + date = {2011-09-02}, + journaltitle = {Computer Music Journal}, + volume = {35}, + number = {3}, + pages = {40--56}, + publisher = {MIT Press 55 Hayward St., Cambridge, MA 02142-1315 USA journals-info@mit.edu}, + issn = {0148-9267}, + doi = {10.1162/COMJ_a_00068}, + url = {http://www.mitpressjournals.org/doi/10.1162/COMJ_a_00068}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/ZSFI2MV7/full-text.pdf} +} + +@article{armitageCraftingDigitalMusical2018, + title = {Crafting {{Digital Musical Instruments}} : {{An Exploratory Workshop Study}}}, + author = {Armitage, Jack and Mcpherson, Andrew}, + date = {2018}, + pages = {281--286}, + file = {/Users/tomoya/Zotero/storage/WKUGAF6X/Armitage, Mcpherson_2018_Crafting Digital Musical Instruments An Exploratory Workshop Study.pdf} +} + +@article{armitageDiscourseNetworksCultural2000, + title = {From {{Discourse Networks}} to {{Cultural Mathematics}}, {{An Interview}} with {{Friedrich A}}. {{Kittler}}}, + author = {Armitage, John}, + date = {2000}, + journaltitle = {Theory, Culture \& Society}, + volume = {23}, + number = {7-8}, + pages = {17--38}, + doi = {10.1177/0263276406069880}, + file = {/Users/tomoya/Zotero/storage/2DWRBKYS/full-text.pdf} +} + +@article{arslanPhoneFlowCombining, + title = {The {{Phone}} with the {{Flow}}: {{Combining Touch}} + {{Optical Flow}} in {{Mobile Instruments}}}, + author = {Arslan, Cagan and Berthaut, Florent and Martinet, Jean and Bilasco, Ioan Marius and Grisoni, Laurent}, + pages = {148--151}, + url = {https://hal.archives-ouvertes.fr/hal-01809210/document}, + abstract = {Mobile devices have been a promising platform for musical performance thanks to the various sensors readily available on board. In particular, mobile cameras can provide rich input as they can capture a wide variety of user gestures or environment dynamics. However, this raw camera input only provides continuous parameters and requires expensive computation. In this paper, we propose combining camera based motion/gesture input with the touch input, in order to filter movement information both temporally and spa-tially, thus increasing expressiveness while reducing compu-tation time. We present a design space which demonstrates the diversity of interactions that our technique enables. We also report the results of a user study in which we observe how musicians appropriate the interaction space with an example instrument.}, + keywords = {@BULLETComputing methodologies → Motion capture,Author Keywords Mobile instruments,Optical flow}, + file = {/Users/tomoya/Zotero/storage/CSQG9A5A/Arslan et al._Unknown_The Phone with the Flow Combining Touch Optical Flow in Mobile Instruments.pdf} +} + +@article{arsovCelebrating65thAnniversary2013, + title = {Celebrating 65th {{Anniversary}} of the {{Transistor}}}, + author = {Arsov, Goce}, + date = {2013-02-03}, + journaltitle = {Electronics ETF}, + shortjournal = {Electronics ETF}, + volume = {17}, + doi = {10.7251/ELS1317063A}, + abstract = {The paper is dedicated to the 65th anniversary of the invention of the revolutionary electronic component that actually changed our way of life-the transistor. It recounts the key historical moments leading up to the invention of the first semiconductor active component in 1947. The meaning of the blend "transistor" is explained using the memorandum issued by Bell Telephone Laboratories. Certain problems appeared in the engineering phase of the transistor development and the new components obtained as a result of this research are reviewed. The impact of this invention on the development of power electronics is being emphasized. Finally, the possibility that the most important invention of the 20th century has been conceived not once but twice is discussed.}, + file = {/Users/tomoya/Zotero/storage/YYNJ82CK/Arsov - 2013 - Celebrating 65th Anniversary of the Transistor.pdf} +} + +@article{article, + title = {A Principled Approach to Developing New Languages for Live Coding}, + author = {Aaron, Samuel and Blackwell, Alan and Hoadley, Richard and Regan, Tim}, + date = {2011}, + file = {/Users/tomoya/Zotero/storage/JLX8Q5PE/A_principled_approach_to_developing_new_languages_.pdf} +} + +@misc{ArtPNGGlitch2015, + title = {The {{Art}} of {{PNG Glitch}} | 審査委員会推薦作品 | アート部門 | 第19回 2015年 | 文化庁メディア芸術祭 歴代受賞作品}, + date = {2015}, + url = {http://archive.j-mediaarts.jp/festival/2015/art/works/19aj_the_art_of_png_glitch/}, + urldate = {2021-10-29} +} + +@online{ArtPNGGlitch2015a, + title = {The {{Art}} of {{PNG Glitch}} | 審査委員会推薦作品 | アート部門 | 第19回 2015年 | 文化庁メディア芸術祭 歴代受賞作品}, + date = {2015}, + url = {http://archive.j-mediaarts.jp/festival/2015/art/works/19aj_the_art_of_png_glitch/}, + urldate = {2021-10-29} +} + +@misc{asprayInterviewARTHURBURKS1987, + title = {An {{Interview}} with {{ARTHUR W}}. {{BURKS}}}, + author = {Aspray, William}, + date = {1987}, + pages = {1--14}, + file = {/Users/tomoya/Zotero/storage/35VRK8S5/Unknown_1987_No Title.pdf} +} + +@article{assayagComputerassistedCompositionIRCAM1999, + title = {Computer-Assisted Composition at {{IRCAM}}: {{From}} Patchwork to Openmusic}, + author = {Assayag, Gérard and Rueda, Camilo and Laurson, Mikael and Agon, Carlos and Delerue, Olivier}, + date = {1999-03-13}, + journaltitle = {Computer Music Journal}, + volume = {23}, + number = {3}, + pages = {59--72}, + publisher = {MIT Press Journals}, + issn = {01489267}, + doi = {10.1162/014892699559896}, + file = {/Users/tomoya/Zotero/storage/L29YQPHV/014892699559896.pdf} +} + +@software{astorGwion2017, + title = {Gwion}, + author = {Astor, Jérémie}, + date = {2017}, + origdate = {2016-09-26T19:21:17Z}, + url = {https://github.com/Gwion/Gwion}, + urldate = {2022-01-27}, + abstract = {:musical\_note: strongly-timed musical programming language}, + organization = {Gwion}, + keywords = {audio,chuck,compiler,composition,hacktoberfest,interpreter,lang,language,music,programming-language,real-time,realtime-audio,sound,synth,synthesis} +} + +@book{atariNoizuYinLeHuoBi2012, + title = {ノイズ―― 音楽/貨幣/雑音}, + author = {アタリ, ジャック and 陣野, 俊史}, + translator = {金塚, 貞文}, + date = {2012-04-01}, + publisher = {みすず書房}, + isbn = {978-4-622-08351-1} +} + +@inproceedings{athertonChunityIntegratedAudiovisual2018, + title = {Chunity : {{Integrated Audiovisual Programming}} in {{Unity}}}, + booktitle = {Proceedings of {{New Interfaces}} for {{Musical Expression}}}, + author = {Atherton, Jack and Wang, Ge}, + date = {2018}, + pages = {102--107}, + location = {Blacksburg, Virginia, US}, + file = {/Users/tomoya/Zotero/storage/7VML652G/Atherton, Wang_Unknown_Chunity Integrated Audiovisual Programming in Unity.pdf} +} + +@book{attaliNoisePoliticalEconomy2009, + title = {Noise {{The Political Economy}} of {{Music}}}, + author = {Attali, Jacques}, + date = {2009}, + journaltitle = {History}, + issn = {00141836}, + isbn = {978-0-8166-1286-4}, + file = {/Users/tomoya/Zotero/storage/Q3DM4HV8/Attali_2009_The Political Economy of Music.pdf} +} + +@article{augerAlternativePresentsSpeculative2010, + title = {Alternative {{Presents}} and {{Speculative Futures}}: {{Designing}} Fictions through the Extrapolation and Evasion of Product Lineages.}, + author = {Auger, James}, + date = {2010-10}, + journaltitle = {Negotiating futures ? Design Fiction.}, + volume = {6}, + pages = {42--57}, + publisher = {Swiss Design Network}, + url = {https://researchonline.rca.ac.uk/1093/}, + abstract = {The core question addressed by this invited keynote and conference paper is how fictions are designed to negotiate, critique and realise the multiplicity of possible new technological futures. Focusing on methods, processes and strategies the presentation initially describes how things/technologies become products, employing the perspective of domestication to describe the transition from extraordinary to everyday. This development suggests a product history, a traceable lineage that goes back through generations, each one a small iteration of the previous. By modelling this lineage, design fictions can do two things: 1. Project current emerging technological development to create Speculative Futures: hypothetical products of tomorrow. 2. Break free of the lineage to speculate on Alternative Presents. These fictions effectively act as cultural litmus paper, either offering vignettes of how it might be to live with the technology in question or challenging contemporary applications of technology through demonstrable alternatives. The presentation focused on how these two types of fiction are created, how they differ from science fiction, other modes of future thinking and technological critique - more specifically how both methodologies utilise designed artefacts. What informs the development, aesthetics, behaviour, interactions and function of these objects? Once created, how and where do they operate? How can we gauge and understand their impact and meaning? As a consequence of the presentation Auger was invited to run workshops and projects in Basel (Hochschule für Gestaltung und Kunst) and HEAD (Haute école d?art et de design), Geneva and is advising on the design of a new masters programme at the Basel Hochschule.}, + file = {/Users/tomoya/Zotero/storage/7DH3QHUB/AP&SF_2010.pdf;/Users/tomoya/Zotero/storage/S7B3FWUW/AP&SF_2010.pdf} +} + +@online{avant.orgArtManagement0000, + title = {The {{Art}} of {{Management}}}, + author = {Avant.org and Myers, Rhea}, + year = {00:00:00 +0000 UTC}, + url = {http://avant.org/project/art-of-management/}, + urldate = {2021-12-12}, + abstract = {Glimpse the alternate future of cybernetic management.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/33L8RIBK/art-of-management.html;/Users/tomoya/Zotero/storage/Q8UVBTGF/art-of-management.html} +} + +@online{Baecker2011, + title = {Ralf Baecker - {{Irrational Computing}}}, + author = {Baecker, Ralf}, + date = {2011}, + url = {http://www.rlfbckr.org/work/irrational-computing/}, + urldate = {2019-01-23} +} + +@article{BaiLaiGaoZhouBoKongQiZhenDonggaLeYinnoYinZhinioYobosuXinLiDeYingXiangnituitenoJianTao, + title = {高周波空気振動が楽音の音質にお よぼす心理的影響についての検討}, + author = {百瀬, 翔太 and 降旗, 建治}, + keywords = {hypersonic effect,ultraso d}, + file = {/Users/tomoya/Zotero/storage/FVBHEJHZ/_.pdf} +} + +@article{BaiLaiShengLiDeCeMiankaraJiantaLeYinnoGaoZhouBoKongQiZhenDongChengFennoYingXiang, + title = {生理的側面から見た楽音の高周波空気振動成分の影響}, + author = {百瀬, 翔太 and 降旗, 建治}, + keywords = {hypersonic e 丘 bct}, + file = {/Users/tomoya/Zotero/storage/LDP2NPWW/file.pdf} +} + +@book{baileyInpurovuizesiyonJiXingYanZounoBiFanghe1981, + title = {インプロヴィゼーション―即興演奏の彼方へ}, + author = {Bailey, Derek and 竹田, 賢一 and 木幡, 和枝 and 斉藤, 栄一}, + date = {1981}, + publisher = {Kōsakusha}, + isbn = {4-87502-222-0} +} + +@article{BaiLiuZhituteokitaikiwadoDi118HuiObuziekutoodeio2017, + title = {知っておきたいキーワード 第118回 オブジェクトオーディオ}, + author = {白柳, 亨}, + date = {2017}, + journaltitle = {映像情報メディア学会誌}, + volume = {71}, + number = {6}, + pages = {846--848}, + url = {https://www.ite.or.jp/contents/keywords/1711keyword.pdf}, + urldate = {2022-01-31}, + language = {japanese}, + file = {/Users/tomoya/Zotero/storage/HJ74L5C2/1711keyword.pdf} +} + +@article{balan2015, + title = {Navigational Audio Games: An Effective Approach toward Improving Spatial Contextual Learning for Blind People}, + shorttitle = {Navigational Audio Games}, + author = {Balan, Oana and Moldoveanu, Alin and Moldoveanu, Florica}, + date = {2015-05-01}, + journaltitle = {International Journal on Disability and Human Development}, + volume = {14}, + number = {2}, + pages = {109--118}, + publisher = {De Gruyter}, + issn = {2191-0367}, + doi = {10.1515/ijdhd-2014-0018}, + url = {https://www.degruyter.com/document/doi/10.1515/ijdhd-2014-0018/html}, + urldate = {2024-06-29}, + abstract = {For people who suffer from a visual impairment, navigating in an unknown environment represents a considerable challenge. To help them develop spatial orientation and mobility skills, researchers have employed audio-based computer games as a practical, interactive and user-centered learning approach. The highly immersive and attractive nature of audio games enables blind people to create a spatial representation of their environment that can be assigned to aid performing real-life navigation tasks. This paper reviews the most notable navigational audio-based games in terms of their conceptual and technological approach, accessibility and user interaction efficiency.}, + language = {en}, + keywords = {3D sound,audio games,blindness,navigation,virtual reality}, + file = {/Users/tomoya/Zotero/storage/N4MN9TES/Balan et al. - 2015 - Navigational audio games an effective approach to.pdf} +} + +@inproceedings{barenzRhineFRPTypeLevel2018, + title = {Rhine: {{FRP}} with {{Type-Level Clocks}}}, + booktitle = {Proceedings of the 11th {{ACM SIGPLAN International Haskell Symposium}} ({{Haskell}} ’18)}, + author = {Bärenz, Manuel and Perez, Ivan}, + date = {2018}, + doi = {10.1145/3242744.3242757}, + url = {https://doi.org/10.1145/3242744.3242757}, + urldate = {2021-04-02}, + abstract = {Processing data at different rates is generally a hard problem in reactive programming. Buffering problems, lags, and concurrency issues often occur. Many of these problems are clock errors, where data at different rates is combined incorrectly. Techniques to avoid clock errors, such as type-level clocks and deterministic scheduling, exist in the field of synchronous programming, but are not implemented in general-purpose languages like Haskell. Rhine is a clock-safe library for synchronous and asynchro-nous Functional Reactive Programming (FRP). It separates the aspects of clocking, scheduling and resampling from each other, and ensures clock-safety at the type level. Concurrent communication is encapsulated safely. Diverse reactive subsystems can be combined in a coherent, declarative data-flow framework, while correct interoperability of data at different rates is guaranteed by type-level clocks. This provides a general-purpose framework that simplifies multi-rate FRP systems and can be used for game development, media applications , GUIs and embedded systems, through a flexible API with many reusable components.}, + isbn = {978-1-4503-5835-4}, + keywords = {CCS Concepts • Software and its engineering → Func-tional languages,Concurrent program-ming structures,Data flow languages,Domain specific languages,Keywords functional reactive programming haskell reac-tive programming asynchronous programming}, + file = {/Users/tomoya/Zotero/storage/9Y39QDWR/full-text.pdf} +} + +@article{barkatikarimSynchronousProgrammingAudio2013, + title = {Synchronous Programming in Audio Processing}, + author = {{BarkatiKarim} and {JouvelotPierre}}, + date = {2013-12-27}, + journaltitle = {ACM Computing Surveys (CSUR)}, + volume = {46}, + number = {2}, + doi = {10.1145/2543581.2543591}, + url = {https://dl-acm-org.anywhere.lib.kyushu-u.ac.jp/doi/abs/10.1145/2543581.2543591}, + urldate = {2021-08-30}, + abstract = {The adequacy of a programming language to a given software project or application domain is often considered a key factor of success in software development and engineering, even though little theo...}, + keywords = {computer music,music programming languages,signal processing,Synchronous programming languages,timing}, + annotation = {ACM\\ + PUB27\\ + New York, NY, USA}, + file = {/Users/tomoya/Zotero/storage/HWE5MSB2/full-text.pdf} +} + +@article{bausmanModelingNeutralNull2018, + title = {Modeling: {{Neutral}}, {{Null}}, and {{Baseline}}}, + author = {Bausman, William C.}, + date = {2018-10-13}, + journaltitle = {Philosophy of Science}, + volume = {85}, + number = {4}, + pages = {594--616}, + publisher = {University of Chicago PressChicago, IL}, + doi = {10.1086/699021}, + url = {https://www.journals.uchicago.edu/doi/10.1086/699021}, + urldate = {2018-12-09}, + abstract = {Two strategies for using a model as “null” are distinguished. Null modeling evaluates whether a process is causally responsible for a pattern by testing it against a null model. Baseline modeling measures the relative significance of various processes responsible for a pattern by detecting deviations from a baseline model. When these strategies are conflated, models are illegitimately privileged as accepted until rejected. I illustrate this using the neutral theory of ecology and draw general lessons from this case. First, scientists cannot draw certain conclusions using null modeling. Second, these conclusions follow using baseline modeling, but doing so requires more evidence.}, + file = {/Users/tomoya/Zotero/storage/FWHNSWN2/Bausman_2018_Modeling Neutral , Null , and Baseline.pdf} +} + +@inproceedings{beaudouin-lafon2023, + title = {Beyond {{Applications}}: {{Interaction Substrates}} and {{Instruments}}}, + shorttitle = {Beyond {{Applications}}}, + booktitle = {Proceedings of the 34th {{Conference}} on l'{{Interaction Humain-Machine}}}, + author = {Beaudouin-Lafon, Michel}, + date = {2023-05-29}, + series = {{{IHM}} '23}, + pages = {1--15}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3583961.3583968}, + url = {https://doi.org/10.1145/3583961.3583968}, + urldate = {2024-10-28}, + abstract = {This paper introduces a new interaction model based on the concepts of interaction substrate for organizing digital information and interaction instruments for manipulating these substrates. This approach makes the concept of application unnecessary. Instead, it leads to flexible and extensible environments in which users can combine content at will and choose the tools they need to manipulate it. We present Stratify, a proof-of-concept implementation that combines a data-reactive approach to specify relationships among digital objects with a functional-reactive approach to handle interaction. This combination enables the creation of rich information substrates that can be freely inspected and modified, as well as interaction instruments that are decoupled from the objects they interact with, making it possible to use instruments with objects they were not designed for. We illustrate the flexibility of the approach with several examples and present directions for future work.}, + isbn = {978-1-4503-9824-4} +} + +@online{BeautifulRacketWhy, + title = {Beautiful {{Racket}}: {{Why}} Language-Oriented Programming? {{Why Racket}}?}, + url = {https://beautifulracket.com/appendix/why-lop-why-racket.html}, + urldate = {2021-03-25} +} + +@patent{BeiCunBanZoutenpoZiDongDiaoZhengkaraokeZhuangZhi2001, + type = {patent}, + title = {伴奏テンポ自動調整カラオケ装置}, + author = {北村, 秀仁}, + holder = {{Taito Corp, 株式会社タイトー}}, + date = {2001-06-29}, + number = {JP2001175266A}, + location = {JP}, + url = {https://patents.google.com/patent/JP2001175266A/ja?inventor=%E7%A7%80%E4%BB%81+%E5%8C%97%E6%9D%91&page=2}, + urldate = {2022-01-17}, + language = {ja}, + keywords = {accompaniment,audio signal,karaoke,signal,tempo} +} + +@patent{BeiCunTongXinkaraokeZhuangZhi2000, + type = {patent}, + title = {通信カラオケ装置}, + author = {北村, 秀仁}, + holder = {{Taito Corp, 株式会社タイトー}}, + date = {2000-10-24}, + number = {JP2000298489A}, + location = {JP}, + url = {https://patents.google.com/patent/JP2000298489A/ja?inventor=Hidehito+Kitamura&page=2}, + urldate = {2022-01-16}, + language = {ja}, + keywords = {algorithm,karaoke,sound source,source sounding,terminal} +} + +@article{beliczynskiApproximationFirIir1992, + title = {Approximation of {{Fir}} by {{Iir Digital-Filters}} - an {{Algorithm Based}} on {{Balanced Model-Reduction}}}, + author = {Beliczynski, B and Kale, I and Cain, G D}, + date = {1992}, + journaltitle = {IEEE Transactions on Signal Processing}, + volume = {40}, + number = {3}, + pages = {532--542}, + issn = {1053587X}, + doi = {10.1109/78.120796}, + abstract = {This paper presents an algorithm for the approximation of FIR filters by IIR filters. The algorithm is based on a concept of balanced model reduction. The matrix inversions normally associated with this procedure are notoriously error prone due to ill conditioning of the special matrix forms required. This difficulty is circumvented here by directly formulating a reduced state-space system description which is input/output equivalent to the system that would more conventionally be obtained following the explicit step of constructing an (interim) balanced realization. Various examples of FIR by IIR filter approximations are included.}, + keywords = {multivariable systems}, + file = {/Users/tomoya/Zotero/storage/VIMKBH7R/Beliczynski, Kale, Cain_1992_Approximation of Fir by Iir Digital-Filters - an Algorithm Based on Balanced Model-Reduction.pdf} +} + +@article{Bell2018, + title = {Limits in {{Algorithmic Dance Music}}}, + author = {Bell, Renick}, + date = {2018-11-22}, + journaltitle = {Dancecult}, + volume = {10}, + number = {1}, + issn = {19475403}, + doi = {10.12801/1947-5403.2018.10.01.12}, + url = {https://dj.dancecult.net/index.php/dancecult/article/view/1082/965}, + urldate = {2019-03-01} +} + +@online{bencinaProgramming101Time2011, + title = {Programming 101: Time Waits for Nothing}, + author = {Bencina, Ross}, + date = {2011}, + url = {http://www.rossbencina.com/code/real-time-audio-programming-101-time-waits-for-nothing}, + urldate = {2022-01-28}, + file = {/Users/tomoya/Zotero/storage/XAGIJTDB/real-time-audio-programming-101-time-waits-for-nothing.html} +} + +@article{benInteractingMusebots1932, + title = {Interacting with {{Musebots}}}, + author = {Ben, Griffith and Brown, Andrew R and Gifford, Toby and Eigenfeldt, Arne and Lawrence, P and Mccormack, Jon and Proceedings, S I G}, + date = {1932}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {19--24}, + file = {/Users/tomoya/Zotero/storage/ER93HM2V/Ben et al._1932_Interacting with Musebots.pdf} +} + +@article{bennettNeurythmicRhythmCreation2018, + title = {Neurythmic : {{A Rhythm Creation Tool Based}} on {{Central Pattern Generators}}}, + author = {Bennett, Dan and Roudaut, Anne and Bennett, Peter}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {0--5}, + file = {/Users/tomoya/Zotero/storage/RDW7UTUT/Bennett, Roudaut, Bennett_2018_Neurythmic A Rhythm Creation Tool Based on Central Pattern Generators.pdf} +} + +@article{berdahlFeedbackControlAcoustic2008, + title = {Feedback {{Control}} of {{Acoustic Musical Instruments}}}, + author = {Berdahl, Edgar and Smith, Julius}, + date = {2008}, + journaltitle = {CCRMA Report}, + number = {120}, + file = {/Users/tomoya/Zotero/storage/YWNF2DPJ/Berdahl, Smith_2008_Feedback Control of Acoustic Musical Instruments.pdf} +} + +@article{berdahlWideningRazorThinEdge2018, + title = {Widening the {{Razor-Thin Edge}} of {{Chaos Into}} a {{Musical Highway}} : {{Connecting Chaotic Maps}} to {{Digital Waveguides}}}, + author = {Berdahl, Edgar and Sheffield, Eric and Pfalz, Andrew and Marasco, Anthony T}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {390--393}, + file = {/Users/tomoya/Zotero/storage/JB7NBENN/Berdahl et al._2018_Widening the Razor-Thin Edge of Chaos Into a Musical Highway Connecting Chaotic Maps to Digital Waveguides.pdf} +} + +@article{bergstrom2015, + title = {{{READSPEAKER TEXTAID}} - {{THE STUDENTS PERSONAL ONLINE READING AND STUDYING ASSISTANT}}}, + author = {Bergstrom, N.}, + date = {2015}, + journaltitle = {INTED2015 Proceedings}, + pages = {1759--1764}, + publisher = {IATED}, + location = {Madrid, Spain}, + issn = {2340-1079}, + url = {https://library.iated.org/view/BERGSTROM2015REA}, + urldate = {2024-06-18}, + abstract = {ReadSpeaker TextAid is a new innovative fully web based tool where students can get help both with reading longer texts and documents and get some easy to use writing and research tools. Right in their web browser. At ReadSpeaker we have developed SaaS (Software as a Service) solutions for increasing the accessibility to text for millions of people since 1999. By using and developing advanced text-to-speech technology and utilize it in user centric supportive applications, we help all people that have various reading-, writing- or concentration difficulties. TextAid is a web based tool that can be easily reached in any web browser at any time and can also be integrated in most of the popular LMS (Learning Management System) platforms to provide campus wide access easily. When a using TextAid, the student can paste any text into the dedicated reading area and have it read out aloud using high quality computer generated speech. It is possible to select between different presentation settings such as fonts, text sizes and colors both for the text itself and also for the synchronized highlighting of the text that is being read. It is also possible to translate the text and have it read in different languages which makes the tool ideal for self study language learners. There are tools for saving and loading texts as well as uploading and reading of documents in many different formats. Special institutional features include user- and group management, upload and sharing of documents to users or groups of users. I would demonstrate the TextAid tool, talk about the benefits for different user groups, present the outcome of our end-user testing and also have time for questions.}, + eventtitle = {9th {{International Technology}}, {{Education}} and {{Development Conference}}}, + isbn = {9788460657637}, + language = {en} +} + +@article{berkhoutAcousticControlWave1993, + title = {Acoustic Control by Wave Field Synthesis}, + author = {Berkhout, a. J.}, + date = {1993}, + journaltitle = {The Journal of the Acoustical Society of America}, + volume = {93}, + number = {5}, + pages = {2764}, + issn = {00014966}, + doi = {10.1121/1.405852}, + abstract = {The acoustics in auditoria are determined by the properties of both the direct sound and the later arriving reflections. If electroacoustic means are used to repair disturbing deficiencies in the acoustics, one has to cope with unfavorable side effects such as localization problems and artificial impressions of the reverberant field (electronic flavor). To avoid those side effects, the concept of electroacoustic wave front synthesis is introduced. The underlying theory is based on the Kirchhoff-Helmholtz integral. In this new concept the wave fields of the sound sources on stage are measured by directive microphones; next they are electronically extrapolated away from the stage, and finally they are re-emitted in the hall by one or more loudspeaker arrays. The proposed system aims at emitting wave fronts that are as close as possible to the real wave fields. Theoretically, there need not be any differences between the electronically generated wave fields and the real wave fields. By using the image source concept, reflections can be generated in the same way as direct sound.}, + isbn = {0001-4966}, + file = {/Users/tomoya/Zotero/storage/SA53KA33/1993-Acoustic_control_by_wave_field_synthesis.pdf} +} + +@patent{bernardmoliverCommunicationSystemEmploying1952, + type = {patent}, + title = {Communication System Employing Pulse Code Modulation}, + author = {{Bernard M Oliver} and {Claude E Shannon}}, + date = {1952-09-17}, + url = {https://patents.google.com/patent/US2801281}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/HHT7GEP9/full-text.pdf} +} + +@online{bernesPoetryFeedbackJournal, + title = {The {{Poetry}} of {{Feedback}} - {{Journal}} \#82 {{May}} 2017 - e-Flux}, + author = {Bernes, Jasper}, + url = {https://www.e-flux.com/journal/82/127862/the-poetry-of-feedback/}, + urldate = {2021-11-24}, + abstract = {Cybernetics, in its ambition to unify the natural and social sciences, and even the humanities and the arts, is a relic of the massive cross-scientifi…}, + file = {/Users/tomoya/Zotero/storage/NAT62Y9H/the-poetry-of-feedback.html} +} + +@article{bertelsenInstrumentnessCreativityMediation2007, + title = {Instrumentness for Creativity Mediation, Materiality \& Metonymy}, + author = {Bertelsen, Olav W and Breinbjerg, Morten and Pold, S and {Oslash} and {Ren}}, + date = {2007}, + journaltitle = {Proceedings of the 2007 Conference on Creativity and Cognition}, + pages = {233--242}, + issn = {1595937129 (ISBN); 9781595937124 (ISBN)}, + doi = {10.1145/1254960.1254992}, + url = {http://doi.acm.org/10.1145/1254960.1254992}, + abstract = {We introduce the concept instrumentness as a quality of human-computer interfaces. Instrumentness points to the way musical instruments are controlled and conceptualized through values such as virtuosity and playability, which are important for computer-mediated creative work supporting development in use beyond what is initially designed for. The paper performs a conceptual investigation into qualities in software interfaces that support creativity, supported by analysis of, and interviews with, musical composers. Instrumentness is explained through discussions of materiality and metonymy as central strategies for computer mediated creativity. The paper is contributing to an investigation of the aesthetics of use in relation to software, pointing to alternative values, differing from traditional usability, which are also relevant in creative work outside art and music composition.}, + isbn = {978-1-59593-712-4}, + issue = {August}, + keywords = {activity theory,computer mediated creativity,instrumental interactions,Instrumentness,interface aesthetics,materiality,mediation,metonymy,music composition}, + file = {/Users/tomoya/Zotero/storage/7SUQXEJ2/Bertelsen et al._2007_Instrumentness for creativity mediation, materiality & metonymy.pdf} +} + +@article{beylsMotivatedLearningHumanmachine, + title = {Motivated {{Learning}} in {{Human-machine Improvisation}}}, + author = {Beyls, Peter}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {238--243}, + file = {/Users/tomoya/Zotero/storage/X3GT8WBH/Beyls_Unknown_Motivated Learning in Human-machine Improvisation.pdf} +} + +@article{bilbaoMODELLINGBRASSINSTRUMENT2011, + title = {{{MODELLING OF BRASS INSTRUMENT VALVES}}}, + author = {Bilbao, Stefan}, + date = {2011}, + journaltitle = {Dafx-11}, + number = {1}, + pages = {1--8}, + file = {/Users/tomoya/Zotero/storage/IA2JQUT2/Bilbao_2011_MODELLING OF BRASS INSTRUMENT VALVES.pdf} +} + +@book{bilbaoNumericalSoundSynthesis2009, + title = {Numerical {{Sound Synthesis}}: {{Finite Difference Schemes}} and {{Simulation}} in {{Musical Acoustics}}}, + author = {Bilbao, Stefan}, + date = {2009}, + publisher = {John Wiley \& Sons, Ltd}, + doi = {10.1002/9780470749012}, + url = {http://scholar.google.com/scholar?hl=en&btnG=Search&q=intitle:No+Title#0%5Cnhttp://doi.wiley.com/10.1002/9780470749012}, + abstract = {Digital sound synthesis has long been approached using standard digital filtering techniques. Newer synthesis strategies, however, make use of physical descriptions of musical instruments, and allow for much more realistic and complex sound production and thereby synthesis becomes a problem of simulation. This book has a special focus on time domain finite difference methods presented within an audio framework. It covers time series and difference operators, and basic tools for the construction and analysis of finite difference schemes, including frequency-domain and energy-based methods, with special attention paid to problems inherent to sound synthesis. Various basic lumped systems and excitation mechanisms are covered, followed by a look at the 1D wave equation, linear bar and string vibration, acoustic tube modelling, and linear membrane and plate vibration. Various advanced topics, such as the nonlinear vibration of strings and plates, are given an elaborate treatment. Key features: Includes a historical overview of digital sound synthesis techniques, highlighting the links between the various physical modelling methodologies. A pedagogical presentation containing over 150 problems and programming exercises, and numerous figures and diagrams, and code fragments in the MATLAB® programming language helps the reader with limited experience of numerical methods reach an understanding of this subject. Offers a complete treatment of all of the major families of musical instruments, including certain audio effects. Numerical Sound Synthesis is suitable for audio and software engineers, and researchers in digital audio, sound synthesis and more general musical acoustics. Graduate students in electrical engineering, mechanical engineering or computer science, working on the more technical side of digital audio and sound synthesis, will also find this book of interest. © 2009 John Wiley \& Sons, Ltd.}, + isbn = {978-0-470-74901-2}, + file = {/Users/tomoya/Zotero/storage/9D259SLQ/Bilbao_2009_Numerical Sound Synthesis.pdf;/Users/tomoya/Zotero/storage/F3EY3YXV/Bilbao_2009_Numerical Sound Synthesis.pdf} +} + +@article{billingsleyImprovedStereoMicrophone1989, + title = {An {{Improved Stereo Microphone Recording Array}} for {{Popular Music Recording}}}, + author = {Billingsley, Michael}, + date = {1989}, + journaltitle = {New York}, + volume = {2870}, + file = {/Users/tomoya/Zotero/storage/AL42V9UQ/1989-An_Improved_Stereo_Microphone_Recording_Array_for_Popular_Music_Recording.pdf} +} + +@article{binRiskyBusinessDisfluency2018, + title = {Risky Business : {{Disfluency}} as a Design Strategy}, + author = {Bin, S M Astrid and Bryan-kinns, Nick and Mcpherson, Andrew P}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {45--50}, + file = {/Users/tomoya/Zotero/storage/X7YPY86K/Bin, Bryan-kinns, Mcpherson_2018_Risky business Disfluency as a design strategy.pdf} +} + +@book{birdsallNaziSoundscapesSound2012, + title = {Nazi {{Soundscapes}}: {{Sound}}, {{Technology}} and {{Urban Space}} in {{Germany}}, 1933-1945}, + shorttitle = {Nazi {{Soundscapes}}}, + author = {Birdsall, Carolyn}, + date = {2012}, + eprint = {j.ctt46mv5n}, + eprinttype = {jstor}, + publisher = {Amsterdam University Press}, + url = {https://www.jstor.org/stable/j.ctt46mv5n}, + urldate = {2024-02-19}, + abstract = {Many images of Nazi propaganda are universally recognizable, and symbolize the ways that the National Socialist party manipulated German citizens. What might an examination of the party's various uses of sound reveal? In Nazi Soundscapes, Carolyn Birdsall offers an in-depth analysis of the cultural significance of sound and new technologies like radio and loudspeaker systems during the rise of the National Socialist party in the 1920s to the end of World War II. Focusing specifically on the urban soundscape of Düsseldorf, this study examines both the production and reception of sound-based propaganda in the public and private spheres. Birdsall provides a vivid account of sound as a key instrument of social control, exclusion, and violence during Nazi Germany, and she makes a persuasive case for the power of sound within modern urban history.}, + isbn = {978-90-8964-426-8} +} + +@inproceedings{Blackwell2005, + title = {The {{Programming Language}} as a {{Musical Instrument}}}, + booktitle = {Proceedings of 17th {{Psychology}} of {{Programming Interest Group}} 2005}, + author = {Blackwell, Alan and Collins, Nick}, + date = {2005}, + publisher = {University of Sussex}, + file = {/Users/tomoya/Zotero/storage/AAWE4ZVJ/10.1.1.104.3291.pdf} +} + +@incollection{blackwellCognitiveDimensionsNotations2001, + title = {Cognitive {{Dimensions}} of {{Notations}}: {{Design Tools}} for {{Cognitive Technology}}}, + author = {Blackwell, A. F. and Britton, C. and Cox, A. and Green, T. R. G. and Gurr, C. and Kadoda, G. and Kutar, M. S. and Loomes, M. and Nehaniv, C. L. and Petre, M. and Roast, C. and Roe, C. and Wong, A. and Young, R. M.}, + date = {2001}, + pages = {325--341}, + publisher = {Springer, Berlin, Heidelberg}, + doi = {10.1007/3-540-44617-6_31}, + url = {http://link.springer.com/10.1007/3-540-44617-6_31}, + urldate = {2019-05-01}, + file = {/Users/tomoya/Zotero/storage/AHQ7E85U/full-text.pdf} +} + +@article{blattner1989, + title = {Earcons and Icons: Their Structure and Common Design Principles}, + shorttitle = {Earcons and Icons}, + author = {Blattner, Meera M. and Sumikawa, Denise A. and Greenberg, Robert M.}, + date = {1989-03-01}, + journaltitle = {Human-Computer Interaction}, + shortjournal = {Hum.-Comput. Interact.}, + volume = {4}, + number = {1}, + pages = {11--44}, + issn = {0737-0024}, + doi = {10.1207/s15327051hci0401_1}, + url = {https://doi.org/10.1207/s15327051hci0401_1}, + urldate = {2024-06-18}, + abstract = {In this article we examine earcons, which are audio messages used in the user-computer interface to provide information and feedback to the user about computer entities. (Earcons include messages and functions, as well as states and labels.) We identify some design principles that are common to both visual symbols and auditory messages, and discuss the use of representational and abstract icons and earcons. We give some examples of audio patterns that may be used to design modules for earcons, which then may be assembled into larger groupings called families. The modules are single pitches or rhythmicized sequences of pitches called motives. The families are constructed about related motives that serve to identify a family of related messages. Issues concerned with learning and remembering earcons are discussed.}, + file = {/Users/tomoya/Downloads/blattner1989.pdf} +} + +@thesis{blechmannNovaANewComputer2008, + title = {Nova-{{A New Computer Music System}} with a {{Dataflow Syntax}}}, + author = {Blechmann, Tim}, + date = {2008}, + abstract = {nova is a new computer music system based on a dataflow syntax, which shares a common subset with Max-like languages like Pure Data, Max/MSP or jMax. Nevertheless, nova is not just a new implementation of the Max language, but has been redesigned from scratch in order to overcome some of its limitations. nova is written in the C++ programming language. The implementation is based on a highly modular object-oriented design, with the ambition to create a low-latency soft real-time system in order to avoid interruptions of the audio stream, a strong focus on parallelization on multi-processor computers, and easy portability to different platforms. The audio engine is highly optimized for performance on modern computers, mainly the x86 and x86 64 architecture. This bachelor's thesis is structured as follows: The first Section gives an overview of different computer music systems, with a focus on the history of Max-like languages. The second Section describes the main aspects in the design of the nova language, followed by the third Section, which gives an overview of the software design of the implementation. This Section is followed by a conclusion and outlook to future developments.}, + file = {/Users/tomoya/Zotero/storage/J4824FI6/full-text.pdf} +} + +@inproceedings{bogostPlatformStudiesFrequently2009, + title = {Platform {{Studies}}: {{Frequently Questioned Answers}}}, + booktitle = {Proceedings of the {{Digital Arts}} and {{Culture COnference}}}, + author = {Bogost, Ian and Montfort, Nick}, + date = {2009-12-12}, + abstract = {We describe six common misconceptions about platform studies, a family of approaches to digital media focused on the underlying computer systems that support creative work. We respond to these and clarify the platform studies concept.}, + keywords = {hardware design,new media,pedagogy,Platform studies,platforms,social constructivism,technological determinism}, + file = {/Users/tomoya/Zotero/storage/JWI2R9DV/full-text.pdf;/Users/tomoya/Zotero/storage/U6GJ7YIH/full-text.pdf} +} + +@misc{Boner1964, + title = {A {{Procedure}} for {{Controlling Room-Ring Modes}} and {{Feedback Modes}} in {{Sound Systems}} with {{Narrow-Band Filters}}}, + author = {Boner, C. Paul and Boner, C. R.}, + date = {1964-10-01}, + url = {http://www.aes.org/e-lib/browse.cfm?elib=624}, + urldate = {2019-01-24}, + organization = {Audio Engineering Society}, + file = {/Users/tomoya/Zotero/storage/WJ9NYZBT/Boner, Boner_1964_A Procedure for Controlling Room-Ring Modes and Feedback Modes in Sound Systems with Narrow-Band Filters.pdf} +} + +@article{booneAcousticRenderingWave2001, + title = {Acoustic Rendering with Wave Field Synthesis}, + author = {Boone, Mm}, + date = {2001}, + journaltitle = {Acm Siggraph and Eurographics Campfire}, + pages = {1--9}, + file = {/Users/tomoya/Zotero/storage/944F5RKR/m-api-40a24a1c-d63e-a8e5-571d-35dcf84826f9.pdf} +} + +@article{Borin1992, + title = {Algorithms and {{Structures}} for {{Synthesis Using Physical Models}}}, + author = {Borin, Gianpaolo and Poli, Giovanni De and Sarti, Augusto}, + date = {1992-24}, + journaltitle = {Computer Music Journal}, + volume = {16}, + number = {4}, + eprint = {3680467}, + eprinttype = {jstor}, + pages = {30}, + issn = {01489267}, + doi = {10.2307/3680467}, + url = {https://www.jstor.org/stable/3680467?origin=crossref}, + urldate = {2019-01-12} +} + +@book{Born1995, + title = {Rationalizing {{Culture}}}, + author = {Born, Georgina}, + date = {1995}, + number = {1}, + publisher = {University of California Press}, + isbn = {0-520-20216-3} +} + +@book{bornMusicDigitalMedia2023, + title = {Music and Digital Media: A Planetary Anthropology}, + shorttitle = {Music and Digital Media}, + editor = {Born, Georgina}, + editortype = {redactor}, + namea = {Eisenberg, Andrew J. and Baker, Geroff and Deo, Aditi and Snape, Joe and Haworth, Christopher}, + nameatype = {collaborator}, + date = {2023-02-07}, + publisher = {Ucl Pr Ltd}, + location = {London}, + abstract = {The first comparative ethnographic study on the impact of digital media on worldwide music. Offering a radically new theoretical framework for understanding digital media through music, this volume redresses anthropology’s frequent oversight of music as a topic of study. By positioning music as an expansive subject for digital anthropology, Georgina Born demonstrates how the field can build interdisciplinary links to music and sound studies, digital media studies, and science and technology studies. Music and Digital Media includes five original ethnographies spanning pop, folk, and crossover musical genres throughout Kenya, Argentina, India, Canada, and the UK. A further three chapters engage experimentally with the platforms of music-making and distribution, presenting pioneering ethnographies of an extra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max MSP.}, + isbn = {978-1-80008-244-1}, + language = {英語}, + pagetotal = {526}, + file = {/Users/tomoya/Downloads/Music-and-Digital-Media.pdf} +} + +@article{borupSociologyExpectationsScience2006, + title = {The {{Sociology}} of {{Expectations}} in {{Science}} and {{Technology}}}, + author = {Borup, Mads and Brown, Nik and Konrad, Kornelia and Van Lente, Harro}, + date = {2006-07-01}, + journaltitle = {Technology Analysis \& Strategic Management}, + shortjournal = {Technology Analysis \& Strategic Management}, + volume = {18}, + pages = {285--298}, + doi = {10.1080/09537320600777002}, + file = {/Users/tomoya/Zotero/storage/7Z5F2T45/Borup et al. - 2006 - The Sociology of Expectations in Science and Techn.pdf;/Users/tomoya/Zotero/storage/8EDJAXR6/Borup et al. - 2006 - The Sociology of Expectations in Science and Techn.pdf} +} + +@article{bowersAllNoisesHijacking2018, + title = {All the {{Noises}} : {{Hijacking NIME Listening Machines}} for {{Performative Research}}}, + author = {Bowers, John and Green, Owen and Trovato, Ben and Tobin, G K M and Field, Moffett}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {114--119}, + file = {/Users/tomoya/Zotero/storage/YNPEXQRN/Bowers et al._2018_All the Noises Hijacking NIME Listening Machines for Performative Research.pdf} +} + +@article{bowersHybridResonantAssemblages2014, + title = {Hybrid {{Resonant Assemblages}}: {{Rethinking Instruments}}, {{Touch}} and {{Performance}} in {{New Interfaces}} for {{Musical Expression}}}, + author = {Bowers, John and Haas, Annika}, + date = {2014}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {7--12}, + abstract = {This paper outlines a concept of hybrid resonant assemblages, combinations of varied materials excited by sound transducers, feeding back to themselves via digital signal processing. We ground our concept as an extension of work by David Tudor, Nicolas Collins and Bowers and Archer [NIME 2005] and draw on a variety of critical perspectives in the social sciences and philosophy to explore such assemblages as an alternative to more familiar ideas of instruments and interfaces. We lay out a conceptual framework for the exploration of hybrid resonant assemblages and describe how we have approached implementing them. Our performance experience is presented and implications for work are discussed. In the light of our work, we urge a reconsideration of the implicit norms of performance which underlie much research in NIME. In particular, drawing on the philosophical work of Jean-Luc Nancy, we commend a wider notion of touch that also recognises the performative value of withholding contact.}, + keywords = {hybrid resonant assemblages,infra-instruments,instrumentality,performance,speaker-objects,touch}, + file = {/Users/tomoya/Zotero/storage/7DW3EUFA/m-api-323f9fd7-6dde-df45-4be5-8da61cbb664b.pdf} +} + +@article{bownExploringContinuousTime2018, + title = {Exploring {{Continuous Time Recurrent Neural Networks}} through {{Novelty Search}}}, + author = {Bown, Oliver}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {1--7}, + file = {/Users/tomoya/Zotero/storage/S2KJ38ZH/Bown_2018_Exploring Continuous Time Recurrent Neural Networks through Novelty Search.pdf} +} + +@article{boxAMMODEUsing2018, + title = {{{AM MODE}} : {{Using AM}} and {{FM Synthesis}} for {{Acoustic Augmentation}}}, + author = {Box, P O and Cory, Ben and Field, Moffett and Fogarty, Sean}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {33--34}, + file = {/Users/tomoya/Zotero/storage/HFDBTD5N/Box et al._2018_AM MODE Using AM and FM Synthesis for Acoustic Augmentation.pdf} +} + +@article{boxHarmonicWandInstrument, + title = {Harmonic {{Wand}} : {{An Instrument}} for {{Microtonal Control}} and {{Gestural Excitation}}}, + author = {Box, P O and Robertson, Ben Luca and Dahl, Luke and Proceedings, S I G and Field, Moffett}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {72--77}, + file = {/Users/tomoya/Zotero/storage/HQZQPIJA/Box et al._Unknown_Harmonic Wand An Instrument for Microtonal Control and Gestural Excitation.pdf} +} + +@thesis{brackhaneKannWasNaturlicher2015, + title = {Kann Was Natürlicher, Als {{Vox}} Humana, Klingen? {{Ein Beitrag}} Zur {{Geschichte}} Der Mechanischen {{Sprachsynthese}}}, + author = {Brackhane, Fabian}, + date = {2015}, + institution = {Universität des Saarlande}, + file = {/Users/tomoya/Zotero/storage/YNRHHSJQ/Diss_2015_02_24_A5.pdf} +} + +@inproceedings{brackhaneKempelenVsKratzenstein2016, + title = {Kempelen vs . {{Kratzenstein}} – {{Researchers}} on Speech Synthesis in Times of Change}, + booktitle = {History of {{Speech Communication Research}}}, + author = {Brackhane, Fabian}, + date = {2016}, + issue = {September 2015}, + file = {/Users/tomoya/Zotero/storage/GE5DJ6I5/Brackhane_2015b.pdf} +} + +@thesis{Brandal2017, + title = {On {{Electronic Sound Sculptures}}: {{Circuits}} and {{Aesthetics}}}, + author = {Brandal, Eirik}, + date = {2017}, + journaltitle = {KC Research Portal}, + number = {1}, + institution = {Royal Conservatoire of The Hagure}, + url = {https://www.researchcatalogue.net/view/359669/359670}, + urldate = {2019-01-12}, + abstract = {This paper is first and foremost concerned with my methods for designing, constructing and composing with freeform electronic sound sculptures. It covers the topics of circuit modularity, network communication, interaction and sonification as a means to create nonlinear music, as well as architectural concepts that are either being utilized or that have been functioning as sources of inspiration toward the design of the sound sculptures. The reader will be guided largely through the perspective of my own work, but general ideas and concepts from similar artists will be discussed where applicable.}, + file = {/Users/tomoya/Zotero/storage/FAB87FK5/m-api-4bb7edb1-a35f-b2f7-4381-2eb29c057a0f.pdf} +} + +@article{brandensteinWeightedLeastsquaresApproximation2001, + title = {Weighted Least-Squares Approximation of {{FIR}} by {{IIR}} Digital Filters}, + author = {Brandenstein, Hartmut and Unbehauen, Rolf}, + date = {2001}, + journaltitle = {IEEE Transactions on Signal Processing}, + volume = {49}, + number = {3}, + pages = {558--568}, + issn = {1053587X}, + doi = {10.1109/78.905880}, + abstract = {This paper presents a method for the weighted least-squares\textbackslash napproximation of finite impulse response (FIR) filters by infinite\textbackslash nimpulse response (IIR) filters. It is shown, how a solution to this\textbackslash napproximation problem can be obtained by solving a related pure\textbackslash nleast-squares approximation problem. For the latter, we utilize a\textbackslash ngeneralized version of a previously published technique with low\textbackslash ncomputational complexity and guaranteed stability of the IIR filters.\textbackslash nUnlike the well-established model-reduction approaches that are carried\textbackslash nout in the state space, our method works directly with the numerator and\textbackslash ndenominator coefficients of the transfer functions. Thus, the influence\textbackslash nof finite-precision arithmetic on the results is small. This makes our\textbackslash napproach applicable for the approximation of large-order FIR filters and\textbackslash nallows the usage of arbitrarily shaped weighting functions. It is shown\textbackslash nthat our method can successfully be employed to achieve a uniform\textbackslash napproximation}, + keywords = {FIR filter,Frequency weighting,IIR filter,Least-squares approximation}, + file = {/Users/tomoya/Zotero/storage/GT82EEI7/Brandenstein, Unbehauen_2001_Weighted least-squares approximation of FIR by IIR digital filters.pdf} +} + +@article{brandtseggWorkingMethodsInstrument2018, + title = {Working Methods and Instrument Design for Cross-Adaptive Sessions}, + author = {Brandtsegg, Øyvind and Wærstad, Bernt Isak}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {1--6}, + file = {/Users/tomoya/Zotero/storage/JWYE66Y8/Brandtsegg, Wærstad_2018_Working methods and instrument design for cross-adaptive sessions.pdf} +} + +@inproceedings{brandtTemporalTypeConstructors2000, + title = {Temporal Type Constructors for Computer Music Programming}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Brandt, Eli}, + date = {2000}, + url = {http://www.cs.cmu.edu/~eli/L/icmc00}, + urldate = {2020-03-26}, + abstract = {This paper introduces temporal type constructors to computer music programming, and shows how they make languages more expressive. Music programming involves time-structured data types such as audio, MIDI, control signals, and streams of spectral frames. Each computer music language supplies some fixed set of these. Temporal type constructors are instead a way for the programmer to invent these kinds of data, with the ability to manipulate them and their elements. Algorithms expressed in this way can be remarkably brief and clear; FOF (Rodet, 1984) is given as an example.}, + file = {/Users/tomoya/Zotero/storage/4VMZB5ID/full-text.pdf} +} + +@thesis{brandtTemporalTypeConstructors2002, + type = {phdthesis}, + title = {Temporal Type Constructors for Computer Music Programming}, + author = {Brandt, Eli}, + date = {2002}, + institution = {School of Computer Science, Carnegie Mellon University}, + pagetotal = {168}, + file = {/Users/tomoya/Zotero/storage/I9XKEN25/brandt.pdf;/Users/tomoya/Zotero/storage/QC5NMQ56/brandt.pdf} +} + +@online{Branwyn2016, + title = {The {{Interactive Sound Art}} of {{Peter Vogel}}}, + author = {Branwyn, Gareth}, + date = {2016}, + url = {https://makezine.com/2016/01/31/the-interactive-sound-art-of-peter-vogel/}, + urldate = {2019-01-24} +} + +@thesis{brendanElectronicFriendsDavid2008, + title = {Electronic {{Friends}}: {{David Tudor}} and {{Live Electronic Music}} of {{Arts}} with {{Departmental Honors}} in {{Music}}}, + author = {Brendan, by O}, + date = {2008}, + institution = {Wesleyan University}, + url = {https://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1123&context=etd_hon_theses}, + urldate = {2018-07-13} +} + +@article{bridyCodingCreativityCopyright2016, + title = {Coding {{Creativity}}: {{Copyright}} and the {{Artificially Intelligent Author}}}, + author = {Bridy, Annemarie}, + date = {2016}, + journaltitle = {Stanford Technology Law Review}, + volume = {5}, + number = {2011-25}, + pages = {1--28}, + doi = {10.31235/osf.io/5ru6m}, + abstract = {For more than a quarter century, interest among copyright scholars in the question of AI authorship has waxed and waned as the popular conversation about AI has oscillated between exaggerated predictions for its future and premature pronouncements of its death. For policymakers, the issue has sat on the horizon, always within view but never actually pressing. To recognize this fact, however, is not to say that we can or should ignore the challenge that AI authorship presents to copyright law’s underlying assumptions about creativity. On the contrary, the relatively slow development of AI offers a reprieve from the reactive, crisis-driven model of policymaking that has dominated copyright law in the digital era. ¶2 By engaging and extending insights from two relatively discrete lines of existing scholarship—the postmodern critique of romantic authorship and the more pragmatic literature on copyright in works produced with the aid of computers—this Article seeks to answer the vexing copyright questions that attend the artificially intelligent production of cultural works. It does so by developing the argument that all creativity is inherently algorithmic and that works produced autonomously by computers are therefore less heterogeneous to both their human counterparts and existing copyright doctrine than appearances may at first suggest.}, + keywords = {AI,artificial intelligence,author,authorship,Basic Areas of Law,computer generated,copyright,creativity,Diffusion Processes,Economic Development Innovation Technological Ch,Feist,General,generative art,Innovation,Innovation and Invention: Processes and Incentives,Intellectual Property and Intellectual Capital,Intellectual Property Rights,Law and Economics,Management of Technological Innovation and R&D,originality,Other,Other Substantive Areas of Law,Oulipo,procedural content generation,Property Law,psychography,Research and Development,Social Innovation,Technological Change,Technological Change: Choices and Consequences,work made for hire}, + file = {/Users/tomoya/Zotero/storage/4RASKZZZ/Coding Creativity Final STLR.pdf} +} + +@article{brigadeBUCKETBRIGADEDEVICES1977, + title = {{{BUCKET BRIGADE DEVICES CIRCA}} 1977 {{OUTLINE Part I General Discussion}} of {{Bucket Brigade Technology--what}}}, + author = {Brigade, Bucket and Circa, Devices and Part, Outline and Discussion, General and Technology--what, Bucket Brigade and Born, B and Doping--signal, Tetrode and Bucket, Modern and Device, Brigade and Sampling, Noise}, + date = {1977}, + file = {/Users/tomoya/Zotero/storage/AU7F9JGI/Brigade et al._1977_BUCKET BRIGADE DEVICES CIRCA 1977 OUTLINE Part I General Discussion of Bucket Brigade Technology--what.pdf} +} + +@article{brooksEvaluationTactileVocoder1983, + title = {Evaluation of a Tactile Vocoder for Word Recognition}, + author = {Brooks, P. L. and Frost, B. J.}, + date = {1983-07}, + journaltitle = {The Journal of the Acoustical Society of America}, + shortjournal = {The Journal of the Acoustical Society of America}, + volume = {74}, + number = {1}, + pages = {34--39}, + issn = {0001-4966}, + doi = {10.1121/1.389685}, + url = {http://asa.scitation.org/doi/10.1121/1.389685}, + urldate = {2023-01-23}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/5XN3DK7Q/Brooks and Frost - 1983 - Evaluation of a tactile vocoder for word recogniti.pdf} +} + +@misc{brownExpectationsScienceTechnology2003, + title = {Expectations {{In}} \& {{About Science}} and {{Technology}}}, + author = {Brown, Nik and Rip, Arie and Lente, Harro Van}, + date = {2003}, + url = {https://www.york.ac.uk/satsu/expectations/Utrecht%202003/Background%20paper%20version%2014May03.pdf}, + urldate = {2021-12-25}, + annotation = {a background paper for the ‘expectations’ workshop of 13-14 June 2003}, + file = {/Users/tomoya/Zotero/storage/MQ9JTUW4/Background paper version 14May03.pdf;/Users/tomoya/Zotero/storage/XQ44V8VQ/Background paper version 14May03.pdf} +} + +@article{brownInteractiveTangoMilonga, + title = {Interactive {{Tango Milonga}}: Esigining {{DMIs}} for the {{Social Dance Context}}}, + author = {Brown, Coutrney}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {88--91}, + file = {/Users/tomoya/Zotero/storage/NK2RUMLP/Brown_Unknown_Interactive Tango Milonga esigining DMIs for the Social Dance Context.pdf} +} + +@article{brugheraHumanInterauralTime2013, + title = {Human Interaural Time Difference Thresholds for Sine Tones: {{The}} High-Frequency Limit}, + author = {Brughera, Andrew and Dunai, Larisa and Hartmann, William M.}, + date = {2013}, + journaltitle = {The Journal of the Acoustical Society of America}, + volume = {133}, + number = {5}, + eprint = {23654390}, + eprinttype = {pmid}, + pages = {2839--2855}, + issn = {0001-4966}, + doi = {10.1121/1.4795778}, + url = {http://asa.scitation.org/doi/10.1121/1.4795778}, + abstract = {The smallest detectable interaural time difference (ITD) for sine\textbackslash ntones was measured for four human listeners to determine the dependence\textbackslash non tone frequency. At low frequencies, 250-700 Hz, threshold ITDs\textbackslash nwere approximately inversely proportional to tone frequency. At mid-frequencies,\textbackslash n700-1000 Hz, threshold ITDs were smallest. At high frequencies, above\textbackslash n1000 Hz, thresholds increased faster than exponentially with increasing\textbackslash nfrequency becoming unmeasurably high just above 1400\,Hz. A model\textbackslash nfor ITD detection began with a biophysically based computational\textbackslash nmodel for a medial superior olive (MSO) neuron that produced robust\textbackslash nITD responses up to 1000\,Hz, and demonstrated a dramatic reduction\textbackslash nin ITD-dependence from 1000 to 1500\,Hz. Rate-ITD functions from the\textbackslash nMSO model became inputs to binaural display models-both place based\textbackslash nand rate-difference based. A place-based, centroid model with a rigid\textbackslash ninternal threshold reproduced almost all features of the human data.\textbackslash nA signal-detection version of this model reproduced the high-frequency\textbackslash ndivergence but badly underestimated low-frequency thresholds. A rate-difference\textbackslash nmodel incorporating fast contralateral inhibition reproduced the\textbackslash nmajor features of the human threshold data except for the divergence.\textbackslash nA combined, hybrid model could reproduce all the threshold data.}, + isbn = {0001-4966}, + file = {/Users/tomoya/Zotero/storage/2XN2HX6X/Brughera, Dunai, Hartmann_2013_Human interaural time difference thresholds for sine tones The high-frequency limit.pdf} +} + +@article{brusoniUnpackingBlackBox2001, + title = {Unpacking the {{Black Box}} of {{Modularity}}: {{Technologies}}, {{Products}} and {{Organizations}}}, + author = {Brusoni, Stefano and Prencipe, Andrea}, + date = {2001-03}, + journaltitle = {Industrial and Corporate Change}, + volume = {10}, + number = {1}, + pages = {179--205}, + location = {CoPS Innovation Centre, SPRU, U Sussex}, + issn = {09606491}, + url = {https://academic.oup.com/icc/issue}, + abstract = {This paper explores the issues of knowledge and organizational coordination that stem from the adoption of modular product architectures. Modularity is a common characteristic of the products we have studied: aircraft engines and chemical plants. In contrast to much current research on product and organizational design, we argue that knowledge and organizational coordination cannot be achieved by relying only on automatic mechanisms enabled by the modular product architectures. Rather, the achievement of knowledge and organizational coordination demands interactive management of the actors and activities involved. This coordination role is played by companies that we define as "systems integrators". We contend that achieving knowledge coordination demands that systems integrators be able to span capabilities over a range of technological fields that is wider than the range of activities that they actually perform in-house.}, + keywords = {Automobiles,Biotechnology,Chemicals,Drugs,Organization of Production L23,Other Transportation Equipment,Plastics L65,Production Management M11,Related Parts and Equipment L62,Rubber}, + file = {/Users/tomoya/Zotero/storage/9MKDGAE9/ContentServer.pdf} +} + +@article{buchananWickedProblemsDesign1992, + title = {Wicked {{Problems}} in {{Design Thinking}}}, + author = {Buchanan, Richard}, + date = {1992}, + journaltitle = {Source: Design Issues}, + volume = {8}, + number = {2}, + pages = {5--21}, + file = {/Users/tomoya/Zotero/storage/KZG7ZBBT/full-text.pdf;/Users/tomoya/Zotero/storage/PM3HDIHA/Buchanan - 1992 - Wicked Problems in Design Thinking.pdf} +} + +@inproceedings{buechleyDIYCHIMethods2009, + title = {{{DIY}} for {{CHI}}: Methods, Communities, and Values of Reuse and Customization}, + shorttitle = {{{DIY}} for {{CHI}}}, + booktitle = {{{CHI}} '09 {{Extended Abstracts}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Buechley, Leah and Rosner, Daniela K. and Paulos, Eric and Williams, Amanda}, + date = {2009-04-04}, + pages = {4823--4826}, + publisher = {ACM}, + location = {Boston MA USA}, + doi = {10.1145/1520340.1520750}, + url = {https://dl.acm.org/doi/10.1145/1520340.1520750}, + urldate = {2021-12-27}, + abstract = {People tinker, hack, fix, reuse, and assemble materials in creative and unexpected ways, often codifying and sharing their production process with others. Do-ityourself (DIY) encompasses a range of design activities that have become increasingly prominent in online discussion forums and blogs, in addition to a small-butgrowing presence in professional/research forums such as CHI. This workshop will explore DIY practice from the ground up—examining DIY as a set of methods, communities, values and goals and examining its impact in the domains of traditional crafts, technology development, and sustainable design.}, + eventtitle = {{{CHI}} '09: {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + isbn = {978-1-60558-247-4}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/EJMPKVRB/Buechley et al. - 2009 - DIY for CHI methods, communities, and values of r.pdf} +} + +@unpublished{buechleyImprovementSidewayInventions2011, + title = {Improvement? And {{Sideway Inventions}}: {{Alternatiec Technology Narratives}}}, + author = {Buechley, Leah}, + date = {2011-07-29}, + url = {https://web.archive.org/web/20130905172323/http://www.sketching11.com/presentations/leahB_sketching_11.pdf}, + urldate = {2021-11-27}, + eventtitle = {Sketching in Hardware}, + venue = {Philadelphia, PA}, + file = {/Users/tomoya/Zotero/storage/D2UZF4X4/2013 - Wayback Machine.pdf} +} + +@online{buechleyImprovementSidewaysInvention, + title = {Improvement? And {{Sideways Invention}}: {{Alternative Technology Narratives}}}, + author = {Buechley, Leah and Tech, High-low}, + file = {/Users/tomoya/Zotero/storage/EWCHCZHD/Buechley, Tech_Unknown_Improvement and Sideways Invention Alternative Technology Narratives.pdf} +} + +@article{burnsDesigningEmergentBehavior2004, + title = {Designing for {{Emergent Behavior}}: A {{John Cage}} Realization}, + author = {Burns, Christopher}, + date = {2004}, + journaltitle = {Proceedings of the International Computer Music Conference}, + file = {/Users/tomoya/Zotero/storage/Y4EGM7AV/Burns_2004_Designing for Emergent Behavior a John Cage realization.pdf} +} + +@article{burusoniUnpackingBlackBox2001, + title = {Unpacking the {{Black Box ofModularity}}: {{Technologies}}, {{Products}} and {{Organizations}}}, + author = {Burusoni, Stefano and Prencipe, Andrea}, + date = {2001}, + journaltitle = {Industrial and Corporate Change}, + volume = {10}, + number = {1}, + pages = {179}, + issn = {0040-165X}, + file = {/Users/tomoya/Zotero/storage/3AJ5GVMK/ContentServer.pdf} +} + +@article{BuTingQinoJinButoTingJueYiXueBuTingQinoLiShitoBianQianZuiXinBuTingQinoShaoJie2017, + title = {補聴器の進歩と聴覚医学「補聴器の歴史と変遷―最新補聴器の紹介―」}, + date = {2017}, + journaltitle = {Audiology Japan}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/GE3XMZ4S/2017 - 補聴器の進歩と聴覚医学「補聴器の歴史と変遷―最新補聴器の紹介―」.pdf} +} + +@book{butler2018, + title = {ジェンダー・トラブル 新装版 ―フェミニズムとアイデンティティの攪乱―}, + author = {バトラー, ジュディス}, + translator = {竹村, 和子}, + date = {2018-02-21}, + publisher = {青土社}, + abstract = {権力はいかに言説のかたちをとって 身体・精神・欲望を形成するのか。 女と男の弁別が身体の自然に根ざすとする本質論的前提をくつがえし、 セクシュアリティ研究の方向を決定づけたフェミニズム/クィア理論の最重要書。 哲学、人類学、文学理論、精神分析の テクストに折り重なる言説を縦横に扱いつつ、 ジュディス・バトラーは、ジェンダー化と本質論/ジェンダー化における 本質論の問題を鋭く見すえる。 ――ガヤトリ・C・スピヴァク バトラーの才気喚発な議論は、 まさに可能性に満ちたトラブルを巻き起こし、 それによって、ジェンダーの階層秩序や強制的異性愛をささえる規範的虚構が、 文字通り信用するに値しないものであることをあばいていく。 ――ダナ・ハラウェイ}, + isbn = {978-4-7917-7047-2}, + language = {ja} +} + +@article{BuZiRanWuChaiRenGongZaYinhenoLiJie2013, + title = {（不自然誤差） ・ 人工雑音への理解 2}, + date = {2013}, + volume = {0}, + pages = {1--46}, + file = {/Users/tomoya/Zotero/storage/TEJZE7J5/2013-___2.pdf} +} + +@online{BVInterview, + title = {{{BV Interview}}}, + url = {https://www.media.mit.edu/events/EMS/bv-interview.html}, + urldate = {2022-01-04}, + file = {/Users/tomoya/Zotero/storage/959LQPFL/bv-interview.html} +} + +@article{cadizFuzzyLogicControl2018, + title = {Fuzzy {{Logic Control Toolkit}} 2 . 0 : Composing and Synthesis by Fuzzyfication}, + author = {Cádiz, Rodrigo F and Gonzalez-inostroza, Marie}, + date = {2018}, + pages = {398--402}, + file = {/Users/tomoya/Zotero/storage/QJK47DS5/Cádiz, Gonzalez-inostroza_2018_Fuzzy Logic Control Toolkit 2 . 0 composing and synthesis by fuzzyfication.pdf} +} + +@article{Cadoz2002, + title = {The {{Physical Model}} as {{Metaphor}} for {{Musical Creation}}: "Pico..{{TERA}}", a {{Piece Entirely Generated}} by {{Physical Model}}}, + author = {Cadoz, Claude}, + date = {2002-09-16}, + pages = {305--312}, + publisher = {MPublishing}, + url = {https://hal.archives-ouvertes.fr/hal-00483553/}, + urldate = {2019-01-14}, + abstract = {We will present in the first part of this paper a musical work, pico..TERA, recently created by the author, which is a 290-second piece entirely generated by one (non real-time) run of a complex physical model "orchestra". With this work, we will show how a musical piece can be created, from its micro- to its complete macro-structure by the means of a physically-based formalism. Then we will identify the concepts within the piece that introduce this new dimension of "musical construction". From a theoretical analysis of the specific examples and applications in the piece, we will induce and introduce a general conceptual framework for musical composition through physical modeling and will explain in the last section the fundamental "paradigm shift" to which it corresponds.}, + file = {/Users/tomoya/Zotero/storage/4HLI3Q7H/full-text.pdf} +} + +@article{camciGrainTrainHanddrawnMultitouch, + title = {{{GrainTrain}} : {{A Hand-drawn Multi-touch Interface}} for {{Granular Synthesis}}}, + author = {Çamcı, Anıl}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {156--161}, + file = {/Users/tomoya/Zotero/storage/VRDQH8G2/Çamcı_Unknown_GrainTrain A Hand-drawn Multi-touch Interface for Granular Synthesis.pdf} +} + +@article{campbell-kelly1985, + title = {Christopher {{Strachey}}, 1916-1975: {{A Biographical Note}}}, + shorttitle = {Christopher {{Strachey}}, 1916-1975}, + author = {Campbell-Kelly, Martin}, + date = {1985-01}, + journaltitle = {Annals of the History of Computing}, + volume = {7}, + number = {1}, + pages = {19--42}, + issn = {0164-1239}, + doi = {10.1109/MAHC.1985.10001}, + url = {https://ieeexplore.ieee.org/document/4392962}, + urldate = {2023-11-07}, + abstract = {Christopher Strachey was one of the most original computer scientists of his generation: his fields were computer design and programming, and he made important contributions to them both. He liked to say (not quite accurately) that he had changed the direction of his career every seven years. The different phases of his life and career are reflected in the five sections of this note.}, + eventtitle = {Annals of the {{History}} of {{Computing}}}, + file = {/Users/tomoya/Zotero/storage/57YKNEVN/Campbell-Kelly - 1985 - Christopher Strachey, 1916-1975 A Biographical No.pdf;/Users/tomoya/Zotero/storage/ZHTS7HX4/Campbell-Kelly - 1985 - Christopher Strachey, 1916-1975 A Biographical No.pdf;/Users/tomoya/Zotero/storage/CB3HGYAZ/4392962.html} +} + +@article{campbellBrassAnstrumentsWe2004, + title = {Brass {{Anstruments As We Know Them Today}}}, + author = {Campbell, M.}, + date = {2004}, + journaltitle = {Acta Acustica united with Acustica}, + volume = {90}, + number = {4}, + pages = {600--610}, + file = {/Users/tomoya/Zotero/storage/E3JL2EG5/Campbell_2004_Brass Anstruments As We Know Them Today.pdf} +} + +@report{canceWhatInstrumentalityNew, + title = {What Is Instrumentality in New Digital Musical Devices ? {{A}} Contribution from Cognitive Linguistics and Psychology {{WHAT IS INTRUMENTALITY IN NEW DIGITAL MUSICAL DEVICES}} ? {{A CONTRIBUTION FROM COGNITIVE LINGUISTICS}} \& {{PSYCHOLOGY}}}, + author = {Cance, Caroline and Genevois, Hugues and Dubois, Danièle}, + url = {https://hal.archives-ouvertes.fr/hal-00430397}, + urldate = {2019-05-31}, + abstract = {Etat de l'art en Informatique Musicale En inventant de nouveaux dispositifs de production musicale, le XX e siècle nous invite à revisiter le concept d'instrument de musique. De nombreux travaux, en musicologie [1], comme en informatique musicale [4, 5, 21] décrivent l'histoire de ces évolutions, les conditions techniques de leur apparition, et les formes originales « d'instrumentalité » liées à ces nouvelles lutheries. Dans le passage de l'instrument mécanique à l'instrument électrique, électronique et, plus encore, informatique, s'est opérée une rupture des chaînes causales traditionnelles qui garantissaient la cohérence temporelle, spatiale et énergétique des interrelations geste-instrument-son. Les études portant sur cette thématique ont connu ces dernières années un essor considérable. Etat de l'art en Linguistique Cognitive Au sein des sciences du langage, la linguistique cognitive s'attache à expliciter les relations entre langue, discours, cognition et pratiques [13, 18, 36] en étudiant les ressources linguistiques et les processus discursifs mis en oeuvre par les individus pour décrire et partager leur expérience sensible de l'environnement [17,19]. Plus précisément ces ressources et processus participent à la construction et la structuration de notre expérience du monde dont il s'agit de rendre compte dans une analyse nécessairement pluridisciplinaire impliquant sciences physiques et sciences humaines et de la culture. Dans ce cadre, de précédentes recherches menées au LCPE-LAM se sont par exemple intéressées aux discours d'évaluation de la qualité des pianos [12], à l'évaluation de différents types de restauration d'enregistrements anciens [33], et à la notion de timbre précisément liée à la qualité de l'instrument [10] et différemment évaluée selon les sujets ayant différentes connaissances ou pratiques des instruments [2]. Objectifs Il s'agit ici de mettre à contribution des outils conceptuels et méthodologiques développés en linguistique cognitive pour tenter de mieux comprendre la notion d'instrument en Informatique Musicale, à travers l'analyse de différents types de corpus. À la différence des travaux existants qui s'intéressent principalement aux caractéristiques physiques ou logicielles des dispositifs de MAO 1 , ce travail vise à appréhender le concept d'instrument que ces nouvelles pratiques musicales induisent et que les utilisateurs convoquent et re-construisent dans leurs discours. Cette étude est également conçue comme un préalable nécessaire à la mise en oeuvre et au développement de protocoles d'évaluation de nouveaux dispositifs musicaux, là où des méthodologies plus adaptées aux situations de laboratoire font défaut. Contribution principale Une analyse contrastive de différentes définitions de la notion d'instrument relevant i) du domaine lexicographique, ii) du domaine musicologique, iii) de pratiques terminologiques (implicites) dans la littérature en Informatique Musicale, ainsi que iv) de discours recueillis au cours de questionnaires et d'entretiens auprès d'utilisateurs (créateurs, développeurs, musiciens compositeurs et/ou interprètes, chercheurs, pédagogues, élèves) de dispositifs de MAO a été effectuée. La mise en perspective de ces différents types de discours à propos de l'instrument permet de préciser les différentes valeurs sémantiques que revêt ce concept selon les pratiques et les discours dans lesquels il s'inscrit [20]. Ainsi par exemple les dictionnaires définissent l'instrument différentiellement par rapport à l'outil tandis que les publications en Informatique Musicale traduisent une ambivalence entre la notion d'instrument et celle d'interface. La description de dispositifs de MAO par différents utilisateurs témoigne également d'un concept d'instrument aux frontières floues, les dispositifs étant considérés comme appartenant plus ou moins à la catégorie instrument, selon un « air de famille » [16]. Retombées-Sur un plan théorique, cette étude permet de mieux saisir les enjeux et les conséquences du changement de paradigme à l'oeuvre dans les Nouvelles Lutheries, en requestionnant un concept souvent considéré comme ontologiquement fondé et déplaçant alors la notion d'instrument comme entité à celle d'un objet défini quant à ses fonctionnalités lui permettant d'assurer la musicalité de ses productions sonores.-Du point de vue de la création et de la pédagogie musicale, les réflexions ainsi menées peuvent aider à la réalisation de dispositifs musicaux mieux acceptés en tant qu'instruments.-Enfin, ce travail, en amont d'une expérience d'évaluation de dispositifs de MAO (projet ANR Riam 2PIM) [8], permet de préciser le rapport des utilisateurs à ces objets et ainsi de contribuer à la mise en place de protocoles d'évaluation écologiquement valides [24], ce au-delà du domaine musical dans lequel s'inscrit cette recherche. 1 Musique Assistée par Ordinateur}, + file = {/Users/tomoya/Zotero/storage/DZGP9ZWE/full-text.pdf} +} + +@inproceedings{caprettaContinuityMonadicStream2017, + title = {The Continuity of Monadic Stream Functions}, + booktitle = {Proceedings - {{Symposium}} on {{Logic}} in {{Computer Science}}}, + author = {Capretta, Venanzio and Fowler, Jonathan}, + date = {2017-08-08}, + publisher = {{Institute of Electrical and Electronics Engineers Inc.}}, + issn = {10436871}, + doi = {10.1109/LICS.2017.8005119}, + abstract = {Brouwer's continuity principle states that all functions from infinite sequences of naturals to naturals are continuous, that is, for every sequence the result depends only on a finite initial segment. It is an intuitionistic axiom that is incompatible with classical mathematics. Recently Martín Escardó proved that it is also inconsistent in type theory.}, + isbn = {978-1-5090-3018-7}, + keywords = {continuity,dialogue trees,functional programming,monad,monadic stream function,strategy trees,stream,type theory}, + file = {/Users/tomoya/Zotero/storage/8SZMRCS3/08005119.pdf} +} + +@article{caramiauxFormFollowsSound2015, + title = {Form {{Follows Sound}}: {{Designing Interactions}} from {{Sonic Memories}}}, + author = {Caramiaux, Baptiste and Altavilla, Alessandro and Pobiner, Scott G and Tanaka, Atau}, + date = {2015}, + journaltitle = {Proceedings of the ACM CHI'15 Conference on Human Factors in Computing Systems}, + volume = {1}, + pages = {3943--3952}, + doi = {10.1145/2702123.2702515}, + url = {http://dx.doi.org/10.1145/2702123.2702515}, + abstract = {Sonic interaction is the continuous relationship between user actions and sound, mediated by some technology. Because interaction with sound may be task oriented or experience-based it is important to understand the nature of action-sound relationships in order to design rich sonic interactions. We propose a participatory approach to sonic interaction design that first considers the affordances of sounds in order to imagine embodied interaction, and based on this, generates interaction models for interaction designers wishing to work with sound. We describe a series of workshops, called Form Follows Sound, where participants ideate imagined sonic interactions, and then realize working interactive sound prototypes. We introduce the Sonic Incident technique, as a way to recall memorable sound experiences. We identified three interaction models for sonic interaction design: conducting; manipulating; substituting. These three interaction models offer interaction designers and developers a framework on which they can build richer sonic interactions.}, + isbn = {9781450331456}, + file = {/Users/tomoya/Zotero/storage/FNQGT6LE/Caramiaux et al._2015_Form Follows Sound Designing Interactions from Sonic Memories.pdf} +} + +@article{carbonellrubioMaasi3DPrinted2022, + title = {Maasi: {{A 3D}} Printed Spin Coater with Touchscreen}, + shorttitle = {Maasi}, + author = {Carbonell Rubio, Dani and Weber, Willi and Klotzsch, Enrico}, + date = {2022-04-01}, + journaltitle = {HardwareX}, + shortjournal = {HardwareX}, + volume = {11}, + pages = {e00316}, + issn = {2468-0672}, + doi = {10.1016/j.ohx.2022.e00316}, + url = {https://www.sciencedirect.com/science/article/pii/S246806722200061X}, + urldate = {2023-08-10}, + abstract = {Spin coaters are widely used to apply thin films of a material uniformly over a flat substrate. Despite the simplicity of this technique the entry price for such machines might be prohibitive, ranging from few hundreds to thousands of Euros. Here we present Maasi, an affordable alternative that is easy to build and has all functional key features to be used in a wide range of applications. Our design has a price of less than hundred Euros and an assembly time of only two hours. One of the key design principles was to use only 3D printed parts in combination with affordable Commercial Off-The-Shelf (COTS) components [1]. Reducing the complexity we use an electronic speed controller (ESC) with telemetry, to eliminate the need for a rotor position sensor [2]. A touchscreen further improves its usability, thus setting a perfect startpoint for the design of other affordable lab tools. The Maasi project includes different 3D printable substrate holders allowing treatment of formats up to 80~mm in diameter. We furthermore validate the Maasi spin coater by measuring its speed accuracy and performance for coating polydimethylsiloxane (PDMS) on glass coverslips for mechanobiological assays.}, + language = {en}, + keywords = {3D printing,BLHeli32,Coating,ESP32,Nextion,Open source hardware,Spin coater,Touchscreen}, + file = {/Users/tomoya/Zotero/storage/ZKTH274V/Carbonell Rubio et al. - 2022 - Maasi A 3D printed spin coater with touchscreen.pdf;/Users/tomoya/Zotero/storage/DZZBB8MB/S246806722200061X.html} +} + +@article{cartyMovementsBinauralSpace2010, + title = {Movements in {{Binaural Space}} : {{Issues}} in {{HRTF Interpolation}} and {{Reverberation}} , with Applications to {{Computer Music Volume}} 2 of 2}, + author = {Carty, Brian}, + date = {2010}, + journaltitle = {Computer}, + volume = {2}, + pages = {1--149}, + abstract = {All the papers nand code written in vol1 plus some extra}, + issue = {August}, + keywords = {c,c++,Csound,interpolation,max/msp,modeling,PD,pure data}, + file = {/Users/tomoya/Zotero/storage/4NRDA5V8/2010-Movements_in_Binaural_Space__Issues_in_HRTF_Interpolation_and_Reverberation__with_applications_to_Computer_Music_Vo.pdf} +} + +@online{casconeErrormancyGlitchDivination2011, + title = {Errormancy: {{Glitch}} as {{Divination}}}, + author = {Cascone, Kim}, + date = {2011-07}, + url = {https://web.archive.org/web/20150617190502/http://theendofbeing.com/2012/04/19/errormancy-glitch-as-divination-a-new-essay-by-kim-cascone/}, + urldate = {2022-01-25}, + organization = {The End of Being}, + file = {/Users/tomoya/Zotero/storage/HFXA3RDR/errormancy-glitch-as-divination-a-new-essay-by-kim-cascone.html} +} + +@inproceedings{caseyNetSoundRealtimeAudio1996, + title = {{{NetSound}}: {{Realtime Audio}} from {{Semantic Descriptions}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Casey, Michael and Smaragdis, Paris}, + date = {1996}, + location = {Hong Kong}, + url = {http://alumni.media.mit.edu/~mkc/icmc96/icmc96.html}, + urldate = {2022-01-16}, + file = {/Users/tomoya/Zotero/storage/7R9FNNXD/icmc96.html} +} + +@article{caulkinsWaveFieldSynthesis2003, + title = {Wave {{Field Synthesis Interaction With}} the {{Listening Environment}} , {{Improvements}} in the {{Reproduction}} of {{Virtual Sources Situated Inside}} the {{Listening Room}}}, + author = {Caulkins, T and Corteel, E and Warusfel, O and Stravinsky, Igor}, + date = {2003}, + journaltitle = {Audio}, + pages = {6--9}, + abstract = {Holophonic sound reproduction using Wave Field Synthesis (WFS) 1 aims at recreating a virtual spatialized sound scene in an ex- tended area. Applying this technique to synthesize virtual sources located within an indoor environment can create striking audio ef- fects in the context of ...}, + file = {/Users/tomoya/Zotero/storage/SK77F2PG/m-api-168c0b12-c55e-1161-4435-4b6d8d4bce97.pdf} +} + +@article{CengWoDianZiLeQiniokeruShenTinoYanChangtositenointahueisudezainYanJiu2010, + title = {電子楽器における身体の延長としてのインターフェイスデザイン研究}, + author = {曽我, 亘 and 沖田, 拓星 and 池田, 美奈子}, + date = {2010}, + journaltitle = {芸術工学会誌}, + volume = {54}, + pages = {36--37}, + keywords = {music instruments}, + file = {/Users/tomoya/Zotero/storage/I5JV9VX8/曽我, 沖田, 池田_2010_電子楽器における身体の延長としてのインターフェイスデザイン研究.pdf} +} + +@report{cerioliSALOKINNEWVISUAL, + title = {{{SALOKIN}}: {{A NEW VISUAL PROGRAMMING LANGUAGE FOR SOUND DESIGN}}}, + author = {Cerioli, Alessandro}, + file = {/Users/tomoya/Zotero/storage/LNVA2HM9/full-text.pdf} +} + +@article{chandranInterFACENewFaces, + title = {{{InterFACE}} : New Faces for Musical Expression}, + author = {Chandran, Deepak and Wang, Ge}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {244--248}, + file = {/Users/tomoya/Zotero/storage/8U99WKRK/Chandran, Wang_Unknown_InterFACE new faces for musical expression.pdf} +} + +@article{chang2019, + title = {Dependent Type Systems as Macros}, + author = {Chang, Stephen and Ballantyne, Michael and Turner, Milo and Bowman, William J.}, + date = {2019-12-20}, + journaltitle = {Artifact for: Dependent Type Systems as Macros}, + shortjournal = {Proc. ACM Program. Lang.}, + volume = {4}, + pages = {3:1--3:29}, + doi = {10.1145/3371071}, + url = {https://dl.acm.org/doi/10.1145/3371071}, + urldate = {2024-09-17}, + abstract = {We present Turnstile+, a high-level, macros-based metaDSL for building dependently typed languages. With it, programmers may rapidly prototype and iterate on the design of new dependently typed features and extensions. Or they may create entirely new DSLs whose dependent type ``power'' is tailored to a specific domain. Our framework's support of language-oriented programming also makes it suitable for experimenting with systems of interacting components, e.g., a proof assistant and its companion DSLs. This paper explains the implementation details of Turnstile+, as well as how it may be used to create a wide-variety of dependently typed languages, from a lightweight one with indexed types, to a full spectrum proof assistant, complete with a tactic system and extensions for features like sized types and SMT interaction.}, + issue = {POPL}, + file = {/Users/tomoya/Zotero/storage/KZ5TLMGE/Chang et al. - 2019 - Dependent type systems as macros.pdf} +} + +@article{charlesUsingAxolotiEmbedded, + title = {Using the {{Axoloti Embedded Sound Processing Platform}} to {{Foster Experimentation}} and {{Creativity}}}, + author = {Charles, Jean-françois and Solares, Carlos Cotallo and Tobon, Carlos Toro and Antonio, San and Proceedings, A C M S I G}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {204--205}, + file = {/Users/tomoya/Zotero/storage/RA296XSD/Charles et al._Unknown_Using the Axoloti Embedded Sound Processing Platform to Foster Experimentation and Creativity.pdf} +} + +@article{chatterjeeStrongRoomtemperatureUV2004, + title = {Strong Room-Temperature {{UV}} Emission of Nanocrystalline {{ZnO}} Films Derived from a Polymeric Solution}, + author = {Chatterjee, A. and Shen, C. H. and Ganguly, A. and Chen, L. C. and Hsu, C. W. and Hwang, J. Y. and Chen, K. H.}, + date = {2004-06-21}, + journaltitle = {Chemical Physics Letters}, + shortjournal = {Chemical Physics Letters}, + volume = {391}, + number = {4}, + pages = {278--282}, + issn = {0009-2614}, + doi = {10.1016/j.cplett.2004.05.021}, + url = {https://www.sciencedirect.com/science/article/pii/S0009261404007055}, + urldate = {2023-09-25}, + abstract = {ZnO nanocrystalline films have been prepared by sol–gel method. X-ray diffraction study revealed the wurtzite structure with a 〈002〉 texture. The films treated up to 500 °C showed very strong UV emission at 3.3 eV with no distinct visible emission in both cathodoluminescence (CL) and photoluminescence (PL) measurements performed at room temperature. UV emission intensity was found to depend on the grain size and crystal orientation. A broad green emission at 2.4 eV, observed only in PL but not in CL, for the films treated at higher temperatures (⩾700 °C), is found to be due to the antisite defects rather than conventional oxygen vacancies.}, + file = {/Users/tomoya/Zotero/storage/HTVKJYDJ/Chatterjee et al. - 2004 - Strong room-temperature UV emission of nanocrystal.pdf;/Users/tomoya/Zotero/storage/7ICV867N/S0009261404007055.html} +} + +@book{Chen2023, + title = {{{ACE}} アセクシュアルから見たセックスと社会のこと}, + author = {チェン, アンジェラ}, + translator = {羽生, 有希}, + date = {2023-05-19}, + publisher = {左右社}, + isbn = {978-4-86528-366-2} +} + +@article{cheokSpeculativeDigitalSound2016, + title = {Speculative Digital Sound Synthesis}, + author = {Cheok, Adrian David}, + date = {2016}, + file = {/Users/tomoya/Zotero/storage/Q86E4FWV/Cheok_2016_Speculative digital sound synthesis.pdf} +} + +@online{choiBITFSMTaeyoon2015, + title = {4 {{BIT FSM}} – {{Taeyoon Choi}}}, + author = {Choi, Taeyoon}, + date = {2015}, + url = {http://taeyoonchoi.com/2015/02/4-bit-fsm/}, + urldate = {2021-12-21}, + file = {/Users/tomoya/Zotero/storage/2XYFGPCT/4-bit-fsm.html} +} + +@online{choiOpenCircuitOpen2016, + title = {Open {{Circuit}}, {{Open City}} – {{Taeyoon Choi}}}, + author = {Choi, Taeyoon}, + date = {2016}, + url = {http://taeyoonchoi.com/2016/12/open-circuit-open-city/}, + urldate = {2021-12-18}, + file = {/Users/tomoya/Zotero/storage/YR8FGIEY/open-circuit-open-city.html} +} + +@online{choitaeyoonBITFSMTaeyoon2015, + title = {4 {{BIT FSM}} – {{Taeyoon Choi}}}, + author = {{Choi,Taeyoon}}, + date = {2015}, + url = {http://taeyoonchoi.com/2015/02/4-bit-fsm/}, + urldate = {2021-12-21}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/TFNGM5ZS/4-bit-fsm.html} +} + +@inproceedings{ChuanShangZorugeruChengMositaSuanHuaYaQianBoMonoGanZaoWenDuYiCunXingtoTFTTeXing2015, + title = {ゾルゲル成膜した酸化亜鉛薄膜の乾燥温度依存性と {{TFT}} 特性}, + author = {川上, 祐貴 and 大東, 隆文 and 尾形, 健一 and 前元, 利彦 and 佐々, 誠彦}, + date = {2015}, + url = {https://confit.atlas.jp/guide/event-img/jsap2015s/11p-D1-10/public/pdf?type=in}, + urldate = {2023-08-10}, + eventtitle = {第62回応用物理学会春季学術講演会}, + file = {/Users/tomoya/Zotero/storage/MI9KZ5FS/pdf.pdf} +} + +@online{ChuCunMagical8bitPlug2020, + title = {Magical 8bit Plug | YMCK Official Website}, + author = {除村, 武志}, + date = {2020}, + url = {https://ymck.net/app/magical-8bit-plug}, + urldate = {2022-01-01}, + language = {ja} +} + +@thesis{ChuiShangSheHuiwoMeiJiesuruYinLeChuLaiShinoShengChengLiLunwomezasite, + title = {社会を媒介する音楽 ――出来事の生成理論をめざして――}, + author = {吹上, 裕樹}, + institution = {Kansei Gakuin University}, + file = {/Users/tomoya/Zotero/storage/3S2JSRHW/吹上_Unknown_社会を媒介する音楽 ――出来事の生成理論をめざして――.pdf} +} + +@article{Chun2005, + title = {On {{Software}}, or the {{Persistence}} of {{Visual Knowledge}}}, + author = {Chun, Wendy Hui Kyong}, + date = {2005-01-30}, + journaltitle = {Grey Room}, + volume = {18}, + pages = {26--51}, + publisher = {MIT Press 238 Main St., Suite 500, Cambridge, MA 02142-1046 USA journals-info@mit.edu}, + issn = {1526-3819}, + doi = {10.1162/1526381043320741}, + url = {http://www.mitpressjournals.org/doi/10.1162/1526381043320741}, + urldate = {2019-01-23}, + file = {/Users/tomoya/Zotero/storage/IQ2VLFI8/Chun - 2005 - On Software, or the Persistence of Visual Knowledg.pdf} +} + +@misc{ChunMuQingBaogaChuanwaranaikotonoYanJiuShouXinCenoNeiDenaYaoYinwoZhongXinni, + title = {情報が伝わらないことの研究 ―受信側の内的な要因を中心に―}, + author = {春木, 良且}, + file = {/Users/tomoya/Zotero/storage/IT267WBS/Unknown_Unknown_情報が伝わらないことの研究.pdf.pdf} +} + +@article{ciolanPulsedLaserAblation2022, + title = {Pulsed {{Laser Ablation}}: {{A Facile}} and {{Low-Temperature Fabrication}} of {{Highly Oriented}} n-{{Type Zinc Oxide Thin Films}}}, + shorttitle = {Pulsed {{Laser Ablation}}}, + author = {Ciolan, Mihai Alexandru and Motrescu, Iuliana}, + date = {2022-01}, + journaltitle = {Applied Sciences}, + volume = {12}, + number = {2}, + pages = {917}, + publisher = {Multidisciplinary Digital Publishing Institute}, + issn = {2076-3417}, + doi = {10.3390/app12020917}, + url = {https://www.mdpi.com/2076-3417/12/2/917}, + urldate = {2023-08-10}, + abstract = {Eco-friendly and facile zinc oxide (ZnO) synthesis of zinc-oxide-based nanomaterials with specific properties is a great challenge due to its excellent industrial applications in the field of semiconductors and solar cells. In this paper, we report the production of zinc oxide thin films at relatively low deposition temperature employing a simple and non-toxic method at low substrate temperature: pulsed laser ablation, as a first step for developing a n-ZnO/p-Si heterojunction. Single-phase n-type zinc oxide thin films are confirmed by an X-ray diffraction (XRD) pattern revealed by the maximum diffraction intensity from the (002) plane. Absorbance measurements indicate an increase in the band gap energy close to the bulk ZnO. A 350 °C substrate temperature led to obtaining a highly porous film with high crystallinity and high bandgap, showing good premises for further applications.}, + issue = {2}, + language = {en}, + keywords = {optical properties,pulsed laser deposition,thin films,zinc oxide}, + file = {/Users/tomoya/Zotero/storage/FBL3VEQW/Ciolan and Motrescu - 2022 - Pulsed Laser Ablation A Facile and Low-Temperatur.pdf} +} + +@article{circuitsStudiesEqualizerCircuits2012, + title = {Studies on {{Equalizer Circuits Enabling Electrical Signaling}} in 10-{{Gbit}} / s {{Ranges}}}, + author = {Circuits, Equalizer and Electrical, Enabling}, + date = {2012}, + number = {5}, + pages = {93--100}, + file = {/Users/tomoya/Zotero/storage/RHVVPGA3/Circuits, Electrical_2012_Studies on Equalizer Circuits Enabling Electrical Signaling in 10-Gbit s Ranges.pdf} +} + +@article{citton2023, + title = {Attention {{Disorders Between Impairment}} and {{Ferality}}: {{Towards}} a {{Political Aesth-Ethics}} of {{Dismantlement}}}, + shorttitle = {Attention {{Disorders Between Impairment}} and {{Ferality}}}, + author = {Citton, Yves}, + date = {2023-08-17}, + journaltitle = {The Nordic Journal of Aesthetics}, + volume = {32}, + number = {65}, + issn = {2000-9607}, + doi = {10.7146/nja.v32i65-66.140093}, + url = {https://tidsskrift.dk/nja/article/view/140093}, + urldate = {2024-04-25}, + abstract = {Attention in the 21st century is commonly perceived as being in insufficient supply. Increasing numbers of children and adults arediagnosed with ADHD (Attention Deficit and Hyperactivity Disorder) worldwide. This article suggests that our understanding of attentional deficits could gain from a double reframing. First, the notion of “impairment” (as recently discussed by Jonathan Sterne) seems more appropriate than the category of “disorder” to unfold the stakes of attentional problems. Second, approaching attentional issues as collective and organizational questions seems more empowering than as individual shortcomings—and the notion of “ferality” (as developed by Anna Tsing and the contributors to the Feral Atlas) provides an enlightening tool to account for the role played byinfrastructures in the production of attentional deficits. As a result, the article sketches two compasses designed to help us develop a “collapsonaut attention” more in tune with the challenges of the Anthropocene.}, + issue = {65}, + language = {en}, + keywords = {ADHD,Attention Studies,Collapsology,Disability Studies,Ferality}, + file = {/Users/tomoya/Zotero/storage/4JKU8QM4/Citton - 2023 - Attention Disorders Between Impairment and Feralit.pdf} +} + +@inproceedings{clarkEnablingArchitectureHow2014, + title = {Enabling Architecture: {{How}} the {{GPII}} Supports Inclusive Software Development}, + booktitle = {Lecture {{Notes}} in {{Computer Science}} (Including Subseries {{Lecture Notes}} in {{Artificial Intelligence}} and {{Lecture Notes}} in {{Bioinformatics}})}, + author = {Clark, Colin and Basman, Antranig and Bates, Simon and Markus, Kasper Galschiøt}, + date = {2014}, + volume = {8516 LNCS}, + pages = {368--377}, + publisher = {Springer Verlag}, + issn = {16113349}, + doi = {10.1007/978-3-319-07509-9_35}, + url = {https://link.springer.com/chapter/10.1007/978-3-319-07509-9_35}, + urldate = {2021-05-09}, + abstract = {The Global Public Inclusive Infrastructure is an international effort to build tools, components, services and a sustainable community to support personalized digital inclusion[1]. The GPII is building the critical infrastructure needed by developers to produce the next generation of low-cost assistive technology and highly flexible applications that can adapt to the needs and preferences of individuals across web, desktop, and mobile platforms. To deliver on these ambitious goals, the GPII architecture team has created an evolving suite of development tools, idioms, and resources to support the creation of an inclusive infrastructure. © 2014 Springer International Publishing.}, + isbn = {978-3-319-07508-2}, + issue = {PART 4}, + keywords = {Accessibility,assistive technology,development tools,GPII,inclusive design,Inversion of Control,JavaScript,Node.js}, + file = {/Users/tomoya/Zotero/storage/3YSDXUNX/full-text.pdf} +} + +@inproceedings{clarkFlockingFrameworkDeclarative2014, + title = {Flocking: {{A Framework}} for {{Declarative Music-Making}} on the {{Web}}}, + booktitle = {Proceedings {{ICMC}}|{{SMC}}|2014}, + author = {Clark, Colin and Tindale, Adam}, + date = {2014}, + pages = {1550--1557}, + url = {http://flockingjs.org/}, + urldate = {2021-05-09}, + abstract = {Flocking 1 is a framework for audio synthesis and music composition written in JavaScript. It takes a unique approach to solving several of the common architectural problems faced by computer music environments, emphasizing a declarative style that is closely aligned with the principles of the web. Flocking's goal is to enable the growth of an ecosystem of tools that can easily parse and understand the logic and semantics of digital instruments by representing the basic building blocks of synthesis declaratively. This is particularly useful for supporting generative composition (where programs generate new instruments and scores al-gorithmically), graphical tools (for programmers and non-programmers alike to collaborate), and new modes of social programming that allow musicians to easily adapt, extend , and rework existing instruments without having to "fork" their code. Flocking provides a robust, optimized, and well-tested architecture that explicitly supports extensibility and long-term growth. Flocking runs in nearly any modern JavaScript environment, including desktop and mobile browsers (Chrome, Firefox, and Safari), as well as on embedded devices with Node.js.}, + file = {/Users/tomoya/Zotero/storage/USZ9S8H9/full-text.pdf} +} + +@article{clarkHighResolutionSubjectiveTesting1982, + title = {High-{{Resolution Subjective Testing Using}} a {{Double-Blind Comparator}}}, + author = {Clark, David}, + date = {1982}, + journaltitle = {Journal of Audio Engineering Society}, + volume = {30}, + number = {5}, + pages = {330--338}, + isbn = {0503300950}, + file = {/Users/tomoya/Zotero/storage/FHWXDCNS/1982-High-Resolution_Subjective_Testing_Using_a_Double-Blind_Comparator.pdf} +} + +@article{clarksonDavidTudorApprenticeship2004, + title = {David {{Tudor}}'s {{Apprenticeship}}: {{The Years}} with {{Irma}} and {{Stefan Wolpe}}}, + author = {Clarkson, Austin}, + date = {2004}, + journaltitle = {Leonardo Music Journal}, + volume = {14}, + eprint = {1513499}, + eprinttype = {jstor}, + pages = {5--10}, + url = {http://www.jstor.org/stable/1513499}, + file = {/Users/tomoya/Zotero/storage/SRIZZZ59/Clarkson_2004_David Tudor's Apprenticeship The Years with Irma and Stefan Wolpe.pdf} +} + +@article{classElectronicFriendsDavid2008, + title = {Electronic {{Friends}}: {{David Tudor}} and {{Live Electronic Music}}}, + author = {Class, Connell}, + date = {2008}, + pages = {1--56}, + file = {/Users/tomoya/Zotero/storage/U5NLBXAT/Class_2008_Electronic Friends David Tudor and Live Electronic Music.pdf} +} + +@inproceedings{Coblenz2018, + title = {Interdisciplinary {{Programming Language Design}}}, + booktitle = {Proceedings of the 2018 {{ACM SIGPLAN International Symposium}} on {{New Ideas}}, {{New Paradigms}}, and {{Reflections}} on {{Programming}} and {{Software}}}, + author = {Coblenz, Michael and Aldrich, Jonathan and Myers, Brad A and Sunshine, Joshua and Sun, Joshua}, + date = {2018}, + pages = {14}, + publisher = {ACM}, + location = {New York, NY, USA}, + url = {https://doi.org/10.1145/3276954.}, + urldate = {2021-06-02}, + abstract = {Approaches for programming language design used commonly in the research community today center around theoretical and performance-oriented evaluation. Recently, researchers have been considering more approaches to language design, including the use of quantitative and qualitative user studies that examine how different designs might affect programmers. In this paper, we argue for an interdisci-plinary approach that incorporates many different methods in the creation and evaluation of programming languages. We argue that the addition of user-oriented design techniques can be helpful at many different stages in the programming language design process. CCS Concepts • Software and its engineering → General programming languages; • Social and professional topics → History of programming languages;}, + isbn = {978-1-4503-6031-9}, + keywords = {programming language design,programming language evaluation,user-centered design}, + file = {/Users/tomoya/Zotero/storage/FIGKGQMH/Muller2020 (日本語).pdf;/Users/tomoya/Zotero/storage/IPSD32MQ/Coblenz et al. - 2018 - Interdisciplinary Programming Language Design(2).pdf;/Users/tomoya/Zotero/storage/P4SPTMMF/full-text.pdf} +} + +@article{coldrenSurfaceWaveLongDelay1976, + title = {Surface-{{Wave Long Delay Lines}}}, + author = {Coldren, Larry A. and Shaw, Herbert J.}, + date = {1976}, + journaltitle = {Proceedings of the IEEE}, + volume = {64}, + number = {5}, + pages = {598--609}, + issn = {15582256}, + doi = {10.1109/PROC.1976.10182}, + file = {/Users/tomoya/Zotero/storage/ZWXY4PM4/Coldren, Shaw_1976_Surface-Wave Long Delay Lines.pdf} +} + +@article{Collins2008, + title = {Errant {{Sound Synthesis}}}, + author = {Collins, Nick}, + date = {2008}, + journaltitle = {International Computer Music Conference}, + url = {http://sro.sussex.ac.uk/18921/}, + abstract = {The SLUGens pack for SuperCollider 3 is a collection of \textbackslash r\textbackslash nnovel algorithmic sound synthesis and processing UGens. This\textbackslash r\textbackslash npaper describes various non-linear dynamic oscillators, buffer data processors, breakpoint set synthesisers, and miscellaneous filters. Non-standard sound synthesis has been neglected in modern research programmes concentrated on spectral and physical modelling synthesis. Its goal is not the modelling and reproduction of sounds from perceptual or physical acoustical data but the potential of any algorithm, cast into the audio range. Yet where the composer seeks novel sound generation and control possibilities, much interesting territory remains available to explore in the context of what might be termed errant sound synthesis.}, + isbn = {9783832531805}, + file = {/Users/tomoya/Zotero/storage/YQ32IPRG/Collins_2008_Errant Sound Synthesis.pdf} +} + +@book{Collins2013, + title = {Handmade {{Electronic Music}} ―手作り電子回路から生まれる音と音楽 ({{Make}}: {{PROJECTS}})}, + author = {family=Collins, given=Nicolas., given-i={{Nicolas}} and Kubota, Akihiro and Funada, Takumi}, + date = {2013}, + publisher = {オライリージャパン}, + isbn = {4-87311-595-7} +} + +@article{collinsAlgoraveLivePerformance2014, + title = {Algorave: {{Live Performance ofAlgorithmic Electronic Dance Music}}}, + author = {Collins, Nick and McLean, Alex}, + date = {2014}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {355--358}, + abstract = {The algorave movement has received reasonable international exposure in the last two years, including a series of concerts in Europe and beyond, and press coverage in a number of media. This paper seeks to illuminate some of the historical precedents to the scene, its primary aesthetic goals, and the divergent technological and musical approaches of representative participants. We keep in mind the novel possibilities in musical expression explored by algoravers. The scene is by no means homogeneous, and the very lack of uniformity of technique, from new live coding languages through code DJing to plug-in combination, with or without visual extension, is indicative of the flexibility of computers themselves as general information processors.}, + keywords = {algorave,algorithmic composition,electronic dance music}, + file = {/Users/tomoya/Zotero/storage/G26XQKVR/Collins, McLean_2014_Algorave Live Performance ofAlgorithmic Electronic Dance Music.pdf} +} + +@article{collinsComposersElectronicsMusic2004, + title = {Composers {{Inside Electronics}}: {{Music}} after {{David Tudor}}}, + author = {Collins, N}, + date = {2004}, + journaltitle = {Leonardo Music Journal}, + volume = {14}, + pages = {1--3}, + issn = {0961-1215}, + doi = {10.1162/0961121043067352}, + url = {http://muse.jhu.edu/journals/lmj/summary/v014/14.1collins.html}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/29FT6C4H/Collins_2004_Composers Inside Electronics Music after David Tudor.pdf} +} + +@article{collinsIntroductionImprovisation2010, + title = {Introduction: {{Improvisation}}}, + author = {Collins, Nicolas}, + date = {2010}, + journaltitle = {Leonardo Music Journal}, + volume = {20}, + number = {1}, + eprint = {40926362}, + eprinttype = {jstor}, + pages = {7--9}, + url = {http://www.jstor.org/stable/40926362}, + isbn = {0262032287}, + file = {/Users/tomoya/Zotero/storage/W3Q7YCVT/Collins_2010_Introduction Improvisation.pdf} +} + +@article{collinsPeaSoupHistory2014, + title = {'{{Pea Soup}}' - {{A History}}}, + author = {Collins, Nicolas}, + date = {2014}, + journaltitle = {Leonardo}, + volume = {20}, + pages = {7--9}, + issue = {September}, + file = {/Users/tomoya/Zotero/storage/WKLTZF5M/Collins_2014_'Pea Soup' - A History.pdf} +} + +@article{collinsSoundDesignMedia2018, + title = {Sound {{Design}} for {{Media}}: {{Introducing Students}} to {{Sound}}}, + author = {Collins, Karen}, + date = {2018}, + journaltitle = {Journal of Sonic Studies}, + volume = {06}, + number = {06}, + abstract = {In today’s multimedia world, an understanding of non-visual modalities, particularly sound, is of great benefit to design. With the use of digital technologies within design and art practices, the affordances for sound are frequently present, but often under-used and misunderstood by those with an education that privileges the visual mode at the expense of other modalities. Despite the importance of sound within multimedia applications and the fact that digital art, video games, film, branding, and product design today all require some understanding of the sonic realm, art and design students often complete their degrees without following a single class related to sound and its perception. In this paper, we introduce several exercises undertaken in interdisciplinary sound design courses taught to undergraduate designers, artists, and game developers with the aim of illustrating a scaffolding approach to teaching about sound.} +} + +@misc{cookMetawindInstrumentPhysical1992, + title = {A {{Meta-wind Instrument Physical Model}}, and a {{Meta-controller}} for {{Real-time Performance Control}}}, + author = {Cook, Perry R}, + date = {1992}, + journaltitle = {Proceedings of The International Computer Music Conference}, + file = {/Users/tomoya/Zotero/storage/UX95RKA6/Cook_1992_A Meta-wind Instrument Physical Model, and a Meta-controller for Real-time Performance Control.pdf} +} + +@inproceedings{cookMetawindinstrumentphysicalmodelandametacontrollerPdf1992, + title = {Meta-Wind-Instrument-Physical-Model-and-a-Meta-Controller.Pdf}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Cook, Perry R}, + date = {1992}, + pages = {273--276}, + url = {https://quod.lib.umich.edu/cgi/p/pod/dod-idx/meta-wind-instrument-physical-model-and-a-meta-controller.pdf?c=icmc;idno=bbp2372.1992.072;format=pdf}, + urldate = {2021-12-30}, + eventtitle = {International {{Computer Music Conference}}}, + file = {/Users/tomoya/Zotero/storage/XQXIREJ8/meta-wind-instrument-physical-model-and-a-meta-controller.pdf} +} + +@article{cookReDesigningPrinciplesComputer2009, + title = {Re-{{Designing Principles}} for {{Computer Music Controllers}} : A {{Case Study}} of {{SqueezeVox Maggie}}}, + author = {Cook, Perry R.}, + date = {2009}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + volume = {11}, + pages = {218--221}, + abstract = {This paper revisits/extends “Principles for Designing Computer Music Controllers” (NIME 2001), subsequently updated in a NIME 2007 keynote address. A redesign of SqueezeVox Maggie (a reoccurring NIME character) is used as an example of which principles have held fast over the years, and which have changed due to advances in technology. A few new principles are also added to the list.}, + keywords = {[Electronic Manuscript],1,batteries,Batteries,composed instruments,Composed Instruments,hci,HCI,i will restate the,laptop orchestras,Laptop Orchestras,nime09,original 13 principles for,sensas,SenSAs,the original principles,to begin,voice synthesis,Voice Synthesis,wireless,Wireless}, + file = {/Users/tomoya/Zotero/storage/9ZTTSHJ9/m-api-18a61aba-bd41-e84d-73ba-c966652ba6bf.pdf} +} + +@article{cookTboneInteractiveWaveguide, + title = {Tbone: {{An}} Interactive Waveguide Brass Instrument Synthesis Workbunch for the {{NeXT Machine}}}, + author = {Cook, Perry R.}, + journaltitle = {International Computer Music Conference}, + pages = {297--299}, + file = {/Users/tomoya/Zotero/storage/8DJ7YJ6J/Cook_Unknown_Tbone An interactive waveguide brass instrument synthesis workbunch for the NeXT Machine.pdf} +} + +@article{corporationAruteranodebaisutoIPHuankusiyonniyoru2000, + title = {アルテラのデバイスと {{IP}} ファンクションによる {{W-CDMA}} システムの実現}, + author = {Corporation, Altera}, + date = {2000}, + pages = {1--20}, + file = {/Users/tomoya/Zotero/storage/269TIZ7D/Corporation_2000_アルテラのデバイスと IP ファンクションによる W-CDMA システムの実現.pdf} +} + +@online{crabRCASynthesiserII2013, + title = {The ‘{{RCA Synthesiser I}} \& {{II}}’ {{Harry Olson}} \& {{Herbert Belar}}, {{USA}}, 1951}, + author = {Crab, Simon}, + date = {2013-09-21T22:25:11+00:00}, + url = {https://120years.net/wordpress/the-rca-synthesiser-i-iiharry-olsen-hebert-belarusa1952/}, + urldate = {2022-01-02}, + abstract = {In the 1950’s RCA was one of the largest entertainment conglomerates in the United States; business interests included manufacturing record players, radio and electronic equipment (military a…}, + language = {en-GB}, + organization = {120 Years of Electronic Music}, + file = {/Users/tomoya/Zotero/storage/HW8F2CS8/the-rca-synthesiser-i-iiharry-olsen-hebert-belarusa1952.html} +} + +@thesis{crabtreeInstrumentsDivisionRole2022, + title = {Instruments of {{Division}}: {{The Role}} of {{Audio Technology}} in the {{Transition From}} the {{Weimar Republic}} to the {{Nazi State}}}, + author = {Crabtree, John Simon}, + date = {2022-02}, + institution = {University of Huddersfield}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/HMJPUX3V/Crabtree and Adlington - The Role of Audio Technology in the Transition Fro.pdf} +} + +@inproceedings{CuiGaoZhouBoYinCiJigaRenJianniYueruYingXiangniGuansuruJiChuDeYanJiuSono32000, + title = {高周波音刺激が人間に与える影響に関する基礎的研究 その3}, + booktitle = {日本建築学会大会学術講演梗概集}, + author = {崔, 鍾仁 and 上森, 弘恵 and 杉本, 純一 and 堀田, 健治}, + date = {2000}, + isbn = {1-60722-912-9}, + file = {/Users/tomoya/Zotero/storage/US86NALX/2000-_3.pdf} +} + +@inproceedings{Culpepper2019, + title = {From Macros to {{DSLs}}: {{The}} Evolution of Racket}, + booktitle = {Leibniz {{International Proceedings}} in {{Informatics}}, {{LIPIcs}}}, + author = {Culpepper, Ryan and Felleisen, Matthias and Flatt, Matthew and Krishnamurthi, Shriram}, + date = {2019-07-01}, + volume = {136}, + publisher = {Schloss Dagstuhl- Leibniz-Zentrum fur Informatik GmbH, Dagstuhl Publishing}, + issn = {18688969}, + doi = {10.4230/LIPIcs.SNAPL.2019.5}, + abstract = {The Racket language promotes a language-oriented style of programming. Developers create many domain-specific languages, write programs in them, and compose these programs via Racket code. This style of programming can work only if creating and composing little languages is simple and effective. While Racket’s Lisp heritage might suggest that macros suffice, its design team discovered significant shortcomings and had to improve them in many ways. This paper presents the evolution of Racket’s macro system, including a false start, and assesses its current state.}, + isbn = {978-3-95977-113-9}, + keywords = {Design principles,Domain-specific languages,Macros systems} +} + +@article{cunhaHandwrittenSustainableElectronic2021, + title = {Handwritten and {{Sustainable Electronic Logic Circuits}} with {{Fully Printed Paper Transistors}}}, + author = {Cunha, Inês and Martins, Jorge and Bahubalindruni, Pydi Ganga and Carvalho, José Tiago and Rodrigues, João and Rubin, Sabrina and Fortunato, Elvira and Martins, Rodrigo and Pereira, Luís}, + date = {2021}, + journaltitle = {Advanced Materials Technologies}, + volume = {6}, + number = {12}, + pages = {2100633}, + issn = {2365-709X}, + doi = {10.1002/admt.202100633}, + url = {https://onlinelibrary.wiley.com/doi/abs/10.1002/admt.202100633}, + urldate = {2023-10-07}, + abstract = {Printed electronics answers to the emerging trend of using truly inexpensive and easily accessible techniques to design and fabricate low-cost and recyclable flexible electronic components. Nevertheless, printing of inorganic semiconductor materials arises some barriers for flexible electronics, as they usually may require high annealing temperatures to enhance their electronic performances, which are not compatible with paper. Here, the formulation of a water-based, screen-printable ink loaded with zinc oxide nanoparticles that does not require any sintering process is reported. The ink is used to create the channel in fully printed electrolyte-gated transistors on paper, gated by a cellulose-based ionic conductive sticker. The high conformability of the electrolyte-sticker mitigates the effect of the surface roughness of the channel, yielding transistors that operate under low voltage ({$<$}2.5 V) with a current modulation above 104 and μSat ≈ 22 cm2 V−1 s−1. These devices operate even under moderate outward bending conditions. The screen-printed transistors are readily integrated in “universal” logic gates (NOR and NAND) by using ubiquitous calligraphy accessories for patterning of conductive paths and graphitic load resistances. This demonstrates the manufacturing of reliable and recyclable cellulose-based iontronic circuits with low power consumption, paving the way to a new era of sustainable “green” electronics.}, + language = {en}, + keywords = {cellulose,paper electronics,printed electronics,sustainable electronics,zinc oxide}, + file = {/Users/tomoya/Zotero/storage/VRK32KWJ/Cunha et al. - 2021 - Handwritten and Sustainable Electronic Logic Circu.pdf} +} + +@article{CunShangJianYiGuanLeQinoYinXiangSheJitoYinXiangTeXingPingJia2009, + title = {簡易管楽器の音響設計と音響特性評価}, + author = {村上, 和男}, + date = {2009}, + volume = {443}, + pages = {1--6}, + file = {/Users/tomoya/Zotero/storage/FX55MI3P/2009-file.pdf} +} + +@online{CW&T2011, + title = {1 {{Bit 1Hz CPU}}}, + author = {{CW\&T}}, + date = {2011}, + url = {https://cwandt.com/products/1-bit-1hz-cpu}, + urldate = {2019-01-23} +} + +@misc{Cybernetic_serendipityPdf, + title = {Cybernetic\_serendipity.Pdf}, + file = {/Users/tomoya/Zotero/storage/EF38LTRG/Unknown_Unknown_cybernetic_serendipity.pdf.pdf} +} + +@article{CyberneticHypothesis, + title = {The {{Cybernetic Hypothesis}}}, + file = {/Users/tomoya/Zotero/storage/ZILET5HK/Unknown_Unknown_The Cybernetic Hypothesis.pdf} +} + +@online{cycling74WhatMaxCycling2020, + title = {What Is {{Max}}? | {{Cycling}} '74}, + author = {{Cycling'74}}, + date = {2020}, + url = {https://cycling74.com/products/max/}, + urldate = {2020-09-27} +} + +@book{DaGuZhiDeYanJiunoKaoeFangYanJiuFangFaLunkaraSCATniyoruFenXimade2019, + title = {質的研究の考え方―{{研究方法論からSCATによる分析まで}}―}, + author = {大谷, 尚}, + date = {2019-03-31}, + publisher = {名古屋大学出版会}, + isbn = {978-4-8158-0944-7} +} + +@article{dahlDesigningNewMusical2016, + title = {Designing New Musical Interfaces as Research: {{What}}'s the Problem?}, + author = {Dahl, Luke}, + date = {2016-02}, + journaltitle = {Leonardo}, + volume = {49}, + number = {1}, + pages = {76--77}, + publisher = {MIT Press Journals}, + issn = {0024094X}, + doi = {10.1162/LEON_a_01118}, + abstract = {Practice-based research in NIME is rooted in the practices of design and musical performance. Perspectives from HCI on the relationship between design and research, examining the role of questions or design problems in research, and considering the wickedness of the task help us frame and understand our work.}, + file = {/Users/tomoya/Zotero/storage/C3NHPRIT/paper-16.pdf} +} + +@book{dahlhausYinLeShinoJiChuGaiNianKaruDaruhausu2004, + title = {音楽史の基礎概念 / カール・ダールハウス [著] ; 角倉一朗訳}, + author = {Dahlhaus, 1928-1989, Carl and 角倉, 一朗(1932-)}, + date = {2004}, + publisher = {白水社}, + url = {http://hdl.handle.net/2324/1001095299}, + urldate = {2018-12-12} +} + +@online{DaJiuBaoMedeiaKaoGuXuenoZhanWang2016, + title = {メディア考古学の展望}, + author = {大久保, 遼}, + date = {2016}, + pages = {14--16}, + file = {/Users/tomoya/Zotero/storage/6RYW26K3/Unknown_2016_No Title.pdf} +} + +@incollection{DaJiuBaoMedeiaKaoGuXuePosutomedeiaLiLunnotamenoSantunopuroguramu2021, + title = {メディア考古学 ——ポストメディア理論のための三つのプログラム}, + booktitle = {ポストメディア・セオリーズ}, + author = {大久保, 遼}, + editor = {伊藤, 守}, + date = {2021-03-01}, + pages = {282--303}, + isbn = {978-4-623-09112-6} +} + +@book{danansoniandreibihuionaSupekiyurateivuDezainWenTiJieJuekara2015, + title = {スペキュラティヴ・デザイン 問題解決から、問題提起へ。—未来を思索するためにデザインができること}, + author = {{ダン,アンソニー and レイビー,フィオナ}}, + translator = {久保田, 晃弘 and 千葉, 敏生}, + date = {2015-11-01}, + publisher = {ビー・エヌ・エヌ新社}, + isbn = {978-4-8025-1002-8} +} + +@article{danielFurtherInvestigationsHigh2003, + title = {Further Investigations of High Order Ambisonics and Wavefield Synthesis for Holophonic Sound Imaging}, + author = {Daniel, Jérôme and Nicol, Rozenn and Moreau, Sébastien}, + date = {2003}, + journaltitle = {New York}, + volume = {convention}, + number = {5}, + pages = {2764--2778}, + doi = {10.1.1.459.117}, + abstract = {Ambisonics and Wavefield Synthesis are two ways of rendering 3D audio, which both aim at physically reconstructing the sound field. Though they derive from distinct theoretical fundamentals, they have already been shown as equivalent under given assumptions. This paper further discusses their relationship by introducing new results regarding the coding and rendering of finite distance and enclosed sources. An updated view of the current knowledge is first given. A unified analysis of sound pickup and reproduction by mean of concentric transducer arrays then provides an insight into the spatial encoding and decoding properties. While merging the analysis tools of both techniques and investigating them on a common ground, general compromises are highlighted in terms of spatial aliasing, error and noise amplification. supplies}, + file = {/Users/tomoya/Zotero/storage/2S9G3UAN/m-api-0fce62b3-b529-e5eb-22a4-3f7a4b9bc1b3.pdf} +} + +@inproceedings{Dannenberg2005, + title = {Design {{Patterns}} for {{Real-Time Computer Music Systems}}}, + booktitle = {{{ICMC}} 2005 {{Workshop}} on {{Real Time Systems Concepts}} for {{Computer Music}}}, + author = {Dannenberg, Roger B and Bencina, Ross}, + date = {2005}, + url = {http://www.embedded.com/2000/0006/0006feat1.htm.}, + urldate = {2021-05-11}, + abstract = {This document contains a set of "design patterns" for real time systems, particularly for computer music systems. We see these patterns often because the problems that they solve come up again and again. Hopefully, these patterns will serve a more than just a set of canned solutions. It is perhaps even more important to understand the underlying problems, which often have subtle aspects and ramifications. By describing these patterns, we have tried to capture the problems, solutions, and a way of thinking about real-time systems design. We welcome your comments and questions.}, + file = {/Users/tomoya/Zotero/storage/GHPQY7QA/full-text.pdf} +} + +@article{Dannenberg2018, + title = {Languages for {{Computer Music}}}, + author = {Dannenberg, Roger B.}, + date = {2018-11-30}, + journaltitle = {Frontiers in Digital Humanities}, + volume = {5}, + issn = {2297-2668}, + doi = {10.3389/fdigh.2018.00026}, + url = {https://www.frontiersin.org/article/10.3389/fdigh.2018.00026/full}, + urldate = {2019-04-28}, + file = {/Users/tomoya/Zotero/storage/L7F62UTL/Languages_for_Computer_Music.pdf;/Users/tomoya/Zotero/storage/QVM64Q68/Dannenberg - 2018 - Languages for Computer Music.pdf} +} +@patent{DaoXieSuanHuaYaQianBoMonoZhiZaoFangFa2013, + type = {patent}, + title = {酸化亜鉛薄膜の製造方法}, + author = {稲葉, 孝一郎 and 豊田, 浩司 and 羽賀, 健一 and 徳留, 功一 and 吉野, 賢二}, + holder = {{Tosoh Finechem Corp}}, + date = {2013-09-11}, + number = {JP5288464B2}, + location = {JP}, + url = {https://patents.google.com/patent/JP5288464B2/ja}, + urldate = {2023-08-14}, + language = {ja}, + keywords = {oxide thin,spray,substrate,thin film,zinc oxide}, + file = {/Users/tomoya/Zotero/storage/IMFD49P5/稲葉 et al. - 2013 - 酸化亜鉛薄膜の製造方法.pdf} +} + +@book{DaoYuanMeiMiaoHueminisutoXianXiangXueJingYangaXiangkiauChangSuohe2023, + title = {フェミニスト現象学: 経験が響きあう場所へ}, + shorttitle = {フェミニスト現象学}, + author = {稲原美苗 and 川崎唯史 and 中澤瞳 and 宮原優}, + date = {2023-08}, + eprint = {Db8P0AEACAAJ}, + eprinttype = {googlebooks}, + publisher = {ナカニシヤ出版}, + abstract = {見過ごされてきた経験を言葉にする。沈黙を求める社会のなかで、異なる声の共鳴を待つために。乳児の育児、更年期、トランスジェンダー、アセクシュアル、男らしさ、DV、老い、占い、ファッション、ペットロス...さまざまな当事者の経験を記述・考察し、性をめぐる「当たり前」と「規範」を問い直すフェミニスト現象学。現象学自体を共鳴の場としつつ、多様なテーマと理論、自己や他者の語りを扱った論考からその可能性を指し示す。}, + isbn = {978-4-7795-1698-6}, + language = {ja}, + pagetotal = {336}, + keywords = {Language Arts & Disciplines / Library & Information Science / General} +} + +@article{davisVeryEarlyComputer1994, + entrysubtype = {magazine}, + title = {Very Early Computer Music}, + author = {Davis, Donald}, + date = {1994}, + journaltitle = {Resurrection The Bulletin of the Computer Conservation Society}, + volume = {10}, + pages = {19--20}, + issn = {09587403}, + url = {https://www.computerconservationsociety.org/resurrection/pdfs/res10.pdf}, + urldate = {2022-01-02}, + file = {/Users/tomoya/Zotero/storage/CJHRSC7D/res10.pdf} +} + +@article{davisVisualMicrophonePassive2014, + title = {The {{Visual Microphone}} : {{Passive Recovery}} of {{Sound}} from {{Video}}}, + author = {Davis, Abe and Rubinstein, Michael and Wadhwa, Neal and Mysore, Gautham J and Durand, Fredo and Freeman, William T}, + date = {2014}, + journaltitle = {Siggraph 2014}, + eprint = {1000106264}, + eprinttype = {pmid}, + pages = {1--10}, + issn = {0730-0301}, + doi = {10.1145/2601097.2601119}, + url = {http://dl.acm.org/citation.cfm?id=2601119}, + abstract = {When sound hits an object, it causes small vibrations of the object's surface. We show how, using only high-speed video of the object, we can extract those minute vibrations and partially recover the sound that produced them, allowing us to turn everyday objects---a glass of water, a potted plant, a box of tissues, or a bag of chips---into visual microphones. We recover sounds from high-speed footage of a variety of objects with different properties, and use both real and simulated data to examine some of the factors that affect our ability to visually recover sound. We evaluate the quality of recovered sounds using intelligibility and SNR metrics and provide input and recovered audio samples for direct comparison. We also explore how to leverage the rolling shutter in regular consumer cameras to recover audio from standard frame-rate videos, and use the spatial resolution of our method to visualize how sound-related vibrations vary over an object's surface, which we can use to recover the vibration modes of an object.}, + isbn = {0730-0301}, + file = {/Users/tomoya/Zotero/storage/EWLC39QG/Davis et al._2014_The Visual Microphone Passive Recovery of Sound from Video.pdf} +} + +@article{DaZhaoLePunoRuLiFangFatosonoZiDongRenShi1988, + title = {楽譜の入力方法とその自動認識}, + author = {大照, 完}, + date = {1988}, + journaltitle = {情報処理学会}, + volume = {29}, + number = {6}, + pages = {586--592}, + file = {/Users/tomoya/Zotero/storage/E4VI3FTQ/Unknown_Unknown_IPSJ-MGN290609.pdf.pdf} +} + +@thesis{DaZhongHuanJingniGuanwarusaundoAtonoYanJiuZiyon2015, + title = {環境に関わるサウンド・アートの研究 : ジョン・ ケージ以降の思想と実践 {{A Study}} of {{Sound Art}} Related to {{Environment}} : {{Thought}} and {{Practice}} after {{John Cage}}}, + author = {大塚, 姿子}, + date = {2015}, + institution = {Kyushu University}, + doi = {10.15017/1654964}, + url = {https://doi.org/10.15017/1654964}, + file = {/Users/tomoya/Zotero/storage/2CWWM5IN/大塚_2015_環境に関わるサウンド・アートの研究 ジョン・ ケージ以降の思想と実践 A Study of Sound Art rel.pdf} +} + +@book{DeJingChuangrutamenoAI2021, + title = {{{創るためのAI}}}, + author = {徳井, 直生}, + date = {2021-10-29}, + publisher = {ビー・エヌ・エヌ新社}, + isbn = {978-4-8025-1200-8} +} + +@online{DeJingDeJingZhiShengMedeiaatonoLunHuiZhuanSheng2018, + title = {徳井直生 - メディアアートの輪廻転生}, + author = {徳井, 直生}, + date = {2018}, + url = {https://rema.ycam.jp/archives/qanda/nao-tokui/}, + urldate = {2022-01-25}, + abstract = {Reincarnation of Media Art}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/GWI6CE8G/nao-tokui.html} +} + +@online{Demarinis2015, + title = {Jffy {{Pop}} (2014) and {{Tympanic Alley}}}, + author = {Demarinis, Paul}, + date = {2015}, + url = {http://pauldemarinis.org/TympanicJiffy.html}, + urldate = {2019-01-23} +} + +@article{derutyDynamicProcessingMainstream2014, + title = {About Dynamic Processing in Mainstream Music}, + author = {Deruty, Emmanuel and Tardieu, Damien}, + date = {2014}, + journaltitle = {Audio Engineering Society}, + volume = {62}, + number = {1-2}, + pages = {42--56}, + issn = {15494950}, + abstract = {In this article, we study the evolution of music level and music level variation between 1967 and 2011. To do so, we suggest a set of signal features, and examine the impact of limiters and compressors on a corpus of music tracks. As a result, we find that some of the dynamic processes used during music production may be retrieved from the signal. Then, we examine the evolution of studio practices in relation to dynamic processing during the past five decades, as well as the evolution of the relevant signal features. In particular, this results in a characterization of the loudness war. We find for instance that it may have peaked in 2004, resulted in reduction of peak salience, but did not result in any reduction of long-term musical dynamics. 0}, + file = {/Users/tomoya/Zotero/storage/52J7U4UB/2014-About_dynamic_processing_in_mainstream_music.pdf} +} + +@article{deweyMIDIKeyboardDefined, + title = {{{MIDI Keyboard Defined DJ Performance System}}}, + author = {Dewey, Christopher and Wakefield, Jonathan P and Tindall, Matthew}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {200--201}, + abstract = {This paper explores the use of the ubiquitous MIDI keyboard to control a DJ performance system. The prototype system uses a two octave keyboard with each octave controlling one audio track. Each audio track has four two-bar loops which play in synchronisation switchable by its respective octave's first four black keys. The top key of the keyboard toggles between frequency filter mode and time slicer mode. In frequency filter mode the white keys provide seven bands of latched frequency filtering. In time slicer mode the white keys plus black B flat key provide latched on/off control of eight time slices of the loop. The system was informally evaluated by nine subjects. The frequency filter mode combined with loop switching worked well with the MIDI keyboard interface. All subjects agreed that all tools had creative performance potential that could be developed by further practice.}, + keywords = {Author Keywords DJ,Electronic dance music,performance,Performing arts}, + file = {/Users/tomoya/Zotero/storage/AFSD3H53/Dewey, Wakefield, Tindall_Unknown_MIDI Keyboard Defined DJ Performance System.pdf} +} + +@incollection{DezitaruFangSongnoJiChu, + title = {デジタル放送の基礎（１）}, + number = {1}, + file = {/Users/tomoya/Zotero/storage/JYRYD36T/Unknown_Unknown_デジタル放送の基礎（１）.pdf} +} + +@misc{DFEPdf, + title = {{{DFE}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/RDUPALT9/Unknown_Unknown_DFE.pdf.pdf} +} + +@article{diamondDigitalSoundReconstruction2003, + title = {Digital Sound Reconstruction Using Arrays of {{CMOS-MEMS}} Microspeakers}, + author = {Diamond, B. M. and Neumann, J. J. and Gabriel, K. J.}, + date = {2003}, + journaltitle = {TRANSDUCERS 2003 - 12th International Conference on Solid-State Sensors, Actuators and Microsystems, Digest of Technical Papers}, + volume = {1}, + pages = {238--241}, + issn = {1084-6999}, + doi = {10.1109/SENSOR.2003.1215297}, + abstract = {We report on the generation of sound by the superposition of\textbackslash ndiscrete sound pulses from arrays of micromachined membrane\textbackslash nmicrospeakers or speaklets. Digital sound reconstruction (DSR) is unlike\textbackslash nany other reconstruction approach in use, offering true, direct digital\textbackslash nreconstruction of sound. CMOS-MEMS micromachining techniques allow the\textbackslash nintegration of hundreds to thousands of microspeakers as as well as\textbackslash nsound optimization electronics on a single chip. Nonlinearities\textbackslash ntypically problematic for analog speakers can be controlled through\textbackslash nmembrane geometries and material properties to produce acoustic\textbackslash nresponses useful for DSR}, + isbn = {0780377311}, + keywords = {Acoustic arrays,Acoustic pulses,Biomembranes,Fabrication,Frequency,Linearity,Loudspeakers,Micromechanical devices,Transducers,Voltage}, + file = {/Users/tomoya/Zotero/storage/XSKK5DB9/Diamond_2002_Digital Sound Reconstruction Using Arrays of SMOD-MEMS Microspeakers.pdf} +} + +@misc{DianQiXieHuiZaZhiJournalJapan1960, + title = {電気協会雑誌 = Journal of the Japan Electric Association (440)}, + author = {, 日本電気協会 and , 大日本電気会 and , 電気協会}, + date = {1960-06}, + url = {https://doi.org/10.11501/2364114}, + urldate = {2022-01-12}, + language = {ja}, + organization = {日本電気協会} +} + +@online{DirectLightPattern, + title = {Direct {{Light Pattern Integration}} of {{Low-Temperature Solution-Processed All-Oxide Flexible Electronics}} | {{ACS Nano}}}, + url = {https://pubs.acs.org/doi/full/10.1021/nn504420r}, + urldate = {2023-08-10}, + file = {/Users/tomoya/Zotero/storage/J8582ZXV/nn504420r.html} +} + +@article{donatoMyoMapperMyo2018, + title = {Myo {{Mapper}} : A {{Myo}} Armband to {{OSC}} Mapper}, + author = {Donato, Balandino Di and Bullock, Jamie}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {138--143}, + file = {/Users/tomoya/Zotero/storage/YJ7WGAV9/Donato, Bullock_2018_Myo Mapper a Myo armband to OSC mapper.pdf} +} + +@article{Doornbusch2004, + title = {Computer {{Sound Synthesis}} in 1951: {{The Music}} of {{CSIRAC}}}, + author = {Doornbusch, Paul}, + date = {2004-03-13}, + journaltitle = {Computer Music Journal}, + volume = {28}, + number = {1}, + pages = {10--25}, + publisher = {MIT Press 238 Main St., Suite 500, Cambridge, MA 02142-1046 USA journals-info@mit.edu}, + issn = {0148-9267}, + doi = {10.1162/014892604322970616}, + url = {http://www.mitpressjournals.org/doi/10.1162/014892604322970616}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/Q4433J2H/full-text.pdf} +} + +@online{Doornbusch2016, + title = {How {{Australia}} Played the World's First Music on a Computer}, + author = {Doornbusch, Paul}, + date = {2016}, + url = {http://theconversation.com/how-australia-played-the-worlds-first-music-on-a-computer-60381}, + urldate = {2019-01-20} +} + +@article{doornbuschEarlyComputerMusic2017, + title = {Early {{Computer Music Experiments}} in {{Australia}} and {{England}}}, + author = {Doornbusch, Paul}, + date = {2017-08-12}, + journaltitle = {Organised Sound}, + volume = {22}, + number = {2}, + pages = {297--307}, + publisher = {Cambridge University Press}, + issn = {1355-7718}, + doi = {10.1017/S1355771817000206}, + url = {https://www.cambridge.org/core/product/identifier/S1355771817000206/type/journal_article}, + urldate = {2020-03-31}, + abstract = {{$<$}p{$>$} This article documents the early experiments in both Australia and England to make a computer play music. The experiments in England with the Ferranti Mark 1 and the Pilot ACE (practically undocumented at the writing of this article) and those in Australia with CSIRAC (Council for Scientific and Industrial Research Automatic Computer) are the oldest known examples of using a computer to play music. Significantly, they occurred some six years before the experiments at Bell Labs in the USA. Furthermore, the computers played music in real time. These developments were important, and despite not directly leading to later highly significant developments such as those at Bell Labs under the direction of Max Mathews, these forward-thinking developments in England and Australia show a history of computing machines being used musically since the earliest development of those machines. \textsuperscript{1} {$<$}/p{$>$}}, + file = {/Users/tomoya/Zotero/storage/2VKKHWML/full-text.pdf} +} + +@article{dourishWhatWeTalk2004, + title = {What We Talk about When We Talk about Context}, + author = {Dourish, Paul}, + date = {2004-02-01}, + journaltitle = {Personal and Ubiquitous Computing}, + shortjournal = {Personal Ubiquitous Comput.}, + volume = {8}, + number = {1}, + pages = {19--30}, + issn = {1617-4909}, + doi = {10.1007/s00779-003-0253-8}, + url = {https://doi.org/10.1007/s00779-003-0253-8}, + urldate = {2021-12-28}, + abstract = {The emergence of ubiquitous computing as a new design paradigm poses significant challenges for human-computer interaction (HCI) and interaction design. Traditionally, HCI has taken place within a constrained and well-understood domain of experience—single users sitting at desks and interacting with conventionally-designed computers employing screens, keyboards and mice for interaction. New opportunities have engendered considerable interest in “context-aware computing”—computational systems that can sense and respond to aspects of the settings in which they are used. However, considerable confusion surrounds the notion of “context”—what it means, what it includes and what role it plays in interactive systems. This paper suggests that the representational stance implied by conventional interpretations of “context” misinterprets the role of context in everyday human activity, and proposes an alternative model that suggests different directions for design.}, + keywords = {Context-aware computing,Ethnomethodology}, + file = {/Users/tomoya/Zotero/storage/ZQ5MPF7L/Dourish - 2004 - What we talk about when we talk about context.pdf} +} + +@article{driscollDavidTudorRainforest2004, + title = {David {{Tudor}} ' s {{Rainforest}} : {{An Evolving Exploration}} of {{Resonance David Tudor}} ’ s {{Rainforest}} : {{An Evolving Exploration}} of {{Resonance}}}, + author = {Driscoll, John}, + date = {2004}, + journaltitle = {Leonardo}, + volume = {14}, + pages = {25--30}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/F2TKRCGN/Driscoll_2004_David Tudor ' s Rainforest An Evolving Exploration of Resonance David Tudor ’ s Rainforest An Evolving Exploration of.pdf} +} + +@article{DuBianMeiRuXingTingJuedeisupureiZhuangZhiYinXiangZunNiyoruYinChangsimiyuretanoKaiFa2014, + title = {没入型聴覚ディスプレイ装置“ 音響樽 ”による音場シミュレータの開発 – システムの構成 –}, + author = {渡邉, 裕子 and 吉田, 飛里 and 池田, 祐介 and 伊勢, 史郎}, + date = {2014}, + journaltitle = {日本音響学会講演論文集}, + pages = {695--698}, + file = {/Users/tomoya/Zotero/storage/ECH22UPZ/渡邉 et al._2014_没入型聴覚ディスプレイ装置“ 音響樽 ”による音場シミュレータの開発.pdf} +} + +@article{dunbar-hesterListeningCyberneticsMusic2010, + title = {Listening to {{Cybernetics}} - {{Music}}, {{Machines}}, and {{Nervous Systems}}, 1950-1980}, + author = {Dunbar-Hester, Christina}, + date = {2010}, + journaltitle = {Science, Technology, \& Human Values}, + volume = {35}, + number = {1}, + pages = {113--139}, + issn = {0162-2439}, + doi = {10.1177/0162243909337116}, + abstract = {Scholars have explored the influence of the field of cybernetics on scientific thought and disciplines. However, from the inception of the field, ‘‘cyberneticians’’ had explicitly envisioned applications reaching beyond the purview of scientific disciplines; cybernetics was remarkable for its portability and potential application in a wide variety of contexts. This article explores connections between cybernetics and experimental music from 1950-1980, which was a period of experimentation with electronic techniques in recording, composition, and sound production and manipulation. Examples include musicians, engineers, instrument builders, composers, and scientists in collaboration with musicians who invoked cybernetic themes in their work. These uses of cybernetics were more diverse than accounts of cybernetics within the sciences suggest, presenting a major difficulty in addressing cybernetics as a homogeneous or monolithic discourse. In particular, cybernetic discourse in music often exhibited themes of openness and indeterminacy, rather than the ‘‘command and control’’ of the ‘‘closed world.’’}, + keywords = {computer music,could create,cybernetics,electronic music,executing them,experimental,i have gravi-,music,music technology,once set into operation,preferred making plans to,since i have always,systems that,tated towards situations and}, + file = {/Users/tomoya/Zotero/storage/ML6F5CFZ/dunbar-hester2009.pdf} +} + +@inproceedings{dunnePillowArtistdesignersDigital1997, + title = {The Pillow: Artist-Designers in the Digital Age}, + shorttitle = {The Pillow}, + booktitle = {{{CHI}} '97 Extended Abstracts on {{Human}} Factors in Computing Systems Looking to the Future - {{CHI}} '97}, + author = {Dunne, Anthony and Gaver, William W.}, + date = {1997}, + pages = {361}, + publisher = {ACM Press}, + location = {Atlanta, Georgia}, + doi = {10.1145/1120212.1120434}, + url = {http://portal.acm.org/citation.cfm?doid=1120212.1120434}, + urldate = {2021-11-26}, + abstract = {The Pillow is a treated LCD screen which shows changing patterns in response to ambient electromagnetic radiation, challenging viewers to consider our constant invasion by electronic information. It is proposed as a product for mass-production, one that people would purchase for home use. In this paper, we describe how this admittedly impractical value fiction illustrates some of the ways that designers can pursue research.}, + eventtitle = {{{CHI}} '97 Extended Abstracts}, + isbn = {978-0-89791-926-5}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/EKMTQW9D/Dunne and Gaver - 1997 - The pillow artist-designers in the digital age.pdf;/Users/tomoya/Zotero/storage/U33RAPJE/Dunne and Gaver - 1997 - The pillow artist-designers in the digital age.pdf} +} + +@misc{earnestFINALREPORTFirst1973, + title = {{{FINAL REPORT The}} First {{Ten Years}} of {{Artificial Intelligence Research}} at {{Stanford}}}, + editor = {Earnest, Lester}, + date = {1973-07}, + url = {https://ccrma.stanford.edu/~aj/archives/docs/all/756.pdf} +} + +@book{Eck, + title = {Between Air and Electricity : Microphones and Loudspeakers as Musical Instruments}, + author = {family=Eck, given=Cathy, prefix=van, useprefix=false}, + url = {https://www.bloomsbury.com/uk/between-air-and-electricity-9781501327605/}, + urldate = {2019-01-16}, + abstract = {Beyond the Curtain: The True Nature' of Microphones and Loudspeakers -- Reproducing-- Supporting-- Generating-- Interacting: Four Approaches towards Microphones and Loudspeakers -- The Sound of Microphones and Loudspeakers -- Movement, Material and Space: Interacting with Microphones and Loudspeakers -- Composing with Microphones and Loudspeakers. Machine generated contents note: 1. Beyond the Curtain: The True Nature' of Microphones and Loudspeakers -- An empty stage: Listening according to the Konzertreform -- A concert at home: The invention of sound reproduction technologies -- Storage of air pressure waves -- Transportation of air pressure waves -- Amplification of air pressure waves -- Between air and electricity -- A standard, almost perfect amplifier and loudspeaker -- Microphones and loudspeakers: The musical instruments of our age? -- The true nature' of microphones and loudspeakers -- 2. Reproducing -- Supporting -- Generating -- Interacting: Four Approaches towards Microphones and Loudspeakers -- Made for music: Concepts on musical instruments -- Violins, mixing desks and spoons -- Piano lessons or a phonograph: How sound reproduction technologies entered the living room -- The instrumental phonograph and the reproducing radio -- Semantic acts of sound creation -- Hearing voices through the noise: Completely satisfactory recordings in 1902 -- Electricity, bodies and diaphragms -- Reproducing: One sound system for all music -- Supporting: The same sound but louder -- Transparent technology -- The record as a copy of the concert and the concert as a copy of the record -- Generating: Music without musical instruments -- Interacting: Resonance and resistance -- 3. The Sound of Microphones and Loudspeakers -- Acoustic feedback: An electromechanical oscillator -- The tuning fork: An early sine wave generator -- Transforming sound into a researchable object -- Hermann von Helmholtz: Tuning fork experiments -- Hermann von Helmholtz: Tuning forks reproduce human vowels -- The tympanic principle and the tuning fork principle -- Alexander Bell: Metal rods reproduce sound -- Alexander Bell: Metal plates reproduce sound -- Richard Eisenmann: An electric piano with tuning forks -- George Dieckmann: A piano string oscillator -- Bechstein-Siemens-Nernst-piano: Piano, radio and gramophone through the same loudspeaker -- 4. Movement, Material and Space: Interacting with Microphones and Loudspeakers -- Acoustic feedback: From mistake to music -- Movement -- Quintet by Hugh Davies: Changing the distance between microphone and loudspeaker -- Pendulum Music by Steve Reich: Introducing silence -- Bird and Person Dyning by Alvin Lucier: Listening as a performative act -- Green Piece by Anne Wellmer: Interacting with another sound source -- Mikrophonie I by Karlheinz Stockhausen: Amplification only -- Speaker Swinging by Gordon Monahan and Three Short Stories and an Apotheosis by Annea Lockwood: Moving loudspeakers -- Material -- Coffee making by Valerian Maly and 0'00" by John Cage: Everyday actions amplified -- Inside Piano by Andrea Neumann: Musical instruments and contact microphones -- Apple Box Double by Pauline Oliveros and Shozyg by Hugh Davies: New instruments through amplification -- Nodalings by Nicolas Collins: Acoustic feedback through objects -- Rainforest by David Tudor: Every loudspeaker a different voice -- Aptium by Lynn Pook, and Merzbow: The audible becomes feelable -- Space -- Music for piano with amplified sonorous vessels by Alvin Lucier: Interaction between microphones and small spaces -- Loudspeakers in brass instruments and focused loudspeakers: Interaction between loudspeakers and small spaces -- ... sofferte onde serene ... and Guai ai gelidi mostri by Luigi Nono: Interaction between loudspeakers and performance space -- Acousmonium by Francois Bayle: Loudspeaker orchestras -- Performances by Eliane Radigue and Der tonende See by Kirsten Reese: Sound unified in space and dispersed in space -- Audible EcoSystemics by Agostino Di Scipio: Closing the acoustic feedback loop again -- 5. Composing with Microphones and Loudspeakers -- Beyond musical instruments: A hybrid of approaches -- The Edison tone tests: No difference -- Nothing Is Real (Strawberry Fields Forever) by Alvin Lucier: A piano in a teapot -- Windy Gong by Ute Wassermann: Singing through the gong -- Snare drum pieces by Wolfgang Heiniger: Invisible beating -- Tubes by Paul Craenen: Musicians, dancers and technicians -- Open Air Bach by Lara Stanic: Speeding up a sonata -- Resistances and resonances of microphones and loudspeakers -- The future of microphones and loudspeakers: Between air and electricity.}, + isbn = {978-1-5013-2760-5}, + pagetotal = {198} +} + +@patent{eckertMemorySystem1953, + type = {patent}, + title = {Memory {{System}}}, + author = {Eckert, John Presper}, + date = {1953}, + file = {/Users/tomoya/Zotero/storage/JX4NBDCP/Oct_1953_u“. £413 .pdf} +} + +@patent{eckertNONDESTRUCTIVEREADOUTTHIN1967, + type = {patent}, + title = {{{NONDESTRUCTIVE READOUT THIN FILM MEMORY ARRAY}}}, + author = {Eckert, John Presper}, + date = {1967}, + file = {/Users/tomoya/Zotero/storage/6FKEUX62/Eckert_1963_8 .Qm 2 .wE.pdf} +} + +@article{eckertSurveyDigitalComputer1953, + title = {A {{Survey}} of {{Digital Computer Memory Systems}}}, + author = {Eckert, John Presper}, + date = {1953}, + journaltitle = {Proceedings of the IRE}, + volume = {41}, + number = {10}, + pages = {1393--1406}, + issn = {00968390}, + doi = {10.1109/JRPROC.1953.274316}, + abstract = {Many types of storage and memory systems have been proposed for\textbackslash nuse in digital computing systems. The survey paper discusses only the\textbackslash nvarious systems whose reaction time is faster than human reaction time\textbackslash nand employs a historical approach to the subject. Criteria for\textbackslash nevaluation are discussed as well as comparisons among the different\textbackslash nsystems as to general applicability, ease of construction and use, speed\textbackslash nof operation, latency time, memory span, and economy}, + isbn = {0018-9219 VO - 85}, + file = {/Users/tomoya/Zotero/storage/LXAMRIGY/Eckert_1997_A Survey of Digital Computer Memory Systems.pdf} +} + +@article{ecksteinPresperEckert1996, + title = {J. {{Presper Eckert}}}, + author = {Eckstein, Peter}, + date = {1996}, + journaltitle = {IEEE Annals of the History of Computing}, + volume = {18}, + number = {1}, + pages = {25--44}, + issn = {10586180}, + doi = {10.1109/85.476559}, + abstract = {The life experiences of any human influence the way we think and\textbackslash nthe types of activities in which we engage. This paper examines the\textbackslash nearly life of J. Presper Eckert, one of the inventors of the ENIAC, and\textbackslash ndetails those experiences which obviously came to influence his\textbackslash ncontributions to the creation of the ENIAC and subsequent\textbackslash ncomputers}, + isbn = {1058-6180 VO - 18}, + file = {/Users/tomoya/Zotero/storage/H4S33SB5/Eckert, Eckstein_1996_Presper Eckert.pdf;/Users/tomoya/Zotero/storage/XHYZDH8P/eckstein1996.pdf} +} + +@article{edgertonInnovationUseTen1999, + title = {From Innovation to Use: {{Ten}} Eclectic Theses on the Historiography of Technology}, + author = {Edgerton, David}, + date = {1999}, + journaltitle = {History and Technology}, + volume = {16}, + number = {2}, + pages = {111--136}, + issn = {14772620}, + doi = {10.1080/07341519908581961}, + abstract = {The paper argues that most (Anglo-Saxon) historiography of technology, including recent sociologically-oriented work, is concerned with innovation rather than technology, and that there has been an unfortunate conflation between the two. Distinguishing innovation from use allows an engagement between the history of technology and history more generally, and is essential to the investigation of questions concerned with gender, race, and class in the history of technology. Moreover a focus on use allows us to make better sense of such terms as “technological determinism”. The history of innovation, while interesting and important, cannot address many issues which should be central to the history of technology, and cannot answer many of the questions historians of technology pretend to ask. A history of technology-in-use does so and, at the same time, opens up new areas for investigation, including the history of maintenance, repair and remodelling, as well as further developing accounts of innovation based on use. The paper deals largely with modern technology, and draws on a number of different, and all too often disjointed, traditions of thinking about the role of technology in history. © 1999 Taylor \& Francis Group, LLC.}, + isbn = {0734151990858}, + file = {/Users/tomoya/Zotero/storage/96E5F9IN/edgerton1999.pdf} +} + +@misc{EDSACMemoryImage, + title = {{{EDSAC Memory Image}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/H9JPB86H/Unknown_Unknown_EDSAC Memory Image.pdf.pdf} +} + +@article{edwardsIntroductionAgendaInfrastructure2009, + title = {Introduction: {{An Agenda}} for {{Infrastructure Studies}}}, + author = {Edwards, Paul and Bowker, Geoffrey and Jackson, Steven and Williams, Robin}, + date = {2009-05-28}, + journaltitle = {Journal of the Association for Information Systems}, + volume = {10}, + number = {5}, + pages = {6}, + publisher = {Association for Information Systems}, + issn = {1536-9323}, + doi = {10.17705/1jais.00200}, + url = {https://aisel.aisnet.org/jais/vol10/iss5/6}, + urldate = {2021-09-16}, + file = {/Users/tomoya/Zotero/storage/KA4EPHPU/ContentServer (1).pdf} +} + +@misc{eldridgeAshbyHomeostatSimulation, + title = {Ashby's {{Homeostat}} in {{Simulation}}}, + author = {Eldridge, Alice}, + file = {/Users/tomoya/Zotero/storage/ZHDVBESG/m-api-25fadb5e-bbdf-28c7-3368-2f9191278073.pdf} +} + +@article{electronicsPreliminaryMeasurementsWere1956, + title = {Preliminary {{Measurements Were}} of the {{Psychophysical Literature Contains}} a {{Number}}}, + author = {Electronics, U S Navy and Klumpp, R. G. and Eady, H. R.}, + date = {1956}, + volume = {28}, + pages = {859--860}, + issn = {NA}, + doi = {10.1121/1.1908493}, + abstract = {Thresholds for the detection of interaural time difference were determined by ten listeners (1) for band-limited random noise (150-1700 cps), (2) for a 1000-cps tone, and (3) for a 1-millisecond click. The average interaural time differences corresponding to 75\% correct detection in the symmetrical two-alternative tests were (1) 9 microseconds, (2) 11 microseconds, and (3) 28 microseconds. Ranges of individual thresholds and group psychometric functions are presented. © 1956, Acoustical Society of America. All rights reserved.}, + issue = {May 2012}, + file = {/Users/tomoya/Zotero/storage/Q6D8YY52/Electronics, Klumpp, Eady_1956_Preliminary Measurements Were of the Psychophysical Literature Contains a Number.pdf} +} + +@book{emersonReadingWritingInterfaces2014, + title = {Reading {{Writing Interfaces}}: {{From}} the {{Digital}} to the {{Bookbound}}}, + author = {Emerson, Lori}, + date = {2014-11-22}, + publisher = {Univ of Minnesota Press}, + isbn = {978-0-8166-9126-5} +} + +@article{emiHaipasonitukuehuekutonoFaXianmekaniZuSiniGuansuruYanJiunoJinZhan2009, + title = {ハイパーソニックエフェクトの発現メカニ ズ厶に関する研究の進展}, + author = {エミ, 仁科}, + date = {2009}, + file = {/Users/tomoya/Zotero/storage/HLWIHL4Z/2009-_.pdf} +} + +@article{engelnMultiTouchEnhancedVisual2018, + title = {Multi-{{Touch Enhanced Visual Audio-Morphing}}}, + author = {Engeln, Lars and Kammer, Dietrich and Brandt, Leon and Groh, Rainer}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + number = {3}, + pages = {152--155}, + file = {/Users/tomoya/Zotero/storage/Y4D636IE/Engeln et al._2018_Multi-Touch Enhanced Visual Audio-Morphing.pdf} +} + +@article{engineeringAltoGloveNew2018, + title = {Alto . {{Glove}} : {{New Techniques}} for {{Augmented Violin Template}} for {{LaTeX}} Violinist}, + author = {Engineering, Media and Thorn, Seth Dominicus and Box, P O and Leipuner, Lawrence P and Field, Moffett and Proceedings, S I G and Kimura, Mari}, + date = {2018}, + pages = {334--339}, + keywords = {computationally extend their performances,on,players who seek to}, + file = {/Users/tomoya/Zotero/storage/FPS2ASH8/Engineering et al._2018_Alto . Glove New Techniques for Augmented Violin Template for LaTeX violinist.pdf} +} + +@article{engineeringPresentedHe102nd, + title = {Presented at t He 102nd {{C}} on v En Ti on {{Munich}} , {{Germany AN AUDIO ENGINEERING}}}, + author = {Engineering, a N Audio and Preprint, Society}, + volume = {4638}, + file = {/Users/tomoya/Zotero/storage/S76V5WCU/Presented_at_t_he_102nd_C_on_v_en_ti_on_Munich__Germany_AN_AUDIO_ENGINEERING.pdf} +} + +@article{engumDemocratizingInteractiveMusic, + title = {Democratizing {{Interactive Music Production}} over the {{Internet}}}, + author = {Engum, Trond and Wittner, Otto J}, + pages = {202--203}, + file = {/Users/tomoya/Zotero/storage/GCSIC66Q/Engum, Wittner_Unknown_Democratizing Interactive Music Production over the Internet.pdf} +} + +@online{Eno2008, + title = {Bloom by {{Brian Eno}} and {{Peter Chilvers}} | {{GenerativeMusic}}.Com}, + author = {Eno, Brian and Chilvers, Peter}, + date = {2008}, + url = {http://generativemusic.com/bloom.html}, + urldate = {2020-03-26} +} + +@inproceedings{ericksonMusicComputerSixties1970, + title = {Music and the Computer in the Sixties}, + booktitle = {Proceedings of the {{May}} 5-7, 1970, Spring Joint Computer Conference}, + author = {Erickson, Raymond F.}, + date = {1970-05-05}, + series = {{{AFIPS}} '70 ({{Spring}})}, + pages = {281--285}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/1476936.1476983}, + url = {https://doi.org/10.1145/1476936.1476983}, + urldate = {2022-01-10}, + abstract = {A glance at the cumulative bibliographies published in Computers and the Humanities each year provides ample evidence that there is a striking amount of interest in computer applications for both the art of music and the discipline of musicology. Allen Forte, reporting to the 1967 Fall Joint Computer Conference, noted that connections between music and computing are by no means unique to our time, but extend all the way back into antiquity, when the mathematical ratios of musical intervals were believed to mirror and explain the order of the universe. He then outlined the areas within music using computers and summarized the types of application involved, stressing, however, that much of the work being done was experimental: "It is necessary to say, once and for all, that we are still in a pioneer stage".}, + isbn = {978-1-4503-7903-8}, + file = {/Users/tomoya/Zotero/storage/CCN8S26R/Erickson - 1970 - Music and the computer in the sixties.pdf} +} + +@article{ernstLetThereBe2005, + title = {Let {{There Be Irony}}: {{Cultural History}} and {{Media Archaeology}} in {{Parallel Lines}}}, + shorttitle = {Let {{There Be Irony}}}, + author = {Ernst, Wolfgang}, + date = {2005}, + journaltitle = {Art History}, + volume = {28}, + number = {5}, + pages = {582--603}, + issn = {1467-8365}, + doi = {10.1111/j.1467-8365.2005.00479.x}, + url = {https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1467-8365.2005.00479.x}, + urldate = {2022-12-28}, + abstract = {Stephen Bann is well known as an art critic, art historian, cultural historian and museologist, but his writings have yet to be discovered from the point of view of media theory. This article applies Bann's proposal of an ‘ironical museum’ to a self-reflective media culture, while at the same time establishing the difference between a media-archaeological and an art-historical approach, particularly in accounts of new media in the first half of the nineteenth century and in the present. To what extent was the historical imagination developed in the romantic period an effect of new media and new media technologies? It is argued that although the discourse of history has always depended on the media of its representation (verbal and visual), its character changed dramatically with the arrival of mechanical means for recording historical evidence. The ‘antiquarian’ method of archival investigation of the past, with its almost haptic taste for the mouldy, decaying fragment, is considered and compared to narrative aesthetics. A key question is considered from different disciplinary perspectives: can we speak of a cultural transition or a radical break with the emergence of photography? The essay concludes that what we learn from Stephen Bann's analyses is the significance of an ever-alert awareness of the intricate relations between cultural and technological phenomena, a kind of media self-irony which, apparently, was present in the past to antiquaries and historiographers, to painters, engravers and to creators of historical museums.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/M5ZHT95V/Ernst - 2005 - Let There Be Irony Cultural History and Media Arc.pdf;/Users/tomoya/Zotero/storage/P3JKV5WX/j.1467-8365.2005.00479.html} +} + +@incollection{ernstPartChapterDiscontinuities2013, + title = {Part 2. {{Chapter}} 6. {{Discontinuities}}: {{Does}} the {{Archive Become Metaphorical}} in {{Multimedia Space}}?}, + booktitle = {Digital {{Memory}} and the {{Archive}}}, + author = {Ernst, Wolfgang}, + date = {2013}, + volume = {29}, + pages = {113--140}, + abstract = {Includes bibliographical references and index Early film history and multi-media: an archaeology of possible futures? / Thomas Elsaesser -- Electricity made visible / Geoffrey Batchen -- "Tones from out of nowhere": Rudolph Pfenninger and the archaeology of synthetic sound / Thomas Y. Levin -- Memex revisited / Vannevar Bush -- Out of file, out of mind / Cornelia Vismann -- Dis/continuities: Does the archive become metaphorical in multi-media space? / Wolfgang Ernst -- Breaking down: Godard's histories / Richard Dienst -- Ordering law, judging history: deliberations on court TV / Lynne Joyrich -- The style of sources: remarks on the theory and history of programming languages / Wolfgang Hagen -- Science as open source process / Friedrich Kittler -- Cold War networks, or, Kaiserstr. 2, Neubabelsberg / Friedrich Kittler -- Protocol vs. institutionalization / Alexander R. Galloway -- Reload: liveness, mobility, and the Web / Tara McPherson -- Generation flash / Lev Manovich -- Viruses are good for you / Julian Dibbell -- The imaginary of the artificial: automata, models, machinics; on promiscuous modeling as precondition for poststructuralist ontology / Anders Michelsen -- Information, crisis, catastrophe / Mary Ann Doane -- The weird global media event and the tactical intellectual [version 3.0] / MacKenzie Wark -- Imperceptible perceptions in our technological modernity / Arvind Rajagopal -- Deep Europe: a history of the syndicate network / Geert Lovink -- The cell phone and the crowd: messianic politics in the contemporary Philippines / Vicente L. Rafael -- Cybertyping and the work of race in the age of digital reproduction / Lisa Nakamura -- Network subjects, or, the ghost is the message / Nicholas Mirzeoff -- Modes of digital identification: virtual technologies and webcam cultures / Ken Hillis -- Hypertext Avant la lettre / Peter Krapp -- Network fever / Mark Wigley -- The demystifica-hic-tion of in-hic-formation / Thomas Keenan}, + isbn = {978-0-8166-8199-0}, + file = {/Users/tomoya/Zotero/storage/WZI4IM6X/m-api-4397050a-c0c7-0897-0077-2ba2187bf79b.pdf} +} + +@article{ethwOralHistoryWarrenMason2016, + title = {Oral-{{History}}:{{Warren P}}. {{Mason}}}, + author = {Ethw, Oral-history Warren P Mason and Mason, Oral-history Warren P and Mason, About Warren P and Mason, Warren P and Interview, An and Polkinghorn, Frank A}, + date = {2016}, + pages = {1--6}, + file = {/Users/tomoya/Zotero/storage/Y92CNCWY/Ethw et al._2016_Oral-HistoryWarren P. Mason.pdf} +} + +@online{ExperimentalMusicStudio, + title = {Experimental {{Music Studio}} – {{Art}}, {{Culture}}, and {{Technology}} ({{ACT}})}, + url = {http://act.mit.edu/special-collections/ems-recordings/}, + urldate = {2022-01-13}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/NDSV2W53/ems-recordings.html} +} + +@article{fallirInteractionDesignResearch2016, + title = {The {{Interaction Design Research Triangle}} of {{Design Practice}} , {{Design Studies}} , and {{Design Exploration}}}, + author = {Fallir, Daniel}, + date = {2016}, + volume = {24}, + number = {3}, + pages = {4--18}, + file = {/Users/tomoya/Zotero/storage/JPTJPCBU/25224179.pdf} +} + +@article{fallmanDesignorientedHumanComputer2003, + title = {Design-Oriented {{Human}}—{{Computer Interaction}}}, + author = {Fallman, Daniel}, + date = {2003}, + journaltitle = {NEW HORIZONS}, + number = {5}, + pages = {8}, + abstract = {We argue that HCI has emerged as a design-oriented field of research, directed at large towards innovation, design, and construction of new kinds of information and interaction technology. But the understanding of such an attitude to research in terms of philosophical, theoretical, and methodological underpinnings seems however relatively poor within the field. This paper intends to specifically address what design ‘is’ and how it is related to HCI. First, three candidate accounts from design theory of what design ‘is’ are introduced; the conservative, the romantic, and the pragmatic. By examining the role of sketching in design, it is found that the designer becomes involved in a necessary dialogue, from which the design problem and its solution are worked out simultaneously as a closely coupled pair. In conclusion, it is proposed that we need to acknowledge, first, the role of design in HCI conduct, and second, the difference between the knowledge-generating Design-oriented Research and the artifact-generating conduct of Research-oriented Design.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/VYKZSPFD/Fallman - 2003 - Design-oriented Human—Computer Interaction.pdf} +} + +@article{fallmanInteractionDesignResearch2008, + title = {The {{Interaction Design Research Triangle}} of {{Design Practice}}, {{Design Studies}}, and {{Design Exploration}}}, + author = {Fallman, Daniel}, + date = {2008-07}, + journaltitle = {Design Issues}, + shortjournal = {Design Issues}, + volume = {24}, + number = {3}, + pages = {4--18}, + issn = {0747-9360, 1531-4790}, + doi = {10.1162/desi.2008.24.3.4}, + url = {https://direct.mit.edu/desi/article/24/3/4-18/60187}, + urldate = {2021-11-24}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/TBYIH8U7/Fallman - 2008 - The Interaction Design Research Triangle of Design.pdf} +} + +@misc{FaMingInvention311934, + title = {発明 = The invention 31(12)}, + author = {, 発明推進協会 and , 発明協会 and , 特許庁 and , 帝国発明協会}, + date = {1934-12}, + url = {https://doi.org/10.11501/3206544}, + urldate = {2022-01-18}, + language = {ja}, + organization = {発明推進協会}, + keywords = {Matsuura} +} + +@incollection{FanYe2023, + title = {「見えない」障害のカミングアウトはなぜ難しいのか？}, + booktitle = {クィア・スタディーズをひらく 3 健康／病,障害,身体}, + author = {飯野, 由里子}, + date = {2023-03-30}, + series = {クィア・スタディーズをひらく}, + number = {3}, + pages = {73--101}, + isbn = {978-4-7710-3745-8} +} + +@article{farinaSimultaneousMeasurementImpulse2000, + title = {Simultaneous Measurement of Impulse Response and Distortion with a Swept-Sine Technique}, + author = {Farina, Angela}, + date = {2000}, + journaltitle = {Proc. AES 108th conv, Paris, France}, + number = {I}, + pages = {1--15}, + doi = {10.1109/ASPAA.1999.810884}, + abstract = {A measured head-related transfer function can be decomposed into a minimum phase, a linear phase and an all-pass component. The audibility of the all-pass component is tested in a three-alternative forced choice experiment. Results show that a pair of head-related transfer functions can be represented by its minimum phase components if the appropriate interaural time difference is applied. The interaural time difference is found as the interaural group delay difference at 0 Hz determined from the excess phase (linear phase and all-pass) components.}, + isbn = {0780356128}, + file = {/Users/tomoya/Zotero/storage/MSCSF2HZ/Farina_2000_Simultaneous measurement of impulse response and distortion with a swept-sine technique.pdf} +} + +@online{farnyNixieTubeClock, + title = {Nixie {{Tube}} \& {{Clock Manufacturer}}}, + author = {Farny, Dalibor}, + url = {https://www.daliborfarny.com/story}, + urldate = {2022-02-06} +} + +@inproceedings{favreauProgrammationProcesseurNumerique1984, + title = {Programmation Du {{Processeur Numerique Temps Reel}}, {{4X}}}, + booktitle = {International {{Computer Music Conference Proceedings}}}, + author = {Favreau, Emmanuel and Gerzso, Andrew and Potacsek, Patrick}, + date = {1984}, + volume = {1984}, + publisher = {[publisher not identified]}, + issn = {2223-3881}, + url = {http://hdl.handle.net/2027/spo.bbp2372.1984.016}, + urldate = {2021-10-11}, + abstract = {Title from content provider.}, + file = {/Users/tomoya/Zotero/storage/3ALKJ4EM/programmation-du-processeur-numerique-temps-reel-4x.pdf} +} + +@inproceedings{favreauSoftwareDevelopments4X1986, + title = {Software {{Developments}} for the {{4X Real-time System}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Favreau, Emmanuel and Fingerhut, Michel and Koechlin, Olivier and Potacsek, Patrick and Puckette, Miller S. and Rowe, Robert}, + date = {1986}, + url = {https://quod.lib.umich.edu/cache//b/b/p/bbp2372.1986.074/bbp2372.1986.074.pdf#page=1;zoom=75}, + urldate = {2022-01-24}, + file = {/Users/tomoya/Zotero/storage/CJY6H43Y/bbp2372.1986.074.pdf} +} + +@article{fennBuildingBoutiqueEffects2010, + title = {The Building of Boutique Effects Pedals - {{The}} "Where" of Improvisation}, + author = {Fenn, John}, + date = {2010}, + journaltitle = {Leonardo Music Journal}, + volume = {20}, + pages = {67--72}, + issn = {09611215}, + doi = {10.1162/LMJ_a_00014}, + abstract = {Based on 2 years of ethnographic fieldwork with builders of boutique music effects boxes, this essay explores the ways in which improvisation figures into the creation of music technology. The author argues that expanding the rubric of improvisation to encompass the processes of designing and building effects boxes pushes scholars to understand relationships between music and improvisation as existing beyond the boundaries of performance. Ultimately he posits that improvisatory behavior and exploratory engagement with material at hand is central to building pedals, and should be assessed as part of the continuum of socialaesthetic practices composing music making.}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/RP93G4BE/Fenn_2010_The building of boutique effects pedals - The where of improvisation.pdf} +} + +@article{fieldANIMATEDNOTATIONMULTIPLE2018, + title = {{{ANIMATED NOTATION IN MULTIPLE PARTS FOR CROWD OF NON-PROFESSIONAL PERFORMERS Studies}} for {{LaTeX}}}, + author = {Field, Moffett}, + date = {2018}, + pages = {13--18}, + file = {/Users/tomoya/Zotero/storage/CX7D479N/Field_2018_ANIMATED NOTATION IN MULTIPLE PARTS FOR CROWD OF NON-PROFESSIONAL PERFORMERS Studies for LaTeX.pdf} +} + +@article{fildesOldestComputerMusic2008, + entrysubtype = {newspaper}, + title = {'{{Oldest}}' Computer Music Unveiled}, + author = {Fildes, Jonathan}, + date = {2008-06-17}, + url = {http://news.bbc.co.uk/2/hi/technology/7458479.stm}, + urldate = {2022-01-01}, + abstract = {A scratchy recording of Baa Baa Black Sheep is thought to be the oldest known recording of computer generated music.}, + language = {en-GB}, + keywords = {BBC,BBC News,British,Foreign,International,News,News online,Online,Service,Uk,World}, + file = {/Users/tomoya/Zotero/storage/T33TUY25/7458479.html} +} + +@book{flormanCivilizedEngineer1989, + title = {The {{Civilized Engineer}}}, + author = {Florman, Samuel C.}, + date = {1989-12-18}, + publisher = {St. Martin's Griffin}, + isbn = {978-0-312-02559-5} +} + +@online{FluidicGramophone, + title = {The {{Fluidic Gramophone}}.}, + url = {http://www.douglas-self.com/MUSEUM/COMMS/fluidicgramophone/fluidgram.htm}, + urldate = {2021-01-06} +} + +@online{Fluidics, + title = {Fluidics}, + url = {https://miriam-english.org/files/fluidics/FluidControlDevices.html}, + urldate = {2021-01-06} +} + +@inproceedings{forrest1997building, + title = {Building Diverse Computer Systems}, + booktitle = {Proceedings. {{The Sixth Workshop}} on {{Hot Topics}} in {{Operating Systems}} ({{Cat}}. {{No}}. {{97TB100133}})}, + author = {Forrest, Stephanie and Somayaji, Anil and Ackley, David H}, + date = {1997}, + pages = {67--72}, + publisher = {IEEE}, + file = {/Users/tomoya/Zotero/storage/TD9XH5BP/1997-hotos-diversity.pdf} +} + +@article{fraylingNewBauhausArt2007, + title = {The {{New Bauhaus}}: An Art Education for the 21st Century}, + shorttitle = {The {{New Bauhaus}}}, + author = {Frayling, Christopher}, + date = {2007}, + journaltitle = {Art Libraries Journal}, + shortjournal = {Art Libraries Journal}, + volume = {32}, + number = {1}, + pages = {31--37}, + issn = {0307-4722, 2059-7525}, + doi = {10.1017/S0307472200014838}, + url = {https://www.cambridge.org/core/product/identifier/S0307472200014838/type/journal_article}, + urldate = {2021-11-24}, + abstract = {I’ve called this paper ‘The New Bauhaus: an art education for the 21st century’ – and it involves an element of prediction, which is always high risk in the unpredictable worlds of art and design. Let me start, as a cautionary tale and as a curtain-raiser, with the example of a designer who thought he was rather good at looking ahead.}, + language = {en} +} + +@article{fraylingResearchArtDesign1993, + title = {Research in Art and Design}, + author = {Frayling, Christopher}, + date = {1993}, + journaltitle = {Royal College of Art Research Papers}, + volume = {1}, + number = {1}, + language = {English}, + annotation = {OCLC: 48866129}, + file = {/Users/tomoya/Zotero/storage/56MGLQIN/frayling_research_in_art_and_design_1993.pdf;/Users/tomoya/Zotero/storage/JQNSH458/frayling_research_in_art_and_design_1993.pdf} +} + +@article{freedFeaturesFutureOpen2009, + title = {Features and {{Future}} of {{Open Sound Control}} Version 1.1 for {{NIME}}}, + author = {Freed, Adrian and Schmeder, Andy}, + date = {2009}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + eprint = {2467318}, + eprinttype = {pmid}, + pages = {1--5}, + issn = {00319333}, + doi = {10.1.1.527.3380}, + url = {http://cnmat.berkeley.edu/node/7002}, + abstract = {The history and future of Open Sound Control (OSC) is discussed and the next iteration of the OSC specification is introduced with discussion of new features to support NIME community activities. The roadmap to a major revision of OSC is developed.}, + keywords = {0 specification,1 osc 1,2,media software development environments,open sound control,osc,reservation protocols,time tag}, + file = {/Users/tomoya/Zotero/storage/TZDLKFFH/Freed, Schmeder_2009_Features and Future of Open Sound Control version 1.1 for NIME.pdf} +} + +@inproceedings{friberg2004, + title = {Audio Games: New Perspectives on Game Audio}, + shorttitle = {Audio Games}, + booktitle = {Proceedings of the 2004 {{ACM SIGCHI International Conference}} on {{Advances}} in Computer Entertainment Technology}, + author = {Friberg, Johnny and Gärdenfors, Dan}, + date = {2004-09-02}, + series = {{{ACE}} '04}, + pages = {148--154}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/1067343.1067361}, + url = {https://doi.org/10.1145/1067343.1067361}, + urldate = {2024-06-18}, + abstract = {This paper discusses the design of audio games, a quite new computer game category that originates from games for players with visual impairments as well as from mainstream music games. In the TiM project (Tactile Interactive Multimedia), SITREC develops three sound-based games that point out new directions for game audio design. The TiM games demonstrate different ways in which games can be designed around an auditory experience. Several unique features of audio games are presented emphasising unexplored potentials for interactivity and future development areas are suggested.SITREC proposes an approach to the design of auditory interfaces that takes three listening modes into consideration: casual listening, semantic listening and reduced listening. A semiotic model is presented that illustrates this view on sound object design and ways in which sounds can be combined. The discourse focuses on issues of continuous display, musicality and clarity, and introduces the notion of "spatialised game soundtracks," as opposed to separated background music and game effect sounds.The main challenge when developing auditory interfaces is to balance functionality and aesthetics. Other important issues are the inclusion of meta-level information in order to achieve a high level of complexity and to provide elements of open-endedness. This refers to planning the overall gameplay, as well as to designing individual sound objects and combining them into complex, interactive soundscapes.}, + isbn = {978-1-58113-882-5}, + keywords = {audio game,auditory interface,e-inclusion,game audio,sound design,sound-scape,spatial soundtrack,visual impairment}, + file = {/Users/tomoya/Downloads/friberg2004 (日本語).pdf;/Users/tomoya/Downloads/friberg2004.pdf} +} + +@article{Frich, + title = {Mapping the {{Landscape}} of {{Creativity Support}} {{Tools}} in {{HCI}}}, + author = {Frich, Jonas and Macdonald Vermeulen, Lindsay and Remy, Christian and Biskjaer, Michael Mose and Dalsgaard, Peter}, + volume = {18}, + publisher = {ACM}, + doi = {10.1145/3290605.3300619}, + url = {https://doi.org/10.1145/3290605.3300619}, + urldate = {2021-10-21}, + abstract = {Creativity Support Tools (CSTs) play a fundamental role in the study of creativity in Human-Computer Interaction (HCI). Even so, there is no consensus definition of the term 'CST' in HCI, and in most studies, CSTs have been construed as one-off exploratory prototypes, typically built by the researchers themselves. This makes it difficult to clearly demarcate CST research, but also to compare findings across studies, which impedes advancement in digital creativity as a growing field of research. Based on a literature review of 143 papers from the ACM Digital Library (1999-2018), we contribute a first overview of the key characteristics of CSTs developed by the HCI community. Moreover, we propose a tentative definition of a CST to help strengthen knowledge sharing across CST studies. We end by discussing our study's implications for future HCI research on CSTs and digital creativity. CCS CONCEPTS • Human-centered computing → Interaction design theory, concepts and paradigms; HCI theory, concepts and models; Interactive systems and tools.}, + isbn = {9781450359702}, + keywords = {Creativity,Creativity Support Tools (CSTs),Literature Review,Meta-Analysis}, + file = {/Users/tomoya/Zotero/storage/EZ2CG23P/full-text.pdf} +} + +@article{frontsBoMianHeChengJiShunoYanJiuDongXiang, + title = {波面合成技術の研究動向}, + author = {Fronts, Wave}, + pages = {1--6}, + file = {/Users/tomoya/Zotero/storage/L7FWVJPE/file.pdf} +} + +@inproceedings{fuchsbergerMaterialsMaterialityMedia2013, + title = {Materials, Materiality, and Media}, + booktitle = {Conference on {{Human Factors}} in {{Computing Systems}} - {{Proceedings}}}, + author = {Fuchsberger, Verena and Murer, Martin and Tscheligi, Manfred}, + date = {2013}, + pages = {2853--2862}, + doi = {10.1145/2470654.2481395}, + abstract = {In HCI, and especially in interaction design, the material aspect of interactions is currently emphasized. Nevertheless, it is challenging to theoretically frame the variety of digital or immaterial, and physical materials. In order to contribute to this materiality discourse, we reflect on McLuhan's work on media analysis and on Latour's Actor-Network Theory in this paper. Both emphasize the active role of the material - be it media or any other kind of non-human actors - in the interplay with the human. Thus, we establish junctures between their findings and materials, as used in interaction design in HCI. We discuss McLuhan's claim to focus on new sensory effects and ways of interaction brought forth by new media. Furthermore, we illustrate how describing the connections between materials, designers, and users in terms of Latour's Actor-Networks can be beneficial for interaction design. Finally, we discuss the respective methodology and its relation to research through design. Copyright 2013 ACM.}, + keywords = {Actor-network theory,Design,Materiality,Materials,Media theory}, + file = {/Users/tomoya/Zotero/storage/SRDSG78E/full-text.pdf} +} + +@book{FuDaoZhenLinoGongChangKeXueJiShunoSheHuiDeYanJiu2017, + title = {真理の工場: 科学技術の社会的研究}, + author = {福島, 真人}, + date = {2017-12-01}, + publisher = {東京大学出版会}, + isbn = {978-4-13-030209-8} +} + +@inproceedings{fushimiAtmoSphereDesigningCrossmodal2017, + title = {{{atmoSphere}}: Designing Cross-Modal Music Experiences Using Spatial Audio with Haptic Feedback}, + shorttitle = {{{atmoSphere}}}, + booktitle = {{{ACM SIGGRAPH}} 2017 {{Emerging Technologies}}}, + author = {Fushimi, Haruna and Kato, Daiya and Kamiyama, Youichi and Yanagihara, Kazuya and Minamizawa, Kouta and Kunze, Kai}, + date = {2017-07-30}, + pages = {1--2}, + publisher = {ACM}, + location = {Los Angeles California}, + doi = {10.1145/3084822.3084845}, + url = {https://dl.acm.org/doi/10.1145/3084822.3084845}, + urldate = {2023-01-17}, + eventtitle = {{{SIGGRAPH}} '17: {{Special Interest Group}} on {{Computer Graphics}} and {{Interactive Techniques Conference}}}, + isbn = {978-1-4503-5012-9}, + language = {en} +} + +@article{gallowayLanguageWantsBe2016, + title = {Language {{Wants To Be Overlooked}}: {{On Software}} and {{Ideology}}:}, + author = {Galloway, Alexander R.}, + date = {2016-06-29}, + journaltitle = {http://dx.doi.org/10.1177/1470412906070519}, + volume = {5}, + number = {3}, + pages = {315--331}, + publisher = {{SAGE PublicationsLondon, Thousand Oaks, CA and New Delhi}}, + doi = {10.1177/1470412906070519}, + url = {https://journals.sagepub.com/doi/10.1177/1470412906070519}, + urldate = {2021-07-12}, + abstract = {This article is a theoretical response to the observation from Wendy Hui Kyong Chun that ‘software is a functional analog to ideology’. Several principles of software design support this claim, the...}, + keywords = {allegory,code,function,ideology,language,obfuscation,reflection,software}, + file = {/Users/tomoya/Zotero/storage/HUG4JFBB/full-text.pdf} +} + +@online{GangBenBaoWeiXingmaikurohonareiwoYongitaGaoJingDuXianXingYuCeburaindoCanXiangChuQuniGuansuruJianTao, + title = {包囲型マイクロホンアレイを用いた 高精度線形予測ブラインド残響除去に関する検討}, + author = {岡本, 拓磨 and 岩谷, 幸雄 and 鈴木, 陽一}, + file = {/Users/tomoya/Zotero/storage/YUSDF37F/岡本, 岩谷, 鈴木_Unknown_包囲型マイクロホンアレイを用いた 高精度線形予測ブラインド.pdf} +} + +@online{GangBenBaoWeiXingmaikurohonareiwoYongitaYinYuanWeiZhiTuiDingoyobiYinYuanFenLiniGuansuruJianTao, + title = {包囲型マイクロホンアレイを用いた 音源位置推定および音源分離に関する検討}, + author = {岡本, 拓磨 and 西村, 竜一 and 岩谷, 幸雄}, + file = {/Users/tomoya/Zotero/storage/7KURN2CD/岡本, 西村, 岩谷_Unknown_包囲型マイクロホンアレイを用いた 音源位置推定および音源分離に関する検.pdf} +} + +@online{GangBenGaoCianbisonikusuXingYinChangShouLunotameno121ChQiuZhuangmaikurohonareinoGouZhu, + title = {高次アンビソニクス型音場収録のための 121 Ch球状マイクロホンアレイの構築}, + author = {岡本, 拓磨 and 岩谷, 幸雄 and 坂本, 修一 and 鈴木, 陽一}, + file = {/Users/tomoya/Zotero/storage/X94MQVU2/岡本 et al._Unknown_高次アンビソニクス型音場収録のための 121 ch球状マイクロホンアレイの構築.pdf} +} + +@article{GangBenTuoMo1katzbrianfg2noisternigmarkus3cabreradensil4YanGuXingXiong5LingMuYangYi5157ChsupikaareiwoYongitariarutaimuYinXiangrendaringusisutemunoShiZhuangtoJiChuDeXingNengPingJia, + title = {157 Chスピーカアレイを用いたリアルタイム音響レンダリングシステムの実装と基礎的性能評価}, + author = {{岡本 拓磨1)，Katz Brian FG2)，Noisternig Markus3)， Cabrera Densil4)，岩谷 幸雄5)，鈴木 陽一5}}, + file = {/Users/tomoya/Zotero/storage/WZMXLCU5/157_ch.pdf} +} + +@article{GangBenTuoMoGaoCiAmbisonicsXingYinKongJianZaiShengtoLiTiYingXiangTiShiniyoruGaoJingXi3CiYuanShiTingJuedeisupureinoGouZhu2015, + title = {{{高次Ambisonics型音空間再生と立体映像提示による高精細３次元視聴覚ディスプレイの構築}}}, + author = {{岡本拓磨}}, + date = {2015}, + journaltitle = {Statewide Agricultural Land Use Baseline 2015}, + volume = {1}, + eprint = {25246403}, + eprinttype = {pmid}, + issn = {1098-6596}, + doi = {10.1017/CBO9781107415324.004}, + isbn = {9788578110796}, + keywords = {icle}, + file = {/Users/tomoya/Zotero/storage/6DIUQV3H/岡本拓磨_2015_高次Ambisonics型音空間再生と立体映像提示による高精細３次元視聴覚ディスプレイの構築.pdf} +} + +@article{GangQiJiSuanJiZhaoHe33NianDuniokeruGeZhuanMenFenYeYanJiuHuoDongnoJiChu, + title = {計算機 - 昭和33年度における各専門分野研究活動の基礎}, + author = {岡崎, 文次}, + journaltitle = {The Physical Society of Japan}, + pages = {pp.63-67}, + issn = {13414488}, + isbn = {09187928}, + file = {/Users/tomoya/Zotero/storage/RGDIG83P/前川_2015_Pc技術者のための構造解析入門 第1回構造解析の役割・変遷・今後.pdf} +} + +@online{GangQiSuoGuhenoChuJueTiShiniyoruTiBiaoChuanBanZhenDongtosonoYinLeTiYanhenoYingXiang2016, + title = {鎖骨への触覚提示による体表伝搬振動とその音楽体験への影響}, + author = {岡崎, 龍太 and 櫻木, 怜 and Yem, Vibol and 梶本, 裕之}, + date = {2016}, + number = {4}, + eprint = {4}, + eprinttype = {特定非営利活動法人 日本バーチャルリアリティ学会}, + doi = {10.18974/tvrsj.21.4_645}, + url = {https://doi.org/10.18974/tvrsj.21.4_645}, + urldate = {2023-01-18}, + language = {ja}, + pubstate = {prepublished} +} + +@article{Ganz2001, + title = {Macros as Multi-Stage Computations: {{Type-safe}}, Generative, Binding Macros in {{MacroML}}}, + author = {Ganz, Steven E. and Sabry, Amr and Taha, Walid}, + date = {2001-10-01}, + journaltitle = {SIGPLAN Notices (ACM Special Interest Group on Programming Languages)}, + volume = {36}, + number = {10}, + pages = {74--85}, + publisher = {Association for Computing Machinery}, + issn = {03621340}, + doi = {10.1145/507669.507646}, + url = {https://dl-acm-org.anywhere.lib.kyushu-u.ac.jp/doi/abs/10.1145/507669.507646}, + urldate = {2021-03-26}, + abstract = {With few exceptions, macros have traditionally been viewed as operations on syntax trees or even on plain strings. This view makes macros seem ad hoc, and is at odds with two desirable features of contemporary typed functional languages: static typing and static scoping. At a deeper level, there is a need for a simple, usable semantics for macros. This paper argues that these problems can be addressed by formally viewing macros as multi-stage computations. This view eliminates the need for freshness conditions and tests on variable names, and provides a compositional interpretation that can serve as a basis for designing a sound type system for languages supporting macros, or even for compilation. To illustrate our approach, we develop and present MacroML, an extension of ML that supports inlining, recursive macros, and the definition of new binding constructs. The latter is subtle, and is the most novel addition in a statically typed setting. The semantics of a core subset of MacroML is given by an interpretation into MetaML, a statically-typed multi-stage programming language. It is then easy to show that MacroML is stage- and type-safe: macro expansion does not depend on runtime evaluation, and both stages do not "go wrong". Copyright 2001 ACM.}, + file = {/Users/tomoya/Zotero/storage/E9D4SJ23/Ganz et al. - Macros as Multi-Stage Computations Type-Safe, Gen.pdf} +} + +@article{GaoGangXianDaiYinLenoYouYiXingnituiteXianDainiokeruYunShuYinLenoZhuWenTi2011, + title = {現代音楽の有意性について：現代における芸術音楽の諸問題}, + author = {高岡, 明}, + date = {2011}, + journaltitle = {先端芸術音楽創作学会 会報}, + volume = {3}, + number = {1}, + pages = {5--24}, + url = {http://data.jssa.info/paper/2011v03n01/2.Takaoka.pdf} +} + +@inbook{GaoQiaoZhuangKuangniZhikaretaZhi2017, + title = {状況に置かれた知}, + booktitle = {猿と女とサイボーグ: 自然の再発明}, + translator = {高橋, さきの}, + date = {2017-05}, + eprint = {FSZVtAEACAAJ}, + eprinttype = {googlebooks}, + pages = {349--387}, + publisher = {青土社}, + bookauthor = {ハラウェイ, ダナ}, + isbn = {978-4-7917-6990-2}, + language = {ja}, + keywords = {Literary Collections / Essays} +} + +@article{gardenforsLevelsCommunicationLexical2018, + title = {Levels of Communication and Lexical Semantics}, + author = {Gärdenfors, Peter}, + date = {2018-02-12}, + journaltitle = {Synthese}, + volume = {195}, + number = {2}, + pages = {549--569}, + publisher = {Springer Netherlands}, + issn = {0039-7857}, + doi = {10.1007/s11229-014-0493-3}, + url = {http://link.springer.com/10.1007/s11229-014-0493-3}, + urldate = {2019-05-01}, + file = {/Users/tomoya/Zotero/storage/P3WCMBJ3/full-text.pdf} +} + +@inproceedings{gaster2018, + title = {{{OUTSIDE THE BLOCK SYNDICATE}}: {{TRANSLATING FAUST}}'{{S ALGEBRA OF BLOCKS TO THE ARROWS FRAMEWORK}}}, + booktitle = {Proceedings of the 1st {{International Faust Conference}}}, + author = {Gaster, Benedict R and Renney, Nathan and Mitchell, Tom}, + date = {2018}, + location = {Mainz,Germany}, + abstract = {Folklore has it that Faust's algebra of blocks can be represented in Hughes' algebra of Arrows. In this paper we formalise this understanding, showing that blocks can indeed be encoded with Causal Commutative Arrows. Whilst an interesting finding in itself, we believe that this formal translation opens up new avenues of research. For instance, recent work in functional reactive programming on well typed clocks, could provide an alternative to the dependent type approach proposed for multi-rate Faust.}, + file = {/Users/tomoya/Zotero/storage/6X7SPZEM/full-text.pdf} +} + +@article{gaver1986, + title = {Auditory Icons: Using Sound in Computer Interfaces}, + shorttitle = {Auditory Icons}, + author = {Gaver, William W.}, + date = {1986-06-01}, + journaltitle = {Human-Computer Interaction}, + shortjournal = {Hum.-Comput. Interact.}, + volume = {2}, + number = {2}, + pages = {167--177}, + issn = {0737-0024}, + doi = {10.1207/s15327051hci0202_3}, + url = {https://doi.org/10.1207/s15327051hci0202_3}, + urldate = {2021-12-28}, + abstract = {There is growing interest in the use of sound to convey information in computer interfaces. The strategies employed thus far have been based on an understanding of sound that leads to either an arbitrary or metaphorical relation between the sounds used and the data to be represented. In this article, an alternative approach to the use of sound in computer interfaces is outlined, one that emphasizes the role of sound in conveying information about the world to the listener. According to this approach, auditory icons, caricatures of naturally occurring sounds, could be used to provide information about sources of data. Auditory icons provide a natural way to represent dimensional data as well as conceptual objects in a computer system. They allow categorization of data into distinct families, using a single sound. Perhaps the most important advantage of this strategy is that it is based on the way people listen to the world in their everyday lives.}, + file = {/Users/tomoya/Zotero/storage/CWFYLPS4/28189.pdf} +} + +@article{gaverDesignCulturalProbes1999, + title = {Design: {{Cultural}} Probes}, + shorttitle = {Design}, + author = {Gaver, Bill and Dunne, Tony and Pacenti, Elena}, + date = {1999-01}, + journaltitle = {Interactions}, + shortjournal = {interactions}, + volume = {6}, + number = {1}, + pages = {21--29}, + issn = {1072-5520, 1558-3449}, + doi = {10.1145/291224.291235}, + url = {https://dl.acm.org/doi/10.1145/291224.291235}, + urldate = {2021-12-24}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/8UBLNNBD/Gaver et al. - 1999 - Design Cultural probes.pdf;/Users/tomoya/Zotero/storage/E5GYALAU/Gaver et al. - 1999 - Design Cultural probes.pdf} +} + +@incollection{gaverScienceDesignImplications2014, + title = {Science and {{Design}}: {{The Implications}} of {{Different Forms}} of {{Accountability}}}, + shorttitle = {Science and {{Design}}}, + booktitle = {Ways of {{Knowing}} in {{HCI}}}, + author = {Gaver, William}, + editor = {Olson, Judith S. and Kellogg, Wendy A.}, + date = {2014}, + pages = {143--165}, + publisher = {Springer New York}, + location = {New York, NY}, + doi = {10.1007/978-1-4939-0378-8_7}, + url = {http://link.springer.com/10.1007/978-1-4939-0378-8_7}, + urldate = {2021-12-24}, + isbn = {978-1-4939-0377-1 978-1-4939-0378-8}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/68Z4RYW6/Gaver - 2014 - Science and Design The Implications of Different .pdf} +} + +@inproceedings{gaverWhatShouldWe2012, + title = {What {{Should We Expect From Research Through Design}}?}, + booktitle = {Proceedings of the {{SIGCHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Gaver, William}, + date = {2012}, + pages = {937--946}, + publisher = {ACM}, + location = {New York, NY, USA}, + doi = {10.1145/2207676}, + abstract = {In this essay, I explore several facets of research through design in order to contribute to discussions about how the approach should develop. The essay has three parts. In the first, I review two influential theories from the Philosophy of Science to help reflect on the nature of design theory, concluding that research through design is likely to produce theories that are provisional, contingent, and aspirational. In the second part, I discuss three possible interpretations for the diversity of approaches to research through design, and suggest that this variation need not be seen as a sign of inadequate standards or a lack of cumulative progress in the field, but may be natural for a generative endeavour. In the final section, I suggest that, rather than aiming to develop increasingly comprehensive theories of design, practice based research might better view theory as annotation of realised design examples, and particularly portfolios of related pieces. Overall, I suggest that the design research community should be wary of impulses towards convergence and standardisation, and instead take pride in its aptitude for exploring and speculating, particularising and diversifying, and-especially-its ability to manifest the results in the form of new, conceptually rich artefacts.}, + keywords = {annotation,Author Keywords research through design,philosophy of science ACM Classification Keywords,portfolios,theory}, + file = {/Users/tomoya/Zotero/storage/4TFFR2IC/full-text.pdf;/Users/tomoya/Zotero/storage/JX2V4M6P/Gaver - 2012 - What Should We Expect From Research Through Design.pdf} +} + +@report{geigerAbstractionComputerMusic2005, + title = {Abstraction in {{Computer Music Software Systems}}}, + author = {Geiger, Günter and Pompeu, Universitat and Barcelona, Fabra}, + date = {2005}, + abstract = {In its almost 50 years of existence the field of computer music has brought us dozens of software systems, and new ones are still being added. This is a sign of the fields vitality and of constant interest in improving the tools that are used in order to make music on computers. This work is primarily an overview of existing systems, from a conceptual point of view, in an attempt to extract the essence of computer music systems and to pinpoint the software models that work best in the computer music domain. The criteria are flexibility, speed and-drawn from human computer interaction-intuitiveness of the programming model. Secondarily it is a review of my research work in this direction and finally an attempt to reassemble the best ideas into a consistent, fast, flexible and easy to use interactive computer music system that foments experimentation and creativity. The domain of this work is very broad and it can't give all the answers, but it hopefully manage to ask the right questions.}, + file = {/Users/tomoya/Zotero/storage/5P7F6MPJ/m-api-71db8c97-4db2-11db-75c7-3e0b654e8c43.pdf} +} + +@online{GenMaxDocumentation, + title = {Gen - {{Max}} 8 {{Documentation}}}, + url = {https://docs.cycling74.com/max8/vignettes/gen_topic}, + urldate = {2022-01-25}, + abstract = {Gen Gen is an extension of the Max patching environment that converts what you build visually into efficient compiled code as you go. Not only does it extend th} +} + +@article{giannoulisDigitalDynamicRange, + title = {Digital {{Dynamic Range Compressor Design}}— {{A Tutorial}} and {{Analysis}}}, + author = {Giannoulis, Dimitrios and Giannoulis@eecs, Dimitrios and Massberg, Michael and Reiss, Joshua D}, + pages = {399--408}, + abstract = {Dynamic range compression, despite being one of the most widely used audio effects, is still poorly understood, and there is little formal knowledge and analysis of compressor design techniques. In this tutorial we describe several different approaches to digital dynamic range compressor design. Digital implementations of several classic analog approaches are given, as well as designs from recent literature, and new approaches that address possible issues. Several design techniques are analyzed and compared, including RMS and peak–based approaches, feedforward and feedback designs, and linear and log domain level detection. We explain what makes the designs sound different and provide metrics to analyze their quality. Finally, we provide recommendations for high performance compressor design.}, + keywords = {a tutorial and analysis,aes member,and joshua d,design,digital dynamic range compressor,dimitrios giannoulis,michael massberg,reiss}, + file = {/Users/tomoya/Zotero/storage/NWTV6LJ3/Giannoulis et al._Unknown_Digital Dynamic Range Compressor Design— A Tutorial and Analysis.pdf} +} + +@article{gibsonThereminTexturalExpander, + title = {The {{Theremin Textural Expander}}}, + author = {Gibson, Rachel}, + pages = {51--52}, + file = {/Users/tomoya/Zotero/storage/IZDBVJTY/Gibson_Unknown_The Theremin Textural Expander.pdf;/Users/tomoya/Zotero/storage/PJPTS3JF/Gibson_Unknown_The Theremin Textural Expander(2).pdf} +} + +@incollection{Giere1990, + title = {7. {{Models}} and {{Experiments}}}, + booktitle = {Explaining Science : A Cognitive Approach}, + author = {Giere, Ronald N.}, + date = {1990}, + pages = {197--227}, + publisher = {University of Chicago Press}, + url = {http://web.b.ebscohost.com/ehost/detail/detail?vid=0&sid=62c85eaa-4110-4a6d-9205-3a964b73659b%40sessionmgr101&bdata=Jmxhbmc9amEmc2l0ZT1laG9zdC1saXZl#AN=353102&db=e000tww}, + urldate = {2019-01-16}, + abstract = {Pbk. ed. "This volume presents an attempt to construct a unified cognitive theory of science in relatively short compass. It confronts the strong program in sociology of science and the positions of various postpositivist philosophers of science, developing significant alternatives to each in a readily comprehensible style. It draws loosely on recent developments in cognitive science, without burdening the argument with detailed results from that source. ... The book is thus a provocative one. Perhaps that is a measure of its value: it will lead scholars and serious student from a number of sci. List of Figures; Preface; Acknowledgments; 1. Toward a Unified Cognitive Theory of Science; 2. Theories of Science; 3. Models and Theories; 4. Constructive Realism; 5. Realism in the Laboratory; 6. Scientific Judgment; 7. Models and Experiments; 8. Explaining the Revolution in Geology; Epilogue: Reflexive Reflections; Notes; References; Index.}, + isbn = {978-0-226-29206-9}, + file = {/Users/tomoya/Zotero/storage/PA92VR49/Giere_1990_Explaining science a cognitive approach.pdf} +} + +@incollection{Giere1990, + title = {3. {{Models}} and {{Theories}}}, + booktitle = {Explaining Science : A Cognitive Approach}, + author = {Giere, Ronald N.}, + date = {1990}, + pages = {321}, + publisher = {University of Chicago Press}, + url = {http://web.b.ebscohost.com/ehost/detail/detail?nobk=y&vid=2&sid=7ae1b617-f02a-46a0-b592-b9639d247808@pdc-v-sessmgr02&bdata=Jmxhbmc9amEmc2l0ZT1laG9zdC1saXZl#AN=353102&db=e000tww}, + urldate = {2019-01-17}, + abstract = {Pbk. ed. "This volume presents an attempt to construct a unified cognitive theory of science in relatively short compass. It confronts the strong program in sociology of science and the positions of various postpositivist philosophers of science, developing significant alternatives to each in a readily comprehensible style. It draws loosely on recent developments in cognitive science, without burdening the argument with detailed results from that source. ... The book is thus a provocative one. Perhaps that is a measure of its value: it will lead scholars and serious student from a number of sci. List of Figures; Preface; Acknowledgments; 1. Toward a Unified Cognitive Theory of Science; 2. Theories of Science; 3. Models and Theories; 4. Constructive Realism; 5. Realism in the Laboratory; 6. Scientific Judgment; 7. Models and Experiments; 8. Explaining the Revolution in Geology; Epilogue: Reflexive Reflections; Notes; References; Index.}, + isbn = {978-0-226-29206-9}, + file = {/Users/tomoya/Zotero/storage/FAL7C8Q9/Giere_1990_3. Models and Theories.pdf} +} + +@article{gilbertArtificialBuzzingLips1998, + title = {Artificial Buzzing Lips and Brass Instruments: Experimental Results.}, + author = {Gilbert, J and Ponthus, S and Petiot, J F}, + date = {1998}, + journaltitle = {The Journal of the Acoustical Society of America}, + volume = {104}, + eprint = {9745745}, + eprinttype = {pmid}, + pages = {1627--1632}, + issn = {0001-4966}, + doi = {10.1121/1.424375}, + abstract = {Experimental results of a special artificial trombone player are presented: A mechanical device is a substitute for the musician. Wind instruments, and particularly the brass, are self-sustained oscillators. The oscillations are induced by a mechanical oscillator (the lips of the player) acting as a valve which modulates the flow. Measured mechanical parameters of the artificial buzzing lips for different "embouchures of the player" are presented, and analyzed in connection with the played frequencies obtained for the same "embouchures." The results are obtained with two resonator systems (a mouthpiece alone and a trombone with its mouthpiece).}, + isbn = {0001-4966 (Print)}, + issue = {3 Pt 1}, + file = {/Users/tomoya/Zotero/storage/SAJMTNPL/Gilbert, Ponthus, Petiot_1998_Artificial buzzing lips and brass instruments experimental results.pdf} +} + +@book{gillilandHandbookAnalogComputation1967, + title = {Handbook of {{Analog Computation}}}, + author = {Gilliland, Maxwell}, + date = {1967}, + isbn = {3-05-851064-0}, + file = {/Users/tomoya/Zotero/storage/52GSMQJZ/Gilliland_1967_Handbook of Analog Computation.pdf} +} + +@article{ginglSub10Sound2011, + title = {Sub-\$10 Sound Card Photogate Variants}, + author = {Gingl, Zoltan}, + date = {2011}, + journaltitle = {The Physics Teacher}, + volume = {49}, + number = {6}, + eprint = {1101.0608}, + eprinttype = {arXiv}, + pages = {390}, + issn = {0031921X}, + doi = {10.1119/1.3628274}, + url = {http://arxiv.org/abs/1101.0608}, + abstract = {Recently, a simple and very low-cost photogate has been shown by Horton (Phys. Teach. 48, 615, December 2010) as an efficient experimentation tool in physics education. The photogate connects to the microphone input of a personal computer and a free software can be used to visualize the light interruptions caused by a moving object like a pendulum. Although the device works properly, there are further possibilities of improvement and similar alternatives also exist. The following brief review may help teachers to pick the one that best fits their needs and possibilities.}, + file = {/Users/tomoya/Zotero/storage/AAM43QQE/Gingl_2011_Sub-$10 sound card photogate variants.pdf} +} + +@book{giyaroueiPurotokoruTuoZhongXinHuaYiJiangnokontororuhaikaniZuoDongsurunoka2017, + title = {プロトコル:脱中心化以降のコントロールはいかに作動するのか}, + author = {ギャロウェイ, アレクサンダー・R.}, + translator = {北野, 圭介}, + date = {2017-08-01}, + publisher = {人文書院}, + isbn = {978-4-409-03095-0} +} + +@article{glassPhysicalModelingWarped2004, + title = {Physical Modeling and Warped Linear Prediction as Complementary Experts for Audio Coding}, + author = {Glass, Alexis}, + date = {2004}, + doi = {10.15017/458909}, + url = {https://doi.org/10.15017/458909}, + file = {/Users/tomoya/Zotero/storage/U9Q2XXIF/Glass_2004_Physical modeling and warped linear prediction as complementary experts for audio coding.pdf} +} + +@article{goddardOpeningBlackBoxes2015, + title = {Opening up the Black Boxes: {{Media}} Archaeology, ‘Anarchaeology’ and Media Materiality}, + shorttitle = {Opening up the Black Boxes}, + author = {Goddard, Michael}, + date = {2015-12-01}, + journaltitle = {New Media \& Society}, + volume = {17}, + number = {11}, + pages = {1761--1776}, + publisher = {SAGE Publications}, + issn = {1461-4448}, + doi = {10.1177/1461444814532193}, + url = {https://doi.org/10.1177/1461444814532193}, + urldate = {2022-12-28}, + abstract = {This article examines the emergent field of media archaeology as offering a materialist approach to new media and specifically the Internet, constituting a ?travelling discipline? or ?indiscipline? rather than a new disciplinary paradigm. Following the lead of Siegfried Zielinski, it provides less an archaeology than an ?anarchaeology? of media archaeology, understanding this term in political as well as methodological terms. To do so, it charts a trajectory through some of the sources of media archaeology and its key theoretical articulations in the work of Zielinski and Friedrich Kittler up to its more recent articulations in the work of Jussi Parikka and Wolfgang Ernst. It uses this theoretical trajectory to illuminate some of the key problematics of media archaeology, in terms of both its practical application as a form of ?theoretical circuit breaking? and its most imaginative speculations as not only a material but even a geological approach to media as evident in Parikka?s most recent work, by way of such phenomena as the ?vernacular Web? and the problematics of e-waste. Throughout, it pays close attention to the value of media archaeology as a set of methods for new media research in relation to more established methodologies in media studies ranging from medium histories to cultural studies. In particular, it argues for articulating media archaeological approaches with media ecological ones, in order to bring out more clearly both the political stakes of the field and its potential contribution to studies of digital media.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/Q49HL5QF/Goddard - 2015 - Opening up the black boxes Media archaeology, ‘an.pdf;/Users/tomoya/Zotero/storage/T7TTS5MN/Opening up the black boxes Media archaeology, ‘an.pdf} +} + +@article{Godfrey-Smith2009, + title = {Models and Fictions in Science}, + author = {Godfrey-Smith, Peter}, + date = {2009}, + journaltitle = {Philosophical Studies}, + volume = {143}, + number = {1}, + eprint = {15974422}, + eprinttype = {pmid}, + pages = {101--116}, + issn = {00318116}, + doi = {10.1007/s11098-008-9313-2}, + abstract = {Non-actual model systems discussed in scientific theories are compared to fictions in literature. This comparison may help with the understanding of sim- ilarity relations between models and real-world target systems. The ontological problems surrounding fictions in science may be particularly difficult, however. A comparison is also made to ontological problems that arise in the philosophy of mathematics.}, + isbn = {0031811615730883}, + keywords = {Fictions,Mathematics,Models,Platonism,Scientific realism}, + file = {/Users/tomoya/Zotero/storage/5KQIDKZC/Godfrey-smith_2009_Models and Fictions in Science.pdf} +} + +@article{goldbergEducationalUsesDynabook1979, + title = {Educational Uses of a Dynabook}, + author = {Goldberg, Adele}, + date = {1979-01-01}, + journaltitle = {Computers \& Education}, + shortjournal = {Computers \& Education}, + volume = {3}, + number = {4}, + pages = {247--266}, + issn = {0360-1315}, + doi = {10.1016/0360-1315(79)90002-2}, + url = {https://www.sciencedirect.com/science/article/pii/0360131579900022}, + urldate = {2021-12-27}, + abstract = {The Dynabook personal computing concept, as introduced by the Xerox Learning Research Group (LRG) in the early 1970's, is a new communications tool based on the retrieval of dynamic information. Implementing the Dynabook concept is requiring several stages of computer hardware and software development. At each stage of developing an experimental (or ‘interim Dynabook’) system, we are studying its use for educational purposes by conducting computer programming classes for children ranging in age from 6 to 15 years and by implementing a number of laboratory situations for particular subject areas. Preliminary results of our studies have demonstrated the ease with which we can teach programming when it involves the combination of existing instructions in order to cause some computer-based effect. But more than the ability to combine existing instructions is needed in order to invent and construct a generally useful tool such as a graphical layout system or a text editor. These involve skills we typically associate with expert designers. Many of these skills are teachable, especially with the instructional assistance of a personal computer. Supported by several examples of laboratory situations that we have implemented, we propose a design curriculum based on three conceptual areas: process, symbolic representation, and methods of interpretation, especially with respect to the use of information retrieval as an aid in decision making. In the examples we have chosen to describe, the design skills exercised are: simple and conditional sequencing, rule or constraint specification, hypothesis testing and modelling. The particular situations cited are: programming in Smalltalk, computer-based animation, GameX (a game that involves programming by rule specification). ThingLab (a laboratory for describing physical or geometric objects) and a ‘kit’ for assembling event-driven simulations.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/ND9J73T7/Goldberg - 1979 - Educational uses of a dynabook.pdf;/Users/tomoya/Zotero/storage/JXPH8BZC/0360131579900022.html} +} + +@article{gongInkjetprintedConductivePatterns2013, + title = {Inkjet-Printed Conductive Patterns for Physical Manipulation of Audio Signals}, + author = {Gong, Nan-Wei and Zoran, Amit and family=Paradiso, given=Joseph, prefix=a., useprefix=false}, + date = {2013}, + journaltitle = {Proceedings of the adjunct publication of the 26th annual ACM symposium on User interface software and technology - UIST '13 Adjunct}, + pages = {13--14}, + doi = {10.1145/2508468.2514932}, + url = {http://dl.acm.org/citation.cfm?doid=2508468.2514932}, + abstract = {In this demo paper, we present the realization of a completely aesthetically driven conductive image as a multi-modal music controller. Combining two emerging technologies - rapid prototyping with an off-the-shelf inkjet printer using conductive ink and parametric graphic design, we are able to create an interactive surface that is thin, flat, and flexible. This sensate surface can be conformally wrapped around a simple curved surface, and unlike touch screens, can accommodate complex structures and shapes such as holes on a surface. We present the design and manufacturing flow and discuss the technology behind this multi-modal sensing design. Our work seeks to offer a new dimension of designing sonic interaction with graphic tools, playing and learning music from a visual perspective and performing with expressive physical manipulation. © 2013 Authors.}, + isbn = {9781450324069}, + file = {/Users/tomoya/Zotero/storage/VRA8WT9J/Gong, Zoran, Paradiso_2013_Inkjet-printed conductive patterns for physical manipulation of audio signals.pdf} +} + +@article{GongYiXinLiXueniokeruZaiXianKeNengXingWeiJiWenTinoGouZaotoJieJueCe2016, + title = {心理学における再現可能性危機：問題の構造と解決策}, + author = {功毅, 池田 and 界, 平石}, + date = {2016}, + journaltitle = {心理学評論}, + volume = {59}, + number = {1}, + pages = {3--14}, + publisher = {心理学評論刊行会}, + issn = {0386-1058}, + doi = {10.24602/sjpr.59.1_3}, + url = {https://www.jstage.jst.go.jp/article/sjpr/59/1/59_3/_article/-char/ja/}, + urldate = {2018-12-26}, + keywords = {direct replication,pre,questionable research practices,registration,replicability,reproducibility,事前登録制度,再現可能性,疑わしい研究方法,直接的追試}, + file = {/Users/tomoya/Zotero/storage/VW8889TE/full-text.pdf} +} + +@article{gonzalezBelaBasedAugmentedAcoustic2018, + title = {Bela-{{Based Augmented Acoustic Guitars}} for {{Inverse Sonic Microinteraction}}}, + author = {Gonzalez, Victor Evaristo and Zelechowska, Agata and Martin, Charles P and Johnson, Victoria and Vadstensvik, Kari Anne and Refsum, Alexander}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {324--327}, + file = {/Users/tomoya/Zotero/storage/N3NN5N4H/Gonzalez et al._2018_Bela-Based Augmented Acoustic Guitars for Inverse Sonic Microinteraction.pdf} +} + +@online{Google2017, + title = {{{NSynth Super}}}, + author = {{Google}}, + date = {2017}, + url = {https://nsynthsuper.withgoogle.com/} +} + +@inproceedings{graf2010, + title = {Term {{Rewriting Extension}} for the {{Faust Programming Language}}}, + booktitle = {International {{Linux Audio Conference}}}, + author = {Gräf, Albert}, + date = {2010}, + url = {https://hal.archives-ouvertes.fr/hal-03162973 https://hal.archives-ouvertes.fr/hal-03162973/document}, + abstract = {This paper discusses a term rewriting extension for the functional signal processing language Faust. The extension equips Faust with a hygienic macro processing facility. Faust macros can be used to define complicated, parameterized block diagrams, and perform arbitrary symbolic manipulations of block diagrams. Thus they make it easier to create elaborate signal processor specifications involving many complicated components.}, + keywords = {Digital signal processing,Faust,functional programming,macro processing,term rewriting}, + file = {/Users/tomoya/Zotero/storage/KXEWFSGX/full-text.pdf} +} + +@article{grangerEvaluatingLEDbasedInterface2018, + title = {Evaluating an {{LED-based Interface}} for {{Lumanote Composition Creation Tool}}}, + author = {Granger, James and Aviles, Mateo and Kirby, Joshua and Griffin, Austin and Yoon, Johnny and Hammond, Tracy}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {216--221}, + file = {/Users/tomoya/Zotero/storage/L9JDC2XC/Granger et al._2018_Evaluating an LED-based Interface for Lumanote Composition Creation Tool.pdf} +} + +@incollection{greenCognitiveDimensionsNotations1989, + title = {Cognitive {{Dimensions}} of {{Notations}}}, + booktitle = {People and {{Computers V}}.}, + author = {Green, T R G}, + editor = {Sutcliffe, A. and {Macaulay L.}}, + date = {1989}, + pages = {443--460}, + publisher = {Cambridge University Press}, + location = {Cmbrisge, UK}, + abstract = {'Cognitive dimensions' are features of computer languages considered purely as information structures or notations. They therefore apply to many types of language-interactive or programming, high or low level, procedural or declarative, special purpose or general purpose. They are 'cognitive' dimensions because they control how (or whether) the preferred cognitive strategy for design-like tasks can be adopted: it has repeatedly been shown that users prefer opportunistic planning rather than any fixed strategy such as top-down development. The dimension analysis makes it easier to compare dissimilar interfaces or languages, and also helps to identify the relationship between support tools and programming languages: the support tools make it possible to use opportunistic planning with notations that would otherwise inhibit it.}, + keywords = {Cognitive Dimensions,Computer Languages,Opportunistic Planning}, + file = {/Users/tomoya/Zotero/storage/C8SIH466/full-text.pdf} +} + +@article{greenUsabilityAnalysisVisual1996, + title = {Usability Analysis of Visual Programming Environments: {{A}} 'cognitive Dimensions' Framework}, + author = {Green, T. R.G. and Petre, M.}, + date = {1996-06-01}, + journaltitle = {Journal of Visual Languages and Computing}, + volume = {7}, + number = {2}, + pages = {131--174}, + publisher = {Academic Press}, + issn = {1045926X}, + doi = {10.1006/jvlc.1996.0009}, + abstract = {The cognitive dimensions framework is a broad-brush evaluation technique for interactive devices and for non-interactive notations. It sets out a small vocabulary of terms designed to capture the cognitively-relevant aspects of structure, and shows how they can be traded off against each other. The purpose of this paper is to propose the framework as an evaluation technique for visual programming environments. We apply it to two commercially-available dataflow languages (with further examples from other systems) and conclude that it is effective and insightful; other HCI-based evaluation techniques focus on different aspects and would make good complements. Insofar as the examples we used are representative, current VPLs are successful in achieving a good 'closeness of match', but designers need to consider the 'viscosity' (resistance to local change) and the 'secondary notation' (possibility of conveying extra meaning by choice of layout, colour, etc.). © 1996 Academic Press Limited.}, + file = {/Users/tomoya/Zotero/storage/SL9UXJ8Y/usability_of_visualprogrammingenvironment.pdf} +} + +@book{GuangChengKuraudowoZhierukorekaranoAnHaoJiShu2017, + title = {クラウドを支えるこれからの暗号技術}, + author = {光成, 滋生}, + date = {2017}, + doi = {10.16017/j.cnki.xwahz.2017.11.010}, + isbn = {0000000202305}, + file = {/Users/tomoya/Zotero/storage/CXW84MFA/光成_2017_クラウドを支えるこれからの暗号技術.pdf} +} + +@article{GuJiaDiZhangZaYin2012, + title = {第 4 章 雑音・残響抑圧}, + author = {古家, 賢一}, + date = {2012}, + journaltitle = {電子情報通信学会}, + number = {7}, + pages = {1--14}, + file = {/Users/tomoya/Zotero/storage/XJLH5IM9/古家_2012_第 4 章 雑音・残響抑圧.pdf} +} + +@thesis{Guo2013, + title = {Analysis, Design and Evaluation of Acoustic Feedback Cancellation Systems for Hearing Aids : A Novel Approach to Unbiased Feedback Estimation}, + author = {family=Guo, given=Meng., given-i={{Meng}}}, + date = {2013}, + institution = {Aalborg University}, + url = {http://vbn.aau.dk/en/publications/analysis-design-and-evaluation-of-acoustic-feedback-cancellation-systems-for-hearing-aids(99f2d8f0-77d6-4ffb-a3da-e14ed9a3892c).html}, + urldate = {2019-01-10}, + abstract = {1. oplag}, + isbn = {9788771520019}, + file = {/Users/tomoya/Zotero/storage/Z3WH8SHQ/full-text.pdf} +} + +@article{guptaLoudnessMeasurementControl1933, + title = {Loudness {{Measurement}} and {{Control}}}, + author = {Gupta, Manik and Pinter, Jozsef}, + date = {1933}, + journaltitle = {Interrasystem.Com}, + file = {/Users/tomoya/Zotero/storage/8LTQXJTW/m-api-412e9915-1583-2655-36c7-cccf5a90269f.pdf} +} + +@article{gurevichContextualisingIdiomaticGestures, + title = {Contextualising {{Idiomatic Gestures}} in {{Musical Interactions}} with {{NIMEs}}}, + author = {Gurevich, Michael and Arbor, Ann and Knapp, R Benjamin and Tech, Virginia}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {126--131}, + file = {/Users/tomoya/Zotero/storage/5CI3FNFK/Gurevich et al._Unknown_Contextualising Idiomatic Gestures in Musical Interactions with NIMEs.pdf} +} + +@article{gusShIFTSemihapticInterface2018, + title = {{{ShIFT}} : {{A Semi-haptic Interface}} for {{Flute Tutoring NIME LaTeX}}}, + author = {Gus, G and Trovato, Ben and Template, Carter O and Chen, Qianwen and Leipuner, P and Field, Moffett}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {162--167}, + file = {/Users/tomoya/Zotero/storage/M3DIYYM2/Gus et al._2018_ShIFT A Semi-haptic Interface for Flute Tutoring NIME LaTeX.pdf} +} + +@article{haddadKinesynthPatchingModulating, + title = {Kinesynth : {{Patching}} , {{Modulating}} , and {{Mixing}} a {{Hybrid Kinesthetic Synthesizer}}}, + author = {Haddad, Don Derek and Paradiso, Joseph A}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {35--36}, + file = {/Users/tomoya/Zotero/storage/FYKFC2FZ/Haddad, Paradiso_Unknown_Kinesynth Patching , Modulating , and Mixing a Hybrid Kinesthetic Synthesizer.pdf} +} + +@book{hagoodHushMediaSonic2019, + title = {Hush: {{Media}} and {{Sonic Self-Control}}}, + shorttitle = {Hush}, + author = {Hagood, Mack}, + date = {2019}, + series = {Sign, {{Storage}}, {{Transmission}}}, + publisher = {Duke University Press}, + location = {Durham, NC}, + abstract = {For almost sixty years, media technologies have promised users the ability to create sonic safe spaces for themselves—from bedside white noise machines to Beats by Dre's “Hear What You Want” ad campaign, in which Colin Kaepernick's headphones protect him from taunting crowds. In Hush, Mack Hagood draws evidence from noise-canceling headphones, tinnitus maskers, LPs that play ocean sounds, nature-sound mobile apps, and in-ear smart technologies to argue the true purpose of media is not information transmission, but rather the control of how we engage our environment. These devices, which Hagood calls orphic media, give users the freedom to remain unaffected in the changeable and distracting spaces of contemporary capitalism and reveal how racial, gendered, ableist, and class ideologies shape our desire to block unwanted sounds. In a noisy world of haters, trolls, and information overload, guarded listening can be a necessity for self-care, but Hagood argues our efforts to shield ourselves can also decrease our tolerance for sonic and social difference. Challenging our self-defeating attempts to be free of one another, he rethinks media theory, sound studies, and the very definition of media.}, + isbn = {978-1-4780-0380-9}, + pagetotal = {288} +} + +@online{han2022, + title = {The Hidden History of Screen Readers}, + author = {Han, Sheon}, + date = {2022-07-14T12:00:00}, + url = {https://www.theverge.com/23203911/screen-readers-history-blind-henter-curran-teh-nvda}, + urldate = {2024-06-29}, + abstract = {Programmers who are blind pioneered accessibility software.}, + language = {en}, + organization = {The Verge}, + file = {/Users/tomoya/Zotero/storage/4K8KXTX6/screen-readers-history-blind-henter-curran-teh-nvda.html} +} + +@online{HandredRabbit2018, + title = {{{100R}} — Orca}, + author = {{Handred Rabbit}}, + date = {2018}, + url = {https://100r.co/site/orca.html}, + urldate = {2021-10-29} +} + +@misc{handredrabbits100ROrca2018, + title = {{{100R}} — Orca}, + author = {{Handred Rabbits}}, + date = {2018}, + url = {https://100r.co/site/orca.html}, + urldate = {2021-10-29} +} + +@inproceedings{hanHapBeadOnSkinMicrofluidic2020, + title = {{{HapBead}}: {{On-Skin Microfluidic Haptic Interface}} Using {{Tunable Bead}}}, + shorttitle = {{{HapBead}}}, + booktitle = {Proceedings of the 2020 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Han, Teng and Bansal, Shubhi and Shi, Xiaochen and Chen, Yanjun and Quan, Baogang and Tian, Feng and Wang, Hongan and Subramanian, Sriram}, + date = {2020-04-21}, + pages = {1--10}, + publisher = {ACM}, + location = {Honolulu HI USA}, + doi = {10.1145/3313831.3376190}, + url = {https://dl.acm.org/doi/10.1145/3313831.3376190}, + urldate = {2023-01-23}, + eventtitle = {{{CHI}} '20: {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + isbn = {978-1-4503-6708-0}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/TAJ8AFFT/Han et al. - 2020 - HapBead On-Skin Microfluidic Haptic Interface usi.pdf} +} + +@inproceedings{hanMaskCircuit3DCircuits2023, + title = {{{MaskCircuit}}: {{3D Circuits}} with {{Acrylic Sheets}} and {{Laser Cutting}}}, + shorttitle = {{{MaskCircuit}}}, + booktitle = {Extended {{Abstracts}} of the 2023 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Han, Bo and Liu, Xin and Yen, Ching Chiuan and Zheng, Clement}, + date = {2023-04-19}, + series = {{{CHI EA}} '23}, + pages = {1--7}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3544549.3585603}, + url = {https://doi.org/10.1145/3544549.3585603}, + urldate = {2023-08-09}, + abstract = {Laser cutting is an accessible fabrication technique for designers to create supporting structures for tangible interfaces and electronic devices. However, it is challenging to integrate electronics into laser-cut prototypes due to bulky prefabricated components and wiring. To address these challenges, we propose MaskCircuit, a maker-friendly fabrication approach for 3D circuits based on commonly used laser cutters and acrylic sheets. MaskCircuit leverages the protective film of acrylic sheets as a mask. Circuits are created on acrylic sheets by laser engraving traces into the masked acrylic sheets, manually applying conductive paint into traces, and removing the mask to reveal inlaid conductive traces. We also explored circuit features supported by MaskCircuit, including double-layer circuit fabrication, mounting electronic components, and creating 3D circuits by deforming or assembling acrylic sheets with circuits. We demonstrate several applications to showcase the capabilities of the MaskCircuit approach.}, + isbn = {978-1-4503-9422-2}, + keywords = {Digital Fabrication,Laser Cutting,Tangible Interfaces} +} + +@book{harauei2017, + title = {猿と女とサイボーグ: 自然の再発明}, + shorttitle = {猿と女とサイボーグ}, + author = {ハラウェイ, ダナ}, + translator = {高橋, さきの}, + date = {2017-05}, + eprint = {FSZVtAEACAAJ}, + eprinttype = {googlebooks}, + publisher = {青土社}, + abstract = {霊長類学、免疫学、生態学など、生物科学が情報科学と接合される―。高度資本主義と先端的科学知が構築しつづける“無垢なる自然”を解読=解体し、フェミニズムの囲い込みを突破する闘争マニフェスト。}, + isbn = {978-4-7917-6990-2}, + language = {ja}, + pagetotal = {527}, + keywords = {Literary Collections / Essays} +} + +@misc{harawaydanaZidomodehanakuLeiYuanGuanXiwotukurouSaiboguBanLuZhong, + title = {子どもではなく類縁関係をつくろう──サイボーグ、伴侶種、堆肥体、クトゥルー新世｜ダナ・ハラウェイが次なる千年紀に向けて語る}, + translator = {{逆卷, しとね}}, + namea = {Haraway, Dana, Sarah, Franklin}, + nameatype = {collaborator}, + url = {https://hagamag.com/uncategory/4293}, + urldate = {2021-12-22}, + abstract = {“Make kin not babies（子どもではなく類縁関係をつくろう）” これはサイボーグや伴侶種などで知られる思想家ダナ・ハラウェイ氏がここ数年提示しつづけてきたスローガンである…}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/4ZVFUVRC/4293.html} +} + +@online{harawayZidomodehanakuLeiYuanGuanXiwotukurouSaiboguBanLuZhong2019, + title = {子どもではなく類縁関係をつくろう──サイボーグ、伴侶種、堆肥体、クトゥルー新世｜ダナ・ハラウェイが次なる千年紀に向けて語る}, + author = {Haraway, Dana and Sarah, Franklin}, + translator = {逆卷, しとね}, + date = {2019}, + url = {https://hagamag.com/uncategory/4293}, + urldate = {2021-12-22}, + abstract = {“Make kin not babies（子どもではなく類縁関係をつくろう）” これはサイボーグや伴侶種などで知られる思想家ダナ・ハラウェイ氏がここ数年提示しつづけてきたスローガンである…}, + file = {/Users/tomoya/Zotero/storage/XU748Y8H/4293.html} +} + +@article{hardingCTRLFlexiblePrecision2018, + title = {{{CTRL}} : {{A Flexible}} , {{Precision Interface}} for {{Analog Synthesis}}}, + author = {Harding, John and Londonderry, Derry and Ireland, N and Graham, Richard and Park, Edwin}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {234--237}, + file = {/Users/tomoya/Zotero/storage/VEUV4LYL/Harding et al._2018_CTRL A Flexible , Precision Interface for Analog Synthesis.pdf} +} + +@article{harrisonAlgorithmValvedBrass2015, + title = {An {{Algorithm}} for a {{Valved Brass Instrument Synthesis Environment}} Using {{Finite-Difference Time-Domain Methods}} with {{Performance Optimisation}}}, + author = {Harrison, Reginald and Bilbao, Stefan and Perry, James}, + date = {2015}, + journaltitle = {Proc. of the 18th Int. Conference on Digital Audio Effects (DAFx-15)}, + number = {1}, + pages = {1--8}, + file = {/Users/tomoya/Zotero/storage/KHZGYSCI/Harrison, Bilbao, Perry_2015_An Algorithm for a Valved Brass Instrument Synthesis Environment using Finite-Difference Time-Domain Method.pdf} +} + +@article{harrisonWhenGuitarNot2018, + title = {When Is a {{Guitar}} Not a {{Guitar}} ? {{Cultural Form}} , {{Input Modality}} and {{Expertise}}}, + author = {Harrison, Jacob and Jack, Robert H and Morreale, Fabio and Mcpherson, Andrew}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {299--304}, + file = {/Users/tomoya/Zotero/storage/AT8APXPD/Harrison et al._2018_When is a Guitar not a Guitar Cultural Form , Input Modality and Expertise.pdf} +} + +@article{Hartley1928, + title = {Transmission of {{Information}}}, + author = {Hartley, R. V. L.}, + date = {1928-07-01}, + journaltitle = {Bell System Technical Journal}, + volume = {7}, + number = {3}, + pages = {535--563}, + publisher = {John Wiley \& Sons, Ltd}, + doi = {10.1002/j.1538-7305.1928.tb01236.x}, + url = {http://ieeexplore.ieee.org/lpdocs/epic03/wrapper.htm?arnumber=6769394}, + urldate = {2019-01-20}, + abstract = {A quantitative measure of “information” is developed which is based on physical as contrasted with psychological considerations. How the rate of transmission of this information over a system is limited by the distortion resulting from storage of energy is discussed from the transient viewpoint. The relation between the transient and steady state viewpoints is reviewed. It is shown that when the storage of energy is used to restrict the steady state transmission to a limited range of frequencies the amount of information that can be transmitted is proportional to the product of the width of the frequency‐range by the time it is available. Several illustrations of the application of this principle to practical systems are included. In the case of picture transmission and television the spacial variation of intensity is analyzed by a steady state method analogous to that commonly used for variations with time.}, + file = {/Users/tomoya/Zotero/storage/PBDLPMFC/hartley1928.pdf} +} + +@article{Hashimoto2018, + title = {伊沢修二の教育と吃音矯正}, + author = {橋本, 雄太}, + date = {2018}, + journaltitle = {立命館大学大学院 先端総合学術研究科}, + volume = {14}, + pages = {201--210}, + url = {https://www.r-gscefs.jp/?p=8597}, + urldate = {2024-05-12}, + file = {/Users/tomoya/Zotero/storage/ALGGYZXS/www.r-gscefs.jp.html} +} + +@article{hashimotoXiaDaiYuZaYinwoLiYongsitaYinLenoZuoCheng2012, + title = {狭帯域雑音を利用した音楽の作成}, + author = {Hashimoto, Shuji}, + date = {2012}, + pages = {367--368}, + file = {/Users/tomoya/Zotero/storage/3JBJNFE3/2012-file.pdf} +} + +@article{hayesNeurohedronNonlinearSequencer2010, + title = {Neurohedron: {{A Nonlinear Sequencer Interface}}}, + author = {Hayes, Ted}, + date = {2010}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {23--25}, + abstract = {The Neurohedron is a multi-modal interface for a nonlinear sequencer software model, embodied physically in a dodecahedron. The faces of the dodecahedron are both inputs and outputs, allowing the device to visualize the activity of the software model as well as convey input to it. The software model maps MIDI notes to the faces of the device, and defines and controls the behavior of the sequencer's progression around its surface, resulting in a unique instrument for computer-based performance and composition.}, + issue = {June}, + keywords = {controller,human computer interaction,interface,live performance,neural network,sequencer}, + file = {/Users/tomoya/Zotero/storage/5FE2UGGJ/Hayes_2010_Neurohedron A Nonlinear Sequencer Interface.pdf} +} + +@report{HDLCR777871HANDBOOK, + title = {{{HDL-CR}}.77-787-1 {{HANDBOOK OF FLUIDIC SENSORS}}} +} + +@inproceedings{hempelSemiAutomatedSVGProgramming2016, + title = {Semi-{{Automated SVG Programming}} via {{Direct Manipulation}}}, + booktitle = {Proceedings of the 29th {{Annual Symposium}} on {{User Interface Software}} and {{Technology}} - {{UIST}} '16}, + author = {Hempel, Brian and Chugh, Ravi}, + date = {2016}, + pages = {379--390}, + publisher = {ACM Press}, + location = {New York, New York, USA}, + doi = {10.1145/2984511.2984575}, + url = {http://dl.acm.org/citation.cfm?doid=2984511.2984575}, + urldate = {2019-05-27}, + isbn = {978-1-4503-4189-9}, + keywords = {direct manipulation,live programming,svg} +} + +@article{hennoUserfriendlySyntaxDesign1988, + title = {User-Friendly Syntax: Design and Presentation}, + author = {Henno, J.}, + date = {1988-05-01}, + journaltitle = {International Journal of Man-Machine Studies}, + volume = {28}, + number = {5}, + pages = {551--572}, + publisher = {Academic Press}, + issn = {00207373}, + doi = {10.1016/S0020-7373(88)80060-9}, + abstract = {A user-friendly programming system should have a user-friendly syntax; natural and systematic, easy to understand and use. Syntax should allow substitution of semantically similar constructs by each other. Syntax should also be flexible and allow several variants of syntactic notations to reduce the burden of memorizing rigid syntactic notations and to make it possible for a user to think more about ‘what’ instead of ‘how’. Nowadays programming languages, e.g. Ada, do not obey these principles. Their complexity is mainly caused by their nonsystematic and rigid syntax. This together with unformal and ambiguous presentation of syntax makes Ada difficult to use and Ada parsers inefficient. Uniform, natural and flexible syntax, where several variants of syntactic notations and abbreviations are allowed and minor syntactic errors automatically corrected, can be introduced by systematic top-down design using multi-level grammars. Systematic design and presentation allows greatly improved syntax without increasing size of the syntax grammar and the complexity of the parser. © 1988, Academic Press Limited. All rights reserved.} +} + +@article{henrichReflectivePracticeDesign, + title = {Reflective {{Practice}} in {{Design Thinking}}, {{Learning}} and {{Performing Product}} and {{Process Development}}}, + author = {Henrich, Annika and Wikström, Anders and Jackson, Mats}, + pages = {8}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/NWMZPNM6/Henrich et al. - Reflective Practice in Design Thinking, Learning a.pdf} +} + +@inproceedings{hermans2024, + title = {A {{Case}} for {{Feminism}} in {{Programming Language Design}}}, + booktitle = {Proceedings of the 2024 {{ACM SIGPLAN International Symposium}} on {{New Ideas}}, {{New Paradigms}}, and {{Reflections}} on {{Programming}} and {{Software}}}, + author = {Hermans, Felienne and Schlesinger, Ari}, + date = {2024-10-17}, + series = {Onward! '24}, + pages = {205--222}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3689492.3689809}, + url = {https://dl.acm.org/doi/10.1145/3689492.3689809}, + urldate = {2024-10-25}, + abstract = {Two critical and interrelated questions regarding the design and study of programming languages are: 1) What does it mean to design a programming language? and 2) Why does minimal demographic diversity persist in the programming language community? In this paper, we present feminism as a philosophical lens for analyzing the programming languages field in order to help us understand and answer the motivating questions above. By using a feminist lens, we are able to explore how the dominant intellectual and cultural norms have both shaped and constrained programming languages. A key contribution of this analysis is the explanation of how marginalization in the programming language community limits the intellectual and demographic makeup of the field. We see this paper as an invitation to everyone in the programming languages field to deepen our collective understanding of the forces shaping our field. Our goal is to illustrate opportunities for more inclusive practices that will introduce greater diversity to the design of programming languages and the demographic makeup of the programming language community.}, + isbn = {9798400712159}, + file = {/Users/tomoya/Zotero/storage/WMT8CVVX/Hermans and Schlesinger - 2024 - A Case for Feminism in Programming Language Design.pdf} +} + +@article{Hertz2012, + title = {Zombie Media: {{Circuit}} Bending Media Archaeology into an Art Method}, + author = {Hertz, Garnet and Parikka, Jussi}, + date = {2012}, + journaltitle = {Leonardo}, + volume = {45}, + number = {5}, + pages = {424--430}, + issn = {0024094X}, + doi = {10.1162/LEON_a_00438}, + abstract = {This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contem- porary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, cir- cuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of informa- tion technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.}, + file = {/Users/tomoya/Zotero/storage/27RGSC53/Hertz, Parikka_Unknown_Zombie Media Circuit Bending Media Archaeology into an.pdf} +} + +@article{HillandaleNews94_1977_auxetophone1977, + title = {Hillandale {{News}} 94\_1977\_auxetophone.Pdf}, + date = {1977}, + journaltitle = {The Hillandale News}, + volume = {94}, + file = {/Users/tomoya/Zotero/storage/XGH5EHEV/Unknown_Unknown_Hillandale News 94_1977_auxetophone.pdf.pdf} +} + +@article{hoddesonDiscoveryPointContactTransistor1981, + title = {The {{Discovery}} of the {{Point-Contact Transistor}}}, + author = {Hoddeson, Lillian}, + date = {1981-01-01}, + journaltitle = {Historical Studies in the Physical Sciences}, + volume = {12}, + number = {1}, + pages = {41--76}, + issn = {0073-2672}, + doi = {10.2307/27757489}, + url = {https://online.ucpress.edu/hsns/article/12/1/41/47589/The-Discovery-of-the-PointContact-Transistor}, + urldate = {2022-08-12}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/8NE96YH8/Hoddeson - 1981 - The Discovery of the Point-Contact Transistor.pdf} +} + +@book{hoffmannEncyclopediaRecordedSound2005, + title = {Encyclopedia of Recorded Sound / {{Frank Hoffmann}}, Editor ; {{Howard Ferstler}}, Technical Editor}, + author = {Hoffmann, 1949-, Frank W. and Ferstler, Howard}, + date = {2005}, + publisher = {Routledge}, + url = {http://hdl.handle.net/2324/1001274003}, + urldate = {2018-05-07} +} + +@article{holbrookApproachStochasticSpatialisation2018, + title = {An Approach to Stochastic Spatialisation {{A}} Case of “ {{Hot Pocket}} ”}, + author = {Holbrook, Ulf A S}, + date = {2018}, + pages = {31--32}, + file = {/Users/tomoya/Zotero/storage/2ESBP4VN/Holbrook_2018_An approach to stochastic spatialisation A case of “ Hot Pocket ”.pdf} +} + +@online{holstPlayingSamplesPSG1998, + title = {Playing Samples on the {{PSG}}}, + author = {Holst, Laurence}, + date = {1998}, + url = {http://map.grauw.nl/articles/psg_sample.php}, + urldate = {2022-01-01}, + organization = {MSX Assembly Page}, + file = {/Users/tomoya/Zotero/storage/HT42DWTG/psg_sample.html} +} + +@article{hongLaptapLaptopComputer2013, + title = {Laptap: {{Laptop Computer}} as a {{Musical Instrument}} Using {{Audio Feedback}}}, + author = {Hong, Dae Ryong and Yeo, Woon Seung}, + date = {2013}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {233--236}, + abstract = {Laptap is a laptop-based, real-time sound synthesis/control system for musicand multimedia performance. The system produces unique sounds by positive audiofeedback between the on-board microphone and the speaker of a laptop com-puter. Users can make a variety of sounds by touching the laptop computer inseveral different ways, and control their timbre with the gestures of the otherhand above the mi- crophone and the speaker to manipulate the characteristicsof the acoustic feedback path. We introduce the basic con- cept of this audiofeedback system, describe its features for sound generation and manipulation,and discuss the result of an experimental performance. Finally we suggest somerelevant research topics that might follow in the future.}, + keywords = {audio feedback,audio visualization,gestural control,hand gesture,laptop computer,Laptop music,musical mapping,musical notation}, + file = {/Users/tomoya/Zotero/storage/PJEDA3ZZ/m-api-6b9ce9aa-9ec0-7c85-3d55-13bb951bddd3.pdf} +} + +@article{HongPark2009, + title = {An {{Interview}} with {{Max Mathews}}}, + author = {Hong Park, Tae and Hall, Dixon}, + date = {2009}, + journaltitle = {Computer Music Journal}, + volume = {33}, + number = {3}, + pages = {9--22}, + file = {/Users/tomoya/Zotero/storage/8TJ8P4W7/m-api-1cb49c97-161c-ebd7-26de-4f0e50289093.pdf} +} + +@article{hopeElectronicScoresMusic2017, + title = {Electronic {{Scores}} for {{Music}}: {{The Possibilities}} of {{Animated Notation}}}, + author = {Hope, Cat}, + date = {2017-09-27}, + journaltitle = {Computer Music Journal}, + volume = {41}, + number = {3}, + pages = {21--35}, + publisher = {MIT Press - Journals}, + issn = {0148-9267}, + doi = {10.1162/comj_a_00427}, + abstract = {After an eventful decade of live-coding activities, this article seeks to explore the practice with the aim of situating it in the history of contemporary arts and music. The article introduces several key points of investigation in live-coding research and discusses some examples of how live-coding practitioners engage with these points in their system design and performances. In light of the extremely diverse manifestations of live-coding activities, the problem of defining the practice is discussed, and the question is raised whether live coding is actually necessary as an independent category.}, + file = {/Users/tomoya/Zotero/storage/8TGGLXWM/comj_a_00427.pdf} +} + +@incollection{hopkinMusicalInstrumentDesign, + title = {Musical {{Instrument Design}} - {{Practical Information}} for {{Instrument Making}}}, + author = {Hopkin, Bart}, + file = {/Users/tomoya/Zotero/storage/7Y97XA5M/Hopkin_Unknown_Musical Instrument Design - Practical Information for Instrument Making.pdf} +} + +@book{HowControlExists, + title = {How Control Exists after Decentralization}, + isbn = {0-262-07247-5}, + file = {/Users/tomoya/Zotero/storage/N4ZQKCVF/Unknown_Unknown_how control exists after decentralization.pdf} +} + +@online{HowWouldYou, + title = {How {{Would You Build}} a {{3D Printer Operating Without Electricity}}? | by {{Erik Engheim}} | {{Medium}}}, + url = {https://erik-engheim.medium.com/how-would-you-build-a-3d-printer-operating-without-electricity-3edc23f1b57a}, + urldate = {2021-01-06} +} + +@inproceedings{hristopherdobrianNIMEMusicalExpression2006, + title = {The '{{E}}' in {{NIME}}: {{Musical Expression}} with {{New Computer Interfaces}}}, + booktitle = {New {{Interfaces}} for {{Musical Expression}}}, + author = {Hristop Her Dobrian, C and Kop, Daniel}, + date = {2006}, + abstract = {Is there a distinction between New Interfaces for Musical Expression and New Interfaces for Controlling Sound? This article begins with a brief overview of expression in musical performance, and examines some of the characteristics of effective "expressive" computer music instruments. It becomes apparent that sophisticated musical expression requires not only a good control interface but also virtuosic mastery of the instrument it controls. By studying effective acoustic instruments, choosing intuitive but complex gesture-sound mappings that take advantage of established instrumental skills, designing intelligent characterizations of performance gestures, and promoting long-term dedicated practice on a new interface, computer music instrument designers can enhance the expressive quality of computer music performance.}, + file = {/Users/tomoya/Zotero/storage/932K2ELC/m-api-32eb095a-7f61-77eb-26be-6aa17d8d5f6b.pdf} +} + +@article{hsuDesignIssuesInteraction2007, + title = {Design {{Issues}} in {{Interaction Modeling}} for {{Free Improvisation}}}, + author = {Hsu, William}, + date = {2007}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {367--370}, + doi = {10.1145/1279740.1279821}, + abstract = {In previous publications (see for example [2] and [3]), we described an interactive music system, designed to improvise with saxophonist John Butcher; our system analyzes timbral and gestural features in real-time, and uses this information to guide response generation. This paper overviews our recent work with the system's interaction management component (IMC). We explore several options for characterizing improvisation at a higher level, and managing decisions for interactive performance in a rich timbral environment. We developed a simple, efficient framework using a small number of features suggested by recent work in mood modeling in music. We describe and evaluate the first version of the IMC, which was used in performance at the Live Algorithms for Music (LAM) conference in December 2006. We touch on developments on the system since LAM, and discuss future plans to address perceived shortcomings in responsiveness, and the ability of the system to make long-term adaptations.}, + keywords = {free improvisation.,Interactive music systems,timbral analysis}, + file = {/Users/tomoya/Zotero/storage/827TTAZJ/m-api-39989137-f566-5625-0e37-9b0608dbd923.pdf} +} + +@article{hsuStrategiesManagingTimbre2010, + title = {Strategies for Managing Timbre and Interaction in Automatic Improvisation Systems}, + author = {Hsu, William}, + date = {2010}, + journaltitle = {Leonardo Music Journal}, + volume = {20}, + pages = {33--39}, + issn = {09611215}, + doi = {10.1162/LMJ_a_00010}, + abstract = {Earlier interactive improvisation systems have mostly worked with note-level musical events such as pitch, loudness and duration. Timbre is an integral component of the musical language of many improvisers; some recent systems use timbral information in a variety of ways to enhance interactivity. This article describes the timbre-aware ARHS improvisation system, designed in collaboration with saxophonist John Butcher, in the context of recent improvisation systems that incorporate timbral information. Common practices in audio feature extraction, performance state characterization and management, response synthesis and control of improvising agents are summarized and compared.}, + isbn = {0961-1215}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/S86T7YCA/Hsu_2010_Strategies for managing timbre and interaction in automatic improvisation systems.pdf} +} + +@article{HttpsMonoskopOrg, + title = {{{https://monoskop.org/images/8/8c/Eno\_Brian\_1976\_2015\_Generating\_and\_Organizing\_Variety\_in\_the\_Arts.pdf}}} +} + +@online{HuaGuangSynesthesiaX12442022, + title = {Synesthesia X1-2.44：聴覚・触覚・視覚を活用した共感覚体験装置}, + author = {花光, 宣尚 and 田井, 秀昭 and 元木, 龍也 and 佐藤, 文彦 and 清水, 啓太郎 and 神山, 洋一 and 南澤, 孝太 and , evala and 水口, 哲也}, + date = {2022-03-31}, + number = {1}, + eprint = {1}, + eprinttype = {特定非営利活動法人 日本バーチャルリアリティ学会}, + doi = {10.18974/tvrsj.27.1_51}, + url = {https://doi.org/10.18974/tvrsj.27.1_51}, + urldate = {2023-01-23}, + language = {ja}, + pubstate = {prepublished}, + file = {/Users/tomoya/Zotero/storage/76WJ88GC/花光 et al. - 2022 - Synesthesia X1-2.44：聴覚・触覚・視覚を活用した共感覚体験装置.pdf} +} + +@misc{HuaXueGongYetonitukeruJimoneruMetaru1936, + title = {化學工業とニツケル及モネル・メタル}, + author = {, 和雄, 松浦 and , 孝, 岡本}, + date = {1936}, + url = {https://doi.org/10.11501/1904476}, + urldate = {2022-01-18}, + language = {ja}, + organization = {日本ニツケル時報局}, + keywords = {Matsuura} +} + +@incollection{hudsonConceptsValuesMethods2014, + title = {Concepts, Values, and Methods for Technical Human–Computer Interaction Research}, + booktitle = {Ways of {{Knowing}} in {{HCI}}}, + author = {Hudson, Scott E. and Mankoff, Jennifer}, + date = {2014-01-01}, + pages = {69--93}, + publisher = {Springer New York}, + doi = {10.1007/978-1-4939-0378-8_4}, + url = {https://link.springer.com/chapter/10.1007/978-1-4939-0378-8_4}, + urldate = {2020-08-05}, + abstract = {Technical HCI research seeks to improve the world by expanding the set of things that can be done with computational systems. This chapter considers this work as invention—the creation of new things—contrasted with activities of discovery which are concerned more with understanding the world. We discuss the values, goals, and criteria for success in this approach. Technical HCI research includes both directly contributing to some human need and indirectly contributingby enabling other technical work with things like toolkits.}, + isbn = {978-1-4939-0378-8}, + file = {/Users/tomoya/Zotero/storage/S96DN82X/Document_7101102_73789.pdf} +} + +@article{hugFoleyFunctionPedagogical2014, + title = {From {{Foley}} to {{Function}}: {{A Pedagogical Approach}} to {{Sound Design}} for {{Novel}} Interactions {{NISE-New Instruments}} for {{Sound Education View}} Project {{European Music Portfolio}}: {{Sounding Ways}} into {{Mathematics}} ({{EMP-M}}) {{View}} Project {{FROM FOLEY TO FUNCTION}}: {{A PEDAGOGICAL APPROACH TO SOUND DESIGN FOR NOVEL INTERACTIONS}}}, + author = {Hug, Daniel}, + date = {2014}, + journaltitle = {Journal of Sonic Studies}, + volume = {6}, + number = {1}, + abstract = {Increasingly, devices of everyday use employ computing technology. Due to small or absent screens and their ubiquity in the environment, these interactive commodities might benefit from the consideration of sound in their design and use. However, the criteria for appropriate, enjoyable and useful sonic interactions and suitable pedagogical methods for educating future designers in this area still remain to be explored. We want to encourage design students to create "sounds for tomorrow" in an explorative way, inspired by the sound pioneers of "New Hollywood", who employed techniques of the avant­garde to establish new sonic identities. We implemented a design process in a workshop setting, continuously scrutinizing sound design and interpretational strategies. The process evolved over three connected stages: Foley­based and electroacoustic Wizard­of­Oz mockups and functional prototypes. Real time sound making, performance of interactions, and critical reflection on the aforementioned are central to our approach. In this article, we elaborate on the method, discuss design cases, and present pedagogical insights.}, + file = {/Users/tomoya/Zotero/storage/3H7UXVAR/full-text.pdf} +} + +@incollection{huhtamo14DigitalMedia2019, + title = {14. {{Digital Media Archaeology}}: {{Interpreting Computational Processes}}}, + shorttitle = {14. {{Digital Media Archaeology}}}, + booktitle = {Media {{Archaeology}}}, + editor = {Huhtamo, Erkki and Parikka, Jussi}, + date = {2019-12-31}, + pages = {302--322}, + publisher = {University of California Press}, + doi = {10.1525/9780520948518-016}, + url = {https://www.degruyter.com/document/doi/10.1525/9780520948518-016/html}, + urldate = {2023-11-07}, + isbn = {978-0-520-94851-8} +} + +@book{Huhtamo2015, + title = {メディア考古学 : 過去・現在・未来の対話のために}, + author = {フータモ, エルキ and 太田, 良貴}, + date = {2015}, + publisher = {NTT出版}, + url = {https://ci.nii.ac.jp/ncid/BB18138257}, + urldate = {2019-01-20}, + abstract = {メディア考古学とは、万華鏡、覗きからくり、ジオラマのような、淘汰され、多くは失われてしまった過去のメディアの再考察を通して、メディア全般への理解を深めようとする試みである。技術決定論的・単線的・目的論的な進歩史観から脱し、複数の異なるメディア文化の過去と現在を対話させようというその問題意識は、現代のメディアアーティストたちにも影響を与えている。本書はメディア考古学の第一人者であるエルキ・フータモ教授の代表的な論文を集めた、日本独自編集のアンソロジーである。メディア考古学の理論的背景やその射程、具体的なメディア考古学の実践、さらには現代アートとメディア考古学の関連など、多彩な論考を収めている。メディア考古学への最良の道案内となるであろう。}, + isbn = {978-4-7571-0354-2} +} + +@book{hui2012, + title = {The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840-1910}, + shorttitle = {The Psychophysical Ear}, + author = {Hui, Alexandra}, + date = {2012-11-02}, + publisher = {The MIT Press}, + location = {Cambridge, Mass}, + abstract = {An examination of how the scientific study of sound sensation became increasingly intertwined with musical aesthetics in nineteenth-century Germany and Austria.In the middle of the nineteenth century, German and Austrian concertgoers began to hear new rhythms and harmonies as non-Western musical ensembles began to make their way to European cities and classical music introduced new compositional trends. At the same time, leading physicists, physiologists, and psychologists were preoccupied with understanding the sensory perception of sound from a psychophysical perspective, seeking a direct and measurable relationship between physical stimulation and physical sensation. These scientists incorporated specific sounds into their experiments—the musical sounds listened to by upper middle class, liberal Germans and Austrians. In The Psychophysical Ear, Alexandra Hui examines this formative historical moment, when the worlds of natural science and music coalesced around the psychophysics of sound sensation, and new musical aesthetics were interwoven with new conceptions of sound and hearing.Hui, a historian and a classically trained musician, describes the network of scientists, musicians, music critics, musicologists, and composers involved in this redefinition of listening. She identifies a source of tension for the psychophysicists: the seeming irreconcilability between the idealist, universalizing goals of their science and the increasingly undeniable historical and cultural contingency of musical aesthetics. The convergence of the respective projects of the psychophysical study of sound sensation and the aesthetics of music was, however, fleeting. By the beginning of the twentieth century, with the professionalization of such fields as experimental psychology and ethnomusicology and the proliferation of new and different kinds of music, the aesthetic dimension of psychophysics began to disappear.}, + isbn = {978-0-262-01838-8}, + language = {英語}, + pagetotal = {256} +} + +@article{huillierTelemetronMusicalInstrument, + title = {Telemetron : {{A Musical Instrument}} for {{Performance}} in {{Zero Gravity}}}, + author = {Huillier, Nicole L}, + pages = {315--317}, + file = {/Users/tomoya/Zotero/storage/B4GZVR7I/Huillier_Unknown_Telemetron A Musical Instrument for Performance in Zero Gravity.pdf} +} + +@misc{hundredrabbits100RToolsEcosystem2021, + title = {{{100R}} — Tools Ecosystem}, + author = {{HundredRabbits}}, + date = {2021}, + url = {https://100r.co/site/tools_ecosystem.html%0A}, + urldate = {2021-10-19} +} + +@online{HundredRabbits2021, + title = {{{100R}} — Tools Ecosystem}, + author = {{HundredRabbits}}, + date = {2021}, + url = {https://100r.co/site/tools_ecosystem.html%0A}, + urldate = {2021-10-19} +} + +@online{HuORihu, + title = {フ ォ ト リフ レ ク タ を用 い た 変位 {{MMG}} セ ン サ の 開発} +} + +@article{ierusalimschy, + title = {The {{Implementation}} of {{Lua}} 5.0}, + author = {Ierusalimschy, Roberto and family=Figueiredo, given=Luiz Henrique, prefix=de, useprefix=true and Celes, Waldemar}, + abstract = {We discuss the main novelties of the implementation of Lua 5.0: its registerbased virtual machine, the new algorithm for optimizing tables used as arrays, the implementation of closures, and the addition of coroutines.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/3FEA7HKC/Ierusalimschy et al. - The Implementation of Lua 5.0.pdf} +} + +@article{ierusalimschy2005, + title = {The {{Implementation}} of {{Lua}} 5.0}, + author = {Ierusalimschy, Roberto and family=Figueiredo, given=Luiz Henrique, prefix=de, useprefix=false and Celes, Waldemar}, + date = {2005-07-28}, + journaltitle = {JUCS - Journal of Universal Computer Science}, + volume = {11}, + number = {7}, + pages = {1159--1176}, + publisher = {Journal of Universal Computer Science}, + issn = {0948-6968}, + doi = {10.3217/jucs-011-07-1159}, + url = {https://lib.jucs.org/article/28438/}, + urldate = {2024-07-09}, + abstract = {We discuss the main novelties of the implementation of Lua 5.0: its register-based virtual machine, the new algorithm for optimizing tables used as arrays, the implementation of closures, and the addition of coroutines.}, + issue = {7}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/GQRQSVPC/Ierusalimschy et al. - 2005 - The Implementation of Lua 5.0.pdf} +} + +@inproceedings{iglesiaMobilityMessageDevelopment2016, + title = {The {{Mobility}} Is the {{Message}}: The {{Development}} and {{Uses}} of {{MobMuPlat}}.}, + booktitle = {{{PdCon}}}, + author = {Iglesia, Daniel}, + date = {2016}, + pages = {6}, + url = {https://www.danieliglesia.com/mobmuplat/IglesiaMobMuPlatPaper.pdf}, + urldate = {2022-01-26}, + abstract = {This paper documents the development of MobMuPlat, a software suite for running Pure Data on mobile devices. It chronicles initial ensemble-oriented goals, pre- and post-launch development, and a few common user issues. It also lists a range of projects which use MobMuPlat, highlighting how the reduction of technological barriers yields new and unanticipated results.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/FYKLUNYJ/Iglesia - The Mobility is the Message the Development and U.pdf} +} + +@book{iidaMakuruhanHuanJingYunShuDaBanWanBo1965, + title = {マクルーハン，環境芸術，大阪万博 : ６０年代日本の美術評論におけるマクルーハン受容}, + author = {IIda, Yutaka}, + date = {1965}, + publisher = {Ritsumeikan Daigaku Sangyō Shakai Gakkai}, + url = {http://r-cube.ritsumei.ac.jp/repo/repository/rcube/7082/}, + urldate = {2018-12-01}, + abstract = {Later issues published: Kyoto, Japan : The Association of Social Sciences, Ritsumeikan University.}, + file = {/Users/tomoya/Zotero/storage/M72I2DF6/m-api-531c0c49-6a2f-474b-0d7f-22b087ea164f.pdf} +} + +@article{impettLetDanceArchitecture2016, + title = {Let ' s {{Dance Architecture}} : {{Improvisation}} , {{Technology}} and {{Form}}}, + author = {Impett, Jonathan}, + date = {2016}, + volume = {20}, + pages = {85--88}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/KQC7666Q/Impett_2016_Let ' s Dance Architecture Improvisation , Technology and Form.pdf} +} + +@incollection{inbook, + title = {Stack, {{Frame}}, {{Heap}}}, + author = {Kemp, Jonathan and Howse, Martin}, + date = {2014}, + abstract = {This book documents the first life-cycle of the Post-Media Lab (2011-2014). Taking up Fèlix Guattari’s challenge, the Lab aimed to combine social and media practices into collective assemblages of enunciation in order to confront social monoformity. Here we draw together some key essays, images and art projects by the Lab’s participants, as well as a close documentation of its associated events, talks, and exhibitions, to create a vivid portrayal of post-media practice today. With contributions by: Clemens Apprich, Josephine Berry Slater, Micha Cárdenas, Sean Dockray, Mina Emad, Bogdan Dragos \& Inigo Wilkins, Fabien Giraud, Adnan Hadzi \& James Stevens, Martin Howse \& Jonathan Kemp, irational.org, Anthony Iles, Oliver Lerone Schultz, Gordan Savičić, Moritz Queisner, Rózsa Zita Farkas. (PDF) Stack, Frame, Heap. Available from: https://www.researchgate.net/publication/272174280\_Stack\_Frame\_Heap [accessed Dec 29 2018].}, + isbn = {978-1-906496-96-8}, + file = {/Users/tomoya/Zotero/storage/HXLQGUI7/Kemp, Howse_2014_Stack, Frame, Heap.pdf} +} + +@article{innisSoundSynthesisComputer1968, + title = {Sound {{Synthesis}} by {{Computer}}: {{Musigol}}, a {{Program Written Entirely}} in {{Extended Algol}}}, + shorttitle = {Sound {{Synthesis}} by {{Computer}}}, + author = {Innis, Donald Mac}, + date = {1968}, + journaltitle = {Perspectives of New Music}, + volume = {7}, + number = {1}, + eprint = {832426}, + eprinttype = {jstor}, + pages = {66--79}, + publisher = {Perspectives of New Music}, + issn = {0031-6016}, + doi = {10.2307/832426}, + url = {https://www.jstor.org/stable/832426}, + urldate = {2022-01-04}, + file = {/Users/tomoya/Zotero/storage/DYXDF5EH/Innis - 1968 - Sound Synthesis by Computer Musigol, a Program Wr.pdf} +} + +@online{IntellijelDesignsInc.2017, + title = {Plonk {{Physical Modelling Percussion Synthesizer}}}, + author = {{Intellijel Designs Inc.}}, + date = {2017}, + url = {https://intellijel.com/shop/eurorack/plonk/}, + urldate = {2019-01-16} +} + +@misc{IntercommunicationPdf, + title = {Intercommunication.Pdf} +} + +@online{InterviewJamesMcCartney2013, + title = {Interview with {{James McCartney}}, {{Developer}} of {{SuperCollider}} ({{Part}} 2)}, + date = {2013-09-01}, + url = {https://web.archive.org/web/20130901122334/http://coloradodistance.com/blog/bid/306881/Interview-with-James-McCartney-Developer-of-SuperCollider-Part-2}, + urldate = {2022-01-09} +} + +@online{InterviewJamesMcCartney2013a, + title = {Interview with {{James McCartney}}, {{Developer}} of {{SuperCollider}} ({{Part}} 1)}, + date = {2013-09-30}, + url = {https://web.archive.org/web/20130930054025/http://coloradodistance.com/blog/bid/303632/Interview-with-James-McCartney-Developer-of-SuperCollider-Part-1}, + urldate = {2022-01-09} +} + +@online{InterviewJamesMcCartney2013b, + title = {Interview with {{James McCartney}}, {{Developer}} of {{SuperCollider}} ({{Part}} 3)}, + date = {2013-09-01}, + url = {https://web.archive.org/web/20130901122350/http://coloradodistance.com/blog/bid/312781/Interview-with-James-McCartney-Developer-of-SuperCollider-Part-3}, + urldate = {2022-01-09} +} + +@online{InterviewRobertThomas, + title = {Interview with {{Robert Thomas}} from {{RjDj}} – {{Mobile Music}} \#7 //}, + url = {http://davidcollier.ie/robert-thomas-mobile-music/}, + urldate = {2021-01-19} +} + +@inproceedings{Ioannidis2019, + title = {Exploring the {{Cross-Species Experience}} and the {{Coevolutionary Capacity}}: {{Sensorial Transcoding}} and {{Critical Play Design}} of {{Bio-Sonic Sense}}}, + booktitle = {Proceeding of {{RE}}:{{SOUND}} 2019 – 8th {{International Conference}} on {{Media Art}}, {{Science}}, and {{Technology}} ({{RE}}:{{SOUND}} 2019)}, + author = {Ioannidis, Petros and Son, Jung-ah and Ramírez, Hernani Villaseñor and Matsuura, Tomoya}, + date = {2019-08-01}, + pages = {139--144}, + publisher = {BCS Learning \& Development}, + doi = {10.14236/ewic/resound19.22}, + url = {http://dx.doi.org/10.14236/ewic/RESOUND19.22}, + urldate = {2021-05-21}, + abstract = {com` com`This paper investigates the concept and development of Bio-Sonic Sense, an artistic interpretation of bio sonars, as an attempt to create a cross-species experience. It examines the potential of sensory transformation through technology-specifically, transcoding visual to audio-with the purpose of communicating the mechanisms of ultrasonic communication employed by marine mammals. Bio-Sonic sense is the result of using artistic practice and critical play, in order to disseminate the effects of noise pollution on marine life. This paper proposes that those practices should be explored as methods that can design for the use of technics as tools that can expand the human senses, thus allowing the exploration of non-human "worlds".}, + keywords = {Bio-Sonic Sense (2019),Coevolution,Critical Play,Cross-Species Experience,Echolocation,Play Design,Transcoding}, + file = {/Users/tomoya/Zotero/storage/J426I9KT/full-text.pdf} +} + +@misc{IPSJMGN150808Pdf, + title = {{{IPSJ-MGN150808}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/VCICDLQH/Unknown_Unknown_IPSJ-MGN150808.pdf.pdf} +} + +@misc{IPSJMGN290601Pdf, + title = {{{IPSJ-MGN290601}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/NFWUCUJK/Unknown_Unknown_IPSJ-MGN290601.pdf.pdf} +} + +@misc{IPSJMGN290603Pdf, + title = {{{IPSJ-MGN290603}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/DJ5ZKHDX/Unknown_Unknown_IPSJ-MGN290603.pdf.pdf} +} + +@misc{IPSJMGN290604Pdf, + title = {{{IPSJ-MGN290604}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/UFIHVTIN/Unknown_Unknown_IPSJ-MGN290604.pdf.pdf} +} + +@misc{IPSJMGN290605Pdf, + title = {{{IPSJ-MGN290605}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/CGEY5CYC/Unknown_Unknown_IPSJ-MGN290605.pdf.pdf} +} + +@misc{IPSJMGN290610Pdf, + title = {{{IPSJ-MGN290610}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/5J6WDAMF/Unknown_Unknown_IPSJ-MGN290610.pdf.pdf} +} + +@misc{IPSJMGN290611Pdf, + title = {{{IPSJ-MGN290611}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/C2KS2YQS/Unknown_Unknown_IPSJ-MGN290611.pdf.pdf} +} + +@misc{IPSJMGN290612Pdf, + title = {{{IPSJ-MGN290612}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/4NZU4PCD/Unknown_Unknown_IPSJ-MGN290612.pdf.pdf} +} + +@misc{IPSJMGN290613Pdf, + title = {{{IPSJ-MGN290613}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/32LMFTVT/Unknown_Unknown_IPSJ-MGN290613.pdf.pdf} +} + +@misc{IPSJMGN290614Pdf, + title = {{{IPSJ-MGN290614}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/BJL73YCJ/Unknown_Unknown_IPSJ-MGN290614.pdf.pdf} +} + +@misc{IPSJMGN290615Pdf, + title = {{{IPSJ-MGN290615}}.Pdf}, + file = {/Users/tomoya/Zotero/storage/7EFFUC27/Unknown_Unknown_IPSJ-MGN290615.pdf.pdf} +} + +@online{irrlichtprojectIPAncientWonderworld2015, + title = {{{IP}}'s {{Ancient Wonderworld}}: {{Computer Music}} in 1949?}, + shorttitle = {{{IP}}'s {{Ancient Wonderworld}}}, + author = {Irrlicht Project}, + date = {2015-11-11}, + url = {https://irrlichtproject.blogspot.com/2015/11/computer-music-in-1949.html}, + urldate = {2022-01-01}, + organization = {IP's Ancient Wonderworld}, + keywords = {chiptune,Classic Computing,computer history,media studies,music,programming}, + file = {/Users/tomoya/Zotero/storage/2K97XMMG/computer-music-in-1949.html} +} + +@article{isaacsonWHATYOUSEE, + title = {{{WHAT YOU SEE IS WHAT YOU GET}}: {{ON VISUALIZING MUSIC}}}, + author = {Isaacson, Eric}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/ZDJ9ITFU/Isaacson - WHAT YOU SEE IS WHAT YOU GET ON VISUALIZING MUSIC.pdf} +} + +@article{Ito2023, + title = {インペアメントの経験と信頼できない語り手}, + author = {伊藤, 亜紗}, + date = {2023-10-26}, + journaltitle = {現象学年報}, + volume = {39}, + pages = {1--7}, + issn = {0289-825X}, + url = {https://pa-j.jp/journal/39.pdf}, + urldate = {2024-04-04}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/H7UFPT2S/39.pdf} +} + +@article{iversonIsolatingDynamicAttributes1993, + title = {Isolating the Dynamic Attributes of Musical Timbre.}, + author = {Iverson, P and Krumhansl, C L}, + date = {1993}, + journaltitle = {The Journal of the Acoustical Society of America}, + volume = {94}, + number = {5}, + eprint = {8270737}, + eprinttype = {pmid}, + pages = {2595--2603}, + issn = {00014966}, + doi = {10.1121/1.407371}, + abstract = {Three experiments examined the dynamic attributes of timbre by evaluating the role of onsets in similarity judgments. In separate experiments, subjects heard complete orchestral instrument tones, the onsets of those tones, and tones with the onsets removed ("remainders"). Ratings for complete tones corresponded to those for onsets, indicating that the salient acoustic attributes for complete tones are present at the onset. Ratings for complete tones also corresponded to those for remainders, indicating that the salient attributes for complete tones are present also in the absence of onsets. Subsequent acoustic analyses demonstrated that this pattern of similarity was due to the centroid frequencies and amplitude envelopes of the tones. The results indicate that the dynamic attributes of timbre are not only present at the onset, but also throughout, and that multiple acoustic attributes may contribute to the same perceptual dimensions.}, + isbn = {0001-4966 (Print)\textbackslash r0001-4966 (Linking)}, + file = {/Users/tomoya/Zotero/storage/JPHFE34L/1993-Isolating_the_dynamic_attributes_of_musical_timbre..pdf} +} + +@online{Iwasaki2024, + title = {フツーの恋愛、性愛ってなに？『ACE アセクシュアルから見たセックスと社会のこと』刊行記念トークレポ}, + author = {岩崎, はなえ}, + date = {2024-01-12}, + url = {https://meandyou.net/202401-ace/}, + urldate = {2024-05-04}, + abstract = {羽生有希×中村香住×深海菊絵×松浦優　性に関する研究者たちが語らう}, + language = {ja}, + organization = {me and you little magazine \& club}, + file = {/Users/tomoya/Zotero/storage/T4EYAPW8/202401-ace.html} +} + +@article{jackDemocratisingDMIsRelationship2018, + title = {Democratising {{DMIs}} : The Relationship of Expertise and Control Intimacy}, + author = {Jack, Robert H and Morreale, Fabio and Jack, Robert H and Harrison, Jacob and Morreale, Fabio and Mcpherson, Andrew}, + date = {2018}, + pages = {184--189}, + issue = {April}, + file = {/Users/tomoya/Zotero/storage/EZ9CE334/Jack et al._2018_Democratising DMIs the relationship of expertise and control intimacy.pdf} +} + +@article{Jacobs, + title = {Supporting {{Expressive Procedural Art Creation}} through {{Direct Manipulation}}}, + author = {Jacobs, Jennifer and Gogia, Sumit and Měch, Radomír and Brandt, Joel}, + doi = {10.1145/3025453.3025927}, + url = {http://github.com/mitmedialab/para.}, + urldate = {2019-05-02}, + abstract = {Figure 1. Left: Para's interface. Right: Para enables artists to quickly set up constraints using direct manipulation interactions with their art. Here, an artist has set up a series of color constraints that makes exploring color variations highly efficient. ABSTRACT Computation is a powerful artistic medium. Artists with experience in programming have demonstrated the unique creative opportunities of using code to make art. Currently, manual artists interested in using procedural techniques must undergo the difficult process of learning to program, and must adopt tools and practices far removed from those to which they are accustomed. We hypothesize that, through the right direct manipulation interface, we can enable accessible and expressive procedural art creation. To explore this, we developed Para, a digital illustration tool that supports the creation of declarative constraints in vector artwork. Para's constraints enable procedural relationships while facilitating live manual control and non-linear editing. Constraints can be combined with duplication behaviors and ordered collections of artwork to produce complex, dynamic compositions. We use the results of two open-ended studies with professional artists and designers to provide guidelines for accessible tools that integrate manual and procedural expression.}, + isbn = {978-1-4503-4655-9}, + keywords = {archival format,proceedings,SIGCHI}, + file = {/Users/tomoya/Zotero/storage/8BNDTYTU/Jacobs et al. - Unknown - Supporting Expressive Procedural Art Creation through Direct Manipulation.pdf;/Users/tomoya/Zotero/storage/JT8N76ZA/full-text.pdf} +} + +@article{jaffeOverviewSoundMusic1989, + title = {An {{Overview}} of the {{Sound}} and {{Music Kits}} for the {{NeXT Computer}}}, + author = {Jaffe, David and Boynton, Lee}, + date = {1989}, + journaltitle = {Computer Music Journal}, + volume = {13}, + number = {2}, + eprint = {3680040}, + eprinttype = {jstor}, + pages = {48--55}, + publisher = {The MIT Press}, + issn = {0148-9267}, + doi = {10.2307/3680040}, + url = {https://www.jstor.org/stable/3680040}, + urldate = {2022-01-16}, + file = {/Users/tomoya/Zotero/storage/5AKXGEGQ/Jaffe and Boynton - 1989 - An Overview of the Sound and Music Kits for the Ne.pdf} +} + +@book{jancovicFormatMattersStandards2020, + title = {Format Matters: Standards, Practices, and Politics in Media Cultures}, + shorttitle = {Format Matters}, + editor = {Jancovic, Marek and Volmar, Axel and Schneider, Alexandra}, + date = {2020}, + publisher = {meson press}, + location = {Lüneburg}, + eventtitle = {Format Matters}, + isbn = {978-3-95796-155-6}, + language = {eng}, + pagetotal = {282}, + file = {/Users/tomoya/Zotero/storage/UWPNVADM/Jancovic et al. - 2020 - Format matters standards, practices, and politics.pdf} +} + +@article{janssenLookAheadBasedSigmaDelta2011, + title = {Look-{{Ahead Based Sigma-Delta Modulation}}}, + author = {Janssen, Erwin and family=Roermund, given=Arthur, prefix=van, useprefix=true}, + date = {2011}, + doi = {10.1007/978-94-007-1387-1}, + url = {http://link.springer.com/10.1007/978-94-007-1387-1}, + abstract = {High resolution analog-to-digital conversion and digital-to-analog conversion is often realized with the use of a Sigma-Delta Modulator (SDM). The sigma-delta modulation process, although very non-linear when a 1-bit quantizer is used, is nowadays well understood and can be made to deliver a very high signal conversion quality. An example system that pushes the traditional sigma-delta modulation algorithm to its performance limit is the Super Audio CD (SA-CD) standard, in which a 64 times oversampled 1-bit signal is used to represent audio content with an SNR of up to 120\textasciitilde dB over 20\textasciitilde kHz bandwidth. Look-Ahead Based Sigma-Delta Modulation presents a number of alternative digital sigma-delta modulation techniques that make use of look-ahead, a process that takes into account the effect of decisions on the future, to realize an even higher conversion quality than possible with traditional sigma-delta modulation. This book provides the reader with a clear overview of various encoding techniques and demonstrates the improvements in signal conversion quality that can be obtained from their use. Starting from the basic full look-ahead approach that requires several orders of magnitude more computational power than a normal SDM, more efficient structures are derived that are able to realize a far higher signal conversion performance at a fraction of the computational cost. In addition to this, a modulator is derived that is able to generate bitstreams that are optimized for SA-CD usage, i.e. a high signal conversion quality combined with minimal signal entropy. All the look-ahead algorithms presented in this book are described in pseudocode and ample simulation results are provided to judge the effects on the signal conversion performance.}, + isbn = {978-94-007-1386-4}, + file = {/Users/tomoya/Zotero/storage/QJPLZIZF/Modulator et al._2011_Basics of Sigma-Delta Modulation.pdf} +} + +@online{jenrose2018, + title = {Fork Theory}, + author = {Jenrose}, + date = {2018-12-16T05:26:45+00:00}, + url = {https://jenrose.com/fork-theory/}, + urldate = {2024-05-12}, + abstract = {Spoon theory is about what you have to give. Fork theory is about what you can take. A useful tool for neurodivergence.}, + language = {auto}, + organization = {Jenrose}, + file = {/Users/tomoya/Zotero/storage/XZ949CJV/fork-theory.html} +} + +@inproceedings{Jensenius2016, + title = {Trends at {{NIME-Reflections}} on {{Editing}} "{{A NIME Reader}}"}, + booktitle = {Proceedings of {{New Interfaces}} for {{Musical Expression}} 2016}, + author = {Jensenius, Alexander Refsum and Lyons, Michael J}, + date = {2016}, + pages = {439--443}, + url = {http://www.nime.org/archive/}, + urldate = {2021-10-28}, + abstract = {This paper provides an overview of the process of editing the forthcoming anthology "A NIME Reader-Fifteen years of New Interfaces for Musical Expression." The selection process is presented, and we reflect on some of the trends we have observed in rediscovering the collection of more than 1200 NIME papers published throughout the 15 yearlong history of the conference. An anthology is necessarily selective , and ours is no exception. As we present in this paper, the aim has been to represent the wide range of artistic, scientific , and technological approaches that characterize the NIME conference. The anthology also includes critical discourse , and through acknowledgment of the strengths and weaknesses of the NIME community, we propose activities that could further diversify and strengthen the field.}, + keywords = {Author Keywords NIME,community,history,proceedings,reflection ACM Classification H55 [Information Int,reflection ACM Classification H55 [Information Interfaces and Presentation] Sound and Music Computing}, + file = {/Users/tomoya/Zotero/storage/9R9WRTCU/Jensenius, Lyons - 2016 - Trends at NIME-Reflections on Editing A NIME Reader.pdf;/Users/tomoya/Zotero/storage/GWG3UMY8/full-text.pdf} +} + +@article{jensePossibilities3DPrinting2012, + title = {Possibilities for {{3D Printing Musical Instruments}}}, + author = {Jense, Arvid}, + date = {2012}, + pages = {1--85}, + file = {/Users/tomoya/Zotero/storage/VLA9RDBM/Jense_2012_Possibilities for 3D Printing Musical Instruments.pdf} +} + +@book{JiangDuPatanWikiXP2009, + title = {パターン、{{Wiki}}、{{XP}} 〜時を超えた創造の原則}, + author = {江渡, 浩一郎}, + date = {2009-08-10}, + publisher = {技術評論社}, + isbn = {978-4-7741-3897-8} +} + +@article{jiangLowTemperatureSolutionProcessableZinc2017, + title = {Low-{{Temperature}} and {{Solution-Processable Zinc Oxide Transistors}} for {{Transparent Electronics}}}, + author = {Jiang, Li and Li, Jinhua and Huang, Kang and Li, Shanshan and Wang, Qiang and Sun, Zhengguang and Mei, Tao and Wang, Jianying and Zhang, Lei and Wang, Ning and Wang, Xianbao}, + date = {2017-12-31}, + journaltitle = {ACS Omega}, + volume = {2}, + number = {12}, + pages = {8990--8996}, + publisher = {American Chemical Society}, + doi = {10.1021/acsomega.7b01420}, + url = {https://doi.org/10.1021/acsomega.7b01420}, + urldate = {2023-08-14}, + abstract = {Zinc oxide (ZnO) thin-film transistors (TFTs) have many promising applications in the areas of logic circuits, displays, ultraviolet detectors, and biosensors due to their high performances, facile fabrication processing, and low cost. The solution method is an important technique for low-cost and large fabrication of oxide semiconductor TFTs. However, a key challenge of solution-processable ZnO TFTs is the relatively high processing temperature (≥500 °C) for achieving high carrier mobility. Here, facile, low-cost, and solution-processable ZnO TFTs were fabricated under the annealing temperature of ≤300 °C. Dense and polycrystalline ZnO films were deposited by the spin-coating method. The ZnO TFTs showed the maximum electron mobility of 11 cm2/V s and a high on/off ratio of {$>$}107 when the ZnO thin films were annealed at 300 °C. The mobility was extremely high among solution-processable undoped ZnO TFTs reported previously, even better than some high-cost indium-doped ZnO TFTs fabricated at low temperature. Furthermore, it is found that the mechanism of oxygen vacancies dominates the electron transport in ZnO thin film and interface behaviors of ZnO thin film and SiO2 gate insulator, and then dominates the performances of devices.}, + file = {/Users/tomoya/Zotero/storage/IRD4D8VH/Jiang et al. - 2017 - Low-Temperature and Solution-Processable Zinc Oxid.pdf;/Users/tomoya/Zotero/storage/MJDIYGNN/acsomega.html} +} + +@article{JiaTianToranpetutonoChuiMingniokeruChunnoapatiyuanoDakisagaYinGaoniYueruYingXiang, + title = {トランペットの吹鳴における唇のアパチュアの大きさが音高に与える影響}, + author = {榎田, 翼 and 若槻, 尚斗 and 水谷, 孝一}, + file = {/Users/tomoya/Zotero/storage/4C3WBNHD/榎田, 若槻, 水谷_Unknown_トランペットの吹鳴における唇のアパチュアの大きさが音高に与える影響.pdf} +} + +@article{JiChuanHeRuSihorutuLeQiYinXiangXuenoChuFaDian2009, + title = {ヘ ル厶ホルツ 楽器音響学の出発点}, + author = {{吉川} and {茂}}, + date = {2009}, + journaltitle = {日本音響学会誌}, + volume = {65}, + number = {6}, + pages = {331--336}, + file = {/Users/tomoya/Zotero/storage/NTJ9X9PK/吉川, 茂_2009_ヘ ル厶ホルツ 楽器音響学の出発点.pdf} +} + +@thesis{JiChuanRiChangDeHuoDongnonakanoYinLenoGuanChaLianXiChangMianniokeruesunomesodoroziwoZhongXinniYaoZhi2020, + title = {日常的活動のなかの音楽の観察 : 練習場面におけるエスノメソドロジーを中心に (要旨)}, + shorttitle = {日常的活動のなかの音楽の観察}, + author = {吉川, 侑輝}, + date = {2020}, + institution = {慶應義塾大学大学院社会学研究科}, + url = {https://koara.lib.keio.ac.jp/xoonips}, + urldate = {2022-02-16}, + abstract = {慶應義塾大学学術情報リポジトリ(KeiO Associated Repository of Academic resources、略称KOARA)は、慶應義塾大学の知の発信と保存を目的として、慶應義塾大学内で生産・保有する学術的資産を電子的な形態で収集・蓄積し、国内外の誰もがアクセスし利用できるようにWeb上で公開するものです。}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/ZNSH786L/detail.html} +} + +@report{JingKouShouNaiZhanHouRiBenniokeruGuoJiXingToato, + title = {戦後日本における「国際性」とアート＆テクノロジーの拡大}, + author = {{井口 壽乃}}, + file = {/Users/tomoya/Zotero/storage/6Q6W2FAM/m-api-0fb45e5c-53ed-448b-7b8e-faf90e333323.pdf} +} + +@article{JingShangMedeiaLunNoShenTiLunDeWenTiGouZhiMakuruhantomanhuodoniokeruShenTi, + title = {「メディア論」の身体論的問題構制 マクルーハンとマンフォードにおける身体・機械・メディアを中心に}, + author = {井上, 雅人}, + journaltitle = {京都精華大学紀要}, + volume = {33}, + file = {/Users/tomoya/Zotero/storage/EQ3FPT6I/井上_Unknown_「メディア論」の身体論的問題構制 マクルーハンとマンフ.pdf} +} + +@article{JingYinXiangGongXueniokeruPronyFanoYingYong, + title = {{{音響工学におけるProny}} 法の応用}, + author = {井, 研治}, + file = {/Users/tomoya/Zotero/storage/DR4DR7EU/井_Unknown_音響工学におけるProny 法の応用.pdf} +} + +@article{JinJingInpakutoXingLiuTiZengFuQinoTeXingtoYingYong1967, + title = {インパクト形流体増幅器の特性と応用}, + author = {金井, 彰}, + date = {1967}, + journaltitle = {計測と制御}, + volume = {6}, + number = {12}, + pages = {57--62}, + file = {/Users/tomoya/Zotero/storage/CIEQMCV8/m-api-7ed95fb7-8fb2-8aa3-7d33-e9a44fe39e37.pdf} +} + +@article{JinJingPopiyuraYinLenoCunZaiLunToratukuLeQu2011, + title = {ポピュラー音楽の存在論 : 《トラック》、《楽曲》、《演奏》}, + author = {{今井} and {晋}}, + date = {2011}, + journaltitle = {ポピュラー音楽研究 = Popular music studies}, + volume = {15}, + pages = {23--42}, + publisher = {日本ポピュラー音楽学会}, + issn = {1343-9251}, + url = {http://ci.nii.ac.jp/naid/40019203923/ja/}, + urldate = {2021-08-10}, + keywords = {ontology,performance,philosophy of music,recording,type-token} +} + +@article{JinTianZhangJiChuJiShuJiCeJiShu2012, + title = {1 章 基礎技術・計測技術}, + author = {金田, 豊}, + date = {2012}, + journaltitle = {電子情報通信学会}, + volume = {0004}, + number = {2}, + pages = {1--41}, + isbn = {1801439850}, + file = {/Users/tomoya/Zotero/storage/P74FANTB/金田_2012_1 章 基礎技術・計測技術.pdf} +} + +@article{JinZiReInventingWheel2015, + title = {Re -{{Inventing}} the {{Wheel}} ブックリスト}, + author = {金子, 智太郎 and 中川, 克志 and 松井, 茂 and 城, 一裕}, + date = {2015}, + pages = {1--3}, + file = {/Users/tomoya/Zotero/storage/F7JDCJEI/Unknown_2015_R e -I n ven ti n g the Wheel.pdf} +} + +@article{JiTianFPGAwoYongitaDiChiYanDiemiIpmiYanSuannoShiXiantoYinChangGongYousisutemuhenoYingYong2006, + title = {{{FPGAを用いた低遅延畳み込み演算の実現と音場共有システムへの応用}}}, + author = {吉田, 飛里 and 北川, 雄一 and 渡邉, 祐子 and 伊勢, 史郎}, + date = {2006}, + journaltitle = {Discovery}, + volume = {2}, + number = {5}, + pages = {1--4}, + keywords = {arbuscular mycorrhiza fungi,host,inoculums production,medium}, + file = {/Users/tomoya/Zotero/storage/23T5BZPB/吉田 et al._2006_FPGAを用いた低遅延畳み込み演算の実現と音場共有システムへの応用.pdf} +} + +@misc{JiuBaoTianMakeJapanMonowotukuranaimonodukuri2020, + title = {Make: {{Japan}} | ものをつくらないものづくり 1 — 『{{Handmade Electronic Music}}』から再考する「手作り」のルーツ}, + author = {久保田, 晃弘}, + date = {2020}, + url = {https://makezine.jp/blog/2020/08/make_without_making_01.html}, + urldate = {2021-10-19} +} + +@online{JiuBaoTianMakeJapanMonowotukuranaimonodukuri2021, + title = {Make: Japan | ものをつくらないものづくり \#11 — スペキュラティヴ・デザイン（を超えるため）の原則}, + shorttitle = {Make}, + author = {久保田, 晃弘}, + date = {2021-08-16}, + url = {https://makezine.jp/blog/2021/08/make_without_making_11.html}, + urldate = {2022-02-01}, + language = {ja}, + organization = {Make: Japan}, + file = {/Users/tomoya/Zotero/storage/6WTYTUJL/make_without_making_11.html} +} + +@incollection{JiuBaoTianSitatihamotutoumakudekimasuRaivuKodeingunoQiYuantoYiWeiwoZaiKaosuru2021, + title = {私たちはもっとうまくできます──ライヴ・コーディングの起源と意味を再考する}, + booktitle = {音と耳から考える　歴史・身体・テクノロジー}, + author = {久保田, 晃弘}, + editor = {細川, 周平}, + date = {2021}, + pages = {0}, + publisher = {アルテスパブリッシング} +} + +@inproceedings{Jo2016, + title = {パーソナル・ファブリケーションとメディア考古学の交点： 車輪の再発明プロジェクトのまとめとして}, + booktitle = {先端芸術音楽創作学会 会報}, + author = {城, 一裕}, + date = {2016}, + series = {4}, + volume = {8}, + pages = {22--27}, + abstract = {NTT [ICC] 2015 Re-Inventing the Wheel was a project, which I have organized with colleagues, students, and external researchers at IAMAS (Institute of Advanced Media Arts and Sciences) from 2013 to 2016. The aim of the project is to embody a "present" by re-reading the history with practices. By utilizing the literature of media archaeology as our foothold, we firstly deepen our understanding of the role and function of various media, especially in the field of audio and visual, before their stabilization in the history. Then, we apply each acquired notion as a technique for diverse aesthetic practices in the era of personal fabrication. Instead of depicting the future or excavating the past, we try to redefine the reality of our circumstances by producing the alternatives. In this presentation, through the particular works of those techniques, we summarize the activities of this project based on related materials that focus on introducing the details of the exhibition shown at the NTT Intercommunication Center's (ICC) Open Space 2015.}, + file = {/Users/tomoya/Zotero/storage/SNFFLXWU/m-api-0fee4655-3d24-f1e7-7520-2a220613d7e3.pdf;/Users/tomoya/Zotero/storage/ZR8FGVBL/m-api-0fee4655-3d24-f1e7-7520-2a220613d7e3.pdf} +} + +@article{johnstonOpportunitiesPracticebasedResearch2016, + title = {Opportunities for Practice-Based Research in Musical Instrument Design}, + author = {Johnston, Andrew}, + date = {2016}, + journaltitle = {Leonardo}, + volume = {49}, + number = {1}, + issn = {0024094X}, + doi = {10.1162/LEON_a_01121}, + abstract = {This article deals with opportunities and challenges faced by humanities disciplines like art history or aesthetics when turning their attention from tradi- tional pursuits to the study of scientific images and visualizations. These pose particular problems to interpretation and evaluation for what, in Germany, is called Bildwissenschaft or image science.}, + file = {/Users/tomoya/Zotero/storage/BXRWJE2F/johnston2016.pdf} +} + +@thesis{joMusicOneParticipates2015, + title = {The {{Music One Participates In}}: {{Analysys}} of Participatory Musical Practice at the Beginning of 21st Centyry}, + author = {Jo, Kazuhiro}, + date = {2015}, + institution = {Kyushu University}, + file = {/Users/tomoya/Zotero/storage/8EWPVGTS/Jo_2015_No Title.pdf} +} + +@incollection{jonasDesignResearchIts2007, + title = {Design {{Research}} and Its {{Meaning}} to the {{Methodological Development}} of the {{Discipline}}}, + booktitle = {Design {{Research Now}}}, + author = {Jonas, Wolfgang}, + editor = {Michel, Ralf}, + date = {2007-12-31}, + pages = {187--206}, + publisher = {DE GRUYTER}, + doi = {10.1007/978-3-7643-8472-2_11}, + url = {https://www.degruyter.com/document/doi/10.1007/978-3-7643-8472-2_11/html}, + urldate = {2021-11-23}, + isbn = {978-3-7643-8471-5}, + file = {/Users/tomoya/Zotero/storage/9FVGB6EF/Jonas - 2007 - Design Research and its Meaning to the Methodologi.pdf;/Users/tomoya/Zotero/storage/JEGNP3BS/Jonas - 2007 - Design Research and its Meaning to the Methodologi.pdf} +} + +@article{jonesControllingPhysicalModel2007, + title = {Controlling a {{Physical Model}} with a \{\vphantom\}{{2D}}\vphantom\{\} {{Force Matrix}}}, + author = {Jones, Randy and Schloss, Andrew}, + date = {2007}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {27--30}, + doi = {10.1145/1279740.1279742}, + abstract = {Physical modeling has proven to be a successful method ofsynthesizing highly expressive sounds. However, providingdeep methods of real time musical control remains a majorchallenge. In this paper we describe our work towards aninstrument for percussion synthesis, in which a waveguidemesh is both excited and damped by a 2D matrix of forcesfrom a sensor. By emulating a drum skin both as controllerand sound generator, our instrument has reproduced someof the expressive qualities of hand drumming. Details of ourimplementation are discussed, as well as qualitative resultsand experience gleaned from live performances.}, + keywords = {expressive control,instrument design,multi-touch,performance,Physical modeling}, + file = {/Users/tomoya/Zotero/storage/2GW9GL92/m-api-4374f01a-e79c-40b1-4401-48cbe77be4db.pdf} +} + +@article{jonesDirectLaserWriting2023, + title = {Direct Laser Writing of Copper and Copper Oxide Structures on Plastic Substrates for Memristor Devices}, + author = {Jones, Joshua and Snowdon, Monika R and Rathod, Shasvat and Peng, Peng}, + date = {2023-03-01}, + journaltitle = {Flexible and Printed Electronics}, + shortjournal = {Flex. Print. Electron.}, + volume = {8}, + number = {1}, + pages = {015008}, + issn = {2058-8585}, + doi = {10.1088/2058-8585/acb0df}, + url = {https://iopscience.iop.org/article/10.1088/2058-8585/acb0df}, + urldate = {2023-03-10}, + abstract = {Abstract Rapid fabrication of flexible electronics is attracting much attention in many industries. There is a need to rapidly produce flexible electronic components without relying on costly precursor materials and complex processes. This work presents a direct laser writing (DLW) process capable of rapidly depositing flexible copper or copper oxide structures with a high degree of control over electrical properties. The DLW process uses a low-power fiber laser beam to selectively irradiate a thin film of copper ions to form and interconnect copper nanoparticles. The electrical properties of the deposited patterns can be controlled by tuning laser power, scanning speed, and beam defocus. The microstructures of patterns printed at varying laser powers are investigated using scanning electron microscopy, x-ray photoelectron spectroscopy, and x-ray powder diffraction and the relation between laser power and sheet resistance is explored. The results showed that high laser energy densities resulted in highly conductive patterns of metallic copper, whereas lower energy patterns resulted in copper oxide-rich patterns with significantly lower conductivity. This method can produce high-quality flexible electronic components with a range of potential applications, as demonstrated by the proof-of-concept fabrication of a flexible memristive junction with resistive switching observed at ±0.7 V and a R on / R off ratio of 10 2 .}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/M7HJGB7V/Jones et al. - 2023 - Direct laser writing of copper and copper oxide st.pdf} +} + +@article{jonesMusicInternet2000, + title = {Music and the {{Internet}}}, + author = {Jones, Steve}, + date = {2000}, + journaltitle = {Popular Music}, + volume = {19}, + number = {2}, + pages = {217--230}, + url = {https://about.jstor.org/terms}, + urldate = {2021-07-22}, + file = {/Users/tomoya/Zotero/storage/X3N9BT7D/full-text.pdf} +} + +@inproceedings{joonIntersectionUsersRoles, + title = {The {{Intersection}} of {{Users}}, {{Roles}}, {{Interactions}}, and {{Technologies}} in {{Creativity Support Tools}}; {{The Intersection}} of {{Users}}, {{Roles}}, {{Interactions}}, and {{Technologies}} in {{Creativity Support Tools}}}, + booktitle = {Designing {{Interactive Systems Conference}} 2021}, + author = {Joon, John and Chung, Young and He, Shiqing and Adar, Eytan}, + pages = {17}, + publisher = {ACM}, + location = {New York, NY, USA}, + url = {https://doi.org/10.1145/3461778.3462050}, + urldate = {2021-06-30}, + abstract = {Creativity Support Tools (CSTs) have become an integral part of artistic creation. The range of CST technologies is broad-from fabricators to generative algorithms to robots. The interaction approaches for CSTs are accordingly broad. CSTs combine specific technologies and interaction types to serve a spectrum of roles and users. In this work, we tackle a comprehensive understanding of how the intersections of users, roles, interactions, and technologies form a design space for CSTs. We accomplish this by reviewing 111 art-creation CSTs from HCI and computing research and analyzing how diverse aspects of CSTs relate to each other. Our findings identify patterns for designing CSTs, which can give guidance to future CST designers. We also highlight under-explored types of CSTs within the HCI community, providing future directions that CST researchers can pursue given the current trajectory of technological advancement. This work contributes an integrating perspective to understand the landscape of art-creation CSTs. CCS CONCEPTS • Human-centered computing → Interactive systems and tools.}, + isbn = {978-1-4503-8476-6}, + keywords = {art-making,creativity support tools,literature review}, + file = {/Users/tomoya/Zotero/storage/5MMNDJVC/full-text.pdf} +} + +@inproceedings{jordaDigitalInstrumentsPlayers2004, + title = {Digital {{Instruments}} and {{Players}}: {{Part II-Diversity}}, {{Freedom}} and {{Control}}}, + booktitle = {International {{Computer Music Conference}}}, + author = {Jordà, Sergi}, + date = {2004}, + url = {http://www.suzukimusic.co.uk/suzuki_omnichord.htm}, + urldate = {2019-05-31}, + abstract = {This article explores some music instruments generic properties such as the diversity, the variability or the reproducibility of their musical output, the linearity or non-linearity of their behavior, and tries to figure out how these aspects can bias the relation between the instrument and its player, and how they may relate to more commonly studied and (ab)used concepts such as expressivity or virtuosity. It aims at conceiving a theoretical framework in which the possibilities and the diversity of music instruments, as well as the possibilities and the expressive freedom of human music performers could all be evaluated; a framework that could help to figure out what the essentials needs for different types of musicians-from the absolute novice to the professional or the virtuoso-can be. Keywords New music interfaces, m usical instruments design, musical diversity, virtuosity, expressivity.}, + file = {/Users/tomoya/Zotero/storage/EEEI435V/full-text.pdf} +} + +@inproceedings{jordaDigitalInstrumentsPlayers2004a, + title = {Digital {{Instruments}} and {{Players}}: {{Part I-Efficiency}} and {{Apprenticeship}}}, + booktitle = {New {{Interfaces}} for {{Musical Expression}}}, + author = {Jordà, Sergi}, + date = {2004}, + pages = {59--63}, + abstract = {When envisaging new digital instruments, designers do not have to limit themselves to their sonic capabilities (which can be absolutely any), not even to their algorithmic power; they must be also especially careful about the instruments' conceptual capabilities, to t he ways instruments impose or suggest to their players new ways of thinking, new ways of establishing relations, new ways of interacting, new ways of organizing time and textures; new ways, in short, of playing new musics. This article explores the dynamic relation that builds between the player and the instrument, introducing concepts such as efficiency, apprenticeship and learning curve It aims at constructing a framework in which the possibilities and the diversity of music instruments as well as the possibilities and the expressive freedom of human music performers could start being evaluated.}, + file = {/Users/tomoya/Zotero/storage/TYRVK26G/m-api-03e4f724-8db2-95ad-645d-9fe768e98383.pdf} +} + +@article{jordanDIYElectronicsRevealing2015, + title = {{{DIY Electronics}}: {{Revealing}} the {{Material Systems}} of {{Computation}}}, + shorttitle = {{{DIY Electronics}}}, + author = {Jordan, Ryan}, + date = {2015}, + journaltitle = {Leonardo Music Journal}, + volume = {25}, + eprint = {43832529}, + eprinttype = {jstor}, + pages = {41--46}, + publisher = {The MIT Press}, + issn = {0961-1215}, + url = {https://www.jstor.org/stable/43832529}, + urldate = {2023-08-10}, + abstract = {The author sets out an extension of do-it-yourself (DIY) electronics as a literal critical practice addressing the social, economic and geological systems shaping technologies we use, presenting several real-world examples and concluding with future directions.}, + file = {/Users/tomoya/Zotero/storage/AUT73YRA/Jordan - 2015 - DIY Electronics Revealing the Material Systems of.pdf} +} + +@unpublished{jouppiInDatacenterPerformanceAnalysis2017, + title = {In-{{Datacenter Performance Analysis}} of a {{Tensor Processing Unit}}}, + author = {Jouppi, Norman P. and Young, Cliff and Patil, Nishant and Patterson, David and Agrawal, Gaurav and Bajwa, Raminder and Bates, Sarah and Bhatia, Suresh and Boden, Nan and Borchers, Al and Boyle, Rick and Cantin, Pierre-luc and Chao, Clifford and Clark, Chris and Coriell, Jeremy and Daley, Mike and Dau, Matt and Dean, Jeffrey and Gelb, Ben and Ghaemmaghami, Tara Vazir and Gottipati, Rajendra and Gulland, William and Hagmann, Robert and Ho, C. Richard and Hogberg, Doug and Hu, John and Hundt, Robert and Hurt, Dan and Ibarz, Julian and Jaffey, Aaron and Jaworski, Alek and Kaplan, Alexander and Khaitan, Harshit and Koch, Andy and Kumar, Naveen and Lacy, Steve and Laudon, James and Law, James and Le, Diemthu and Leary, Chris and Liu, Zhuyuan and Lucke, Kyle and Lundin, Alan and MacKean, Gordon and Maggiore, Adriana and Mahony, Maire and Miller, Kieran and Nagarajan, Rahul and Narayanaswami, Ravi and Ni, Ray and Nix, Kathy and Norrie, Thomas and Omernick, Mark and Penukonda, Narayana and Phelps, Andy and Ross, Jonathan and Ross, Matt and Salek, Amir and Samadiani, Emad and Severn, Chris and Sizikov, Gregory and Snelham, Matthew and Souter, Jed and Steinberg, Dan and Swing, Andy and Tan, Mercedes and Thorson, Gregory and Tian, Bo and Toma, Horia and Tuttle, Erick and Vasudevan, Vijay and Walter, Richard and Wang, Walter and Wilcox, Eric and Yoon, Doe Hyun}, + date = {2017-04-16}, + eprint = {1704.04760}, + eprinttype = {arXiv}, + eprintclass = {cs}, + url = {http://arxiv.org/abs/1704.04760}, + urldate = {2022-01-24}, + abstract = {Many architects believe that major improvements in cost-energy-performance must now come from domain-specific hardware. This paper evaluates a custom ASIC---called a Tensor Processing Unit (TPU)---deployed in datacenters since 2015 that accelerates the inference phase of neural networks (NN). The heart of the TPU is a 65,536 8-bit MAC matrix multiply unit that offers a peak throughput of 92 TeraOps/second (TOPS) and a large (28 MiB) software-managed on-chip memory. The TPU's deterministic execution model is a better match to the 99th-percentile response-time requirement of our NN applications than are the time-varying optimizations of CPUs and GPUs (caches, out-of-order execution, multithreading, multiprocessing, prefetching, ...) that help average throughput more than guaranteed latency. The lack of such features helps explain why, despite having myriad MACs and a big memory, the TPU is relatively small and low power. We compare the TPU to a server-class Intel Haswell CPU and an Nvidia K80 GPU, which are contemporaries deployed in the same datacenters. Our workload, written in the high-level TensorFlow framework, uses production NN applications (MLPs, CNNs, and LSTMs) that represent 95\% of our datacenters' NN inference demand. Despite low utilization for some applications, the TPU is on average about 15X - 30X faster than its contemporary GPU or CPU, with TOPS/Watt about 30X - 80X higher. Moreover, using the GPU's GDDR5 memory in the TPU would triple achieved TOPS and raise TOPS/Watt to nearly 70X the GPU and 200X the CPU.}, + keywords = {Computer Science - Hardware Architecture,Computer Science - Machine Learning,Computer Science - Neural and Evolutionary Computing}, + file = {/Users/tomoya/Zotero/storage/E7GX6VJG/Jouppi et al. - 2017 - In-Datacenter Performance Analysis of a Tensor Pro.pdf;/Users/tomoya/Zotero/storage/3ECPC5UH/1704.html} +} + +@article{jouvelot2011, + title = {Dependent Vector Types for Data Structuring in Multirate {{Faust}}}, + author = {Jouvelot, Pierre and Orlarey, Yann}, + date = {2011}, + journaltitle = {Computer Languages, Systems \& Structures}, + volume = {37}, + number = {3}, + pages = {113--131}, + publisher = {Elsevier}, + file = {/Users/tomoya/Zotero/storage/43LWJ7BN/Jouvelot and Orlarey - 2011 - Dependent vector types for data structuring in mul.pdf} +} + +@report{joyceFLUIDICSBasicComponents1983, + title = {{{FLUIDICS}}, {{Basic Components}} and {{Applications}}}, + author = {Joyce, James W}, + date = {1983}, + pages = {22}, + institution = {{U.S. Army Electronics Research and Development Command Harry Diamond Laboratories}}, + abstract = {Commercial applications of fluldics are found in the aerospace Industry, industrial control, medicine, and personal-use items. The first aerospace application in production in the United States was for the thrust-reverser control for a DC-10 airplane. In industry, fluidics has been applied to air-conditioning controls, machine controls, process controls, and production-line controls. More than 100 different applications have been identified In these areas. One of the first commercial applications of fluidics was for life-support medical equipment.Several medical devices now on the market Incorporate some degree of fluidic control. Personal use fluidic products Include pulsating showerheads, lawn sprinklers, and oral irrigators. For military use, fluidics has been successfully applied to a fluidic generator to convert pneumatic energy into electrical energy, a fluidic stability augmentation system for helicopters, and a pressure-regulating system for aircraft. Currently under development are rate sensing circults for roll rate control of cannon-launched guided projectiles and missiles, and a fluidic capillary pyrometer for continuous temperature measurements in high-temperature process control.}, + isbn = {6111021440011} +} + +@online{joZhinorekodonoZuorareFang2016, + title = {紙のレコードの作られ方}, + author = {Jo, Kazuhiro}, + date = {2016}, + pages = {0--21}, + file = {/Users/tomoya/Zotero/storage/W9HT8SPY/Shop_2016_No Title.pdf} +} + +@inproceedings{jssa-11-1-matsuura, + title = {計算機による音生成の異なるあり方を探る『{{Electronic Delay Time Automatic Calculator}}』の制作}, + booktitle = {先端芸術音楽創作学会 会報}, + author = {松浦, 知也 and 城, 一裕}, + date = {2019-03}, + series = {1}, + volume = {11}, + pages = {43--49}, + publisher = {先端芸術音楽創作学会}, + abstract = {本発表では、時間を分割する機能のみを持ったコンピューターとしての回路彫刻作品「Electronic Delay Time Automatic Calculator」について、その詳細を述べる。本作品は電気パルスの遅延フィードバックという、マスタークロックを持たない異なる時間構造の表現を、メディア考古学的視点より考察するものである。コンピューターを用いた音生成の黎明期に存在した、CSIRACやFerranti Mark Ⅰという、PCM形式によらずに音をデジタル的に直接生成する先例を足がかりに、ソフトウェアとハードウェアの不可分性および、時間の定量的な記述に着目し、今日計算機を用いて音を生成することの意味を再考する。} +} + +@inproceedings{jssa-9-3-matsuura, + title = {『{{Aphysical Unmodeling Instrument}}』 ―モデリングから音・音楽を再考するサウンドインスタレーション―}, + booktitle = {先端芸術音楽創作学会 会報}, + author = {松浦, 知也 and 城, 一裕}, + date = {2017-12}, + series = {3}, + volume = {9}, + pages = {17--26}, + publisher = {先端芸術音楽創作学会}, + abstract = {本稿では、作品「Aphysical Unmodeling Instrument」の制作動機とその構成を説明する。その上で、フィードバックという観点から関連作品との比較を行い、音・音楽を記述するための一形態としての物理モデリングについて考察する。「Aphysical Unmodeling Instrument」は、物理モデリング合成に基づくサウンドインスタレーションである。本作では、一般的には実際の楽器構造やその音色の計算機内での模倣に用いられる本音声合成手法を、実空間内にて展開させている。Cook らによる仮想の楽器である Whirlwind というモデルを取り上げ、紙の筒による共鳴器や空気伝播による遅延などの要素からなるその物理的な再実装をおこなった。その上で、本作内で結果的に用いることになったハウリングを、フィードバックという観点から整理し、作曲・サウンドインスタレーション・パフォーマンスに関わる他の関連作品と比較する。以上を踏まえ、モデリングを音・音楽を記述するための一形態として捉え、その中でのモデルの作成と実体化という行為を、楽譜上での作曲と演奏と言う行為と対比し、コンピュータの外側における物理モデリングの可能性を探る。} +} + +@article{JuMSWmoderuniyorukurarinetutonosimiyuresiyon1994, + title = {{{MSWモデルによるクラリネットのシミュレーション}}}, + author = {橘, 崇哲 and 高橋, 公也}, + date = {1994}, + journaltitle = {物性研究}, + volume = {62}, + number = {5}, + pages = {642--651}, + url = {http://hdl.handle.net/2433/95368}, + file = {/Users/tomoya/Zotero/storage/5AB2ZY9F/橘, 高橋_1994_MSWモデルによるクラリネットのシミュレーション.pdf} +} + +@incollection{Kahn1994, + title = {An {{Unheard-of Organology}}(未開の器官学)}, + booktitle = {季刊インターコミュニケーション {{No}}.9 特集音楽＝テクノロジー}, + author = {Kahn, Douglas}, + date = {1994}, + pages = {122--126}, + publisher = {NTT出版}, + url = {https://www.amazon.co.jp/%25E5%25AD%25A3%25E5%2588%258A%25E3%2582%25A4%25E3%2583%25B3%25E3%2582%25BF%25E3%2583%25BC%25E3%2582%25B3%25E3%2583%259F%25E3%2583%25A5%25E3%2583%258B%25E3%2582%25B1%25E3%2583%25BC%25E3%2582%25B7%25E3%2583%25A7%25E3%2583%25B3-Inte}, + urldate = {2019-01-24} +} + +@article{kahnMusicalTechnographyOfJohn2016, + title = {A {{Musical Technography ofJohn Bischoff 7The San Francisco Bay Area}} Has Long Been a}, + author = {Kahn, Douglas and Kahn, Douglas and Tudor, David and Behrman, David and Collins, Nicolas and Demarinis, Paul}, + date = {2016}, + volume = {14}, + pages = {74--79}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/J5G4SLTI/Kahn et al._2016_A Musical Technography ofJohn Bischoff 7The San Francisco Bay Area has long been a.pdf} +} + +@article{kaloIndividualFabricationCymbals2018, + title = {Individual {{Fabrication}} of {{Cymbals}} Using {{Incremental Robotic Sheet Forming}}}, + author = {Kalo, Ammar and Essl, Georg}, + date = {2018}, + pages = {287--292}, + file = {/Users/tomoya/Zotero/storage/KMCKW2JF/Kalo, Essl_2018_Individual Fabrication of Cymbals using Incremental Robotic Sheet Forming.pdf} +} + +@article{karjalainenTransmissionLineModelingRealTime1991, + title = {Transmission-{{Line Modeling}} and {{Real-Time Synthesis}} of {{String}} and {{Wind Instruments}}}, + author = {Karjalainen, Matti and Laine, Unto K and Laakso, Timo I and {V. Välimäki}}, + date = {1991}, + journaltitle = {Proceedings of the International Computer Music Conference}, + pages = {293--296}, + abstract = {In this paper we present a method for semi-physical modeling and real-time synthesis of string and wind instruments by using the transmisison-line principle and a floating-point signal processor (TMS320C30). Fractional delay approximation by Lagrange interpolation is applied to the implementation of a variable-length delay. A bidirectional transmission-line consisting of a pair of delay-lines is used for modeling both the 6-string guitar and the flute. High-quality real-time sound synthesis of both instruments is achieved.}, + issue = {October 2016}, + file = {/Users/tomoya/Zotero/storage/H3LQXXJX/Karjalainen et al._1991_Transmission-Line Modeling and Real-Time Synthesis of String and Wind Instruments.pdf} +} + +@article{kasaharaRhythmGenerationAssociative1959, + title = {Rhythm {{Generation}} with {{Associative Self Organizing Maps}} and {{Shuji Hashimoto}}}, + author = {Kasahara, Shunichi and Saegusa, Ryo}, + date = {1959}, + volume = {0}, + number = {0}, + pages = {1234--1242}, + file = {/Users/tomoya/Zotero/storage/9GUZHBMV/Kasahara, Saegusa_1959_Rhythm Generation with Associative Self Organizing Maps and Shuji Hashimoto.pdf} +} + +@article{kasslerMusicalInformationRetrieval1966, + title = {Toward {{Musical Information Retrieval}}}, + author = {Kassler, Michael}, + date = {1966}, + journaltitle = {Perspectives of New Music}, + volume = {4}, + number = {2}, + eprint = {832213}, + eprinttype = {jstor}, + pages = {59--67}, + publisher = {Perspectives of New Music}, + issn = {0031-6016}, + doi = {10.2307/832213}, + url = {https://www.jstor.org/stable/832213}, + urldate = {2022-01-04}, + file = {/Users/tomoya/Zotero/storage/3ANV5C9P/Kassler - 1966 - Toward Musical Information Retrieval.pdf} +} + +@incollection{kasukonShiBainoMeiXueXianDainokonpiyutaYinLeniokeruPosuto2005, + title = {失敗の美学 現代のコンピュータ音楽における「ポスト−デジタル」的傾向}, + booktitle = {ユリイカ 特集＊ポスト・ノイズ 越境するサウンド}, + author = {カスコーン, キム}, + translator = {長壁, 順子}, + date = {2005}, + volume = {37}, + number = {58-69}, + publisher = {青土社} +} + +@online{kawata2021, + title = {A {{Dependently Typed Multi-Stage Calculus}}}, + author = {Kawata, Akira and Igarashi, Atsushi}, + date = {2021-08-17}, + eprint = {1908.02035}, + eprinttype = {arXiv}, + eprintclass = {cs}, + doi = {10.48550/arXiv.1908.02035}, + url = {http://arxiv.org/abs/1908.02035}, + urldate = {2024-09-17}, + abstract = {We study a dependently typed extension of a multi-stage programming language \textbackslash `a la MetaOCaml, which supports quasi-quotation and cross-stage persistence for manipulation of code fragments as first-class values and an evaluation construct for execution of programs dynamically generated by this code manipulation. Dependent types are expected to bring to multi-stage programming enforcement of strong invariant -- beyond simple type safety -- on the behavior of dynamically generated code. An extension is, however, not trivial because such a type system would have to take stages of types -- roughly speaking, the number of surrounding quotations -- into account. To rigorously study properties of such an extension, we develop \$\textbackslash lambda\textasciicircum\{MD\}\$, which is an extension of Hanada and Igarashi's typed calculus \$\textbackslash lambda\textasciicircum\{\textbackslash triangleright\textbackslash\%\} \$ with dependent types, and prove its properties including preservation, confluence, strong normalization for full reduction, and progress for staged reduction. Motivated by code generators that generate code whose type depends on a value from outside of the quotations, we argue the significance of cross-stage persistence in dependently typed multi-stage programming and certain type equivalences that are not directly derived from reduction rules.}, + pubstate = {prepublished}, + keywords = {Computer Science - Programming Languages}, + file = {/Users/tomoya/Zotero/storage/BLAUM4RT/Kawata and Igarashi - 2021 - A Dependently Typed Multi-Stage Calculus.pdf;/Users/tomoya/Zotero/storage/8DM2HBT4/1908.html} +} + +@article{Kay1977, + title = {Personal {{Dynamic Media}}}, + author = {Kay, Alan and Goldberg, Adele}, + date = {1977-03-01}, + journaltitle = {Computer}, + volume = {10}, + number = {3}, + pages = {31--41}, + publisher = {IEEE Computer Society Press PUB765 Los Alamitos, CA, USA}, + doi = {10.1109/C-M.1977.217672}, + url = {https://dl.acm.org/doi/abs/10.1109/C-M.1977.217672}, + urldate = {2021-07-21}, + abstract = {The Learning Research Group at Xerox Palo Alto Research Center is concerned with all aspects of the communication and manipulation of knowledge. We design, build, and use dynamic media which can be...}, + file = {/Users/tomoya/Zotero/storage/IQQZR25F/Kay1977.pdf;/Users/tomoya/Zotero/storage/VUXXMXQR/Kay1977.pdf} +} + +@article{Kay1993, + title = {{{THE EARLY HISTORy OF SMALLTALK}}}, + author = {Kay, Alan}, + date = {1993}, + journaltitle = {ACM SIGPLAN Notices}, + volume = {28}, + number = {3}, + pages = {69--95} +} + +@online{kayAmericanComputerPioneer2019, + title = {American Computer Pioneer {{Alan Kay}}’s Concept, the {{Dynabook}}, Was Published in 1972. {{How}} Come {{Steve Jobs}} and {{Apple iPad}} Get the Credit for Tablet Invention?}, + author = {Kay, Alan C.}, + date = {2019-04-21}, + url = {https://www.quora.com/American-computer-pioneer-Alan-Kay-s-concept-the-Dynabook-was-published-in-1972-How-come-Steve-Jobs-and-Apple-iPad-get-the-credit-for-tablet-invention}, + urldate = {2022-01-25}, + abstract = {Answer (1 of 4): The Dynabook idea happened in 1968. But the simple part of the idea — a personal computer on the back of a flat screen display with a stylus and touch sensitivity — is hard to consider a real invention given: * Flat-screen displays. I saw the first University of Illinois one i...}, + language = {en}, + organization = {Quora}, + file = {/Users/tomoya/Zotero/storage/52TPMQQG/American-computer-pioneer-Alan-Kay-s-concept-the-Dynabook-was-published-in-1972-How-come-Steve-.html} +} + +@incollection{kayDYNABOOKPASTPRESENTFUTURE1988, + title = {{{THE DYNABOOK-PAST}}, {{PRESENT}}, {{AND FUTURE}}}, + booktitle = {A History of Personal Workstations}, + author = {Kay, Alan and Shoch, John}, + date = {1988}, + pages = {249--263}, + file = {/Users/tomoya/Zotero/storage/IU2GCAPR/full-text.pdf} +} + +@article{kayEARLYHISTORYSMALTALK1993, + title = {{{THE EARLY HISTORY OF SMALTALK}}}, + author = {Kay, Alan C.}, + date = {1993}, + journaltitle = {ACM SIGPLAN Noices}, + volume = {28}, + number = {3}, + pages = {69--94} +} + +@article{kayMicroelectronicsPersonalComputer1977, + title = {Microelectronics and the Personal Computer}, + author = {Kay, Alan}, + date = {1977}, + journaltitle = {Scientific American}, + pages = {231--244}, + abstract = {Imagine having your own self-contained knowledge manipulator in a portable package the size and shape of an ordinary notebook. How would you use it if it had enough power to outrace your senses of sight and hearing, enough capacity to store for later retrieval thousands of page-equivalents}, + file = {/Users/tomoya/Zotero/storage/WEP9T66Y/Kay and Kay - 1977 - Microelectronics and the personal computer.pdf;/Users/tomoya/Zotero/storage/KZ7GRTXE/summary.html} +} + +@incollection{kayProgrammingYourOwn1979, + title = {Programming {{Your Own Computer}}}, + booktitle = {Science {{Year}} 1979}, + author = {Kay, Alan}, + date = {1979}, + publisher = {World Book Encyclopedia}, + file = {/Users/tomoya/Zotero/storage/IRASR4AM/Alan-Kay-World-Book-Encyc-1979.pdf} +} + +@thesis{kenshoDesigningObjectsMotion, + title = {Designing {{Objects}} in {{Motion}}}, + author = {Kensho, Miyoshi}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/68ER7PVZ/Berglin et al. - Members Michelle Christensen Michael Erlhoff Sand.pdf} +} + +@article{keylinCorporealityMusicSound2015, + title = {Corporeality of {{Music}} and {{Sound Sculpture}}}, + author = {Keylin, Vadim}, + date = {2015-08}, + journaltitle = {Organised Sound}, + shortjournal = {Org. Sound}, + volume = {20}, + number = {2}, + pages = {182--190}, + issn = {1355-7718, 1469-8153}, + doi = {10.1017/S1355771815000060}, + url = {https://www.cambridge.org/core/product/identifier/S1355771815000060/type/journal_article}, + urldate = {2022-09-09}, + abstract = {This article aims to sketch a theory of sound sculpture, one that would explain the variety of forms this artistic practice might take on and define it in relation to other art forms. My hypothesis is that in order to do this we must focus on the traits of sound sculpture connecting it to music rather than on those separating the two. A useful instrument to analyse this connection is Harry Partch’s concept of corporeal music. In contrast to Western classical music, which he viewed as abstract and devoid of life, Partch envisioned a music that would emphasise the physicality of sound-making and engage the listener on a more visceral level. Investigating a number of works from all parts of the sound sculpture spectrum, I argue that all the various practices that comprise the art form present the core traits of Partch’s musical ideal (physicality of music, audience engagement, and unity of the sonic and the visual) to a substantial extent. Analysing sound sculpture in light of its connection to music brings to the fore a number of musical issues for which this new art form provides a new perspective. Among these are the agency of the composer and the listener, the function and nature of a score, as well as the role of technology in music-making. These issues, along with the general idea of corporeality of music, compose a discourse that transcends the boundaries of different subgenres of sound sculpture, allowing for theorisation of the art form as a whole.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/6HYCUBWZ/Keylin - 2015 - Corporeality of Music and Sound Sculpture.pdf} +} + +@article{khiariPreparationVeryThin2022, + title = {Preparation of {{Very Thin Zinc Oxide Films}} by {{Liquid Deposition Process}}: {{Review}} of {{Key Processing Parameters}}}, + shorttitle = {Preparation of {{Very Thin Zinc Oxide Films}} by {{Liquid Deposition Process}}}, + author = {Khiari, Mouna and Gilliot, Mickaël and Lejeune, Michaël and Lazar, Florica and Hadjadj, Aomar}, + date = {2022-01}, + journaltitle = {Coatings}, + volume = {12}, + number = {1}, + pages = {65}, + publisher = {Multidisciplinary Digital Publishing Institute}, + issn = {2079-6412}, + doi = {10.3390/coatings12010065}, + url = {https://www.mdpi.com/2079-6412/12/1/65}, + urldate = {2023-10-02}, + abstract = {We used sol-gel and spin-coating in the original configuration of a liquid deposition process to synthesize particularly thin ZnO films ({$<$}100 nm) with nano-granular morphology, high grain orientation and variable optical properties. The concentration of the zinc salt, the concentration of the chelating agent, the nature of the solvent and the substrate material have been identified as key parameters that determine the microstructure of the deposited layer and thus its final properties. The thorough and practical examination of the effects of the synthesis parameters evidenced a three-step growth mechanism for these ZnO thin films: (i) a reaction of precursors, (ii) a formation of nuclei, and (iii) a coalescence of nanoparticles under thermal annealing. The growth of these very thin films is thus conditioned by the interaction between the liquid phase and the substrate especially during the initial steps of the spin coating process. Such thin ZnO films with such nano-granular morphology may be of great interest in various applications, especially those requiring a large active surface area.}, + issue = {1}, + language = {en}, + keywords = {chelating agent,deposition,ellipsometry,microstructure,morphology,sol-gel,solvent,spin-coating,substrate,thin film,ZnO}, + file = {/Users/tomoya/Zotero/storage/3CGF2PVU/Khiari et al. - 2022 - Preparation of Very Thin Zinc Oxide Films by Liqui.pdf} +} + +@article{kieferNewModesCollective2018, + title = {Towards {{New Modes}} of {{Collective Musical Expression}} through {{Audio Augmented Reality}}}, + author = {Kiefer, Chris and Chevalier, Cécile}, + date = {2018}, + pages = {25--28}, + file = {/Users/tomoya/Zotero/storage/NCMRZJ2C/Kiefer, Chevalier_2018_Towards New Modes of Collective Musical Expression through Audio Augmented Reality.pdf} +} + +@article{kilfoyleStateArtUnderwater2000, + title = {The State of the Art in Underwater Acoustic Telemetry}, + author = {Kilfoyle, D B and Baggeroer, a B}, + date = {2000}, + journaltitle = {Oceanic Engineering, IEEE Journal of}, + volume = {25}, + number = {1}, + pages = {4--27}, + issn = {0364-9059}, + doi = {10.1109/48.820733}, + url = {http://ieeexplore.ieee.org/lpdocs/epic03/wrapper.htm?arnumber=820733}, + abstract = {Progress in underwater acoustic telemetry since 1982 is reviewed within a framework of six current research areas: (1) underwater channel physics, channel simulations, and measurements; (2) receiver structures; (3) diversity exploitation; (4) error c...}, + isbn = {0364-9059}, + keywords = {Underwater Acoustic Channels}, + file = {/Users/tomoya/Zotero/storage/PJL5CJJG/Kilfoyle, Baggeroer_2000_The state of the art in underwater acoustic telemetry.pdf} +} + +@online{kimHelloWorldYunchul2005, + title = {Hello, {{World}}! – {{Yunchul Kim}}}, + author = {Kim, Yunchul}, + date = {2005}, + url = {https://yunchulkim.net/work/hello-world/}, + urldate = {2022-01-24}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/H2EHLJUZ/hello-world.html} +} + +@online{kincaidRjDjNowLets2010, + title = {{{RjDj Now Lets You Create Your Own Trippy}}, {{Reactive Music For iPhone And iPad}}}, + author = {Kincaid, Json}, + date = {2010-03-31}, + url = {https://social.techcrunch.com/2010/03/30/rjdj-now-lets-you-create-your-own-trippy-reactive-music-for-iphone-and-ipad/}, + urldate = {2022-01-26}, + abstract = {Back in fall 2008, when the App Store was less than 100 days old, I wrote about an incredibly trippy and innovative application called RjDj (iTunes link). The app is a bit hard to describe, but it essentially takes audio or motion input from your iPhone, passes it through a variety of filters, and …}, + language = {en-US}, + organization = {TechCrunch}, + file = {/Users/tomoya/Zotero/storage/8HPXSNC4/rjdj-now-lets-you-create-your-own-trippy-reactive-music-for-iphone-and-ipad.html} +} + +@inproceedings{kirkbride2016foxdot, + title = {{{FoxDot}}: {{Live}} Coding with Python and Supercollider}, + booktitle = {Proceedings of the {{International Conference}} on {{Live Interfaces}}}, + author = {Kirkbride, Ryan}, + date = {2016}, + pages = {194--198} +} + +@inproceedings{kiselyov2014, + title = {The {{Design}} and {{Implementation}} of {{BER~MetaOCaml}}}, + booktitle = {Functional and {{Logic Programming}}}, + author = {Kiselyov, Oleg}, + editor = {Codish, Michael and Sumii, Eijiro}, + date = {2014}, + pages = {86--102}, + publisher = {Springer International Publishing}, + location = {Cham}, + doi = {10.1007/978-3-319-07151-0_6}, + abstract = {MetaOCaml is a superset of OCaml extending it with the data type for program code and operations for constructing and executing such typed code values. It has been used for compiling domain-specific languages and automating tedious and error-prone specializations of high-performance computational kernels. By statically ensuring that the generated code compiles and letting us quickly run it, MetaOCaml makes writing generators less daunting and more productive.}, + isbn = {978-3-319-07151-0}, + language = {en} +} + +@online{kiselyov2014a, + title = {Introduction to Staging and {{MetaOCaml}} - {{MetaOCaml}} -- an {{OCaml}} Dialect for Multi-Stage Programming}, + shorttitle = {The {{Design}} and {{Implementation}} of {{BER MetaOCaml}}}, + author = {Kiselyov, Oleg}, + namea = {Hutchison, David and Kanade, Takeo and Kittler, Josef and Kleinberg, Jon M. and Kobsa, Alfred and Mattern, Friedemann and Mitchell, John C. and Naor, Moni and Nierstrasz, Oscar and Pandu Rangan, C. and Steffen, Bernhard and Terzopoulos, Demetri and Tygar, Doug and Weikum, Gerhard and Codish, Michael and Sumii, Eijiro}, + nameatype = {collaborator}, + date = {2014}, + doi = {10.1007/978-3-319-07151-0_6}, + url = {https://okmij.org/ftp/ML/MetaOCaml.html#using}, + urldate = {2024-07-11}, + language = {en}, + organization = {Functional and Logic Programming} +} + +@book{kitchinWwwAnalogCom, + title = {Www.Analog.Com/Jp/Inamps}, + author = {Kitchin, Charles and Counts, Lew}, + isbn = {0-13-889601-1}, + file = {/Users/tomoya/Zotero/storage/QMPFYDUK/Kitchin, Counts_Unknown_www.analog.comjpinamps.pdf} +} + +@book{kittlerOperationValhallaWritings2021, + title = {Operation {{Valhalla}}: Writings on War, Weapons, and Media}, + shorttitle = {Operation {{Valhalla}}}, + author = {Kittler, Friedrich A. and Winthrop-Young, Geoffrey and Wutz, Michael and Iurascu, Ilinca}, + date = {2021}, + publisher = {Duke University Press}, + location = {Durham}, + abstract = {"A collection of eighteen essays by Friedrich Kittler (many previously untranslated and several unpublished texts) written over three decades, on the close connections between war and media technology. Notwithstanding the wealth of Kittler translations, edited collections and special issues released so far, Operation Valhalla is the first volume of its kind-containing only essays that specifically address the question of war: its hardware, media, historical mutations and discursive mobilizations - from Prussia's wars against Napoleon, via the two World Wars and up to the (so-called) War on Terror"--}, + isbn = {978-1-4780-1318-1}, + language = {eng}, + pagetotal = {1}, + keywords = {Communication and technology,History and criticism,Literature,Philosophy,Social aspects Philosophy,Technology,War (Philosophy),Weapons} +} + +@online{KlabnikSteveandNichols2020, + title = {The {{Rust Programming Language}}}, + author = {Klabnik, Steve {and} Nichols, Carol}, + date = {2020}, + url = {https://doc.rust-lang.org/book/}, + urldate = {2020-06-01} +} + +@misc{klabniksteveandnicholsRustProgrammingLanguage2020, + title = {The {{Rust Programming Language}}}, + author = {Klabnik, Steve {and} Nichols, Carol}, + date = {2020}, + url = {https://doc.rust-lang.org/book/}, + urldate = {2020-06-01} +} + +@article{kleinbergerVocalMusicalExpression2018, + title = {Vocal {{Musical Expression}} with a {{Tactile Resonating Device}} and Its {{Psychophysiological Effects}}}, + author = {Kleinberger, Rébecca}, + date = {2018}, + pages = {92--95}, + file = {/Users/tomoya/Zotero/storage/Y9I3QKHG/Kleinberger_2018_Vocal Musical Expression with a Tactile Resonating Device and its Psychophysiological Effects.pdf} +} + +@article{kobayashiFunctionalProgramsCompressed2012, + title = {Functional Programs as Compressed Data}, + author = {Kobayashi, Naoki and Matsuda, Kazutaka and Shinohara, Ayumi and Yaguchi, Kazuya}, + date = {2012-03-01}, + journaltitle = {Higher-Order and Symbolic Computation}, + volume = {25}, + number = {1}, + pages = {39--84}, + publisher = {Kluwer Academic Publishers}, + issn = {13883690}, + doi = {10.1007/s10990-013-9093-z}, + abstract = {We propose an application of programming language techniques to lossless data compression, where tree data are compressed as functional programs that generate them. This “functional programs as compressed data” approach has several advantages. First, it follows from the standard argument of Kolmogorov complexity that the size of compressed data can be optimal up to an additive constant. Secondly, a compression algorithm is clean: it is just a sequence of β-expansions (i.e., the inverse of β-reductions) for λ-terms. Thirdly, one can use program verification and transformation techniques (higher-order model checking, in particular) to apply certain operations on data without decompression. In this article, we present algorithms for data compression and manipulation based on the approach, and prove their correctness. We also report preliminary experiments on prototype data compression/transformation systems.}, + keywords = {Data compression,Functional programs,Higher-order Model Checking,Program transformation,Semantics based program manipulation} +} + +@inproceedings{koFlexBoardFlexibleBreadboard2023, + title = {{{FlexBoard}}: {{A Flexible Breadboard}} for {{Interaction Prototyping}} on {{Curved}} and {{Deformable Surfaces}}}, + shorttitle = {{{FlexBoard}}}, + booktitle = {Proceedings of the 2023 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Ko, Donghyeon and Kim, Yoonji and Zhu, Junyi and Wessely, Michael and Mueller, Stefanie}, + date = {2023-04-19}, + series = {{{CHI}} '23}, + pages = {1--13}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3544548.3580748}, + url = {https://dl.acm.org/doi/10.1145/3544548.3580748}, + urldate = {2023-08-09}, + abstract = {We present FlexBoard, an interaction prototyping platform that enables rapid prototyping with interactive components such as sensors, actuators and displays on curved and deformable objects. FlexBoard offers the rapid prototyping capabilities of traditional breadboards but is also flexible to conform to different shapes and materials. FlexBoard’s bendability is enabled by replacing the rigid body of a breadboard with a flexible living hinge that holds the metal strips from a traditional breadboard while maintaining the standard pin spacing. In addition, FlexBoards are also shape-customizable as they can be cut to a specific length and joined together to form larger prototyping areas. We discuss FlexBoard’s mechanical design and present a technical evaluation of its bendability, adhesion to curved and deformable surfaces, and holding force of electronic components. Finally, we show the usefulness of FlexBoard through 3 application scenarios with interactive textiles, curved tangible user interfaces, and VR.}, + isbn = {978-1-4503-9421-5}, + keywords = {breadboards,deformable user interfaces.,electronic prototyping}, + file = {/Users/tomoya/Zotero/storage/MVAMRYNL/Ko et al. - 2023 - FlexBoard A Flexible Breadboard for Interaction P.pdf} +} + +@article{koikiCuEmergingSemiconductor2020, + title = {Cu {\textsubscript{2}} {{O}} as an Emerging Semiconductor in Photocatalytic and Photoelectrocatalytic Treatment of Water Contaminated with Organic Substances: A Review}, + shorttitle = {Cu {\textsubscript{2}} {{O}} as an Emerging Semiconductor in Photocatalytic and Photoelectrocatalytic Treatment of Water Contaminated with Organic Substances}, + author = {Koiki, Babatunde A. and Arotiba, Omotayo A.}, + date = {2020}, + journaltitle = {RSC Advances}, + shortjournal = {RSC Adv.}, + volume = {10}, + number = {60}, + pages = {36514--36525}, + issn = {2046-2069}, + doi = {10.1039/D0RA06858F}, + url = {http://xlink.rsc.org/?DOI=D0RA06858F}, + urldate = {2023-03-10}, + abstract = {A wide range of semiconductor photocatalysts have been used over the years in water treatment to eliminate toxic organic substances from wastewater. , A wide range of semiconductor photocatalysts have been used over the years in water treatment to eliminate toxic organic substances from wastewater. The quest for visible or solar light driven photocatalysts with striking merits such as wide range of applications, ease of preparation, tailored architecture that gives rise to improved performance, ability of dual existence as both p type or n type semiconductor, among others, presents copper( i ) oxide as a promising photocatalyst. This paper reviews the recent applications of Cu 2 O in photocatalytic and photoelectrocatalytic treatment of water laden with organic pollutants such as dyes and pharmaceuticals. It covers the various modes of synthesis, morphologies and composites or heterostructures of Cu 2 O as found in the literature. Concluding remarks and future perspectives on the application of Cu 2 O are presented.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/3P8GPZFJ/Koiki and Arotiba - 2020 - Cu 2 O as an emerging semiconductor in .pdf} +} + +@article{Kojs2007, + title = {Cyberinstruments via {{Physical Modeling Synthesis}}: {{Compositional Applications}}}, + author = {Kojs, Juraj and Serafin, Stefania and Chafe, Chris}, + date = {2007-12}, + journaltitle = {Leonardo Music Journal}, + volume = {17}, + pages = {61--66}, + issn = {0961-1215}, + doi = {10.1162/lmj.2007.17.61}, + url = {http://www.mitpressjournals.org/doi/10.1162/lmj.2007.17.61}, + urldate = {2019-01-14}, + file = {/Users/tomoya/Zotero/storage/W58UGMXW/Kojs, Serafin, Chafe_2007_Cyberinstruments via Physical Modeling Synthesis Compositional Applications.pdf} +} + +@inproceedings{koSixLearningBarriers2004, + title = {Six Learning Barriers in End-User Programming Systems}, + booktitle = {Proceedings - 2004 {{IEEE Symposium}} on {{Visual Languages}} and {{Human Centric Computing}}}, + author = {Ko, Andrew J. and Myers, Brad A. and Aung, Htet Htet}, + date = {2004}, + pages = {199--206}, + doi = {10.1109/vlhcc.2004.47}, + abstract = {As programming skills increase in demand and utility, the learnability of end-user programming systems is of utmost importance. However, research on learning barriers in programming systems has primarily focused on languages, overlooking potential barriers in the environment and accompanying libraries. To address this, a study of beginning programmers learning Visual Basic. MET was performed. This identified six types of barriers: design, selection, coordination, use, understanding, and information. These barriers inspire a new metaphor of computation, which provides a more learner-centric view of programming system design. © 2004 IEEE.}, + isbn = {0-7803-8696-5}, + file = {/Users/tomoya/Zotero/storage/A9JHMSLQ/enduserprogramming.pdf} +} + +@book{koskinenDesignResearchPractice2011, + title = {Design {{Research Through Practice}}: {{From}} the {{Lab}}, {{Field}}, and {{Showroom}}}, + author = {Koskinen, Ilpo and Zimmerman, John and Binder, Thomas and Redstrom, Johan and Wensveen, Stephan}, + date = {2011-10-10}, + publisher = {Morgan Kaufmann}, + isbn = {978-0-12-385502-2}, + keywords = {Industrial design} +} + +@article{koyamaInverseWavePropagation2011, + title = {Inverse Wave Propagation for Reproducing Virtual Sources in Front of Loudspeaker Array}, + author = {Koyama, Shoichi and Hiwasaki, Yusuke and Furuya, Ken'ichi and Haneda, Yoichi}, + date = {2011}, + journaltitle = {European Signal Processing Conference}, + pages = {1322--1326}, + issn = {22195491}, + doi = {10.1109/TASL.2012.2188514}, + abstract = {This paper presents a new combination of wave field syn- thesis with inverse wave propagation that can recreate vir- tual sound sources in front of a loudspeaker array. Wave field synthesis is a well-known sound field reproduction tech- nique, based on the Rayleigh integral, that reconstructs sound pressure distribution by using a planar or linear loudspeaker array. We show that, using a holographic approach, the reconstruction position can be displaced towards the listener, in front of the secondary sources. As a result, virtual primary sources can be placed between the listener and the secondary sources. Numerical simulation results are presented to show the efficacy of the proposed method. We implemented an experimental system using linear microphone and loudspeaker arrays to reproduce the sound field in a real environment. Results of perceptual experiments showed that the proposed method can achieve sound localization accuracy for virtual sound sources equivalent to that for real sound sources.}, + issue = {Eusipco}, + file = {/Users/tomoya/Zotero/storage/M3LM34WW/Koyama et al._2011_Inverse wave propagation for reproducing virtual sources in front of loudspeaker array.pdf} +} + +@book{kozaDestinedFailCarl2021, + title = {"{{Destined}} to Fail": {{Carl Seashore}}'s World of Eugenics, Psychology Education, and Music}, + shorttitle = {"{{Destined}} to Fail"}, + author = {Koza, Julia}, + namea = {{Michigan Publishing (University of Michigan)}}, + nameatype = {collaborator}, + date = {2021}, + publisher = {University of Michigan Press}, + location = {Ann Arbor, Michigan}, + abstract = {A little-known fact about the prominent US psychologist and educator Carl E. Seashore (1866-1949) is that he was deeply involved in the American eugenics movement. He was among the US academics to support eugenics long before German Nazis embraced it. A titan in a host of disciplines and a proponent of radical education reform, Seashore used his positional power to promote a constellation of education reforms consistent with central precepts of eugenics. Many of these reforms, including tracking, gifted and talented programs, and high-stakes standardized testing, were adopted and remain standard practice in the United States today. He promulgated the idea that musical talent is biologically inheritable, and he developed the first standardized tests of musical talent; these tests were used by early-twentieth-century researchers in their attempts to determine whether there are race differences in musical talent. Seashore's ideas and work profoundly shaped music education's research trajectory, as well as enduring "commonsense" beliefs about musical ability. An intersectional analysis, "Destined to Fail" focuses on the relationship between eugenics and Seashore's views on ability, race, and gender. Koza concludes that Seashore promoted eugenics and its companion, euthenics, because he was a true believer. She also discusses the longstanding silences surrounding Seashore's participation in eugenics. As a diagnosis and critique of the present, "Destined to Fail" identifies resemblances and connections between past and present that illustrate the continuing influence of eugenics--and the systems of reasoning that made early-twentieth-century eugenics imaginable and seem reasonable--on education discourse and practice today. It maps out discursive, citational, and funding connections between eugenicists of the early twentieth-century and contemporary White supremacists; this mapping leads to some of Donald Trump's supporters and appointees}, + isbn = {978-0-472-13260-7}, + pagetotal = {800}, + keywords = {Carl Emil,Eugenics,Friends and associates,Musical ability,Philosophy,Research History,Seashore Carl E,Testing,Trump Donald,United States} +} + +@article{kramerMusicalNarratologyTheoretical1991, + title = {Musical {{Narratology}}: {{A Theoretical Outline}}}, + author = {Kramer, Lawrence}, + date = {1991}, + journaltitle = {Indiana Theory Review}, + volume = {012}, + pages = {141--162}, + publisher = {Indiana University Graduate Theory Association}, + url = {http://hdl.handle.net/2022/3431}, + urldate = {2020-08-03}, + file = {/Users/tomoya/Zotero/storage/W5LKYIX4/full-text.pdf} +} + +@article{kristoffersenWhammyBarDigital2018, + title = {The {{Whammy Bar}} as a {{Digital Effect Controller}}}, + author = {Kristoffersen, Martin}, + date = {2018}, + pages = {352--355}, + file = {/Users/tomoya/Zotero/storage/YKMFUGU2/Kristoffersen_2018_The Whammy Bar as a Digital Effect Controller.pdf} +} + +@article{kritsisWebbased3DEnvironment, + title = {A Web-Based {{3D}} Environment for Gestural Interaction with Virtual Music Instruments as a {{STEAM}} Education Tool}, + author = {Kritsis, Kosmas and Gkiokas, Aggelos and Acosta, Carlos and Lamerand, Quentin and Piéchaud, Robert and Kaliakatsos-papakostas, Maximos and Katsouros, Vassilis}, + pages = {348--349}, + file = {/Users/tomoya/Zotero/storage/QYX86M3X/Kritsis et al._Unknown_A web-based 3D environment for gestural interaction with virtual music instruments as a STEAM education tool.pdf} +} + +@thesis{KuanGuangDaiYuYinYuanwoYongitaHaiZhongdenoGaoSudeizitarudetaChuanSongNiGuansuruYanJiu2009, + title = {広帯域音源を用いた海中での高速ディジタルデータ伝送 に関する研究}, + author = {寛, 越智}, + date = {2009}, + file = {/Users/tomoya/Zotero/storage/EX844DW5/寛_2009_広帯域音源を用いた海中での高速ディジタルデータ伝送 に関する研究.pdf} +} + +@article{kuhnApproachMikingMixing2003, + title = {An {{Approach}} to {{Miking}} and {{Mixing}} of {{Music Ensembles Using Wave Field Synthesis}}}, + author = {Kuhn, Clemens; Pellegrini}, + date = {2003}, + journaltitle = {Audio Engineering Society}, + file = {/Users/tomoya/Zotero/storage/IL8BD9HG/2003-An_Approach_to_Miking_and_Mixing_of_Music_Ensembles_Using_Wave_Field_Synthesis.pdf} +} + +@article{Kuivila2004, + title = {Open Sources: {{Words}}, Circuits and the Notation-Realization Relation in the Music of {{David Tudor}}}, + author = {Kuivila, Ron}, + date = {2004}, + journaltitle = {Leonardo Music Journal}, + volume = {14}, + pages = {17--23}, + issn = {09611215}, + doi = {10.1162/0961121043067424}, + abstract = {As a pianist, Tudor played a pivotal role in the development of the postwar musical avant-garde. The development of Tudor's approach to live electronic music from his work as a pianist is traced and the extent to which the indeterminate notations he so often realized entered into the development of his approach to electronic systems is asessed.}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/55YH9WJ5/Kuivila_2004_Open sources Words, circuits and the notation-realization relation in the music of David Tudor.pdf} +} + +@unpublished{kuleshovAudioSuperResolution2017, + title = {Audio {{Super Resolution}} Using {{Neural Networks}}}, + author = {Kuleshov, Volodymyr and Enam, S. Zayd and Ermon, Stefano}, + date = {2017}, + eprint = {1708.00853}, + eprinttype = {arXiv}, + pages = {1--8}, + url = {http://arxiv.org/abs/1708.00853}, + abstract = {We introduce a new audio processing technique that increases the sampling rate of signals such as speech or music using deep convolutional neural networks. Our model is trained on pairs of low and high-quality audio examples; at test-time, it predicts missing samples within a low-resolution signal in an interpolation process similar to image super-resolution. Our method is simple and does not involve specialized audio processing techniques; in our experiments, it outperforms baselines on standard speech and music benchmarks at upscaling ratios of 2x, 4x, and 6x. The method has practical applications in telephony, compression, and text-to-speech generation; it demonstrates the effectiveness of feed-forward convolutional architectures on an audio generation task.}, + file = {/Users/tomoya/Zotero/storage/DTHI8P82/Kuleshov, Enam, Ermon_2017_Audio Super Resolution using Neural Networks.pdf} +} + +@article{kumarPolymerAssistedPreparation2015, + title = {Polymer Assisted Preparation and Characterization of {{ZnO}} and {{Sn}} Doped {{ZnO}} Nanostructures}, + author = {Kumar, A. Santhosh and Nagaraja, K. K. and Nagaraja, H. S.}, + date = {2015-02}, + journaltitle = {IOP Conference Series: Materials Science and Engineering}, + shortjournal = {IOP Conf. Ser.: Mater. Sci. Eng.}, + volume = {73}, + number = {1}, + pages = {012077}, + issn = {1757-899X}, + doi = {10.1088/1757-899X/73/1/012077}, + url = {https://dx.doi.org/10.1088/1757-899X/73/1/012077}, + urldate = {2023-10-02}, + abstract = {Zinc oxide (ZnO) and tin doped ZnO are wide band gap semiconducting materials with excellent optoelectronic properties. In the present study ZnO and Sn: ZnO films are prepared using polymer assisted sol gel process. The thermal behaviour of the dried gel sample studied using DTA and TG analysis. TG-DTA result shown that most of the organic of PVA and CH3COO group of zinc acetate and other volatiles are removed below 500°C. The effect of Sn on the crystallinity, microstructral properties of the deposited films was investigated. XRD patterns of undoped and Sn doped ZnO films indicate enhanced intensities for the peak corresponding to (002) plane, resulting preferential orientation along the c-axis. The SEM images confirm that the grown films are composed of nanorods.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/X3DVN7MI/Kumar et al. - 2015 - Polymer assisted preparation and characterization .pdf} +} + +@report{LaiDaoDianZiLeQinoKeNengXingtoWenTiDianYintosonokontororu, + title = {電子楽器の可能性と問題点 ─音とそのコントロール─}, + author = {来嶋, 英生}, + file = {/Users/tomoya/Zotero/storage/RVBGMIUP/来嶋_Unknown_電子楽器の可能性と問題点 ─音とそのコントロール─.pdf} +} + +@article{landyGuestSpeechPURSUIT, + title = {Guest {{Speech IN PURSUIT OF THE INNOVATIVE AND THE ACCESSIBLE}} : {{SOME OF THE DRIVING FORCES BEHIND MY MUSIC AND MY RESEARCH}}}, + author = {Landy, Leigh}, + volume = {9}, + number = {2}, + pages = {10--15}, + file = {/Users/tomoya/Zotero/storage/RVZQP5NB/Landy_Unknown_Guest Speech IN PURSUIT OF THE INNOVATIVE AND THE ACCESSIBLE SOME OF THE DRIVING FORCES BEHIND MY MUSIC AND MY RESEARCH.pdf} +} + +@inproceedings{lanskyArchitectureMusicalLogic1990, + title = {The {{Architecture}} and {{Musical Logic}} of {{Cmix}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Lansky, Paul}, + date = {1990}, + url = {https://quod.lib.umich.edu/cache//b/b/p/bbp2372.1990.023/bbp2372.1990.023.pdf#page=2;zoom=75}, + urldate = {2022-01-24}, + file = {/Users/tomoya/Zotero/storage/LPTTCWAT/bbp2372.1990.023.pdf} +} + +@article{larsenLongitudinalFieldTrial2018, + title = {A {{Longitudinal Field Trial}} with a {{Hemiplegic Guitarist Using The Actuated Guitar}}}, + author = {Larsen, Jeppe Veirum and Knoche, Hendrik and Overholt, Dan}, + date = {2018}, + pages = {305--310}, + issue = {Dmi}, + file = {/Users/tomoya/Zotero/storage/CEKEWIMJ/Larsen, Knoche, Overholt_2018_A Longitudinal Field Trial with a Hemiplegic Guitarist Using The Actuated Guitar.pdf} +} + +@inproceedings{Lattner, + title = {{{LLVM}}: {{A Compilation Framework}} for {{Lifelong Program Analysis}} \& {{Transformation}}}, + booktitle = {Proceedings of the {{International Symposium}} on {{Code Generation}} and {{Optimization}}: {{Feedback-Directed}} and {{Runtime Optimization}}}, + author = {Lattner, Chris and Adve, Vikram}, + date = {2004}, + pages = {75}, + publisher = {IEEE Computer Society}, + url = {https://llvm.org/pubs/2004-01-30-CGO-LLVM.html}, + urldate = {2019-05-29}, + abstract = {This paper describes LLVM (Low Level Virtual Machine),a compiler framework designed to support transparent, lifelongprogram analysis and transformation for arbitrary programs,by providing high-level information to compilertransformations at compile-time, link-time, run-time, and inidle time between runs.LLVM defines a common, low-levelcode representation in Static Single Assignment (SSA) form,with several novel features: a simple, language-independenttype-system that exposes the primitives commonly used toimplement high-level language features; an instruction fortyped address arithmetic; and a simple mechanism that canbe used to implement the exception handling features ofhigh-level languages (and setjmp/longjmp in C) uniformlyand efficiently.The LLVM compiler framework and coderepresentation together provide a combination of key capabilitiesthat are important for practical, lifelong analysis andtransformation of programs.To our knowledge, no existingcompilation approach provides all these capabilities.We describethe design of the LLVM representation and compilerframework, and evaluate the design in three ways: (a) thesize and effectiveness of the representation, including thetype information it provides; (b) compiler performance forseveral interprocedural problems; and (c) illustrative examplesof the benefits LLVM provides for several challengingcompiler problems.\vphantom\{\}, booktitle = \{Proceedings of the International Symposium on Code Generation and Optimization: Feedback-Directed and Runtime Optimization\vphantom\}}, + file = {/Users/tomoya/Zotero/storage/6F75AM3H/full-text.pdf} +} + +@report{laursonLaursonPWGLSynthVisual2005, + title = {Laurson et al. {{PWGLSynth}}: {{A Visual Synthesis Language}} for {{Virtual Instrument Design}} and {{Control}}}, + author = {Laurson, Mikael and Norilo, Vesa and Kuuskankare, Mika}, + date = {2005} +} + +@article{laursonPWGLSynthVisualSynthesis2005, + title = {{{PWGLSynth}}: {{A}} Visual Synthesis Language for Virtual Instrument Design and Control}, + author = {Laurson, Mikael and Norilo, Vesa and Kuuskankare, Mika}, + date = {2005-09-01}, + journaltitle = {Computer Music Journal}, + volume = {29}, + number = {3}, + pages = {29--41}, + publisher = {MIT Press}, + issn = {01489267}, + doi = {10.1162/0148926054798223} +} + +@article{Lazzarini2013, + title = {The {{Development}} of {{Computer Music Programming Systems}}}, + author = {Lazzarini, Victor}, + date = {2013}, + journaltitle = {Journal of New Music Research}, + volume = {42}, + number = {1}, + pages = {97--110}, + publisher = {Victor Lazzarini}, + issn = {1744-5027}, + doi = {10.1080/09298215.2013.778890}, + url = {https://www.tandfonline.com/action/journalInformation?journalCode=nnmr20}, + urldate = {2020-04-06}, + abstract = {This article traces the history and evolution of Music Programming , from the early off-line synthesis programs of the MUSIC N family to modern realtime interactive systems. It explores the main design characteristics of these systems and their impact on Computer Music. In chronological fashion, the article will examine, with code examples, the development of the early systems into the most common modern languages currently in use. In particular, we will focus on Csound, highlighting its main internal aspects and its applications. The text will also explore the various paradigms that have oriented the design and use of music programming systems. This discussion is completed by a consideration of computer music ecosystems and their pervasiveness in today's practice.}, + file = {/Users/tomoya/Zotero/storage/GKN9EIMD/full-text.pdf;/Users/tomoya/Zotero/storage/VGL4U7D9/Lazzarini - 2013 - The Development of Computer Music Programming Systems.pdf} +} + +@article{leeCrossingYouStyle2020, + title = {Crossing {{You}} in {{Style}}: {{Cross-modal Style Transfer}} from {{Music}} to {{Visual Arts}}}, + shorttitle = {Crossing {{You}} in {{Style}}}, + author = {Lee, Cheng-Che and Lin, Wan-Yi and Shih, Yen-Ting and Kuo, Pei-Yi Patricia and Su, Li}, + date = {2020}, + publisher = {arXiv}, + doi = {10.48550/ARXIV.2009.08083}, + url = {https://arxiv.org/abs/2009.08083}, + urldate = {2023-01-18}, + abstract = {Music-to-visual style transfer is a challenging yet important cross-modal learning problem in the practice of creativity. Its major difference from the traditional image style transfer problem is that the style information is provided by music rather than images. Assuming that musical features can be properly mapped to visual contents through semantic links between the two domains, we solve the music-to-visual style transfer problem in two steps: music visualization and style transfer. The music visualization network utilizes an encoder-generator architecture with a conditional generative adversarial network to generate image-based music representations from music data. This network is integrated with an image style transfer method to accomplish the style transfer process. Experiments are conducted on WikiArt-IMSLP, a newly compiled dataset including Western music recordings and paintings listed by decades. By utilizing such a label to learn the semantic connection between paintings and music, we demonstrate that the proposed framework can generate diverse image style representations from a music piece, and these representations can unveil certain art forms of the same era. Subjective testing results also emphasize the role of the era label in improving the perceptual quality on the compatibility between music and visual content.}, + version = {1}, + keywords = {Computer Vision and Pattern Recognition (cs.CV),FOS: Computer and information sciences,Multimedia (cs.MM)} +} + +@article{leeInvestigationEffectInterchannel2005, + title = {Investigation {{Into}} the {{Effect}} of {{Interchannel Crosstalk}} in {{Multichannel Microphone Technique}}}, + author = {Lee, H.-K. and Rumsey, Francis}, + date = {2005}, + url = {http://epubs.surrey.ac.uk/recording/62}, + abstract = {A series of subjective listening tests were carried out in order to investigate the effect of interchannel crosstalk in multichannel microphone technique. Perceived attributes of interchannel crosstalk images were first elicited, and then graded with various independent variables, including different types of microphone array (different combinations of time and intensity differences), sound source and acoustic condition. The results showed that the most dominant effects of interchannel crosstalk were an increase of source width and a decrease of locatedness. The ratio of time and intensity differences in microphone array was the most significant factor for both effects. Sound source type had a significant effect for source width increase, but not for the locatedness decrease. Acoustic condition was significant for locatedness decrease, but not for source width increase. This paper describes the experiment method, and presents and discusses the details of the result data.}, + isbn = {9781604234848}, + file = {/Users/tomoya/Zotero/storage/QBMS8CLV/2005-Investigation_Into_the_Effect_of_Interchannel_Crosstalk_in_Multichannel_Microphone_Technique.pdf} +} + +@article{leeuwElectrumpetAdditionsRevisions, + title = {The Electrumpet, Additions and Revisions}, + author = {Leeuw, Hans}, + pages = {2}, + abstract = {This short paper follows an earlier NIME paper [1] describing the invention and construction of the Electrumpet. Revisions and playing experience are both part of the current paper.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/TZZVUIQQ/Leeuw - The electrumpet, additions and revisions.pdf} +} + +@inproceedings{leeuwVirtuosoMappingElectrumpet2021, + title = {Virtuoso Mapping for the {{Electrumpet}}, a Hyperinstrument Strategy}, + booktitle = {International {{Conference}} on {{New Interfaces}} for {{Musical Expression}}}, + author = {Leeuw, Hans}, + date = {2021-04-29}, + doi = {10.21428/92fbeb44.a8e0cceb}, + url = {https://nime.pubpub.org/pub/fxe52ym6/release/1}, + urldate = {2021-12-19}, + abstract = {This paper introduces a new Electrumpet control system that affords for quick and easy access to all its electro-acoustic features. The new implementation uses virtuosic gestures learned on the acoustic trumpet for quick electronic control, showing its effectiveness by controlling an innovative interactive harmoniser. Seamless transition from the smooth but rigid, often uncommunicative sound of the harmoniser to a more noisy, open and chaotic sound world required the addition of extra features and scenarios. This prepares the instrument for multiple musical environments, including free improvised settings with large sonic diversity. The system should particularly interest virtuoso improvising electroacoustic musicians and hyperinstrument player/developers that combine many musical styles in their art and that look for inspiration to use existing virtuosity for electronic control.}, + eventtitle = {{{NIME}} 2021}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/IAUFEV34/Leeuw - 2021 - Virtuoso mapping for the Electrumpet, a hyperinstr.pdf} +} + +@article{leibTriplexerExpressionPedal2018, + title = {Triplexer : {{An Expression Pedal}} with {{New Degrees}} of {{Freedom}}}, + author = {Leib, Steven N}, + date = {2018}, + pages = {263--268}, + file = {/Users/tomoya/Zotero/storage/32VIV82X/Leib_2018_Triplexer An Expression Pedal with New Degrees of Freedom.pdf} +} + +@article{leighGuitarMachineRobotic2018, + title = {Guitar {{Machine}}: {{Robotic Fretting Augmentation}} for {{Hybrid Human-Machine Guitar Play}}}, + author = {Leigh, Sang-won and Maes, Pattie}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {403--408}, + file = {/Users/tomoya/Zotero/storage/3X2A88IG/Leigh, Maes_2018_Guitar Machine Robotic Fretting Augmentation for Hybrid Human-Machine Guitar Play.pdf} +} + +@article{leonardPhysicalModellingConcepts2015, + title = {Physical {{Modelling Concepts}} for a {{Collection}} of {{Multisensory Virtual Musical Instruments}}}, + author = {Leonard, James and Cadoz, Claude}, + date = {2015}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {150--155}, + abstract = {This paper discusses how haptic devices and physical modelling can be employed to design and simulate multisensory virtual musical instruments, providing the musician with joint audio, visual and haptic feedback. After briefly reviewing some of the main use-cases of haptics in Computer Music, we present GENESIS-RT, a software and hardware platform dedicated to the design and real-time haptic playing of virtual musical instruments using mass-interaction physical modelling. We discuss our approach and report on advancements in modelling various instrument categories, including physical models of percussion, plucked and bowed instruments. Finally, we comment on the constraints, challenges and new possibilities opened by modelling haptic virtual instruments with our platform, and discuss common points and differences in regards to classical Digital Musical Instruments.}, + keywords = {Force-Feedback Systems,Multisensory Interaction,Physical Models,Virtual Musical Instruments}, + file = {/Users/tomoya/Zotero/storage/EZDRBC3T/Leonard, Cadoz_2015_Physical Modelling Concepts for a Collection of Multisensory Virtual Musical Instruments.pdf} +} + +@inproceedings{lepriMirroringTypewritingInteractive2018, + title = {Mirroring the Past , from Typewriting to Interactive Art : An Approach to the Re-Design of a Vintage Technology}, + booktitle = {Proceedings of {{New Interfaces}} for {{Musical Expression}}}, + author = {Lepri, Giacomo and Mcpherson, Andrew}, + date = {2018}, + pages = {328--333}, + eventtitle = {New {{Interfaces}} for {{Musical Expression}}}, + file = {/Users/tomoya/Zotero/storage/A4JN6WZD/Lepri, Mcpherson_2018_Mirroring the past , from typewriting to interactive art an approach to the re-design of a vintage technology.pdf;/Users/tomoya/Zotero/storage/B3XV7RWK/Lepri, Mcpherson_2018_Mirroring the past , from typewriting to interactive art an approach to the re-design of a vintage technology.pdf} +} + +@inproceedings{Letz2018, + title = {{{AN OVERVIEW OF THE FAUST DEVELOPER ECOSYSTEM}}}, + booktitle = {Proceedings of the 1st {{International Faust Conference}}}, + author = {Letz, Stéphane and Orlarey, Yann and Fober, Dominique}, + date = {2018}, + location = {Mainz,Germany}, + abstract = {The FAUST language has been designed to provide developers an alternative to C/C++ code, to easily develop and deploy DSP algorithms, effects, instruments etc. The ecosystem is composed of the language and its compiler, as well as different components that help test, benchmark and optimize, and run the resulting code on a large variety of platforms. In this paper we present various architectures files, optimization and testing tools, that have been developed over the years as part of the FAUST ecosystem, in order to expand the use of the compiler on various targets, and help developers optimize their DSP code. Some of them were publicly announced and can help when deploying DSPs, some are more experimental to be tested by more adventurous developers.}, + file = {/Users/tomoya/Zotero/storage/2HWSMNDJ/m-api-5a7d867a-7273-0a85-1113-9729ee357203.pdf} +} + +@inproceedings{li2023, + title = {Beyond the {{Artifact}}: {{Power}} as a {{Lens}} for {{Creativity Support Tools}}}, + shorttitle = {Beyond the {{Artifact}}}, + booktitle = {Proceedings of the 36th {{Annual ACM Symposium}} on {{User Interface Software}} and {{Technology}}}, + author = {Li, Jingyi and Rawn, Eric and Ritchie, Jacob and Tran O'Leary, Jasper and Follmer, Sean}, + date = {2023-10-29}, + pages = {1--15}, + publisher = {ACM}, + location = {San Francisco CA USA}, + doi = {10.1145/3586183.3606831}, + url = {https://dl.acm.org/doi/10.1145/3586183.3606831}, + urldate = {2024-05-04}, + eventtitle = {{{UIST}} '23: {{The}} 36th {{Annual ACM Symposium}} on {{User Interface Software}} and {{Technology}}}, + isbn = {9798400701320}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/PVQQDWTU/Li et al. - 2023 - Beyond the Artifact Power as a Lens for Creativity Support Tools.pdf} +} + +@incollection{LianCangFeiXianXingYinXiangXuetosonoYingYong, + title = {非線形音響学とその応用}, + author = {鎌倉, 友男}, + file = {/Users/tomoya/Zotero/storage/4VPLYYPL/鎌倉_Unknown_非線形音響学とその応用.pdf} +} + +@article{LianCangYinBonoFeiXianXingXiangHuZuoYong, + title = {音波の非線形相互作用}, + author = {鎌倉, 友男 and 池谷, 和夫}, + file = {/Users/tomoya/Zotero/storage/TVEUCBHV/鎌倉, 池谷_Unknown_音波の非線形相互作用.pdf} +} + +@incollection{liebermanEndUserDevelopmentEmerging2016, + title = {End-{{User Development}}: {{An Emerging Paradigm}}}, + booktitle = {End {{User Development}}}, + author = {Lieberman, Henry and Paterno, Fabio´ and Klann, Markus and Wulf, volker}, + date = {2016}, + pages = {1--8}, + publisher = {Springer}, + isbn = {978-1-4020-4221-8} +} + +@article{lindemannArchitectureIRCAMMusical1991, + title = {The {{Architecture}} of the {{IRCAM Musical Workstation}}}, + author = {Lindemann, Eric and Dechelle, François and Smith, Bennett and Starkier, Michel}, + date = {1991}, + journaltitle = {Computer Music Journal}, + volume = {15}, + number = {3}, + eprint = {3680764}, + eprinttype = {jstor}, + pages = {41--49}, + publisher = {The MIT Press}, + issn = {0148-9267}, + doi = {10.2307/3680764}, + url = {https://www.jstor.org/stable/3680764}, + urldate = {2022-01-16}, + file = {/Users/tomoya/Zotero/storage/KEVAZ9AN/Lindemann et al. - 1991 - The Architecture of the IRCAM Musical Workstation.pdf} +} + +@thesis{LingMATLABWoYongitasohutoueaYinXiangTongXinPuratutohuomunoJianTao2015, + title = {{{MATLAB}} を用いたソフトウェア音響通信 プラットフォームの検討}, + author = {凌, 加藤}, + date = {2015}, + file = {/Users/tomoya/Zotero/storage/FZKPBR3Z/Unknown_2015_MATLAB を用いたソフトウェア音響通信 プラットフォームの.pdf} +} + +@article{LingMuSheHuiDeYinLeintarakusiyonnotamenointahueSuKaiFa, + title = {社会的音楽インタラクションのためのインタフェ ー ス開発}, + author = {鈴木, 健嗣 and 内山, 俊朗 and 鎌谷, 崇広 and 京谷, 実穂 and 鈴木, 彩乃}, + file = {/Users/tomoya/Zotero/storage/9MZYLMD4/鈴木 et al._Unknown_社会的音楽インタラクションのためのインタフェ ー ス開発.pdf} +} + +@article{liontirisLowFrequencyFeedback, + title = {Low {{Frequency Feedback Drones}} : {{A}} Non-Invasive Augmentation of the Double Bass}, + author = {Liontiris, Thanos Polymeneas}, + pages = {340--341}, + file = {/Users/tomoya/Zotero/storage/G4Q42NQ7/Liontiris_Unknown_Low Frequency Feedback Drones A non-invasive augmentation of the double bass.pdf} +} + +@article{lippitEnsemblesAsiaMapping2016, + title = {Ensembles {{Asia}}: {{Mapping}} Experimental Practices in Music in {{Asia}}}, + author = {Lippit, Takuro Mizuta}, + date = {2016}, + journaltitle = {Organised Sound}, + volume = {21}, + number = {1}, + pages = {72--82}, + issn = {14698153}, + doi = {10.1017/S1355771815000394}, + abstract = {In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigenous musical influences. Ensembles Asia is project that aims to explore these forms of musical experimentations that slip through conventional categorisations of music. The project also tries to cultivate a new network of musicians through playing together in a large improvising ensemble.}, + file = {/Users/tomoya/Zotero/storage/S7PELW7G/Lippit_2016_Ensembles Asia Mapping experimental practices in music in Asia.pdf} +} + +@book{livingstonEthnomethodologicalFoundationsMathematics01, + title = {The {{Ethnomethodological Foundations}} of {{Mathematics}} ({{Studies}} in {{Ethnomethodology}})}, + author = {Livingston, Eric}, + date = {0001}, + publisher = {Routledge Kegan \& Paul}, + isbn = {978-0-7102-0335-9}, + pagetotal = {241} +} + +@inproceedings{liWhatWeCan2021, + title = {What {{We Can Learn From Visual Artists About Software Development}}; {{What We Can Learn From Visual Artists About Software Development}}}, + booktitle = {Proceedings of the 2021 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Li, Jingyi and Hashim, Sonia and Jacobs, Jennifer and Barbara, Barbara}, + date = {2021}, + publisher = {ACM}, + location = {New York, NY, USA}, + url = {https://doi.org/10.1145/3411764.3445682}, + urldate = {2021-06-23}, + abstract = {This paper explores software's role in visual art production by examining how artists use and develop software. We conducted interviews with professional artists who were collaborating with software developers, learning software development, and building and maintaining software. We found artists were motivated to learn software development for intellectual growth and access to technical communities. Artists valued efcient workfows through skilled manual execution and personal software development, but avoided high-level forms of software automation. Artists identifed conficts between their priorities and those of professional developers and computational art communities, which infuenced how they used computational aesthetics in their work. These fndings contribute to eforts in systems engineering research to integrate end-user programming and creativity support across software and physical media, suggesting opportunities for artists as collaborators. Artists' experiences writing software can guide technical implementations of domain-specifc representations, and their experiences in in-terdisciplinary production can aid inclusive community building around computational tools. CCS CONCEPTS • Human-centered computing → User interface programming ; • Applied computing → Media arts.}, + isbn = {978-1-4503-8096-6}, + keywords = {creativity support tools,software development,visual art}, + file = {/Users/tomoya/Zotero/storage/IU87RD47/full-text.pdf} +} + +@article{lobosSpectralStimationDistorbed2004, + title = {Spectral {{Stimation}} of {{Distorbed Signals Using Prony Method}}}, + author = {Lobos, T.}, + date = {2004}, + file = {/Users/tomoya/Zotero/storage/ZBYB4SWJ/Lobos_2004_Spectral Stimation of Distorbed Signals Using Prony Method.pdf} +} + +@article{longLoudspeakersOptionalHistory2017, + title = {Loudspeakers {{Optional}}: {{A}} History of Non-Loudspeaker-Based Electroacoustic Music}, + author = {Long, Jason and Murphy, Jim and Carnegie, Dale and Kapur, Ajay}, + date = {2017}, + journaltitle = {Organised Sound}, + volume = {22}, + number = {2}, + issn = {14698153}, + doi = {10.1017/S1355771817000103}, + abstract = {The discipline of electroacoustic music is most commonly associated with acousmatic musical forms such as tape-music and musique concrète, and the electroacoustic historical canon primarily centres around the mid-twentieth-century works of Pierre Schaeffer, Karlheinz Stockhausen, John Cage and related artists. As the March of technology progressed in the latter half of the twentieth century, alternative technologies opened up new areas within the electroacoustic discipline such as computer music, hyper-instrument performance and live electronic performance. In addition, the areas of electromagnetic actuation and musical robotics also allowed electroacoustic artists to actualise their works with real-world acoustic sound-objects instead of or along side loudspeakers. While these works owe much to the oft-cited pioneers mentioned above, there exists another equally significant alternative history of artists who utilised electric, electronic, pneumatic, hydraulic and other sources of power to create what is essentially electroacoustic music without loudspeakers. This article uncovers this 'missing history' and traces it to its earliest roots over a thousand years ago to shed light on often-neglected technological and artistic developments that have shaped and continue to shape electronic music today.} +} + +@article{lopezCupricOxideCuO2021, + title = {Cupric Oxide ({{CuO}})/Zinc Oxide ({{ZnO}}) Heterojunction Diode with Low Turn-on Voltage}, + author = {López, Roberto and Villa-Sánchez, Gerardo and Vivaldo de la Cruz, Israel and Encarnación-Gómez, Cecilia and Castrejón-Sánchez, Víctor Hugo and Coyopol, Antonio and Mastache, Jorge Edmundo and Leyva-Porras, Cesar}, + date = {2021-03-01}, + journaltitle = {Results in Physics}, + shortjournal = {Results in Physics}, + volume = {22}, + pages = {103891}, + issn = {2211-3797}, + doi = {10.1016/j.rinp.2021.103891}, + url = {https://www.sciencedirect.com/science/article/pii/S2211379721000711}, + urldate = {2023-03-14}, + abstract = {The p-n junction is the fundamental form of an electronic semiconductor device. A p-CuO/n-ZnO heterojunction diode was formed by using thermal evaporation and thermal oxidation techniques. Cupric oxide (CuO) films of 300~µm in thickness were obtained by thermal oxidation of Cu foils. Zinc oxide (ZnO) films of 30~µm in thickness were prepared in two process steps: firstly, thermal evaporation of Zn at atmospheric pressure, and then thermal oxidation to Zn films. The p-CuO/n-ZnO heterojunction diode was formed by performing the steps of ZnO deposition on the surface of the CuO films, and completed by deposition of silver electrical contacts on the top and on the bottom sides of the heterostructure. Structural, morphological, and electrical properties of CuO and ZnO were studied by X-ray diffraction (XRD), Raman spectroscopy, Uv–Vis DRS, scanning electron microscopy (SEM), transmission electron microscopy (TEM), and Hall effect techniques. Current-voltage (I-V) measurements were performed to the p-CuO/n-ZnO heterojunction diode. Structural characterization to CuO confirmed that pure, crystalline and (111) textured films can be obtained by thermal oxidation of Cu. ZnO films showed a polycrystalline structure without preferred orientation. The band gap of CuO and ZnO were 1.51 and 3.21~eV, respectively. Cross-sectional SEM and TEM images confirmed the formation of the p-CuO/n-ZnO heterojunction diode. Hall measurements confirmed the p-type conductivity of CuO and the n-type conductivity of ZnO. Also, the carrier concentration and Hall mobility of CuO films were 9.54~×~1012~cm−3 and 267~cm2~V−1~s−1, respectively. ZnO films exhibited a carrier concentration and Hall mobility of 3.69~×~1012~cm−3 and 22.18~cm2~V−1~s−1, respectively. The I-V measurement showed that the p-CuO/n-ZnO heterojunction exhibits a low turn-on voltage of about 0.8~V and a breakdown voltage of about 38~V. Electrical parameter such as rectification ratio and ideality factor were also calculated. An energy band-diagram of the CuO/ZnO heterojunction was proposed, where a built-in voltage of 0.57~eV was observed.}, + language = {en}, + keywords = {Cupric oxide,Heterojunction diode,Thermal evaporation,Thermal oxidation,Turn-on voltage,Zinc oxide}, + file = {/Users/tomoya/Zotero/storage/SFI3NXLY/López et al. - 2021 - Cupric oxide (CuO)zinc oxide (ZnO) heterojunction.pdf;/Users/tomoya/Zotero/storage/N5VXVYHC/S2211379721000711.html} +} + +@online{Lopo, + title = {Libsndfile}, + author = {Lopo, Erik de Castro}, + url = {http://www.mega-nerd.com/libsndfile/}, + urldate = {2021-05-12} +} + +@misc{lopoLibsndfile1990, + title = {Libsndfile}, + author = {Lopo, Erik de Castro}, + date = {1990}, + url = {http://www.mega-nerd.com/libsndfile/}, + urldate = {2021-05-12} +} + +@article{lossiusDBAPDistanceBasedAmplitudePanning2009, + title = {{{DBAP-Distance-Based Amplitude Panning}}}, + author = {Lossius, Trond and Baltazar, Pascal}, + date = {2009}, + journaltitle = {International Computer Music Conference}, + number = {1}, + pages = {4--7}, + abstract = {Most common techniques for spatialization require the lis- tener to be positioned at a “sweet spot” surrounded by loud- speakers. For practical concert, stage, and installation appli- cations such layouts may not be desirable. Distance-based amplitude panning (DBAP) offers an alternative panning- based spatialization method where no assumptions are made concerning the layout of the speaker array nor the position of the listener. DBAP is implemented both as an external for Max/MSP and as a module for the Jamoma Modular frame- work. 1.}, + file = {/Users/tomoya/Zotero/storage/JEETQCMH/m-api-6e4e7042-2dbb-e3a1-1447-c83169cc22f7.pdf} +} + +@article{lovlidNovelMethodTraining2013, + title = {A {{Novel Method}} for {{Training}} an {{Echo State Network}} with {{Feedback-Error Learning}}}, + author = {Løvlid, Ra}, + date = {2013}, + journaltitle = {Advances in Artificial Intelligence}, + volume = {2013}, + url = {http://dl.acm.org/citation.cfm?id=2514027}, + file = {/Users/tomoya/Zotero/storage/RPM3KY2N/Løvlid_2013_A Novel Method for Training an Echo State Network with Feedback-Error Learning.pdf} +} + +@article{loweDigidesignSoundAccelerator1989, + title = {Digidesign's {{Sound Accelerator}}: {{Lessons Lived}} and {{Learned}}}, + shorttitle = {Digidesign's {{Sound Accelerator}}}, + author = {Lowe, Bill and Currie, Robert}, + date = {1989}, + journaltitle = {Computer Music Journal}, + volume = {13}, + number = {1}, + pages = {36--46}, + publisher = {The MIT Press}, + issn = {0148-9267}, + doi = {10.2307/3679853}, + file = {/Users/tomoya/Zotero/storage/4F742358/Lowe and Currie - 1989 - Digidesign's Sound Accelerator Lessons Lived and .pdf} +} + +@article{lowgrenAnnotatedPortfoliosOther2013, + title = {Annotated Portfolios and Other Forms of Intermediate-Level Knowledge}, + author = {Löwgren, Jonas}, + date = {2013-01}, + journaltitle = {Interactions}, + shortjournal = {interactions}, + volume = {20}, + number = {1}, + pages = {30--34}, + issn = {1072-5520, 1558-3449}, + doi = {10.1145/2405716.2405725}, + url = {https://dl.acm.org/doi/10.1145/2405716.2405725}, + urldate = {2021-11-23}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/38FIM4YT/Löwgren - 2013 - Annotated portfolios and other forms of intermedia.pdf} +} + +@article{loyLifeTimesSamson2013, + title = {Life and {{Times}} of the {{Samson Box}}}, + author = {Loy, D. Gareth}, + date = {2013}, + journaltitle = {Computer Music Journal}, + volume = {37}, + number = {3}, + eprint = {24265512}, + eprinttype = {jstor}, + pages = {26--48}, + publisher = {The MIT Press}, + issn = {0148-9267}, + url = {https://www.jstor.org/stable/24265512}, + urldate = {2022-01-05}, + abstract = {Peter Samson designed and built a real-time signal-processing computer for music applications in the 1970s. The Systems Concepts Digital Synthesizer ("Samson Box" for short) was installed at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University in 1977, where it served for over a decade as the principal music generation system. It was an important landmark in the transition from general-purpose computers to real-time systems for music and audio, and helped set the stage for the sea change in the music industry from analog to digital technologies that began in the 1980s and continues at a rapid pace today. This article focuses on the historical context of the Samson Box, its development, its impact on the culture of CCRMA and the Stanford Artificial Intelligence Laboratory, its use for music research and composition at Stanford, and its role in the transformation of the music and audio industries from analog to digital practices. A list of compositions realized on the Samson Box is included, which shows that from 1978 to its decommissioning in 1992 it was used to create over 100 finished works, many of which were widely performed and were awarded prizes. A companion article provides a detailed architectural review and an interview with Pete Samson.}, + file = {/Users/tomoya/Zotero/storage/4VBXXUJ5/Loy - 2013 - Life and Times of the Samson Box.pdf} +} + +@book{lyonDesigningAudioObjects2012, + title = {Designing Audio Objects for {{Max}}/{{MSP}} and {{Pd}}}, + author = {Lyon, Eric}, + date = {2012}, + series = {The Computer Music and Digital Audio Series}, + edition = {1. ed}, + number = {25}, + publisher = {A-R Editions}, + location = {Middleton, Wisc}, + isbn = {978-0-89579-715-5}, + language = {eng}, + pagetotal = {340}, + file = {/Users/tomoya/Zotero/storage/7LXBMYY9/Lyon - 2012 - Designing audio objects for MaxMSP and Pd.pdf} +} + +@book{Ma2014, + title = {日本メディアアート史}, + author = {馬, 定延}, + date = {2014}, + publisher = {アルテスパブリッシング}, + isbn = {978-4-86559-116-3}, + pagetotal = {368} +} + +@online{ma2018, + title = {A {{Brief History}} of {{Alt Text}}}, + author = {Ma, Melody}, + date = {2018-05-17T17:11:03}, + url = {https://medium.com/@melodyma/a-brief-history-of-alt-text-12cff05a59ff}, + urldate = {2024-06-24}, + abstract = {Chronicles of an HTML attribute that turned accessibility on the web right-side up.}, + language = {en}, + organization = {Medium}, + file = {/Users/tomoya/Zotero/storage/XL69I2TK/a-brief-history-of-alt-text-12cff05a59ff.html} +} + +@article{macionisSansaModifiedSansula2018, + title = {Sansa : {{A Modified Sansula}} for {{Extended Compositional Techniques Using Machine Learning}}}, + author = {Macionis, Mclean J and Kapur, Ajay}, + date = {2018}, + pages = {78--81}, + file = {/Users/tomoya/Zotero/storage/7IIH2XU7/Macionis, Kapur_2018_Sansa A Modified Sansula for Extended Compositional Techniques Using Machine Learning.pdf} +} + +@online{mactechlabIPadhamasasikuaranKeinoMengJiantaDynabooknoShiXianka, + title = {iPadはまさしくアラン・ケイの夢見たDynabookの実現か？}, + author = {{mactechlab}}, + url = {https://appletechlab.jp/blog-entry-333.html}, + urldate = {2021-11-28}, + abstract = {Appleのスペシャルイベント(米国1月27日)で噂通りのタブレットマシンが発表された。その名も「iPad」。正直その名前には違和感を覚えるがあらためてアラン・ケイが1972年に}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/KTZZPR9R/blog-entry-333.html} +} + +@article{magerkoEarSketchSTEAMBasedApproach2016, + title = {{{EarSketch}}: {{A STEAM-Based Approach}} for {{Underrepresented Populations}} in {{High School Computer Science Education}}}, + shorttitle = {{{EarSketch}}}, + author = {Magerko, Brian and Freeman, Jason and Mcklin, Tom and Reilly, Mike and Livingston, Elise and Mccoid, Scott and Crews-Brown, Andrea}, + date = {2016-10-13}, + journaltitle = {ACM Transactions on Computing Education}, + shortjournal = {ACM Trans. Comput. Educ.}, + volume = {16}, + number = {4}, + pages = {1--25}, + issn = {1946-6226}, + doi = {10.1145/2886418}, + url = {https://dl.acm.org/doi/10.1145/2886418}, + urldate = {2022-01-04}, + abstract = {This article presents EarSketch, a learning environment that combines computer programming with sample-based music production to create a computational remixing environment for learning introductory computing concepts. EarSketch has been employed in both formal and informal settings, yielding significant positive results in student content knowledge and attitudes toward computing as a discipline, especially in ethnic and gender populations that are currently underrepresented in computing fields. This article describes the rationale and components of EarSketch, the evaluation design, and lessons learned to apply to future environment design and development.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/AW88G3MK/Magerko et al. - 2016 - EarSketch A STEAM-Based Approach for Underreprese.pdf} +} + +@article{Magnusson2009, + title = {Of Epistemic Tools: {{Musical}} Instruments as Cognitive Extensions}, + author = {Magnusson, Thor}, + date = {2009-08}, + journaltitle = {Organised Sound}, + volume = {14}, + number = {2}, + pages = {168--176}, + issn = {13557718}, + doi = {10.1017/S1355771809000272}, + abstract = {This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition - as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture. © 2009 Cambridge University Press.}, + file = {/Users/tomoya/Zotero/storage/9SUU6WCD/magnusson.pdf;/Users/tomoya/Zotero/storage/HJFNX6AG/magnusson.pdf} +} + +@article{Magnusson2011, + title = {The {{IXI Lang}}: {{A SuperCollider Parasite}} for {{Live Coding}}}, + author = {Magnusson, Thor}, + date = {2011}, + journaltitle = {International Computer Music Conference Proceedings}, + volume = {2011}, + publisher = {Michigan Publishing, University of Michigan Library}, + issn = {2223-3881}, + url = {http://hdl.handle.net/2027/spo.bbp2372.2011.101}, + urldate = {2020-03-20} +} + +@inproceedings{magnussonAffordancesConstraintsScreenBased2006, + title = {Affordances and {{Constraints}} in {{Screen-Based Musical Instruments}}}, + booktitle = {{{NordiCHI}} 2006}, + author = {Magnusson, Thor}, + date = {2006}, + pages = {441--444}, + abstract = {The ixi software is an ongoing interdisciplinary research project. It focuses on the creation of screen-based interfaces as digital musical instruments. The notion of situated cognition is of particular interest as our findings are that an interface always contains compositional ideologies or mental models of musical intentions. The research involves the study of the determining nature of interfaces when used as tools for creative expression. This paper describes the problems of computer music in terms of HCI and discusses our findings in relation to affordances and constraints in screen-based digital instruments.}, + keywords = {affordances,Author Keywords Screen-based musical instruments,embodiment,HCI ACM Classification Keywords H55 Sound and Musi,HCI ACM Classification Keywords H55 Sound and Music Computing H52 User Interfaces,mapping}, + file = {/Users/tomoya/Zotero/storage/7UTMN56T/Magnusson - 2006 - Affordances and Constraints in Screen-Based Musical Instruments.pdf;/Users/tomoya/Zotero/storage/LNDRQKDA/full-text.pdf} +} + +@article{magnussonAlgorithmsScoresCoding2011, + title = {Algorithms as Scores: {{Coding}} Live Music}, + author = {Magnusson, Thor}, + date = {2011-12-16}, + journaltitle = {Leonardo Music Journal}, + volume = {21}, + pages = {19--23}, + publisher = {MIT Press 55 Hayward St., Cambridge, MA 02142-1315 USA journals-info@mit.edu}, + issn = {09611215}, + doi = {10.1162/LMJ_a_00056}, + abstract = {The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentuates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic developments of the musical score, live-coding systems often embrace graphical elements and language syntaxes foreign to standard programming languages. The author presents live coding as a highly technologized artistic practice, shedding light on how non-linearity, play and generativity will become prominent in future creative media productions. © 2011 ISAST.}, + file = {/Users/tomoya/Zotero/storage/RBC7H5MZ/full-text.pdf} +} + +@article{magnussonDesigningConstraintsComposing2010, + title = {Designing {{Constraints}}: {{Composing}} and {{Performing}} with {{Digital Musical Systems}}}, + author = {Magnusson, Thor}, + date = {2010}, + journaltitle = {Computer Music Journal}, + volume = {34}, + number = {4}, + pages = {62--73}, + file = {/Users/tomoya/Zotero/storage/LH99ZAT8/full-text.pdf} +} + +@article{magnussonScoringCodeComposing2014, + title = {Scoring with {{Code}}: {{Composing}} with Algorithmic Notation}, + author = {Magnusson, Thor}, + date = {2014-12}, + journaltitle = {Organised Sound}, + volume = {19}, + number = {3}, + pages = {268--275}, + doi = {10.1017/S1355771814000259}, + abstract = {Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear 'code scores' in the area of musical notation. It presents the Threnoscope as an example of a system that implements both representational notation and a prescriptive code score.}, + file = {/Users/tomoya/Zotero/storage/26RCLQGX/full-text.pdf} +} + +@incollection{magnussonthorSoundNdMusic2019, + title = {Sound Nd Music in Networked Media}, + booktitle = {The {{Routledge Companion}} to {{Sound Studies}}}, + author = {{Magnusson, Thor}}, + editor = {{Bull ,Michael}}, + date = {2019}, + pages = {283--293}, + publisher = {Routledge}, + isbn = {978-0-367-65974-5} +} + +@thesis{magunusonEpistemicToolsPhenomenology2009, + title = {Epistemic {{Tools The Phenomenology}} of {{Digital Musical}} Instruments}, + author = {Magunuson, Thor}, + date = {2009}, + institution = {University of Sussex}, + pagetotal = {407}, + file = {/Users/tomoya/Zotero/storage/H5HNRSTD/m-api-5a8ccb79-7094-5e03-3601-571505627fff.pdf} +} + +@article{mallochDigitalOrchestraToolbox2018, + title = {The {{Digital Orchestra Toolbox}} for {{Max}}}, + author = {Malloch, Joseph and Schumacher, Marlon and Sinclair, Stephen and Wanderley, Marcelo M}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {255--258}, + file = {/Users/tomoya/Zotero/storage/REJ9MDZN/Malloch et al._2018_The Digital Orchestra Toolbox for Max.pdf} +} + +@article{manarisJythonMusicEnvironmentDeveloping2018, + title = {{{JythonMusic}} : {{An Environment}} for {{Developing Interactive Music Systems}}}, + author = {Manaris, Bill and Brougham-, Pangur and Hughes, Dana and Brown, Andrew R and Field, Moffett and Proceedings, S I G}, + date = {2018}, + pages = {259--262}, + abstract = {JythonMusic is a software environment for developing interactive musical experiences and systems. It is based on jMusic, a software environment for computer-assisted composition, which was extended within the last decade into a more comprehensive framework providing composers and software developers with libraries for music making, image manipulation, building graphical user interfaces, and interacting with external devices via MIDI and OSC, among others. This environment is free and open source. It is based on Python, therefore it provides more economical syntax relative to Java-and C/C++-like languages. JythonMusic rests on top of Java, so it provides access to the complete Java API and external Java-based libraries as needed. Also, it works seamlessly with other software, such as PureData, Max/MSP, and Processing. The paper provides an overview of important JythonMusic libraries related to constructing interactive musical experiences. It demonstrates their scope and utility by summarizing several projects developed using JythonMusic, including interactive sound art installations, new interfaces for sound manipulation and spatialization, as well as various explorations on mapping among motion, gesture and music.}, + keywords = {interactive sound art and installations,music and interaction,musical mapping,Python,software libraries,user interfaces}, + file = {/Users/tomoya/Zotero/storage/MDA7FLNR/Manaris et al._2018_JythonMusic An Environment for Developing Interactive Music Systems.pdf} +} + +@article{mannoneCubeHarmonicNewInterface2018, + title = {{{CubeHarmonic}} : {{A New Interface}} from a {{Magnetic 3D Motion Tracking System}} to {{Music Performance}}}, + author = {Mannone, Maria}, + date = {2018}, + pages = {350--351}, + issue = {November 2015}, + file = {/Users/tomoya/Zotero/storage/C4YRBNB6/Mannone_2018_CubeHarmonic A New Interface from a Magnetic 3D Motion Tracking System to Music Performance.pdf} +} + +@inproceedings{Manohar2000, + title = {A {{Case}} for {{Asynchronous Computer Architecture}}}, + booktitle = {Proceedings of the {{ISCA Workshop}} on {{Complexity-Effective Design}}}, + author = {Manohar, Rajit}, + date = {2000}, + pages = {11}, + abstract = {We present a summary of the state-of-the art in asynchronous VLSI and architecture. We present several reasons for adopting an asynchronous approach to computer architecture, including lower design complexity, reduced energy-complexity, and average-case performance. In particular, we describe why formal synthesis techniques for asynchronous design dramatically reduce design time, and present some examples that describe how asynchronous techniques can lead to a reduction in the energy-complexity of VLSI systems.}, + keywords = {asynchronous VLSI,average-case optimization,correctness by construction,energy complexity,formal synthesis,low-energy architecture}, + file = {/Users/tomoya/Zotero/storage/7EPIXQ2L/m-api-68638f71-cdad-3e0f-6d98-059225207da3.pdf} +} + +@report{Manovich1999, + title = {New {{Media}}: A {{User}}'s {{Guide}}}, + author = {Manovich, Lev}, + date = {1999}, + file = {/Users/tomoya/Zotero/storage/5ZYG2U58/m-api-40f1db27-1b0c-0a51-4eeb-0eda7af3a86f.pdf;/Users/tomoya/Zotero/storage/JSU3H9X3/Manovich - 1999 - New Media a User's Guide.pdf} +} + +@book{manovuitutiInsutaguramutoXianDaiShiJueWenHuaLunRehuManovuitutinokarutiyuraru2018, + title = {インスタグラムと現代視覚文化論 レフ・マノヴィッチのカルチュラル・アナリティクスをめぐって}, + author = {マノヴィッチ, レフ and きりとり, めでる and 久保田, 晃弘 and 甲斐, 義明 and 芝尾, 幸一郎 and 筒井, 淳也 and 永田, 康祐 and {ばるぼら} and 前川, 修 and 増田, 展大}, + date = {2018-06-01}, + publisher = {ビー・エヌ・エヌ新社}, + isbn = {978-4-8025-1101-8} +} + +@book{manovuitutiNiyumedeianoYanYu2013, + title = {ニューメディアの言語}, + author = {マノヴィッチ, レフ}, + translator = {堀, 潤之}, + date = {2013-09-20}, + publisher = {みすず書房}, + isbn = {978-4-622-07731-2} +} + +@thesis{mansouxSandboxCultureStudy2017, + title = {Sandbox {{Culture}}: {{A Study}} of the {{Application}} of {{Free}} and {{Open Source Software Licensing Ideas}} to {{Art}} and {{Cultural Production}}}, + author = {Mansoux, Aymeric}, + date = {2017}, + institution = {Goldsmiths, University of London}, + file = {/Users/tomoya/Zotero/storage/LTM6D35Q/m-api-6c05805d-797e-d497-2b1e-82aeccb33b13.pdf} +} + +@article{marascoSoundOpinionsCreating2018, + title = {Sound {{Opinions}} : {{Creating}} a {{Virtual Tool}} for {{Sound Art Installations}} through {{Sentiment Analysis}} of {{Critical Reviews}}}, + author = {Marasco, Anthony T}, + date = {2018}, + pages = {346--347}, + file = {/Users/tomoya/Zotero/storage/D46JHZH9/Marasco_2018_Sound Opinions Creating a Virtual Tool for Sound Art Installations through Sentiment Analysis of Critical Reviews.pdf} +} + +@article{Markstrum2010, + title = {Staking Claims: {{A}} History of Programming Language Design Claims and Evidence: {{A}} Positional Work in Progress}, + author = {Markstrum, Shane}, + date = {2010}, + journaltitle = {Evaluation and Usability of Programming Languages and Tools, PLATEAU'10}, + doi = {10.1145/1937117.1937124}, + abstract = {While still a relatively young field, computer science has a vast body of knowledge in the domain of programming languages. When a new language is introduced, its designers make claims which distinguish their language from previous languages. However, it often feels like language designers do not feel a pressing need to back these claims with evidence beyond personal anecdotes. Peer reviewers are likely to agree. In this paper, we present preliminary work which revisits the history of such claims by examining a number of language design papers which span the history of programming language development. We focus on the issue of claim-evidence correspondence, or determining how often claims are or are not backed by evidence. These preliminary results confirm that unsupported claims have been around since the inception of higher level programming in the 1950s. We stake a position that this behavior is unacceptable for the health of the research community. We should be more aware of valiant and effective efforts for supplying evidence to support language design claims. © 2010 ACM.}, + keywords = {Claim-evidence correspondence,Language design,Language properties,Metrics}, + file = {/Users/tomoya/Zotero/storage/97KEXH5Z/Markstrum - 2010 - Staking claims A history of programming language design claims and evidence A positional work in progress.pdf;/Users/tomoya/Zotero/storage/B5MFLAXF/full-text.pdf} +} + +@article{marognaCABOTOGraphicBasedInteractive1930, + title = {{{CABOTO}} : {{A Graphic-Based Interactive System}} for {{Composing}} and {{Performing Electronic Music}}}, + author = {Marogna, Riccardo and Stolberglaan, Juliana Van}, + date = {1930}, + pages = {37--42}, + file = {/Users/tomoya/Zotero/storage/ZLSFDUWD/Marogna, Stolberglaan_1930_CABOTO A Graphic-Based Interactive System for Composing and Performing Electronic Music.pdf} +} + +@article{marquez-borbonProblemDMIAdoption2018, + title = {The {{Problem}} of {{DMI Adoption}} and {{Longevity}} : {{Envisioning}} a {{NIME Performance Pedagogy}}}, + author = {Marquez-borbon, Adnan and Pablo, Juan and Avila, Martinez}, + date = {2018}, + pages = {190--195}, + file = {/Users/tomoya/Zotero/storage/N9XBKP6B/Marquez-borbon, Pablo, Avila_2018_The Problem of DMI Adoption and Longevity Envisioning a NIME Performance Pedagogy.pdf} +} + +@article{martinComposingEnsembleStandstill, + title = {Composing an {{Ensemble Standstill Work}} for {{Myo}} and {{Bela}}}, + author = {Martin, Charles P and Refsum, Alexander and Torresen, Jim}, + number = {1}, + pages = {196--197}, + file = {/Users/tomoya/Zotero/storage/NLTMR4RX/Martin, Refsum, Torresen_Unknown_Composing an Ensemble Standstill Work for Myo and Bela.pdf} +} + +@online{martinRIPRjDj200820122012, + title = {{{RIP RjDj}} 2008-2012}, + author = {Martin, Charles P}, + date = {2012-12-18}, + url = {https://charlesmartin.com.au/blog/2012/12/18/rip-rjdj-2008-2012}, + urldate = {2022-01-26}, + file = {/Users/tomoya/Zotero/storage/DUIMY6EH/rip-rjdj-2008-2012.html} +} + +@book{marupasuKuriteikaruDezaintohananikaWenitoWuYuwoGouZhusurutamenodezainLiLunRuMen2019, + title = {クリティカル・デザインとはなにか? 問いと物語を構築するためのデザイン理論入門}, + author = {マルパス, マット}, + translator = {水野, 大二郎 and 太田, 知也 and 野見山, 桜}, + date = {2019-11-01}, + publisher = {ビー・エヌ・エヌ新社}, + isbn = {978-4-8025-1158-2} +} + +@book{matamala2016, + title = {Researching {{Audio Description}}: {{New Approaches}}}, + shorttitle = {Researching {{Audio Description}}}, + author = {Matamala, Anna and Orero, Pilar}, + date = {2016-06-21}, + eprint = {ut16DAAAQBAJ}, + eprinttype = {googlebooks}, + publisher = {Springer}, + abstract = {Audio description is one of the many services available to guarantee accessibility to audiovisual media. It describes and narrates images and sounds and resulting audio is then mixed with the original soundtrack. Audio description is a complex process that touches production, distribution and reception. Researching Audio Description: New Approachesgathers academic information and data from the many existing research projects, practices, and training across the world. The book has a telescopic approach, from two introductory chapters where accessibility in general is contextualised as a human right, and the basic concepts of disability and impairment are explored. Research on specific features for audio description script drafting are focused in the second part of the book, with a view to revising existing funded projects and their outcomes. The book offers a wealth of information on both the practical and philosophical, from different approaches in perception and cognition, and different research methodologies. Project information contained in the contributions identifies trends in current research-funded studies which will be valuable as a pointer towards future proposals. The book shows the dynamic state of audio description practice, training and research, while contributing towards the growing critical mass needed in building the field of accessibility studies.}, + isbn = {978-1-137-56917-2}, + language = {en}, + pagetotal = {339}, + keywords = {Language Arts & Disciplines / Linguistics / General,Language Arts & Disciplines / Linguistics / Historical & Comparative,Language Arts & Disciplines / Reference,Language Arts & Disciplines / Translating & Interpreting} +} + +@article{mathews1963, + title = {The {{Digital Computer}} as a {{Musical Instrument}}}, + author = {Mathews, M.V.}, + date = {1963-11}, + journaltitle = {Science,New Series}, + volume = {142}, + number = {3592}, + eprint = {1712380}, + eprinttype = {jstor}, + pages = {553--557}, + url = {http://www.jstor.org/stable/1712380}, + abstract = {A computer can be programmed to play "instrumental" music, to aid the composer, or to compose unaided. M. V. Mathews With the aid of suitable output equipment , the numbers which a modern digital computer generates can be directly converted to sound waves. The process is completely general, and any perceiv-able sound can be so produced. This potentiality of the computer has been of considerable use at the Bell Telephone Laboratories in generating stimuli for experiments in the field of hearing, and for generating speech sounds and connected speech in investigations of the factors which contribute to the intelligibility and naturalness of speech. The quality of sound is of great importance in two fields-that of speech and communication and that of music. Our studies at the Bell Laboratories in the first of these fields have led us, over the past few years, to related studies in the production of musical sounds and their organization into musical compositions. I believe that this by-product of our work on speech and hearing may be of considerable value in the world of music, and that further work in this direction will be of substantial value in furthering our understanding of psychoacoustics. There are no theoretical limitations to the performance of the computer as a source of musical sounds, in contrast to the performance of ordinary instruments. At present, the range of computer music is limited principally by cost and by our knowledge of psycho-acoustics. These limits are rapidly receding. In addition to generating sound, the computer can also function as a machine for composing music. It can either compose pieces based entirely on random numbers generated by itself or it can cooperate with a human composer. It can play its own compositions. Here I first describe the process for converting numbers to sounds, then I describe a program for playing music. Next I consider a psychoacoustic problem which is typical of those posed in attempts to make more interesting sounds. Finally, I look to the future, to the time when the computer is itself the composer. Sound from Numbers How can the numbers with which a computer deals be converted into sounds the ear can hear? The most general conversion is based upon the use of the numbers as samples of the sound pressure wave. A schematic diagram of this process is shown in Fig. 1. Here a sequence of numbers from the computer is put into an analog-to-digital converter, which generates a se-' quence of electric pulses whose amplitudes are proportional to the numbers. These pulses are smoothed with a filter and then converted to a sound wave by means of an ordinary loudspeaker. Intuitively, we feel that if a high enough pulse rate is used and the amplitudes of the pulses are generated with sufficient precision, then any sound wave can be closely approximated by this process. Mathematically, it has been established (1) that this conclusion is correct. A sound wave with frequencies from 0 to B cycles per second can be generated from a sequence of two B pulses per second. Thus, for example, by running our computer at a rate of 30,000 numbers per second, we can generate sound waves with frequencies from 0 to 15,000 cycles per second. Waves in this frequency range are about the only ones the human ear can perceive. The signal-to-quantizing-noise ratio of the sound wave depends on the accuracy with which the amplitudes of the pulses are represented. Computers deal with a finite number of digits and, hence, have limited accuracy. However, the computer limits are more than sufficient acoustically. For example, amplitudes represented by four-digit decimal numbers, are accurate to within 1 part in 10,000, an accuracy which represents a signal-to-noise ratio of 80 decibels; this is less noise than the ear can hear, and less noise than would be introduced by any audio equipment, such as the best tape recorder. The sampling process just described is theoretically unrestricted, but the generation of sound signals requires very high sampling rates. The question should immediately be asked, "Are computers of the type now available capable of generating numbers at these rates?" The answer is "Yes," with some qualifications. A high-speed machine such as the I.B.M. 7090, using the programs described later in this article, can compute only about 5000 numbers per second When generating a reasonably complex sound. However, the numbers can be temporarily stored on one of the computer's digital magnetic tapes, and this tape can subsequently be replayed at rates up to 30,000 numbers per second (each number being a 12-bit binary number). Thus, the computer is capable of generating wideband musical sounds. Because of the cost of computer time, we often limit our studies to those for which the computer is run at lower rates, such as 10,000 numbers per second a rate which yields a bandwidth of 5000 cycles per second. The direct conversion of numbers to sound is only one of the ways in which the computer can generate sounds. An alternate procedure is to use the numbers from the computer to control electronic apparatus such as oscillators and filters, which, in turn, generate the sounds. These processes have been carried out by the Radio Corporation of America music synthesizer (2) and by a machine constructed at the University of Illinois (3). This procedure has the advantage that a much lower rate 553}, + file = {/Users/tomoya/Zotero/storage/PG6GGQCV/Mathews - 1963 - The Digital Computer as a Musical Instrument.pdf} +} + +@article{Mathews1969, + title = {Analysis of {{Musical-Instrument Tones}}}, + author = {Mathews, Max V. and Risset, Jean Claude}, + date = {1969}, + journaltitle = {Physics Today}, + volume = {22}, + number = {2}, + pages = {23--30}, + abstract = {With computers we can not only analyse the sound of a musical instrument but also build up a synthesized copy of the sound. Cmparison of real and synthetic tones tells which are the important parameters that lead to recognition of timbre.}, + file = {/Users/tomoya/Zotero/storage/FUE3FU99/Unknown_Unknown_physicstoday22-risset-mathews.pdf.pdf} +} + +@article{Mathews1980, + title = {Interview with {{Max Mathews}}}, + author = {Mathews, Max and Roads, C}, + date = {1980}, + journaltitle = {Computer Music Journal}, + volume = {4}, + number = {4}, + pages = {15--22}, + publisher = {Winter}, + file = {/Users/tomoya/Zotero/storage/GFPCD4VD/full-text.pdf;/Users/tomoya/Zotero/storage/ZAQ37PDB/Mathews, Roads - 1980 - Interview with Max Mathews.pdf} +} + +@article{mathewsAcousticCompilerMusic1961, + title = {An Acoustic Compiler for Music and Psychological Stimuli}, + author = {Mathews, Max V.}, + date = {1961-05}, + journaltitle = {The Bell System Technical Journal}, + volume = {40}, + number = {3}, + pages = {677--694}, + issn = {0005-8580}, + doi = {10.1002/j.1538-7305.1961.tb03237.x}, + abstract = {A program for synthesizing music and psychological stimuli on a digital computer is described. The sound is produced by three operations: (a) A compiler generates the programs for a set of instruments. (b) These instruments are “played” by a sequencing program at the command of a sequence of “note” cards which contain information analogous to that given by conventional music notes. (c) The computer output, in the form of numbers on a digital magnetic tape, is converted to audible sound by a digital-to-analog converter, a desampling filter, and a loudspeaker. By virtue of the general nature of the compiling program a great variety of instruments may be produced, and the instrument programs are quite efficient in terms of computer time. The “note” cards are arranged to minimize the effort necessary to specify a composition. Preliminary compositions indicate that exceedingly interesting music and useful psychological stimuli can be generated.}, + eventtitle = {The {{Bell System Technical Journal}}}, + file = {/Users/tomoya/Zotero/storage/IHLKBB9C/Mathews - 1961 - An acoustic compiler for music and psychological s.pdf;/Users/tomoya/Zotero/storage/CRSTYZYX/6773634.html} +} + +@article{mathewsGROOVEProgramCompose1970, + title = {{{GROOVE}}—a Program to Compose, Store, and Edit Functions of Time}, + author = {Mathews, M. V. and Moore, F. R.}, + date = {1970-12}, + journaltitle = {Communications of the ACM}, + shortjournal = {Commun. ACM}, + volume = {13}, + number = {12}, + pages = {715--721}, + issn = {0001-0782, 1557-7317}, + doi = {10.1145/362814.362817}, + url = {https://dl.acm.org/doi/10.1145/362814.362817}, + urldate = {2022-01-05}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/K9E5H8JA/Mathews and Moore - 1970 - GROOVE—a program to compose, store, and edit funct.pdf} +} + +@article{mathewsRadioBatonConductor1991, + title = {The {{Radio Baton}} and {{Conductor Program}}, or: {{Pitch}}, the {{Most Important}} and {{Least Expressive Part}} of {{Music}}}, + shorttitle = {The {{Radio Baton}} and {{Conductor Program}}, Or}, + author = {Mathews, Max V.}, + date = {1991}, + journaltitle = {Computer Music Journal}, + volume = {15}, + number = {4}, + eprint = {3681070}, + eprinttype = {jstor}, + pages = {37--46}, + publisher = {The MIT Press}, + issn = {0148-9267}, + doi = {10.2307/3681070}, + url = {https://www.jstor.org/stable/3681070}, + urldate = {2022-01-05} +} + +@book{mathewsTechnologyComputerMusic1969, + title = {The Technology of Computer Music}, + author = {Mathews, Max V. and Miller, Joan E.}, + date = {1969}, + publisher = {M.I.T. Press}, + isbn = {0-262-13050-5}, + pagetotal = {188}, + keywords = {Computer composition sound processing} +} + +@inproceedings{Matsuura2021, + title = {Mimium: {{A Self-Extensible Programming Language}} for {{Sound}} and {{Music}}}, + booktitle = {{{FARM}} 2021 - {{Proceedings}} of the {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modeling}}, and {{Design}}}, + author = {Matsuura, Tomoya and Jo, Kazuhiro}, + date = {2021}, + doi = {10.1145/3471872.3472969}, + file = {/Users/tomoya/Zotero/storage/ERG4LFIZ/Matsuura and Jo - 2021 - mimium A Self-Extensible Programming Language for.pdf} +} + +@inproceedings{matsuura2021, + title = {Mimium: A Self-Extensible Programming Language for Sound and Music}, + shorttitle = {Mimium}, + booktitle = {Proceedings of the 9th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}}, and {{Design}}}, + author = {Matsuura, Tomoya and Jo, Kazuhiro}, + date = {2021-08-22}, + series = {{{FARM}} 2021}, + pages = {1--12}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3471872.3472969}, + url = {https://doi.org/10.1145/3471872.3472969}, + urldate = {2024-07-09}, + abstract = {We propose a programming language for music named mimium, which combines temporal-discrete control and signal processing in a single language. mimium has an intuitive imperative syntax and can use stateful functions as Unit Generator in the same way as ordinary function definitions and applications. Furthermore, the runtime performance is made equivalent to that of lower-level languages by compiling the code through the LLVM compiler infrastructure. By using the strategy of adding a minimum number of features for sound to the design and implementation of a general-purpose functional language, mimium is expected to lower the learning cost for users, simplify the implementation of compilers, and increase the self-extensibility of the language. In this paper, we present the basic language specification, semantics for simple task scheduling, the semantics for stateful functions, and the compilation process. mimium has certain specifications that have not been achieved in existing languages. Future works suggested include extending the compiler functionality to combine task scheduling with the functional paradigm and introducing multi-stage computation for parametric replication of stateful functions.}, + isbn = {978-1-4503-8613-5}, + file = {/Users/tomoya/Zotero/storage/TDBLJQTL/Matsuura and Jo - 2021 - mimium a self-extensible programming language for.pdf} +} + +@online{matsuura2024, + title = {Lambda-Mmm: The {{Intermediate Representation}} for {{Synchronous Signal Processing Language Based}} on {{Lambda Calculus}}}, + shorttitle = {Lambda-Mmm}, + author = {Matsuura, Tomoya}, + date = {2024-09-29}, + eprinttype = {Zenodo}, + doi = {10.5281/zenodo.13855343}, + url = {https://zenodo.org/records/13855343}, + urldate = {2024-10-01}, + abstract = {This paper proposes Lambda-mmm, a call-by-value, simply typed lambda calculus-based intermediate representation for a music programming language that handles synchronous signal processing and introduces a virtual machine and instruction set to execute Lambda-mmm. Digital signal processing is represented by a syntax that incorporates the internal states of delay and feedback into the lambda calculus. Lambda-mmm extends the lambda calculus, allowing users to construct generative signal processing graphs and execute them with consistent semantics. However, a challenge arises when handling higher-order functions because users must determine whether execution occurs within the global environment or during DSP execution. This issue can potentially be resolved through multi-stage computation.}, + language = {eng}, + pubstate = {prepublished}, + keywords = {Computer Music,Programming Language}, + file = {/Users/tomoya/Zotero/storage/UMC6L4S5/Matsuura - 2024 - Lambda-mmm the Intermediate Representation for Sy.pdf} +} + +@inproceedings{matsuuraAphysicalUnmodelingInstrument2018, + title = {Aphysical {{Unmodeling Instrument}} : {{Sound Installation}} That {{Re-Physicalizes}} a {{Meta-Wind-Instrument Physical Model}} , {{Whirlwind}}}, + booktitle = {Proceedings of {{New Interfaces}} for {{Musical Expression}}}, + author = {Matsuura, Tomoya and Jo, Kazuhiro}, + date = {2018}, + pages = {29--30}, + file = {/Users/tomoya/Zotero/storage/3QDULAJR/Matsuura, Jo_2018_Aphysical Unmodeling Instrument Sound Installation that Re-Physicalizes a Meta-Wind-Instrument Physical Model , Whirl.pdf} +} + +@book{matumotoMatumotoyukihiroYanYunosikumi2016, + title = {まつもとゆきひろ 言語のしくみ}, + author = {まつもと, ゆきひろ}, + date = {2016-12-01}, + publisher = {日経BP}, + isbn = {978-4-8222-3917-6} +} + +@book{maxmathewsMusicIVProgrammer, + title = {Music {{IV Programmer}}'s {{Manual}}}, + author = {Max Mathews, Joan Miller}, + url = {http://archive.org/details/music-iv-programmers-manual}, + urldate = {2022-01-02}, + abstract = {MUSIC IV~was a~computer~music~synthesis~software~package written by~Max Mathews. The program was an expansion of earlier packages written by Mathews to produce music by direct digital computation, which could be heard by converting samples to audible sound using a~digital-to-analog converter~(DAC). MUSIC IV was further expanded[3]~by~Godfrey Winham~and~Hubert Howe~into~MUSIC IVB, and then into~MUSIC IVBF, a more portable version written in~FORTRAN. It is a precursor to~CSound. MUSIC IV allows the~programmer~to enter a musical score as a~text file~and have each note played with a particular "musical instrument", which is a software algorithm. Some instruments are supplied in the package, but the programmer can supply new instruments in the form of FORTRAN code, to be~compiled~and called by the MUSIC IV package to generate output. As designed, the package was not intended for real-time generation of music as is done by a modern portable~electronic keyboard~instrument; instead, entire songs or musical pieces are encoded and processed into a digital file on disk or tape containing the stream of samples. Prior to the advent of low-cost digital audio gear in the late 1980s, the samples were typically sent to a~DAC~and recorded on analog tape.}, + language = {eng}, + pagetotal = {36}, + keywords = {Computer Music} +} + +@article{Mayer2018, + title = {Bidirectional Evaluation with Direct Manipulation}, + author = {Mayer, Mikaël and Kuncak, Viktor and Chugh, Ravi}, + date = {2018-10-24}, + journaltitle = {Proceedings of the ACM on Programming Languages}, + volume = {2}, + pages = {1--28}, + publisher = {ACM}, + issn = {24751421}, + doi = {10.1145/3276497}, + url = {http://dl.acm.org/citation.cfm?doid=3288538.3276497}, + urldate = {2019-05-27}, + issue = {OOPSLA}, + keywords = {Bidirectional Programming,Direct Manipulation,Sketch-n-Sketch}, + file = {/Users/tomoya/Zotero/storage/NK6NJZLE/full-text.pdf;/Users/tomoya/Zotero/storage/SM23V8WV/Mayer, Kuncak, Chugh - 2018 - Bidirectional evaluation with direct manipulation.pdf} +} + +@book{mccannLastFirstCSIRAC2000, + title = {The {{Last}} of the {{First}}. {{CSIRAC}}: {{Australia}}’s First Computer.}, + author = {Mccann, Doug and Thorne, Peter}, + date = {2000}, + publisher = {The University of Melbourne}, + isbn = {978-0-7340-5168-4}, + file = {/Users/tomoya/Zotero/storage/ARIBII65/m-api-6a7732cf-9e14-77c1-1ba7-29c3fdb82433.pdf} +} + +@article{McCartney2002, + title = {Rethinking the Computer Music Language: {{SuperCollider}}}, + author = {McCartney, James}, + date = {2002-12-13}, + journaltitle = {Computer Music Journal}, + volume = {26}, + number = {4}, + pages = {61--68}, + publisher = {MIT Press 238 Main St., Suite 500, Cambridge, MA 02142-1046 USA journals-info@mit.edu}, + issn = {01489267}, + doi = {10.1162/014892602320991383}, + file = {/Users/tomoya/Zotero/storage/FEZPR5S9/014892602320991383.pdf;/Users/tomoya/Zotero/storage/ZZI9GFWR/014892602320991383.pdf} +} + +@online{mccartneyANNOUNCINGSuperColliderNow1996, + title = {{{ANNOUNCING}}: {{SuperCollider}} Is Now Available}, + author = {McCartney, James}, + date = {1996-03-21}, + url = {https://groups.google.com/g/comp.music.research/c/g2f9EcL1mUw#2ed9e3784bc66f55}, + urldate = {2022-01-23}, + organization = {comp.music.research@googlegroups.com}, + file = {/Users/tomoya/Zotero/storage/Z53NLXDE/g2f9EcL1mUw.html} +} + +@inproceedings{mccartneySuperColliderNewReal1996, + title = {{{SuperCollider}}, a {{New Real Time Synthesis Language}}}, + booktitle = {International {{Computer Music Conference Proceedings}}}, + author = {McCartney, James}, + date = {1996}, + publisher = {Michigan Publishing}, + issn = {2223-3881}, + url = {http://hdl.handle.net/2027/spo.bbp2372.1996.078}, + urldate = {2021-10-12}, + file = {/Users/tomoya/Zotero/storage/5WDUN5YL/supercollider-a-new-real-time-synthesis-language.pdf} +} + +@article{mccoidEarSketchIntegratedApproach2013, + title = {{{EarSketch}}: {{An}} Integrated Approach to Teaching Introductory Computer Music}, + shorttitle = {{{EarSketch}}}, + author = {McCoid, Scott and Freeman, Jason and Magerko, Brian and Michaud, Christopher and Jenkins, Tom and Mcklin, Tom and Kan, Hera}, + date = {2013-08}, + journaltitle = {Organised Sound}, + shortjournal = {Org. Sound}, + volume = {18}, + number = {2}, + pages = {146--160}, + issn = {1355-7718, 1469-8153}, + doi = {10.1017/S135577181300006X}, + url = {https://www.cambridge.org/core/product/identifier/S135577181300006X/type/journal_article}, + urldate = {2022-01-04}, + abstract = {EarSketch is an all-in-one approach to supporting a holistic introductory course to computer music as an artistic pursuit and a research practice. Targeted to the high school and undergraduate levels, EarSketch enables students to acquire a strong foundation in electroacoustic composition, computer music research and computer science. It integrates a Python programming environment with a commercial digital audio workstation program (Cockos’ Reaper) to provide a unified environment within which students can use programmatic techniques in tandem with more traditional music production strategies to compose music. In this paper we discuss the context and goals of EarSketch, its design and implementation, and its use in a pilot summer camp for high school students.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/M5DDQHQD/McCoid et al. - 2013 - EarSketch An integrated approach to teaching intr.pdf} +} + +@article{mccowanMicrophoneArraysTutorial2001, + title = {Microphone Arrays: {{A}} Tutorial}, + author = {McCowan, I}, + date = {2001}, + journaltitle = {Queensland University, Australia}, + pages = {1--36}, + abstract = {This report presents a tutorial of fundamental array processing and beamforming theory relevant to microphone array speech processing. A microphone array consists of multiple microphones placed at different spatial locations. Built upon a knowledge of sound propagation principles, the multiple inputs can be manipulated to enhance or attenuate signals emanating from particular directions. In this way,microphone arrays provide ameans of enhancing a desired signal in the presence of corrupting noise sources. Moreover, this enhancement is based purely onknowledge of the source location, and so microphone array techniques are applicable to a wide variety of noise types. Microphone arrays have great potential in practical applications of speech processing, due to their ability to provide both noise robustness and hands-free signal acquisition. This}, + issue = {April}, + file = {/Users/tomoya/Zotero/storage/IUBNXETK/m-api-6129aa9a-d2da-0d0b-5fb6-2a356e0b91a7.pdf} +} + +@article{mcdowellHapticListeningClassicalGuitar, + title = {Haptic-{{Listening}} and the {{Classical Guitar}}}, + author = {Mcdowell, John A and Furlong, J}, + pages = {293--298}, + file = {/Users/tomoya/Zotero/storage/52VWIGIB/Mcdowell, Furlong_Unknown_Haptic-Listening and the Classical Guitar.pdf} +} + +@inproceedings{McLean2014, + title = {Making Programming Languages to Dance to: {{Live}} Coding with Tidal}, + booktitle = {{{FARM}} 2014 - {{Proceedings}} of the 2014 {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}} and {{Design}}}, + author = {McLean, Alex}, + date = {2014}, + pages = {63--70}, + publisher = {Association for Computing Machinery}, + location = {New York, New York, USA}, + doi = {10.1145/2633638.2633647}, + url = {http://dl.acm.org/citation.cfm?doid=2633638.2633647}, + urldate = {2020-06-08}, + abstract = {Live coding of music has grown into a vibrant international community of research and practice over the past decade, providing a new research domain where computer science blends with the performing arts. In this paper the domain of live coding is described, with focus on the programming language design challenges involved, and the ways in which a functional approach can meet those challenges. This leads to the introduction of Tidal 0.4, a Domain Specific Language embedded in Haskell. This is a substantial restructuring of Tidal, which now represents musical pattern as functions from time to events, inspired by Functional Reactive Programming. © 2014 ACM.}, + isbn = {978-1-4503-3039-8}, + keywords = {domain specific languages,live coding,music}, + file = {/Users/tomoya/Zotero/storage/CGJJMBCY/2633638.2633647.pdf;/Users/tomoya/Zotero/storage/JRHVITZG/2633638.2633647.pdf} +} + +@thesis{mcleanArtistProgrammersProgrammingLanguages2011, + type = {phdthesis}, + title = {Artist-{{Programmers}} and {{Programming Languages}} for the {{Arts}}}, + author = {Mclean, Christopher Alex}, + date = {2011}, + institution = {Goldsmiths, University of London}, + url = {https://slab.org/writing/thesis.pdf}, + file = {/Users/tomoya/Zotero/storage/ASRX8B63/Mclean - 2011 - Artist-Programmers and Programming Languages for the Arts.pdf} +} + +@article{mclntyreOscillationsMusicalInstruments1983, + title = {On the {{Oscillations}} of {{Musical Instruments}}}, + author = {Mclntyre, M. E. and Schumacher, R T and Woodhouse, J.}, + date = {1983}, + volume = {74}, + issue = {November}, + file = {/Users/tomoya/Zotero/storage/2UCC9ELS/Mclntyre, Schumacher, Woodhouse_1983_On the Oscillations of Musical Instruments.pdf} +} + +@article{McPherson2020, + title = {Idiomatic {{Patterns}} and {{Aesthetic Influence}} in {{Computer Music Languages}}}, + author = {McPherson, Andrew and Tahlroǧlu, Koray}, + date = {2020}, + journaltitle = {Organised Sound}, + volume = {25}, + number = {1}, + pages = {53--63}, + issn = {14698153}, + doi = {10.1017/S1355771819000463}, + abstract = {It is widely accepted that acoustic and digital musical instruments shape the cognitive processes of the performer on both embodied and conceptual levels, ultimately influencing the structure and aesthetics of the resulting performance. In this article we examine the ways in which computer music languages might similarly influence the aesthetic decisions of the digital music practitioner, even when those languages are designed for generality and theoretically capable of implementing any sound-producing process. We examine the basis for querying the non-neutrality of tools with a particular focus on the concept of idiomaticity: patterns of instruments or languages which are particularly easy or natural to execute in comparison to others. We then present correspondence with the developers of several major music programming languages and a survey of digital musical instrument creators examining the relationship between idiomatic patterns of the language and the characteristics of the resulting instruments and pieces. In an open-ended creative domain, asserting causal relationships is difficult and potentially inappropriate, but we find a complex interplay between language, instrument, piece and performance that suggests that the creator of the music programming language should be considered one party to a creative conversation that occurs each time a new instrument is designed.}, + file = {/Users/tomoya/Zotero/storage/H5BPY7NY/Document_6790458_59753.pdf;/Users/tomoya/Zotero/storage/REBKU2E4/Document_6790458_59753.pdf} +} + +@article{mcphersonBelaEmbeddedPlatform2017, + title = {Bela: {{An}} Embedded Platform for Low-Latency Feedback Control of Sound}, + shorttitle = {Bela}, + author = {McPherson, Andrew}, + date = {2017-05}, + journaltitle = {The Journal of the Acoustical Society of America}, + shortjournal = {The Journal of the Acoustical Society of America}, + volume = {141}, + number = {5}, + pages = {3618--3618}, + issn = {0001-4966}, + doi = {10.1121/1.4987761}, + url = {http://asa.scitation.org/doi/10.1121/1.4987761}, + urldate = {2022-01-24}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/YKDP5NTF/1.html} +} + +@article{mcphersonExposingScaffoldingDigital2015, + title = {Exposing the {{Scaffolding}} of {{Digital Instruments}} with {{Hardware-Software Feedback Loops}}}, + author = {Mcpherson, Andrew P and Zappi, Victor}, + date = {2015}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {162--167}, + abstract = {The implementation of digital musical instruments is often opaque to the performer. Even when the relationship between action and sound is readily understandable, the internal hardware or software operations that create that relationship may be inaccessible to scrutiny or modification. This paper presents a new approach to digital instrument design which lets the performer alter and subvert the instrument's internal operation through circuit-bending techniques. The approach uses low-latency feedback loops between software and analog hardware to expose the internal working of the instrument. Compared to the standard control voltage approach used on analog synths, alterations to the feedback loops produce distinctive and less predictable changes in behaviour with original artistic applications. This paper discusses the technical foundations of the approach, its roots in hacking and circuit bending, and case studies of its use in live performance with the D-Box hackable instrument.}, + file = {/Users/tomoya/Zotero/storage/9L3SEHX9/Mcpherson, Zappi_2015_Exposing the Scaffolding of Digital Instruments with Hardware-Software Feedback Loops.pdf} +} + +@book{mcruer2008, + title = {Crip Theory: Cultural Signs of Queerness and Disability}, + shorttitle = {Crip Theory}, + author = {McRuer, Robert and Bérubé, Michael F.}, + date = {2008-12-01}, + publisher = {NYU Press}, + location = {New York}, + abstract = {Crip Theory attends to the contemporary cultures of disability and queerness that are coming out all over. Both disability studies and queer theory are centrally concerned with how bodies, pleasures, and identities are represented as 'normal' or as abject, but Crip Theory is the first book to analyze thoroughly the ways in which these interdisciplinary fields inform each other. Drawing on feminist theory, African American and Latino/a cultural theories, composition studies, film and television studies, and theories of globalization and counter-globalization, Robert McRuer articulates the central concerns of crip theory and considers how such a critical perspective might impact cultural and historical inquiry in the humanities. Crip Theory puts forward readings of the Sharon Kowalski story, the performance art of Bob Flanagan, and the journals of Gary Fisher, as well as critiques of the domesticated queerness and disability marketed by the Millennium March, or Bravo TV's Queer Eye for the Straight Guy. McRuer examines how dominant and marginal bodily and sexual identities are composed, and considers the vibrant ways that disability and queerness unsettle and re-write those identities in order to insist that another world is possible.}, + isbn = {978-0-8147-5713-0}, + language = {英語}, + pagetotal = {300} +} + +@online{MediaTechnologyOperaHistory, + title = {Media-{{Technology}} and {{Opera History}}}, + url = {https://www.sportsvideo.org/2013/03/19/media-technology-and-opera-history/}, + urldate = {2021-01-08} +} + +@article{medinaDesigningFreedomRegulating2006, + title = {Designing {{Freedom}} , {{Regulating}} a {{Nation}} : {{Socialist Cybernetics}} in {{Allende}} ’ s {{Chile}} *}, + author = {Medina, Eden}, + date = {2006}, + number = {0322278}, + pages = {571--606}, + doi = {10.1017/S0022216X06001179}, + file = {/Users/tomoya/Zotero/storage/IZA3KHTF/Medina_2006_Designing Freedom , Regulating a Nation Socialist Cybernetics in Allende ’ s Chile.pdf;/Users/tomoya/Zotero/storage/GU3ZUHXK/4CF75E30D22554152A5EFDC9740E3440.html} +} + +@article{medineDynamicalSystemsAudio2016, + title = {Dynamical Systems for Audio {{Synthesis}}: {{Embracing}} Nonlinearities and Delay-Free Loops}, + author = {Medine, David}, + date = {2016}, + journaltitle = {Applied Sciences}, + volume = {6}, + number = {5}, + pages = {1--12}, + issn = {14545101}, + doi = {10.3390/app6050134}, + keywords = {Digital signal processing,Dynamical systems,Physical modeling,Sound synthesis and modeling,Virtual analog}, + file = {/Users/tomoya/Zotero/storage/57RC8CHV/Medine_2016_Dynamical systems for audio Synthesis Embracing nonlinearities and delay-free loops.pdf} +} + +@article{mehesVIRTUALACOUSTICSTRING2016, + title = {{{TOWARDS A VIRTUAL-ACOUSTIC STRING}}}, + author = {Mehes, Sandor}, + date = {2016}, + issue = {September}, + file = {/Users/tomoya/Zotero/storage/BPA2LICL/Mehes_2016_TOWARDS A VIRTUAL-ACOUSTIC STRING.pdf} +} + +@article{menesesGuitarAMIGuiaRTTwo2018, + title = {{{GuitarAMI}} and {{GuiaRT}} : Two Independent yet Complementary {{Augmented Nylon Guitar}} Projects}, + author = {Meneses, Eduardo A L and Wanderley, Marcelo M}, + date = {2018}, + pages = {222--227}, + file = {/Users/tomoya/Zotero/storage/8SLQU6VY/Meneses, Wanderley_2018_GuitarAMI and GuiaRT two independent yet complementary Augmented Nylon Guitar projects.pdf} +} + +@article{menzelBinauralSkyVirtual2005, + title = {The Binaural Sky: {{A}} Virtual Headphone for Binaural Room Synthesis}, + author = {Menzel, Daniel and Wittek, Helmut and Theile, Günther and Fastl, Hugo}, + date = {2005}, + journaltitle = {International Tonmeister}, + pages = {3--8}, + abstract = {A novel system for the reproduction of vir- tual acoustics is presented in theory and prac- tice. The system combines wave field synthe- sis, binaural techniques and transaural au- dio. Stable localisation of virtual sources is achieved for listeners that are allowed to turn around and rotate their heads. Focused sources are used for transaural signal repro- duction. The position of the focused sources is kept constant relative to the ears of the listener for every head direction by means of a head tracking system. Therefore, there is no need to change the crosstalk cancellation filters during head rotations, so that audible artefacts and instabilities are avoided. The system is sufficiently stable allowing for loud- speaker installations even above the listener. As a result, binaural (e.g. BRS) reproduction can be enjoyed without wearing a headphone and without any loudspeakers in the listener’s field of vision.}, + file = {/Users/tomoya/Zotero/storage/6786J3RI/m-api-67589046-262a-8335-3d89-165d3aebc78f.pdf} +} + +@article{mericAudibleEcosystemsEmergent2005, + title = {Audible {{Ecosystems}} and {{Emergent Sound Structures}} in {{Di Scipio}} ’ s {{Music}} : {{Music Philosophy Helps Musical Analysis Agostino Di Scipio}} ’ s Music : Emergent Sound Structures and Audible Ecosystems}, + author = {Meric, Renaud and Solomos, Makis}, + date = {2005}, + journaltitle = {Journal of Interdisciplinary Music Studies}, + volume = {3}, + number = {1}, + pages = {57--76}, + keywords = {Agostino Di Scipio,ecosystem,emergent structures,feedback,granular paradigm,phenomenology of music,space}, + file = {/Users/tomoya/Zotero/storage/A7X8V378/Meric, Solomos_2005_Audible Ecosystems and Emergent Sound Structures in Di Scipio ’ s Music Music Philosophy Helps Musical Analysis.pdf} +} + +@article{mernikWhenHowDevelop2005, + title = {When and How to Develop Domain-Specific Languages}, + author = {Mernik, Marjan and Heering, Jan and Sloane, Anthony M.}, + date = {2005}, + journaltitle = {ACM Computing Surveys}, + volume = {37}, + number = {4}, + pages = {316--344}, + issn = {03600300}, + doi = {10.1145/1118890.1118892}, + abstract = {Domain-specific languages (DSLs) are languages tailored to a specific application domain. They offer substantial gains in expressiveness and ease of use compared with general-purpose programming languages in their domain of application. DSL development is hard, requiring both domain knowledge and language development expertise. Few people have both. Not surprisingly, the decision to develop a DSL is often postponed indefinitely, if considered at all, and most DSLs never get beyond the application library stage. Although many articles have been written on the development of particular DSLs, there is very limited literature on DSL development methodologies and many questions remain regarding when and how to develop a DSL. To aid the DSL developer, we identify patterns in the decision, analysis, design, and implementation phases of DSL development. Our patterns improve and extend earlier work on DSL design patterns. We also discuss domain analysis tools and language development systems that may help to speed up DSL development. Finally, we present a number of open problems. © 2005 ACM.}, + keywords = {Application language,Domain analysis,Domain-specific language,Language development system}, + file = {/Users/tomoya/Zotero/storage/U656SXFX/Weh and How to Develop Domain Specific languages.pdf} +} + +@article{meyerBinaryCopperOxide2012, + title = {Binary Copper Oxide Semiconductors: {{From}} Materials towards Devices}, + shorttitle = {Binary Copper Oxide Semiconductors}, + author = {Meyer, B. K. and Polity, A. and Reppin, D. and Becker, M. and Hering, P. and Klar, P. J. and family=Sander, given=Th., given-i={{Th}} and Reindl, C. and Benz, J. and Eickhoff, M. and Heiliger, C. and Heinemann, M. and Bläsing, J. and Krost, A. and Shokovets, S. and Müller, C. and Ronning, C.}, + date = {2012}, + journaltitle = {physica status solidi (b)}, + volume = {249}, + number = {8}, + pages = {1487--1509}, + issn = {1521-3951}, + doi = {10.1002/pssb.201248128}, + url = {https://onlinelibrary.wiley.com/doi/abs/10.1002/pssb.201248128}, + urldate = {2023-03-10}, + abstract = {Copper-oxide compound semiconductors provide a unique possibility to tune the optical and electronic properties from insulating to metallic conduction, from bandgap energies of 2.1 eV to the infrared at 1.40 eV, i.e., right into the middle of the efficiency maximum for solar-cell applications. Three distinctly different phases, Cu2O, Cu4O3, and CuO, of this binary semiconductor can be prepared by thin-film deposition techniques, which differ in the oxidation state of copper. Their material properties as far as they are known by experiment or predicted by theory are reviewed. They are supplemented by new experimental results from thin-film growth and characterization, both will be critically discussed and summarized. With respect to devices the focus is on solar-cell performances based on Cu2O. It is demonstrated by photoelectron spectroscopy (XPS) that the heterojunction system p-Cu2O/n-AlGaN is much more promising for the application as efficient solar cells than that of p-Cu2O/n-ZnO heterojunction devices that have been favored up to now.}, + language = {en}, + keywords = {copper-oxide compounds,Cu2O-based thin-film solar cells,electrical and optical properties,heterostructures and band offsets}, + file = {/Users/tomoya/Zotero/storage/586LJ3S6/Meyer et al. - 2012 - Binary copper oxide semiconductors From materials.pdf;/Users/tomoya/Zotero/storage/VDYG8L72/pssb.html} +} + +@article{mGestureRNNTemplateLaTeX, + title = {{{GestureRNN}} : {{Template}} for {{LaTeX Block A}} Neural Gesture System for the {{Roli Lightpad}}}, + author = {M, Georgia Tech G K and Trovato, Ben and Leipuner, Lawrence P and Field, Moffett and Fogarty, Sean}, + pages = {132--137}, + file = {/Users/tomoya/Zotero/storage/9IIME52V/M et al._Unknown_GestureRNN Template for LaTeX Block A neural gesture system for the Roli Lightpad.pdf} +} + +@online{michelwaisviszCrackleHistory2004, + title = {Crackle History}, + author = {{Michel Waisvisz}}, + date = {2004}, + url = {http://crackle.org/CrackleBox.htm}, + urldate = {2018-07-14} +} + +@online{Microsoft2020, + title = {Functions - {{F}}\# | {{Microsoft Docs}}}, + author = {{Microsoft}}, + date = {2020}, + url = {https://docs.microsoft.com/en-us/dotnet/fsharp/language-reference/functions/#function-composition-and-pipelining}, + urldate = {2020-06-06} +} + +@misc{microsoftFunctionsMicrosoftDocs2020, + title = {Functions - {{F}}\# | {{Microsoft Docs}}}, + author = {{Microsoft}}, + date = {2020}, + url = {{https://docs.microsoft.com/en-us/dotnet/fsharp/language-reference/functions/#function-composition-and-pipelining}}, + urldate = {2020-06-06} +} + +@online{MIDI0GuiGenituite2020, + title = {MIDI 2.0規格について}, + date = {2020-02-25}, + url = {http://amei.or.jp/midistandardcommittee/MIDI2.0/MIDIspcj2.html}, + urldate = {2022-01-25}, + abstract = {MIDI 2.0規格書ダウンロード}, + language = {ja}, + organization = {音楽電子事業協会（AMEI)}, + file = {/Users/tomoya/Zotero/storage/YHULIBPN/MIDIspcj2.html} +} + +@article{mills2011, + title = {Hearing Aids and the History of Electronics Miniaturization}, + author = {Mills, Mara}, + date = {2011}, + journaltitle = {IEEE Annals of the History of Computing}, + volume = {33}, + number = {2}, + pages = {24--45}, + publisher = {IEEE}, + url = {https://ieeexplore.ieee.org/abstract/document/5771310/}, + urldate = {2024-08-24} +} + +@incollection{mills2017, + title = {Afterword {{II}}: {{Dismediation}}—{{Three Proposals}}, {{Six Tactics}}}, + shorttitle = {Afterword {{II}}}, + booktitle = {Disability {{Media Studies}}}, + author = {Mills, Mara and Sterne, Jonathan}, + editor = {Ellcessor, Elizabeth and Kirkpatrick, Bill}, + date = {2017}, + eprint = {j.ctt1pwt9hg.20}, + eprinttype = {jstor}, + pages = {365--378}, + publisher = {NYU Press}, + url = {https://www.jstor.org/stable/j.ctt1pwt9hg.20}, + urldate = {2024-08-24}, + abstract = {Disability and media are co-constituted. Yet disability studies and media studies, with their different focal points, often find themselves at cross-purposes. Popular culture seems to be “awash in representations of disability,” as the editors write in the introduction to \emph{Disability Media Studies} , but most of those representations are metaphorical, stereotypical, or spectacular. Toby Miller in this volume points out that recurring characters with disabilities in U.S. television dramas amounted to a mere 0.9\% in 2015–2016. By now it is well understood that media compound and even generate disability, through stigmatizing popular representations and through means such as architectural prohibitions,}, + isbn = {978-1-4798-6782-0}, + file = {/Users/tomoya/Zotero/storage/KRRHG2G7/Mills and Sterne - 2017 - Afterword II Dismediation—Three Proposals, Six Ta.pdf} +} + +@inproceedings{millsDislocatedSoundSurvey2010, + title = {Dislocated {{Sound}}: {{A Survey}} of {{Improvisation}} in {{Networked Audio Platforms}}}, + booktitle = {Proceedings of the 2010 {{Conference}} on {{New Interfaces}} for {{Musical Expression}}}, + author = {Mills, Roger}, + date = {2010}, + pages = {186--191}, + abstract = {The evolution of networked audio technologies has created unprecedented opportunities for musicians to improvise with instrumentalists from a diverse range of cultures and disciplines. As network speeds increase and latency is consigned to history, tele-musical collaboration, and in particular improvisation will be shaped by new methodologies that respond to this potential. While networked technologies eliminate distance in physical space, for the remote improviser, this creates a liminality of experience through which their performance is mediated. As a first step in understanding the conditions arising from collaboration in networked audio platforms, this paper will examine selected case studies of improvisation in a variety of networked interfaces. The author will examine how platform characteristics and network conditions influence the process of collective improvisation and the methodologies musicians are employing to negotiate their networked experiences.}, + keywords = {Improvisation,Internet Audio Sound Art,Networked Collaboration}, + file = {/Users/tomoya/Zotero/storage/I3X9UTQX/full-text.pdf} +} + +@article{mindellOpeningBlackBox2000, + title = {Opening {{Black}}'s {{Box}}: {{Rethinking Feedback}}'s {{Myth}} of {{Origin}}}, + author = {Mindell, David A}, + date = {2000}, + journaltitle = {Source: Technology and Culture}, + volume = {41}, + number = {3}, + eprint = {25147536}, + eprinttype = {jstor}, + pages = {405--434}, + url = {https://www.jstor.org/stable/25147536}, + urldate = {2021-09-06}, + file = {/Users/tomoya/Zotero/storage/SLEVDVLT/full-text.pdf} +} + +@article{mirandaMusicalInstrumentUsing2011, + title = {A Musical Instrument Using in Vitro Neural Networks}, + author = {Miranda, E. R. and Nasuto, S. and Troisi, A. R. and Downes, J. and Chiaramonte, A. and Spencer, M. and Hammond, M. and Xydas, D. and Whalley, B. and Becerra, V. and Warwick, K.}, + date = {2011}, + journaltitle = {Proceedings of the International Computer Music Conference}, + pages = {3--6}, + file = {/Users/tomoya/Zotero/storage/3F8QZBSG/m-api-7deca98c-c5b9-243b-449d-50b0d8eba20f.pdf} +} + +@article{missouridepartmentofhealth&seniorservicesWhatIntervention2015, + title = {What Is an Intervention?}, + author = {{Missouri Department of Health \& Senior Services}}, + date = {2015}, + url = {http://health.mo.gov/data/interventionmica/index_4.html}, + file = {/Users/tomoya/Zotero/storage/BMB6GM78/Missouri Department of Health & Senior Services_2015_What is an intervention.pdf} +} + +@book{MitTx0RLETR627428276711999, + title = {Mit :: Tx-0 :: {{RLE-TR-627-42827671 TX-0 ComputerHistory Jun99}}}, + shorttitle = {Mit}, + date = {1999-06}, + url = {http://archive.org/details/bitsavers_mittx0RLETuterHistoryJun99_2884219}, + urldate = {2022-01-05}, + abstract = {From the bitsavers.org collection, a scanned-in computer-related document. mit :: tx-0 :: RLE-TR-627-42827671 TX-0 ComputerHistory Jun99}, + language = {eng}, + keywords = {computer} +} + +@inproceedings{miyazakiAlgorhythmicListening194919622012, + title = {Algorhythmic {{Listening}} 1949-1962 {{Auditory Practices}} of {{Early Mainframe Computing}}}, + booktitle = {{{AISB}}/{{IACAP World Congress}} 2012: {{Symposium}} on the {{History}} and {{Philosophy}} of {{Programming}}, {{Part}} of {{Alan Turing Year}} 2012}, + author = {Miyazaki, Shintaro}, + date = {2012}, + pages = {5}, + abstract = {It is still very unknown that besides the first visual interfaces to early computers, such as the Williams-Kilburn Tube operating for the first time in 1948 on the Manchester Small-Scale Experimental Machine (SSEM) or the many type-machine like printing outputs of standard calculating machines, there were as well auditory interfaces, which were build in as simple amplifier-loudspeaker set-ups in to the circuits of the early mainframe computers. Examples of such machines were the famous UNIVAC-I, the TX-0 at MIT, the CSIRAC in Australia and the Pilot ACE in England, but as well later machines such as the Pegasus produced by Ferranti Ltd. in Manchester and the PASCAL-Computer of Philips Electronics in Eindhoven, Netherlands.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/3VML8FBZ/Shintaro - Algorhythmic Listening 1949-1962 Auditory Practice.pdf} +} + +@article{miyazakiCounterAlgorhythmicsPrefigurativeDances2022, + title = {Counter-{{Algorhythmics}} as {{Prefigurative Dances}} of {{Commonism}}}, + author = {Miyazaki, Shintaro}, + namea = {Humboldt-Universität Zu Berlin and Humboldt-Universität Zu Berlin}, + nameatype = {collaborator}, + date = {2022-06}, + publisher = {Humboldt-Universität zu Berlin}, + doi = {10.18452/25041}, + url = {https://edoc.hu-berlin.de/handle/18452/25784}, + urldate = {2022-08-31}, + abstract = {In this essay, I both look back and forward what the concept of algo-rhythm has meant in my terms more than ten years ago at the time I came up with that ironic cacography and how it transformed into its current configuration. The essay proposes dancing as way to look at digitality in order to imagine and theorize about alternative ways to live, to move, to act within networks of body-machines we are entangled in. It proposes counter-algorhythmics as a form of resistance and tries eventually to link such a practice to the broader movement of commons-oriented activism.}, + language = {en}, + keywords = {701 Philosophie und Theorie der bildenden und angewandten Kunst,algorhythmics,commoning,critical media studies}, + file = {/Users/tomoya/Zotero/storage/7KV57MVR/Miyazaki - 2022 - Counter-Algorhythmics as Prefigurative Dances of C.pdf} +} + +@article{miyoshiInverseFilteringRoom1988, + title = {Inverse Filtering of Room Acoustics}, + author = {Miyoshi, M and Kaneda, Y}, + date = {1988}, + journaltitle = {Proceedings of the \{IEEE\} International Conference on Acoustics, Speech, and Signal Processing}, + volume = {36}, + number = {2}, + eprint = {1509}, + eprinttype = {pmid}, + pages = {145--152}, + issn = {00963518}, + doi = {doi: 10.1109/29.1509}, + url = {citeulike-article-id:4187413%5Cnhttp://dx.doi.org/10.1109/29.1509}, + abstract = {A novel method is proposed for realizing exact inverse filtering\textbackslash n of acoustic impulse responses in room. This method is based on the\textbackslash n principle called the multiple-input/output inverse theorem (MINT). The\textbackslash n inverse is constructed from multiple finite-impulse response (FIR)\textbackslash n filters (transversal filters) by adding some extra acoustic\textbackslash n signal-transmission channels produced by multiple loudspeakers or\textbackslash n microphones. The coefficients of these FIR filters can be computed by\textbackslash n the well-known rules of matrix algebra. Inverse filtering in a sound\textbackslash n field is investigated experimentally. It is shown that the proposed\textbackslash n method is greatly superior to previous methods that use only one\textbackslash n acoustic signal-transmission channel. The results prove the possibility\textbackslash n of sound reproduction and sound reception without any distortion caused\textbackslash n by reflected sounds}, + keywords = {dereverb,overdetermined,reverb}, + file = {/Users/tomoya/Zotero/storage/X7J5AYRC/Miyoshi, Kaneda_1988_Inverse filtering of room acoustics.pdf} +} + +@article{modelParametricModelHead2009, + title = {Parametric Model of Head Related Transfer Functions Based on Systematic Movements of Poles and Zeros with Sound Location for Pole/Zero Models \_\_\_\_\_\_\_\_\_\_}, + author = {Model, Parametric and Head, O F and Transfer, Related and Based, Functions and Movements, Systematic and Poles, O F and With, Zeros and Location, Sound}, + date = {2009}, + issue = {August}, + file = {/Users/tomoya/Zotero/storage/TJXCPUI6/Model et al._2009_Parametric model of head related transfer functions based on systematic movements of poles and zeros with sound locati.pdf} +} + +@online{Mohayonao2015, + title = {{{CoffeeCollider}}}, + author = {{mohayonao}}, + date = {2015}, + url = {http://mohayonao.github.io/CoffeeCollider/}, + urldate = {2021-10-29} +} + +@misc{mohayonaoCoffeeCollider2015, + title = {{{CoffeeCollider}}}, + author = {{mohayonao}}, + date = {2015}, + url = {http://mohayonao.github.io/CoffeeCollider/}, + urldate = {2021-10-29} +} + +@article{momeniMOMExtensiblePlatform2018, + title = {{{MOM}} : An {{Extensible Platform}} for {{Rapid Design}} and {{Prototyping}} of {{Portable Electroacoustic Instruments}}}, + author = {Momeni, Ali and Mcnamara, Daniel and Stiles, Jesse and Ave, Forbes}, + date = {2018}, + pages = {65--71}, + file = {/Users/tomoya/Zotero/storage/X42J4SSU/Momeni et al._2018_MOM an Extensible Platform for Rapid Design and Prototyping of Portable Electroacoustic Instruments.pdf} +} + +@book{montfortExploratoryProgrammingArts2016, + title = {Exploratory {{Programming}} for the {{Arts}} and {{Humanities}}}, + author = {Montfort, Nick}, + date = {2016-04-08}, + publisher = {The MIT Press}, + isbn = {978-0-262-03420-3} +} + +@article{montgomeryAmplificationHighFidelity1959, + title = {Amplification and {{High Fidelity}} in the {{Greek Theater}}}, + author = {Montgomery, Henry C.}, + date = {1959}, + journaltitle = {The Classical Journal}, + volume = {54}, + number = {6}, + pages = {242--245}, + url = {http://0-www.jstor.org.skyline.ucdenver.edu/stable/3294133?seq=1#page_scan_tab_contents}, + keywords = {Henry C. Montgomery}, + file = {/Users/tomoya/Zotero/storage/3JG7U9IW/Montgomery_2013_AMPLIFICATION AND HIGH FIDELITY IN THE GREEK THEATER.pdf} +} + +@article{mooreComputerAudioResearch1982, + title = {The {{Computer Audio Research Laboratory}} at {{UCSD}}}, + author = {Moore, F. Richard}, + date = {1982}, + journaltitle = {Computer Music Journal}, + volume = {6}, + number = {1}, + eprint = {3680355}, + eprinttype = {jstor}, + pages = {18--29}, + publisher = {The MIT Press}, + issn = {0148-9267}, + doi = {10.2307/3680355}, + url = {https://www.jstor.org/stable/3680355}, + urldate = {2022-01-15} +} + +@article{mooreCrammingMoreComponents1965, + title = {Cramming More Components onto Integrated Circuits}, + author = {Moore, Gordon}, + date = {1965-04-19}, + journaltitle = {Electronics}, + volume = {38}, + number = {8}, + annotation = {Catalog Number: 102770822\\ +Category: Article}, + file = {/Users/tomoya/Zotero/storage/DREUUEVQ/1965 - Cramming more components onto integrated circuits.pdf} +} + +@thesis{moradiGlitchAesthetics2004, + type = {mathesis}, + title = {Glitch {{Aesthetics}}}, + author = {Moradi, Iman}, + date = {2004}, + institution = {The University of Huddersfield}, + url = {http://www.organised.info/wp-content/uploads/2016/08/Moradi-Iman-2004-Glitch-Aesthetics.pdf}, + urldate = {2022-01-25}, + language = {english}, + pagetotal = {85}, + file = {/Users/tomoya/Zotero/storage/IMTM4BTN/Moradi-Iman-2004-Glitch-Aesthetics.pdf} +} + +@article{morrealeNIMEIdentityPerformer, + title = {{{NIME Identity}} from the {{Performer}}’ s {{Perspective}}}, + author = {Morreale, Fabio and Mcpherson, Andrew P and Wanderley, Marcelo M}, + pages = {168--173}, + file = {/Users/tomoya/Zotero/storage/KXQ6SAEG/Morreale, Mcpherson, Wanderley_Unknown_NIME Identity from the Performer’ s Perspective.pdf} +} + +@article{mosherTributariesOurDistant2018, + title = {Tributaries of {{Our Distant Palpability NIME Proceedings Template}} for {{LaTeX}}}, + author = {Mosher, Matthew and Trovato, Ben and Wood, Danielle and Obr, Tony}, + date = {2018}, + pages = {360--361}, + file = {/Users/tomoya/Zotero/storage/KITBR34Y/Mosher et al._2018_Tributaries of Our Distant Palpability NIME Proceedings Template for LaTeX.pdf} +} + +@article{mountapmbeme2022, + title = {Addressing {{Accessibility Barriers}} in {{Programming}} for {{People}} with {{Visual Impairments}}: {{A Literature Review}}}, + shorttitle = {Addressing {{Accessibility Barriers}} in {{Programming}} for {{People}} with {{Visual Impairments}}}, + author = {Mountapmbeme, Aboubakar and Okafor, Obianuju and Ludi, Stephanie}, + date = {2022-03-21}, + journaltitle = {ACM Transactions on Accessible Computing}, + shortjournal = {ACM Trans. Access. Comput.}, + volume = {15}, + number = {1}, + pages = {7:1--7:26}, + issn = {1936-7228}, + doi = {10.1145/3507469}, + url = {https://doi.org/10.1145/3507469}, + urldate = {2024-06-24}, + abstract = {Accessibility issues with programming languages and programming environments pose a major barrier for students with visual impairments to participate in computing related courses as well as threatens the productivity of professional programmers with visual impairments. To remedy this, the past two decades have witnessed an increase in accessibility research designed to investigate and address the challenges faced by people with visual impairments while programming or learning how to program. We conducted a literature review of accessibility research in this domain. The aim was to identify, aggregate, and highlight known accessibility barriers to programming faced by professional programmers and students with visual impairments learning how to code as well as to identify all solutions that have been proposed to address these barriers. We selected and analyzed 70 papers reporting on accessibility of programming and programming environments for people with visual impairments. Numerous barriers to programming by people with visual impairments have been identified in the literature. Some of these barriers are understudied and present opportunities for future work. A lot of studies have also proposed tools and new accessible programming languages to address the accessibility issues of current programming languages and programming environments.}, + keywords = {Accessibility,accessible computing,assistive technologies,blind programmers,programming languages,visual impairments}, + file = {/Users/tomoya/Downloads/Addressing_Accessibility_Barriers_in_Pro.pdf} +} + +@article{moussa2021, + title = {Synthesis of {{ZnO}} Sol–Gel Thin-Films {{CMOS-Compatible}}}, + author = {Moussa, Nizar Ben and Lajnef, Mohamed and Jebari, Nessrine and Villebasse, Cedric and Bayle, Fabien and Chaste, Julien and Madouri, Ali and Chtourou, Radouane and Herth, Etienne}, + date = {2021}, + journaltitle = {RSC Advances}, + volume = {11}, + number = {37}, + pages = {22723--22733}, + publisher = {Royal Society of Chemistry}, + doi = {10.1039/D1RA02241E}, + url = {https://pubs.rsc.org/en/content/articlelanding/2021/ra/d1ra02241e}, + urldate = {2023-09-13}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/QK8QHI7N/Moussa et al. - 2021 - Synthesis of ZnO sol–gel thin-films CMOS-Compatibl.pdf;/Users/tomoya/Zotero/storage/W4KEG67P/Moussa et al. - 2021 - Synthesis of ZnO sol–gel thin-films CMOS-Compatibl.pdf} +} + +@article{muddDynamicalInteractionsElectronic2014, + title = {Dynamical {{Interactions}} with {{Electronic Instruments}}}, + author = {Mudd, Tom and Holland, Simon and Mulholland, Paul and Dalton, Nick}, + date = {2014}, + journaltitle = {Proceedings of the International Conference on New Interfaces For Musical Expression}, + pages = {126--129}, + abstract = {This paper examines electronic instruments that are based on dynamical systems, where the behaviour of the instru- ment depends not only upon the immediate input to the in- strument, but also on the past input. Five instruments are presented as case studies: Michel Waisvisz' Cracklebox, Dy- lan Menzies' Spiro, no-input mixing desk, the author's Feed- back Joypad, and microphone-loudspeaker feedback. Links are suggested between the sonic affordances of each instru- ment and the dynamical mechanisms embedded in them. This is discussed in the context of contemporary, material- oriented approaches to composition and particularly to free improvisation where elements such as unpredictability and instability are often of interest, and the process of explo- ration and discovery is an important part of the practice. Links are also made with the use of dynamical interactions in computer games to produce situations in which slight variations in the timing and ordering of inputs can lead to very different outcomes, encouraging similarly explorative approaches.}, + keywords = {affor-,dynamical systems,free improvisation,nonlinearity}, + file = {/Users/tomoya/Zotero/storage/6QNS3VV7/m-api-1e6f0348-1c8e-b3e9-4aad-7ddc39dbebe3.pdf} +} + +@article{mudry2013, + title = {The Early History of the Cochlear Implant: A Retrospective}, + shorttitle = {The Early History of the Cochlear Implant}, + author = {Mudry, Albert and Mills, Mara}, + date = {2013}, + journaltitle = {JAMA otolaryngology–head \& neck surgery}, + volume = {139}, + number = {5}, + pages = {446--453}, + publisher = {American Medical Association}, + url = {https://jamanetwork.com/journals/jamaotolaryngology/article-abstract/1688121}, + urldate = {2024-08-24}, + file = {/Users/tomoya/Zotero/storage/E9GIDA9B/1688121.html} +} + +@inproceedings{muhammadTaxonomyPackageManagement2019, + title = {Taxonomy of Package Management in Programming Languages and Operating Systems}, + booktitle = {{{PLOS}} 2019 - {{Proceedings}} of the 10th {{Workshop}} on {{Programming Languages}} and {{Operating Systems}}, {{Part}} of {{SOSP}} 2019}, + author = {Muhammad, Hisham and Villa Real, Lucas C. and Homer, Michael}, + date = {2019-10-27}, + pages = {60--66}, + publisher = {Association for Computing Machinery, Inc}, + doi = {10.1145/3365137.3365402}, + url = {https://doi.org/10.1145/3365137.3365402}, + urldate = {2021-07-29}, + abstract = {Package management is instrumental for programming languages and operating systems, and yet it is neglected by both areas as an implementation detail. For this reason, it lacks the same kind of conceptual organization: we lack terminology to classify them or to reason about their design trade-offs. In this paper, we share our experience in both OS and language-specific package manager development, categorizing families of package managers and discussing their design implications beyond particular implementations. We also identify possibilities in the still largely unexplored area of package manager interoperability.}, + keywords = {Filesystem hierarchy,Module systems,Operating systems,Package management}, + file = {/Users/tomoya/Zotero/storage/7LWQR3AL/full-text.pdf} +} + +@inproceedings{Muller2020, + title = {A {{Rhetorical Framework}} for {{Programming Language Evaluation}}}, + booktitle = {Onward! 2020 - {{Proceedings}} of the 2020 {{ACM SIGPLAN International Symposium}} on {{New Ideas}}, {{New Paradigms}}, and {{Reflections}} on {{Programming}} and {{Software}}, {{Co-located}} with {{SPLASH}} 2020}, + author = {Muller, Stefan K. and Ringler, Hannah}, + date = {2020-11-08}, + pages = {187--194}, + publisher = {Association for Computing Machinery, Inc}, + location = {New York, NY, USA}, + doi = {10.1145/3426428.3426927}, + url = {https://dl.acm.org/doi/10.1145/3426428.3426927}, + urldate = {2021-03-28}, + abstract = {Programming languages researchers make a variety of different kinds of claims about the design of languages and related tools and calculi. Each type of claim requires different kinds of reasons and evidence to justify. Claims regarding the aesthetics or elegance of a design, or its effects on people, are especially tricky to justify because they are less strictly defined and thus are subject to change depending on the exact audience. In this essay, we take an interdisciplinary approach to this problem by drawing on the fields of argument theory and rhetorical analysis to develop a framework for justifying audience-dependent claims. In particular, we argue that researchers should provide descriptions of specific features of their systems that connect to effects on audience in order to justify these claims. To demonstrate this framework, we show several examples of how this is already being practiced in some programming languages research, and conclude by calling for authors to provide descriptive evidence to bolster such claims and to frame and strengthen other evaluation methods such as user studies.}, + isbn = {978-1-4503-8178-9}, + keywords = {justifying claims,programming language evaluation,rhetoric}, + file = {/Users/tomoya/Zotero/storage/4Y9W67KW/Muller, Ringler - 2020 - A rhetorical framework for programming language evaluation.pdf;/Users/tomoya/Zotero/storage/Q7MWPPNC/full-text.pdf} +} + +@article{mummaElectronicMusicStudio2009, + title = {An {{Electronic Music Studio}} for the {{Independent Composer}} (1964)}, + author = {Mumma, Gordon}, + date = {2009}, + journaltitle = {Circuit: Musiques contemporaines}, + volume = {19}, + number = {3}, + pages = {85}, + issn = {1183-1693}, + doi = {10.7202/038261ar}, + url = {http://id.erudit.org/iderudit/038261ar}, + file = {/Users/tomoya/Zotero/storage/7K57QDFG/Mumma_2009_An Electronic Music Studio for the Independent Composer (1964).pdf} +} + +@article{murschitzHeadRelatedTransfer2011, + title = {Head {{Related Transfer Functions}} \& {{Multiple Exponential Sweep Method}}}, + author = {Murschitz, Markus}, + date = {2011}, + journaltitle = {Audio Engineering Society}, + volume = {49}, + number = {6}, + pages = {443--471}, + issn = {00047554}, + abstract = {A system identification by impulse response measurements with multiple sound source configurations can benefit greatly from time-efficient measurement procedures. An optimized method by interleaving and overlapping of multiple exponential sweeps (MESM) used as excitation signals was presented by Majdak et al. (2007). For single system identifications, however, much higher signal-to-noise ratios (SNR) can be reached with sweeps whose magnitude spectra are adapted to the background noise spectrum of the acoustical environment, as proposed by Müller \& Massarani (2001). We investigated on which conditions and to what extent the efficiency of multiple sweep measurements can be increased by using arbitrary, spectrally adapted sweeps. An extension of the MESM approach towards generalized sweep spectra is presented, along with a recommended measurement procedure and a prediction of the efficiency of multiple sweep measurements depending on typical measurement conditions. 1.}, + isbn = {9781615671663}, + keywords = {non-linear}, + file = {/Users/tomoya/Zotero/storage/XJ37ZG3T/m-api-0df7240b-75ad-ca21-21d4-34f3b45c1ac3.pdf} +} + +@article{musicCollaborationSeaTails2016, + title = {Collaboration on {{Sea Tails Hearing Spaces}} : {{David Tudor}} ' s}, + author = {Music, Leonardo}, + date = {2016}, + volume = {14}, + pages = {31--39}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/BZKNXL7G/Music_2016_Collaboration on Sea Tails Hearing Spaces David Tudor ' s.pdf} +} + +@article{myny8bOrganicMicroprocessor2011, + title = {An 8b Organic Microprocessor on Plastic Foil}, + author = {Myny, Kris and Van Veenendaal, Erik and Gelinck, Gerwin H. and Genoe, Jan and Dehaene, Wim and Heremans, Paul}, + date = {2011}, + journaltitle = {Digest of Technical Papers - IEEE International Solid-State Circuits Conference}, + pages = {322--323}, + doi = {10.1109/ISSCC.2011.5746337}, + abstract = {We introduce a microprocessor made by organic thin-film transistors processed directly onto flexible plastic foil. This is a direct realization of a microprocessor by thin-film technology, i.e., without transfer, on plastic. It paves the way to equip mundane supports and objects with low-cost computing power. We also demonstrate the correct execution of a digital signal-processing task, namely increasing the accuracy of a repetitive digital input by time-averaging. © 2011 IEEE.} +} + +@article{naitouHistoryMusicPrinting2015, + title = {History of {{Music Printing}}: From {{Petrucci}}'s {{Fonts}} to {{Mozaic Fonts}}, ─初期の楽譜用活字から細分活字ま で─, 楽譜印刷の歴史を考える}, + author = {Naitou, Ikuo and Hasegawa, Yumiko and Shibaki, Norio}, + date = {2015}, + journaltitle = {日本印刷学会誌}, + volume = {52}, + number = {5}, + pages = {31--48}, + abstract = {Developments in music printing by letterpresses were studied using several historical scores, i.e., score I printed by Gardano in Venice in 1575, score II printed by Gardano in Venice in 1679, score III printed by Ch. Ballard in Paris in 1679, score IV printed by Endter in Nuremberg in 1682, score V printed by F. Heptinstall in London in 1697, and score VI printed by Breitkopf \& Härtel in Leipzig in 1799. Score I was printed using fonts similar to those invented by Ottaviano dei Petrucci in 1525. About 100 years after score I was printed, there were many differences in the scores in different cities （score II to V） ． The differences were studied to develop the next font, a mosaic-type font. Finally, the characteristics and typesetting of the mosaic-type font were clarified using score VI.}, + file = {/Users/tomoya/Zotero/storage/3YJX9HYC/full-text.pdf} +} + +@inproceedings{najork1991, + title = {The {{CUBE}} Languages}, + booktitle = {Proceedings 1991 {{IEEE Workshop}} on {{Visual Languages}}}, + author = {Najork, M.A. and Kaplan, S.M.}, + date = {1991-10}, + pages = {218--224}, + doi = {10.1109/WVL.1991.238829}, + url = {https://ieeexplore.ieee.org/document/238829}, + urldate = {2024-11-22}, + abstract = {CUBE is a three-dimensional, visual, statically typed, higher-order logic programming language. CUBE will eventually be embedded into a virtual-reality-based programming environment that allows a user to manipulate a CUBE program simply by grabbing, placing and moving its components.{$<>$}}, + eventtitle = {Proceedings 1991 {{IEEE Workshop}} on {{Visual Languages}}}, + keywords = {Animation,Computer languages,Logic programming,Programming environments,Sections}, + file = {/Users/tomoya/Zotero/storage/C3KAY525/vl1991.pdf;/Users/tomoya/Zotero/storage/UTBZLQR6/238829.html} +} + +@inproceedings{najork1992, + title = {A Prototype Implementation of the {{CUBE}} Language}, + booktitle = {Proceedings {{IEEE Workshop}} on {{Visual Languages}}}, + author = {Najork, M.A. and Kaplan, S.M.}, + date = {1992}, + pages = {270--272}, + publisher = {IEEE Comput. Soc. Press}, + location = {Seattle, WA, USA}, + doi = {10.1109/WVL.1992.275744}, + url = {http://ieeexplore.ieee.org/document/275744/}, + urldate = {2024-11-22}, + abstract = {CUBE is a three-dimensional, visual, statically typed, inherently concurrent, higher-order logic programming language, aimed towards a virtual-reality-based programming environment. This paper describes a prototype implementation of CUBE.}, + eventtitle = {{{IEEE Workshop}} on {{Visual Languages}}}, + isbn = {978-0-8186-3090-3}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/WK4W4FC3/Najork and Kaplan - 1992 - A prototype implementation of the CUBE language.pdf} +} + +@article{najork1996, + title = {Programming in {{Three Dimensions}}}, + author = {Najork, Marc A.}, + date = {1996-06}, + journaltitle = {Journal of Visual Languages \& Computing}, + shortjournal = {Journal of Visual Languages \& Computing}, + volume = {7}, + number = {2}, + pages = {219--242}, + issn = {1045926X}, + doi = {10.1006/jvlc.1996.0012}, + url = {https://linkinghub.elsevier.com/retrieve/pii/S1045926X96900129}, + urldate = {2024-11-22}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/PBZ62H86/Najork - 1996 - Programming in Three Dimensions.pdf} +} + +@book{nakamura2006, + title = {Deaf in Japan: Signing And the Politics of Identity}, + shorttitle = {Deaf in Japan}, + author = {Nakamura, Karen}, + date = {2006-07-27}, + publisher = {Cornell Univ Pr}, + location = {Ithaca, N.Y}, + abstract = {Karen Nakamura combines history, life histories, ethnographic observation, and politico-linguistic analysis of sign language in Japan to open up sensible and much-needed debate on the multiplicity of the Japanese and their culture.?Sonia Ryang, The Johns Hopkins UniversityUntil the mid-1970s, deaf people in Japan had few legal rights and little social recognition. Legally, they were classified as minors or mentally deficient, unable to obtain driver's licenses or sign contracts and wills. Many worked at menial tasks or were constantly unemployed, and schools for the deaf taught a difficult regimen of speechreading and oral speech methods rather than signing. After several decades of activism, deaf men and women are now largely accepted within mainstream Japanese society.Deaf in Japan, a groundbreaking study of deaf identity, minority politics, and sign language, traces the history of the deaf community in Japan, from the establishment of the first schools for the deaf in the 1870s to the birth of deaf activist movements in the postwar period and current "culture wars" over signing and assimilation. Drawing on archival and ethnographic research and in-depth interviews with deaf men and women from three generations, Karen Nakamura examines shifting attitudes toward and within the deaf community.Nakamura suggests that the notion of "deaf identity" is intimately linked with the Japanese view of modernization and Westernization. The left-affiliated Japanese Federation of the Deaf embraces an assimilationist position, promoting lip-reading and other forms of accommodation with mainstream society. In recent years, however, young disability advocates, exponents of an American-style radical separatism, have promoted the use of Japanese Sign Language.Nakamura, who signs in both ASL and JSL, finds that deafness has social characteristics typical of both ethnic minority and disability status, comparing the changing deaf community with other Japanese minority groups such as the former Burakumin, the Okinawans, and zainichi Koreans. Her account of the language wars that have erupted around Japanese signing gives evidence of broader changes in attitudes regarding disability, identity, and culture in Japan.}, + isbn = {978-0-8014-4350-3}, + language = {英語}, + pagetotal = {400} +} + +@online{Namba2023, + title = {「障害とフェラリティの間のADHD：解体の政治的な美倫理学に向けて」イヴ・シットン｜Lichtung Magazines}, + author = {難波, 優輝}, + date = {2023-12-15}, + url = {https://note.com/deinotaton/n/n4a39fddc47de}, + urldate = {2024-03-31}, + abstract = {ADHDは「治療」すべきなのだろうか？\ 障害とされているものを欠陥や機能不全としてではなく、「能力の生産的な歪み」として捉えることはできないだろうか？\ そうすることで、私たちは、ADHDを含めた発達傾向が当たり前だとされている社会のインフラと衝突するときに起こる現象を「フェラリティ」として捉えることができる。フェラリティとは、人間以外の存在が人間のインフラ・プロジェクトと絡み合ったときに生まれるある種の有毒であったり、破壊的であったりする生態学的世界の現象、状態のことだ。インフラと発達傾向の破壊的な遭遇をフェラリティとして役立てることから、私たちは、次の未来の世界の}, + language = {ja}, + organization = {Lichtung Magazines - note（ノート）}, + file = {/Users/tomoya/Zotero/storage/YB5AYA86/n4a39fddc47de.html} +} + +@misc{nancyInterviewPRESPERECKERT1977, + title = {An {{Interview}} with {{J}}. {{PRESPER ECKERT}}}, + author = {Nancy, Stern}, + date = {1977}, + pages = {1--61}, + file = {/Users/tomoya/Zotero/storage/54Z22U2D/Unknown_1977_No Title.pdf} +} + +@article{nataleReviewEssayUnderstanding2012, + title = {Review {{Essay}}. {{Understanding Media Archaeology}}}, + author = {Natale, Simone}, + date = {2012}, + journaltitle = {Canadian Journal of Communication}, + volume = {37}, + pages = {523--527}, + isbn = {9780520262737}, + file = {/Users/tomoya/Zotero/storage/PB86EQZN/Natale_2012_Review Essay. Understanding Media Archaeology.pdf} +} + +@book{nealBayesianLearningNeural1996, + title = {Bayesian {{Learning}} for {{Neural Networks}}}, + author = {Neal, Radford M}, + date = {1996}, + journaltitle = {Springer}, + eprint = {3473}, + eprinttype = {pmid}, + issn = {0930-0325}, + doi = {10.1007/978-1-4612-0745-0}, + isbn = {978-3-642-12464-8}, + pagetotal = {341}, + file = {/Users/tomoya/Zotero/storage/4G23LEAT/Neal_1996_Bayesian Learning for Neural Networks.pdf} +} + +@article{neto2020, + title = {Design and Implementation of an Educational Game Considering Issues for Visually Impaired People Inclusion}, + author = {Neto, Luiz Valério and Fontoura Junior, Paulo H.F. and Bordini, Rogério A. and Otsuka, Joice L. and Beder, Delano M.}, + date = {2020-01-10}, + journaltitle = {Smart Learning Environments}, + shortjournal = {Smart Learning Environments}, + volume = {7}, + number = {1}, + pages = {4}, + issn = {2196-7091}, + doi = {10.1186/s40561-019-0103-4}, + url = {https://doi.org/10.1186/s40561-019-0103-4}, + urldate = {2024-06-19}, + abstract = {In recent years there has been an increase in research focusing on the effectiveness of using video games as educational digital resources that can contribute to the learning process at different levels, which has also subsidised the development of educational games. However, these games are mostly visual and not accessible to people with visual impairments. As an educational resource, it is essential that the design of educational games be conducted not only with a focus on the balance between playful and educational aspects, but also with a focus on including the largest number of people. This article, therefore, aims to describe the design, implementation and evaluation processes of an accessible version of the educational game Em Busca do Santo Grau, based on EduGameAccess – a set of recommendations that integrates educational, playability and accessibility aspects for people with visual impairments.}, + keywords = {Accessibility,Educational game,Open educational resources}, + file = {/Users/tomoya/Zotero/storage/RYLBLFHT/Neto et al. - 2020 - Design and implementation of an educational game c.pdf;/Users/tomoya/Zotero/storage/X8WA9BKJ/s40561-019-0103-4.html} +} + +@book{NianChuanDongJingDaXueBokaroidoYinLeLunJiangYi2022, + title = {東京大学「ボーカロイド音楽論」講義}, + author = {鮎川, ぱて}, + date = {2022}, + publisher = {文芸春秋}, + location = {Tōkyō}, + isbn = {978-4-16-391362-9}, + language = {jpn}, + annotation = {OCLC: 1334983849} +} + +@incollection{NiaoYangNiaoYangChaoMYSTYLE1991, + title = {鳥養潮 MY STYLE}, + booktitle = {スタジオ200活動誌 : 1979-1991}, + author = {鳥養, 潮}, + date = {1991}, + pages = {88--100}, + publisher = {西武百貨店}, + url = {https://ci.nii.ac.jp/ncid/BN09214064}, + urldate = {2022-01-22}, + abstract = {スタジオ200活動誌 : 1979-1991 スタジオ200編 西武百貨店, c1991}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/7JL9KT7R/スタジオ200 - 1991 - スタジオ200活動誌 1979-1991.pdf;/Users/tomoya/Zotero/storage/VNQXDMZJ/BN09214064.html} +} + +@article{nielsPHYSMISMControlInterface2007, + title = {{{PHYSMISM}} : {{A}} Control Interface for Creative Exploration of Physical Models .}, + author = {Niels, B and Gelineck, Steven and Serafin, Stefania}, + date = {2007}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {31--36}, + doi = {10.1145/1279740.1279743}, + abstract = {In this paper we describe the design and implementation of the PHYSMISM: an interface for exploring the possibilities for improving the creative use of physical modelling sound synthesis. The PHYSMISM is implemented in a software and hard- ware version. Moreover, four different physical modelling techniques are implemented, to explore the implications of using and combining different techniques. In order to evaluate the creative use of physical models, a test was performed using 11 experienced musicians as test subjects. Results show that the capability of combining the physical models and the use of a physical interface engaged the}, + keywords = {excitation,feel of the physmism,figure 1,hybrid instruments,inspired by old analogue,physical models,resonator,the final look and,was among other things}, + file = {/Users/tomoya/Zotero/storage/L8FDS7Q7/Niels, Gelineck, Serafin_2007_PHYSMISM A control interface for creative exploration of physical models .pdf} +} + +@misc{Nieminen2023, + title = {Jonathan {{Sterne}} on His Book, {{Diminished Faculties}} - {{CaMP Anthropology}}}, + author = {Nieminen, Tony}, + namea = {Sterne, Jonathan}, + nameatype = {collaborator}, + date = {2023-02-06}, + url = {https://campanthropology.org/2023/02/06/jonathan-sterne-on-his-book-diminished-faculties/}, + urldate = {2024-03-31}, + file = {/Users/tomoya/Zotero/storage/UV72APZU/jonathan-sterne-on-his-book-diminished-faculties.html} +} + +@inproceedings{nienhuysLILYPONDSYSTEMAUTOMATED2003, + title = {{{LILYPOND}}, {{A SYSTEM FOR AUTOMATED MUSIC ENGRAVING}}}, + booktitle = {Proceedings of the {{XIV Colloquium}} on {{Musical Informatics}}}, + author = {Nienhuys, Han-Wen and Nieuwenhuizen, Jan}, + date = {2003-05-08}, + location = {Firenze, Italy}, + url = {http://www.lilypond.org.}, + urldate = {2020-06-07}, + abstract = {LilyPond is a modular, extensible and programmable compiler for producing high-quality music notation. In this article we discuss briefly the background of automated music printing, describe how our system works and show some examples of its capabilities.}, + file = {/Users/tomoya/Zotero/storage/KFB7SYAX/full-text.pdf} +} + +@article{nievaTStickMaintaining122018, + title = {The {{T-Stick}} : {{Maintaining}} a 12 Year-Old {{Digital Musical Instrument}}}, + author = {Nieva, Alex and Wang, Johnty and Malloch, Joseph and Wanderley, Marcelo M}, + date = {2018}, + pages = {198--199}, + file = {/Users/tomoya/Zotero/storage/8A3LVKCI/Nieva et al._2018_The T-Stick Maintaining a 12 year-old Digital Musical Instrument.pdf} +} + +@article{nimkulratRoleDocumentationPracticeled2007, + title = {The Role of Documentation in Practice-Led Research}, + author = {Nimkulrat, Nithikul}, + date = {2007}, + journaltitle = {Journal of Research Practice}, + volume = {3}, + number = {1}, + pages = {1--8}, + abstract = {Practice-led research in the field of art and design usually involves a study of the interplay between a researcher-practitioner and her artistic work in process. This article seeks to illustrate that documentation of art practice can be a means to record that interplay and it can be used as relevant material in practice-led research. The article will present an account of documentation in practice-led research highlighting two principal aspects: phases of documentation and the role of documentation within the overall research process. The account will capture reflections of the author’s own practice-led research in fiber art, which investigates the relationship between materials and artistic expression, in the context of contemporary art.}, + keywords = {Art practice,Artifact,Documentation,Practice-led research}, + file = {/Users/tomoya/Zotero/storage/RJHJS5KM/2007-The_role_of_documentation_in_practice-led_research.pdf} +} + +@inproceedings{nishimuraTaktReadevalplayloopInterpreter2014, + title = {Takt: {{A}} Read-Eval-Play-Loop Interpreter for a Structural/Procedural Score Language}, + booktitle = {Proceedings {{ICMC}}|{{SMC}}|2014}, + author = {Nishimura, Satoshi}, + date = {2014-09-14}, + pages = {1736--1741}, + location = {Athens, Greece}, + abstract = {A new language for describing musical scores as well as its interpreter is developed. The language allows a concise description of note and chord sequences, and at the same time, it provides rich programming functionalities with C-like syntax, which are useful for algorithmic composition. Representing structures in music such as repetitive occurrences of a common phrase or its variation is supported with macros and phrase transformation modules. The interpreter enables us to execute its program code interactively with a read-eval-play loop. The interpreter can also be used for the real-time processing of MIDI events coming from input devices. The language is extensible in that C functions can be called from its program code.}, + file = {/Users/tomoya/Zotero/storage/38S4GKNG/full-text.pdf} +} + +@article{Nishino2012, + title = {Developing a {{New Computer Music Programming Language}} in the '{{Research}} through {{Design}}' {{Context}}}, + author = {Nishino, Hiroki}, + date = {2012}, + journaltitle = {SPLASH'12 - Proceedings of the 2012 ACM Conference on Systems, Programming, and Applications: Software for Humanity}, + volume = {12}, + pages = {45--47}, + doi = {10.1145/2384716.2384736}, + abstract = {The development of computer music languages seems to be considered from outside the computer music community just as contributions in practice rather than in research. Yet, the emerging approach of 'Research through Design (RtD)' in HCI also casts a significant question as to how the academic contribution can be made through the design of such DSLs. We describe our practice in the development of a computer music language from the perspective of the RtD.}, + keywords = {Computer music,Research through design}, + file = {/Users/tomoya/Zotero/storage/6HUK3D86/Nishino - 2012 - Developing a new computer music programming language in the 'research through design' context.pdf;/Users/tomoya/Zotero/storage/DMZJR7NQ/full-text.pdf} +} + +@article{Nishino2014, + title = {{{LC}}: {{A New Computer Music Programming Language}} with {{Three Core Features}}}, + author = {Nishino, Hiroki and Osaka, Naotoshi and Nakatsu, Ryohei}, + date = {2014}, + journaltitle = {International Computer Music Conference}, + pages = {14--20}, + isbn = {9789604661374}, + issue = {September}, + file = {/Users/tomoya/Zotero/storage/J244M9AH/Nishino, Osaka, Nakatsu - 2014 - LC A New Computer Music Programming Language with Three Core Features.pdf;/Users/tomoya/Zotero/storage/YC97RXGS/Nishino, Osaka, Nakatsu_2014_LC A New Computer Music Programming Language with Three Core Features.pdf} +} + +@thesis{Nishino2014, + title = {{{LC}}: {{A Mostly-strongly-timed Prototype-based Computer Music Programming Language}} That {{Integrates Objects}} and {{Manipulations}} for {{Microsound Synthesis}}}, + author = {Nishino, Hiroki}, + date = {2014}, + institution = {National University of Singapore}, + abstract = {Through the design of LC, a new computer music programming language, this thesis contributes to solutions to three problems in today’s computer music language design: (1) the insufficient support for dynamic modifica- tion, (2) the insufficient support for precise timing behaviour and other desirable features with respect to time, and (3) the difficulty in microsound synthesis programming caused by the anti-pattern of abstraction inversion. As the creation process of computer music composition can be highly ex- ploratory in that musicians normally experiment with different composi- tional and sound synthesis algorithms, better support for rapid-prototyping is considered important. At the same time, recent computer music practices can even involve dynamic modification of a program at runtime, on-the-fly on stage, at both levels of compositional algorithms and sound synthesis. Nevertheless, even the latest computer music languages do not provide a terse and consistent programming model with a sufficient degree of sup- port for dynamic modification, especially at the sound synthesis level. This thesis contributes to this issue by the adoption of prototype-based program- ming, which is highly dynamic in its nature, at both levels of compositional algorithms and sound synthesis in the language design. The insufficient support for precise timing behaviour and other desirable features with respect to time is another significant problem in many com- puter music languages. While the strongly-timed programming concept can achieve precise timing behaviour with sample-rate accuracy by the ex- plicit control of the advance of logical time, a time-consuming task that hinders the advance of logical time can easily cause the temporary suspen- sion of real-time DSP. This thesis proposes the concept of mostly-strongly- timed programming, which extends strongly-timed programming with ex- plicit switching to asynchronous context, in which a thread can be pre- empted regardless of the synchronization with the advance of logical time; thus, a mostly- strongly-timed program can avoid temporary suspension of real-time DSP by executing time-consuming tasks in the asynchronous pre- emptive context, while maintaining sample-rate accurate timing behaviour of strongly-timed programming. This thesis also discusses the benefits for integrating other desirable features with respect to time, such as timing constraints and time-tagged message communication. Microsound synthesis programs written in unit-generator languages often in- volve certain programming patterns, which complicate the implementation to compensate imprecise timing behaviour and the lack of the consideration on microsound synthesis in the abstraction of its underlying sound synthe- sis framework. Such a symptom can be assessed as abstraction inversion, an anti-pattern that occurs when high-level abstractions must be combined to express a lower-level abstraction. This thesis proposes a novel abstrac- tion for microsound synthesis that integrates objects and manipulations for microsounds in the design, which can collaborate with the traditional unit- generator concept in a complementary style. Together with precise timing behaviour supported by mostly-strongly-timed programming, the abstrac- tion makes it possible to describe microsound synthesis techniques more tersely without involving abstraction inversion.As above, this thesis contributes to three issues that computer music lan- guage research faces today, through the design of LC, a mostly-strongly- timed prototype-based programming language that integrates objects and manipulations for microsounds.}, + file = {/Users/tomoya/Zotero/storage/73M2UDVD/Music et al._2014_Hiroki NISHINO.pdf} +} + +@incollection{Nishino2016, + title = {Computer {{Music Languages}} and {{Systems}}: {{The Synergy Between Technology}} and {{Creativity}}}, + booktitle = {Handbook of {{Digital Games}} and {{Entertainment Technologies}}}, + author = {Nishino, Hiroki and Nakatsu, Ryohei}, + date = {2016}, + doi = {10.1007/978-981-4560-52-8}, + url = {http://link.springer.com/10.1007/978-981-4560-52-8}, + abstract = {INTRODUCCIÓN 1 Estamos en un momento de pleno apogeo en lo que se refiere al uso de nuevas metodologías en la enseñanza del español como lengua extranjera, a la implementación de las tecnologías de la información y la comunicación, y a la inclusión de elementos lúdicos para mejorar la experiencia de enseñanza y aprendizaje. En este artículo queremos realizar una aproximación al concepto de gamificación o ludificación, un término ya presente en el ámbito empresarial y que recientemente se ha adaptado al contexto docente de lenguas extranjeras por las múltiples ventajas que pue-de ofrecer durante el aprendizaje. El uso del juego o sus elementos en el contexto de enseñanza y aprendizaje de len-guas extranjeras tiene como fin modificar el comportamiento de los aprendientes hacia el proceso de aprendizaje de la lengua meta; por ejemplo, conseguir que aumente su mo-tivación y que el aprendizaje sea significativo y duradero. No obstante, para conseguir este objetivo es necesario analizar previamente las características contextuales, atender a los objetivos curriculares y ante todo, tener en cuenta las necesidades específicas de los aprendientes. Este artículo tiene el objetivo principal de promover una reflexión sobre este térmi-no y su implementación en el aula, así como proponer una serie de ideas para imple-mentarlas en el contexto del aula. Por último, queremos despertar en otros profesores de lengua extranjera el interés y la curiosidad por implementar la gamificación en sus prácticas docentes. 1 Los datos presentados en este taller son una adaptación del taller titulado " Y tú, ¿gamificas? " impartido por Matías Hidalgo Gallardo y Antonia García Jiménez durante las III Jornadas de formación de profesores de ELE en Hong Kong (13-14 de marzo de 2015). 74 ¿QUÉ ES LA GAMIFICACIÓN? La conceptualización de este término tiene su origen en el mundo de los negocios, pues es en este contexto donde se empezó a utilizar. Así, Werbach y Hunter (2012) se-ñalan que la gamificación consiste en el uso de elementos de juegos y técnicas de diseño de juegos en contextos no lúdicos. Teniendo en cuenta en el contexto en el que nos encontramos como docentes, la definición que acabamos de presentar debe modificarse. Tomaremos como referencia la propuesta de Foncubierta y Rodríguez (2014) que definen la gamificación como la técnica o técnicas que el profesor emplea en el diseño de una actividad, tarea o proceso de aprendizaje (sean de naturaleza analógica o digital) introduciendo elementos del juego (insignias, lí-mite de tiempo, puntuación, dados, etc.) y/o su pensamiento (retos, competición, etc.) con el fin de enriquecer esa experiencia de aprendizaje, dirigir y/o modificar el comportamiento de los alumnos en el aula (Foncubierta y Rodriguez 2).}, + isbn = {978-981-4560-52-8}, + file = {/Users/tomoya/Zotero/storage/JVBK3LZK/Nishino, Nakatsu - 2016 - Computer Music Languages and Systems The Synergy Between Technology and Creativity.pdf;/Users/tomoya/Zotero/storage/UKFT5TD2/Nishino, Nakatsu_2016_Handbook of Digital Games and Entertainment Technologies.pdf} +} + +@book{nomanFuZasatoGongniMurasuDezainnoTiaoZhan2011, + title = {複雑さと共に暮らす–デザインの挑戦}, + author = {ノーマン, ドナルド・A.}, + translator = {岡本, 明 and 安村, 通晃 and 伊賀, 聡一郎}, + date = {2011-08-01}, + publisher = {新曜社}, + isbn = {978-4-7885-1247-4} +} + +@article{norilo2015, + title = {Kronos: {{A Declarative Metaprogramming Language}} for {{Digital Signal Processing}}}, + author = {Norilo, Vesa}, + date = {2015}, + journaltitle = {Computer Music Journal}, + volume = {39}, + number = {4}, + pages = {30--48}, + doi = {10.1162/COMJ_a_00330}, + url = {https://dl.acm.org/doi/abs/10.1162/COMJ_a_00330}, + abstract = {Kronos is a signal-processing programming language based on the principles of semifunctional reactive systems. It is aimed at efficient signal processing at the elementary level, and built to scale towards higher-level tasks by utilizing the powerful programming paradigms of "metaprogramming" and reactive multirate systems. The Kronos language features expressive source code as well as a streamlined, efficient runtime. The programming model presented is adaptable for both sample-stream and event processing, offering a cleanly functional programming paradigm for a wide range of musical signal-processing problems, exemplified herein by a selection and discussion of code examples.}, + file = {/Users/tomoya/Zotero/storage/THAKVEM6/m-api-574ff3be-cfe2-7867-406a-df50770bf1cb.pdf} +} + +@inproceedings{Norilo2016, + title = {Kronos {{Meta-Sequencer}} – {{From Ugens}} to {{Orchestra}}, {{Score}} and {{Beyond}}}, + booktitle = {Proceedings of the {{International Computer Music Conference}}}, + author = {Norilo, Vesa}, + date = {2016}, + pages = {117--122}, + file = {/Users/tomoya/Zotero/storage/W53EPTFM/kronos-metasequencer.pdf;/Users/tomoya/Zotero/storage/WFSQ4VWI/kronos-metasequencer.pdf} +} + +@thesis{noriloKronosReimaginingMusical2016, + type = {phdthesis}, + title = {Kronos: {{Reimagining}} Musical Signal Processing}, + author = {Norilo, Vesa}, + date = {2016}, + institution = {University of the Arts Helsinki}, + file = {/Users/tomoya/Zotero/storage/DIJ6Q8UF/sisus_b51.pdf;/Users/tomoya/Zotero/storage/KLHBHLZZ/sisus_b51.pdf} +} + +@book{Norman2009, + title = {インビジブルコンピュータ –{{PCから情報アプライアンスへ}}}, + author = {ノーマン, ドナルド・A.}, + translator = {岡本, 明 and 安村, 通晃 and 伊賀, 聡一郎}, + date = {2009-06-01}, + publisher = {新曜社}, + isbn = {978-4-7885-1171-2} +} + +@article{normanDesignXComplexSociotechnical2015, + title = {{{DesignX}}: {{Complex Sociotechnical Systems}}}, + shorttitle = {{{DesignX}}}, + author = {Norman, Donald A. and Stappers, Pieter Jan}, + date = {2015-12-01}, + journaltitle = {She Ji: The Journal of Design, Economics, and Innovation}, + shortjournal = {She Ji: The Journal of Design, Economics, and Innovation}, + volume = {1}, + number = {2}, + pages = {83--106}, + issn = {2405-8726}, + doi = {10.1016/j.sheji.2016.01.002}, + url = {https://www.sciencedirect.com/science/article/pii/S240587261530037X}, + urldate = {2021-11-09}, + abstract = {This paper is a follow up to DesignX, a position paper written in 2014, which introduced the design challenges of complex sociotechnical systems such as healthcare, transportation, governmental policy, and environmental protection. We conclude that the major challenges presented by DesignX problems stem not from trying to understand or address the issues, but rather arise during implementation, when political, economic, cultural, organizational, and structural problems overwhelm all else. We suggest that designers cannot stop at the design stage: they must play an active role in implementation, and develop solutions through small, incremental steps—minimizing budgets and the resources required for each step— to reduce political, social, and cultural disruptions. This approach requires tolerance for existing constraints and trade-offs, and a modularity that allows for measures that do not compromise the whole. These designs satisfice rather than optimize and are related to the technique of making progress by “muddling through,” a form of incrementalism championed by Lindblom.}, + language = {en}, + keywords = {“Muddling through”,DesignX,Human-centered design,Implementation,Incrementalism,Sociotechnical systems}, + file = {/Users/tomoya/Zotero/storage/IRRIILTF/Norman and Stappers - 2015 - DesignX Complex Sociotechnical Systems.pdf;/Users/tomoya/Zotero/storage/6K94J69J/S240587261530037X.html} +} + +@article{noteInfiniium90000ASirizu, + title = {Infiniium {{90000A}} シリーズ・ オシロスコープでのイコライゼーション 手法の使用}, + author = {Note, Application}, + file = {/Users/tomoya/Zotero/storage/KFJ84QXG/m-api-21835c42-c261-4df5-6696-61e7663b826b.pdf} +} + +@book{nymanShiYanYinLekezitosonoHou1992, + title = {実験音楽-ケージとその後}, + author = {Nyman, Michael and 椎名, 亮輔}, + date = {1992}, + publisher = {水声社}, + abstract = {原タイトル: Experimental music. 稅込価格: 3090円}, + isbn = {4-89176-275-6} +} + +@article{Nyquist1928, + title = {Certain {{Topics}} in {{Telegraph Transmission Theory}}}, + author = {Nyquist, H.}, + date = {1928-04}, + journaltitle = {Transactions of the American Institute of Electrical Engineers}, + volume = {47}, + number = {2}, + pages = {617--644}, + issn = {0096-3860}, + doi = {10.1109/T-AIEE.1928.5055024}, + url = {http://ieeexplore.ieee.org/document/5055024/}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/MDQ8W5KZ/nyquist1928.pdf} +} + +@book{nystrom2021, + title = {Crafting Interpreters}, + author = {Nystrom, Robert}, + date = {2021-07-28}, + publisher = {Genever Benning}, + location = {Daryaganj Delhi}, + abstract = {Despite using them every day, most software engineers know little about how programming languages are designed and implemented. For many, their only experience with that corner of computer science was a terrifying "compilers" class that they suffered through in undergrad and tried to blot from their memory as soon as they had scribbled their last NFA to DFA conversion on the final exam.That fearsome reputation belies a field that is rich with useful techniques and not so difficult as some of its practitioners might have you believe. A better understanding of how programming languages are built will make you a stronger software engineer and teach you concepts and data structures you'll use the rest of your coding days. You might even have fun.This book teaches you everything you need to know to implement a full-featured, efficient scripting language. You’ll learn both high-level concepts around parsing and semantics and gritty details like bytecode representation and garbage collection. Your brain will light up with new ideas, and your hands will get dirty and calloused.Starting from main(), you will build a language that features rich syntax, dynamic typing, garbage collection, lexical scope, first-class functions, closures, classes, and inheritance. All packed into a few thousand lines of clean, fast code that you thoroughly understand because you wrote each one yourself.}, + isbn = {978-0-9905829-3-9}, + language = {英語}, + pagetotal = {639} +} + +@online{OfficialPageLanguage, + title = {Official Page for {{Language Server Protocol}}}, + url = {https://microsoft.github.io/language-server-protocol/}, + urldate = {2022-02-16}, + file = {/Users/tomoya/Zotero/storage/XR6JZ5NB/language-server-protocol.html} +} + +@article{ohRoomTemperatureFabrication2009, + title = {Room Temperature Fabrication of {{ZnO}} Nanorod Films: Synthesis and Application as a Channel Layer of Transparent Thin Film Transistors}, + shorttitle = {Room Temperature Fabrication of {{ZnO}} Nanorod Films}, + author = {Oh, Ji-Young and Park, Jonghyurk and Kang, Seung-Youl and Hwang, Chi-Sun and Shim, Hong-Ku}, + date = {2009-08-14}, + journaltitle = {Chemical Communications}, + shortjournal = {Chem. Commun.}, + number = {30}, + pages = {4545--4547}, + publisher = {The Royal Society of Chemistry}, + issn = {1364-548X}, + doi = {10.1039/B908219K}, + url = {https://pubs.rsc.org/en/content/articlelanding/2009/cc/b908219k}, + urldate = {2023-10-02}, + abstract = {We report a single-step, solution-based synthesis even at room temperature utilizing a facile sonochemical method to fabricate ZnO nanocrystalline films consisting of well-aligned nanorods.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/PB7KJDA7/Oh et al. - 2009 - Room temperature fabrication of ZnO nanorod films.pdf} +} + +@article{okamotoGuanCeXinHaonoBaiSeHuaniyoruXianXingburaindoCanXiangChuQunoGaoJingDuHuaPptZiLiao2009, + title = {観測信号の白色化による線形ブラインド残響除去の高精度化 {{Ppt資料}}}, + author = {Okamoto, Takuma}, + date = {2009}, + file = {/Users/tomoya/Zotero/storage/I8QDJ7UY/Okamoto_2009_観測信号の白色化による線形ブラインド残響除去の高精度化 Ppt資料.pdf} +} + +@online{Okano2023, + title = {サウンド・スタディーズ 音声の研究者が当事者として語るとき 声の「機能障害」 | くらしとかがくのアーカイブ}, + author = {岡野, 宏 and 瀬野, 豪志}, + date = {2023-02-18T02:00:00+00:00}, + url = {https://livingscience-archive.org/archives/5824}, + urldate = {2024-03-31}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/B5BEF29N/5824.html} +} + +@online{Okano2023a, + title = {サウンド・スタディーズ 手術の後：声を失うとき | くらしとかがくのアーカイブ}, + author = {岡野, 宏 and 瀬野, 豪志}, + date = {2023-05-13T02:39:00+00:00}, + url = {https://livingscience-archive.org/archives/5980}, + urldate = {2024-03-31}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/PRC9RUH9/5980.html} +} + +@book{Okunaka2008, + title = {国家と音楽}, + author = {奥中, 康人}, + date = {2008-03-18}, + publisher = {春秋社}, + abstract = {明治維新期、急進的に西洋音楽を輸入した日本。しかしその目的は、西洋芸術音楽を吸収し芸術音楽家を育成することではなく、中央集権国家の確立と欧米並の文明国家としてのアピールを急激に実現することにあった。日本人が欧米のスタンダード音階（ドレミ）を歌えるようになること、有機的な国家意識をもつことなどが急務であり、恰好の教育手段として「唱歌」は使われたのである。「唱歌」の重要性を深く認識していた東京芸術大学音楽学部の創設者伊澤修二。その生涯を通して、当時の為政者側のもくろみを知り、国家形成に果たす音楽の役割を考える。}, + isbn = {978-4-393-93023-6}, + language = {日本語} +} + +@article{oliveiraXTSynthNew, + title = {The {{XT Synth}} : {{A New Controller}} for {{String Players}}}, + author = {Oliveira, Gustavo}, + pages = {43--44}, + file = {/Users/tomoya/Zotero/storage/3J2DZCAP/Oliveira_Unknown_The XT Synth A New Controller for String Players.pdf} +} + +@article{Oliver1948, + title = {The {{Philosophy}} of {{PCM}}}, + author = {Oliver, B.M. and Pierce, J.R. and Shannon, C.E.}, + date = {1948-11}, + journaltitle = {Proceedings of the IRE}, + volume = {36}, + number = {11}, + pages = {1324--1331}, + issn = {0096-8390}, + doi = {10.1109/JRPROC.1948.231941}, + url = {http://ieeexplore.ieee.org/document/1697556/}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/5RYHC8Q5/oliver1948.pdf} +} + +@article{olsonElectronicMusicSynthesizer1955, + title = {Electronic {{Music Synthesizer}}}, + author = {Olson, Harry F and Belar, Herbert}, + date = {1955}, + journaltitle = {Citation: The Journal of the Acoustical Society of America}, + volume = {27}, + number = {3}, + pages = {612}, + doi = {10.1121/1.1907975}, + url = {https://doi.org/10.1121/1.1907975}, + urldate = {2021-11-01}, + file = {/Users/tomoya/Zotero/storage/JTN2RT3H/full-text.pdf} +} + +@article{omprakashFabricationFlexibleMetal2018, + title = {Fabrication of {{Flexible Metal Oxide Thin Film Transistor}} by {{Indigenously Developed Spray Pyrolysis Unit}}}, + author = {Omprakash, S. S. and Kumar, S. K. Naveen}, + date = {2018-12-13}, + journaltitle = {ECS Transactions}, + shortjournal = {ECS Trans.}, + volume = {88}, + number = {1}, + pages = {129}, + publisher = {IOP Publishing}, + issn = {1938-5862}, + doi = {10.1149/08801.0129ecst}, + url = {https://iopscience.iop.org/article/10.1149/08801.0129ecst/meta}, + urldate = {2023-10-02}, + language = {en} +} + +@article{onoMeasurementSoundField2005, + title = {Measurement of {{Sound Field}} and {{Directivity Control}}}, + author = {Ono, Nobutaka and Ando, Shigeru}, + date = {2005}, + journaltitle = {自動計測制御学会, 第22回センシングフォーラム講演集}, + number = {2}, + pages = {305--310}, + abstract = {Abstract—Since a target signal like speech is often interfered by other speeches, various ambient noise, reverberation in real world, directivity control for sound source separation is one of the most concerned problems in the acoustic engineering. In this paper, we describe some conventional methods for directivity control in microphone array. Then, based on temporal-spatial gratident measurement of sound field, we introduce a new scheme for directivity control and show some experimental results.}, + file = {/Users/tomoya/Zotero/storage/WCFLK22P/Ono, Ando_2005_Measurement of Sound Field and Directivity Control.pdf} +} + +@report{OPAMPHISTORY, + title = {{{OP AMP HISTORY H Op Amp History}} 1 {{Introduction}} 2 {{Vacuum Tube Op Amps}} 3 {{Solid-State Modular}} and {{Hybrid Op Amps}} 4 {{IC Op Amps}}}, + file = {/Users/tomoya/Zotero/storage/ITFYBC3P/full-text.pdf} +} + +@article{Orlarey2004, + title = {Syntactical and Semantical Aspects of {{Faust}}}, + author = {Orlarey, Yann and Fober, Dominique and Letz, Stephane}, + date = {2004}, + journaltitle = {Soft Computing}, + volume = {8}, + number = {9}, + pages = {623--632}, + issn = {14327643}, + doi = {10.1007/s00500-004-0388-1}, + isbn = {0050000403}, + keywords = {Compiler,Dataflow,Functional programming,Real-time,Signal processing}, + file = {/Users/tomoya/Zotero/storage/YZVBLW85/Orlarey, Fober, Letz_2004_Syntactical and semantical aspects of Faust.pdf} +} + +@incollection{Orlarey2009, + title = {{{FAUST}} : An {{Efficient Functional Approach}} to {{DSP Programming}}}, + booktitle = {New {{Computational Paradigms}} for {{Computer Music}}}, + author = {Orlarey, Yann and Fober, Dominique and Letz, Stéphane and Letz, Stephane}, + date = {2009}, + publisher = {DELATOUR FRANCE}, + url = {https://hal.archives-ouvertes.fr/hal-02159014}, + urldate = {2020-03-28}, + file = {/Users/tomoya/Zotero/storage/LB4PIMPY/full-text.pdf} +} + +@inproceedings{orlareyAlgebraBlockDiagram2002, + title = {An {{Algebra}} for {{Block Diagram Languages}}}, + booktitle = {International {{Computer Music Conference}}}, + author = {Orlarey, Yann and Fober, Dominique and Letz, Stéphane}, + editor = {{ICMA}}, + date = {2002}, + pages = {542--547}, + location = {Gothenburg, Sweden}, + url = {https://hal.archives-ouvertes.fr/hal-02158932}, + urldate = {2022-01-07}, + abstract = {We propose an algebraic approach to block diagram construction as an alternative to the classical graph approach inspired by dataflow models. The proposed algebra is based on three binary operations of construction : sequential, parallel and recursive constructions. These operations can be seen as high level connection schemes that set several connections at once in order to combine two block diagrams to form a new one. Algebraic representations have interesting application for visual languages based on block diagrams and are useful to specify the formal semantic of these languages.}, + keywords = {algebra,block-diagram,dataflow,Denotational,DSP,graph,semantic}, + file = {/Users/tomoya/Zotero/storage/FEDCI8EU/Orlarey et al. - 2002 - An Algebra for Block Diagram Languages.pdf} +} + +@inproceedings{orlareyFAUSTTutorialFunctional2017, + title = {{{FAUST}} Tutorial for Functional Programmers}, + booktitle = {{{FARM}} 2017 - {{Proceedings}} of the 5th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modeling}}, and {{Design}}, Co-Located with {{ICFP}} 2017}, + author = {Orlarey, Yann and Letz, Stéphane and Fober, Dominique and Michon, Romain}, + date = {2017-09-09}, + pages = {20--27}, + publisher = {Association for Computing Machinery, Inc}, + location = {New York, New York, USA}, + doi = {10.1145/3122938.3122941}, + url = {http://dl.acm.org/citation.cfm?doid=3122938.3122941}, + urldate = {2020-03-29}, + abstract = {This paper is an introduction to FAUST, a functional programming language for sound synthesis and audio processing. We assume that the reader has some familiarity with functional programming, but no previous knowledge in signal processing. The text describes several examples that the reader will be able to try online using a web browser. These examples are preceded by two more technical sections presenting some aspects of the language.}, + isbn = {978-1-4503-5180-5}, + keywords = {Faust,Signal processing}, + file = {/Users/tomoya/Zotero/storage/QQUCF74H/3122938.3122941.pdf} +} + +@article{osmithiiiVirtualAcousticMusical2004, + title = {Virtual Acoustic Musical Instruments: {{Review}} and {{Update}}}, + author = {O Smith III, J}, + date = {2004}, + journaltitle = {Journal of New Music Research}, + volume = {33}, + number = {3}, + pages = {283--304}, + issn = {0929-8215}, + doi = {10.1080/0929821042000317859}, + abstract = {This article gives an overview of selected developments in musical sound synthesis based on physical models of musical instruments -- sometimes called ``virtual acoustic'' sound synthesis. \{E\}mphasis is placed on techniques which yield the highest playability and sound quality in real time at a reasonable computational expense.}, + isbn = {0929-8215\textbackslash n1744-5027}, + file = {/Users/tomoya/Zotero/storage/2HREG3X6/O Smith III_2004_Virtual acoustic musical instruments Review and Update.pdf;/Users/tomoya/Zotero/storage/V8CN89D2/O Smith III_2004_Virtual acoustic musical instruments Review and Update(2).pdf} +} + +@inproceedings{oulasvirtaHCIResearchProblemSolving2016, + title = {{{HCI Research}} as {{Problem-Solving}}}, + booktitle = {Proceedings of the 2016 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Oulasvirta, Antti and Hornbæk, Kasper}, + date = {2016-05-07}, + pages = {4956--4967}, + publisher = {ACM}, + location = {San Jose California USA}, + doi = {10.1145/2858036.2858283}, + url = {https://dl.acm.org/doi/10.1145/2858036.2858283}, + urldate = {2021-12-31}, + abstract = {This essay contributes a meta-scientific account of human–computer interaction (HCI) research as problem-solving. We build on the philosophy of Larry Laudan, who develops problem and solution as the foundational concepts of science. We argue that most HCI research is about three main types of problem: empirical, conceptual, and constructive. We elaborate upon Laudan’s concept of problem-solving capacity as a universal criterion for determining the progress of solutions (outcomes): Instead of asking whether research is ‘valid’ or follows the ‘right’ approach, it urges us to ask how its solutions advance our capacity to solve important problems in human use of computers. This offers a rich, generative, and ‘discipline-free’ view of HCI and resolves some existing debates about what HCI is or should be. It may also help unify efforts across nominally disparate traditions in empirical research, theory, design, and engineering.}, + eventtitle = {{{CHI}}'16: {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + isbn = {978-1-4503-3362-7}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/UYDT64QP/Oulasvirta and Hornbæk - 2016 - HCI Research as Problem-Solving.pdf} +} + +@article{paisaTactileDisplaysAuditory2023, + title = {Tactile Displays for Auditory Augmentation–{{A}} Scoping Review and Reflections on Music Applications for Hearing Impaired Users}, + author = {Paisa, Razvan and Nilsson, Niels Christian and Serafin, Stefania}, + date = {2023}, + journaltitle = {Frontiers in Computer Science}, + volume = {5}, + issn = {2624-9898}, + url = {https://www.frontiersin.org/articles/10.3389/fcomp.2023.1085539}, + urldate = {2023-08-04}, + abstract = {The field of tactile augmentation has progressed greatly over the past 27 years and currently constitutes an emerging area of research, bridging topics ranging from neuroscience to robotics. One particular area of interest is studying the usage of tactile augmentation to provide inclusive musical experiences for deaf or hard-of-hearing individuals. This article details a scoping review that investigates and organizes tactile displays used for the augmentation of music from the field of hearing assistive devices, documented in 63 scientific publications. The focus is on the hardware, software, mapping, and evaluation of these displays, to identify established methods and techniques, as well as potential gaps in the literature. To achieve this purpose, a catalog of devices was created from the available literature indexed in the Scopus® database. We set up a list of 12 descriptors belonging to physical, auditory, perceptual, purpose and evaluation domains; each tactile display identified was categorized based on those. The frequency of use among these descriptors was analyzed and as well as the eventual relationship between them. Results indicate that the field is relatively new, with 80\% of the literature indexed being published after 2009. Moreover, most of the research is conducted in laboratories, with limited industry reach. Most of the studies have low reliability due to small sample sizes, and sometimes low validity due to limited access to the targeted population (e.g., evaluating systems designed for cochlear implant users, on normal hearing individuals). When it comes to the tactile displays, the results show that the hand area is targeted by the majority of the systems, probably due to the higher sensitivity afforded by it, and that there are only a couple of popular mapping systems used by the majority of researchers. Additional aspects of the displays were investigated, including the historical distribution of various characteristics (e.g., number of actuators, or actuators type) as well as the sonic material used as input. Finally, a discussion of the current state of the tactile augmentation of music is presented, as well as suggestions for potential future research.}, + file = {/Users/tomoya/Zotero/storage/5M3BJXT8/Paisa et al. - 2023 - Tactile displays for auditory augmentation–A scopi.pdf} +} + +@article{paivaHelmholtzResonatorTree2012, + title = {The {{Helmholtz Resonator Tree}}}, + author = {Paiva, Rcd and Valimaki, V}, + date = {2012}, + journaltitle = {Proc. Of the 1 5th Int. Conference on …}, + volume = {v}, + number = {1}, + pages = {1--8}, + abstract = {The Helmholtz resonator is a prototype of a single acoustic res-onance, which can be modeled with a digital resonator. This pa-per extends this concept by coupling several Helmholtz resonators. The resulting structure is called a Helmholtz resonator tree. The height of the tree is defined by the number of resonator layers that are interconnected. The overall number of resonance frequen-cies of a Helmholtz resonator tree is the same as its height. A Helmholtz resonator tree can be modeled using wave digital filters (WDF), when electro-acoustic analogies are applied. A WDF tool for implementing Helmholtz resonator trees has been developed in C++. A VST plugin and an Android mobile application were cre-ated, which can run short Helmholtz resonator trees in real time. Helmholtz resonator trees can be used for the real-time synthesis of percussive sounds and for realizing novel filtering which can be tuned using intuitive physical parameters.}, + file = {/Users/tomoya/Zotero/storage/3LVBFNLD/m-api-1318f9ae-23d6-1719-000f-265eccdc2423.pdf} +} + +@article{palsbrokerFrameworkModularVSTbased, + title = {A {{Framework}} for {{Modular VST-based NIMEs Using EDA}} and {{Dependency Injection}}}, + author = {Palsbröker, Patrick and Steinmeier, Christine and Becking, Dominic}, + pages = {96--101}, + file = {/Users/tomoya/Zotero/storage/ZKZ5CTLS/Palsbröker, Steinmeier, Becking_Unknown_A Framework for Modular VST-based NIMEs Using EDA and Dependency Injection.pdf} +} + +@article{paperCreationAudioIllusions2015, + title = {On the Creation of Audio Illusions for Sound Installations and Composition Using Wavefield Synthesis – a Guide for Sound Artists and Composers}, + author = {Paper, Conference and Queen, Augustine Leudar}, + date = {2015}, + doi = {10.13140/2.1.3544.1604}, + issue = {August}, + file = {/Users/tomoya/Zotero/storage/TFD7IVTL/Paper, Queen_2015_On the creation of audio illusions for sound installations and composition using wavefield synthesis – a guide for s.pdf} +} + +@article{papettiMultipointVibrotactileFeedback2015, + title = {Multi-Point Vibrotactile Feedback for an Expressive Musical Interface}, + author = {Papetti, Stefano and Schiesser, Sébastien and Fröhlich, Martin}, + date = {2015}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {235--240}, + abstract = {This paper describes the design of a hardware/software system for rendering multi-point, localized vibrotactile feedback in a multi-touch musical interface. A prototype was developed, based on the Madrona Labs Soundplane, which was chosen for it provides easy access to multi-touch data, including force, and its easily expandable layered construction. The proposed solution makes use of several piezo actuator discs, densely arranged in a honeycomb pattern on a thin PCB layer. Based on off-the-shelf components, custom amplifying and routing electronics were designed to drive each piezo element with standard audio signals. Features, as well as electronic and mechanical issues of the current prototype are discussed.}, + issue = {January}, + file = {/Users/tomoya/Zotero/storage/22ZAQC2N/Papetti, Schiesser, Fröhlich_2015_Multi-point vibrotactile feedback for an expressive musical interface.pdf} +} + +@article{park2009, + title = {An {{Interview}} with {{Max Mathews}}}, + author = {Park, Tae Hong}, + date = {2009-09}, + journaltitle = {Computer Music Journal}, + shortjournal = {Computer Music Journal}, + volume = {33}, + number = {3}, + pages = {9--22}, + issn = {0148-9267, 1531-5169}, + doi = {10.1162/comj.2009.33.3.9}, + url = {https://direct.mit.edu/comj/article/33/3/9-22/94734}, + urldate = {2022-01-02}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/YJ3P36ZU/Park - 2009 - An Interview with Max Mathews.pdf} +} + +@article{parkRealSoundSynthesis2013, + title = {Real {{Sound Synthesis}} for {{Interactive Applications}} ( Review )}, + author = {Park, Tae Hong}, + date = {2013}, + volume = {27}, + number = {3}, + pages = {90--92}, + isbn = {1568811683}, + file = {/Users/tomoya/Zotero/storage/T23DLHNX/Park_2013_Real Sound Synthesis for Interactive Applications ( review ).pdf} +} + +@incollection{parksIntroduction2015, + title = {Introduction}, + booktitle = {Signal {{Traffic}}: {{Critical Studies}} of {{Media Infrastructures}}}, + author = {Parks, Lisa and Starosielski, Nicole}, + date = {2015}, + pages = {1--27}, + publisher = {Board of Trustees of the Univerity of Illinois}, + isbn = {978-0-252-08087-6} +} + +@article{paskApproachApproachCybernetics, + title = {An {{Approach}} to {{An}} Approach to {{Cybernetics}}}, + author = {Pask, Gordon and Pask, Gordon}, + file = {/Users/tomoya/Zotero/storage/6EDIGQPI/Pask, Pask_Unknown_An Approach to An approach to Cybernetics.pdf} +} + +@online{PasonarukonpiyutaDynabookHaShuinotameniZuorareta, + title = {パーソナルコンピュータ「Dynabook」は誰のために作られた？──アラン・ケイが言いたかったこと（阿部和広氏に聞く：前編）}, + url = {http://cybozushiki.cybozu.co.jp/?p=11813}, + urldate = {2021-11-29}, + abstract = {Scratchを用いた子ども向けのプログラミング教育に関する取り組みで知られる阿部和広氏に話を聞いた。阿部氏が教育に取り組む背景にはアラン・ケイの思想がある。「パーソナルコンピュータ」の提唱者として知…}, + language = {ja}, + organization = {サイボウズ式} +} + +@report{PasonarukonpiyutanoJiShuXiTongHuaDiaoChaBaoGao, + title = {パーソナルコンピュータの技術系統化調査報告}, + url = {http://sts.kahaku.go.jp/diversity/document/system/pdf/086.pdf}, + urldate = {2022-02-09}, + file = {/Users/tomoya/Zotero/storage/75YHQHVP/086.pdf} +} + +@book{pattesonInstrumentsNewMusic2015, + title = {Instruments for {{New Music}}: {{Sound}}, {{Technology}}, and {{Modernism}}}, + author = {Patteson, Thomas}, + date = {2015}, + doi = {10.1525/luminos.7}, + url = {http://www.luminosoa.org/site/books/10.1525/luminos.7/}, + abstract = {At publication date, a free ebook version of this title will be available through Luminos, University of California Press's new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Player pianos, radio-electric circuits, gramophone records, and optical sound film--these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and 1930s, the movement to create new instruments encompassed a broad spectrum of experiments, from the exploration of microtonal tunings and exotic tone colors to the ability to compose directly for automatic musical machines. This movement comprised composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jörg Mager, Friedrich Trautwein, László Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Patteson's fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts.}, + isbn = {978-0-520-28802-7}, + file = {/Users/tomoya/Zotero/storage/GHCPLTMD/Patteson_2015_Instruments for New Music Sound, Technology, and Modernism.pdf} +} + +@inbook{pelesComposerSpecialist19582011, + title = {The {{Composer}} as {{Specialist}} 1958}, + booktitle = {The {{Collected Essays}} of {{Milton Babbitt}}}, + editor = {Peles, Stephen and Dembski, Stephen and Mead, Andrew and Straus, Joseph N.}, + date = {2011-12-31}, + pages = {48--54}, + publisher = {Princeton University Press}, + doi = {10.1515/9781400841226.48}, + url = {https://www.degruyter.com/document/doi/10.1515/9781400841226.48/html}, + urldate = {2022-01-04}, + bookauthor = {Babbitt, Milton}, + isbn = {978-1-4008-4122-6}, + file = {/Users/tomoya/Zotero/storage/94F3P8VC/who-cares-if-you-listen.pdf} +} + +@report{pelinskiEmbodimentMusicalExperience, + title = {Embodiment and {{Musical Experience}}}, + author = {Pelinski, Ramón}, + file = {/Users/tomoya/Zotero/storage/FAZVBU9U/m-api-06f62451-9b85-574d-43b0-1559108614f3.pdf} +} + +@article{pellegriniWaveFieldSynthesis, + title = {Wave {{Field Synthesis}} : {{Open System Architecture}} Using {{Distributed Processing Wave Field Synthesis}} of {{Distributed}} for {{WFS}} Signal Processing {{Directive}} Sound Sources in {{WFS}}}, + author = {Pellegrini, Renato and Rosenthal, Matthias and Kuhn, Clemens}, + pages = {2543--2548}, + file = {/Users/tomoya/Zotero/storage/3LDGBM7K/Pellegrini, Rosenthal, Kuhn_Unknown_Wave Field Synthesis Open System Architecture using Distributed Processing Wave Field Synthesis of.pdf} +} + +@online{perloffArtDavidTudor2001, + title = {The {{Art}} of {{David Tudor}} ({{Getty Research Institute}})}, + author = {Perloff, Nancy}, + date = {2001}, + url = {http://www.getty.edu/research/tools/guides_bibliographies/david_tudor/index.html}, + urldate = {2018-07-13} +} + +@misc{petersSpatDIFSpecification2012, + title = {{{SpatDIF}} Specification {{V}} 0.3}, + author = {Peters, Nils and Berkeley, U C and Bresson, Jean and Zoia, Giorgio and Schuhmacher, Marlon and Kendall, Gary and Wilson, Scott}, + date = {2012}, + pages = {0--16}, + file = {/Users/tomoya/Zotero/storage/PZL8TYKC/Peters et al._2012_SpatDIF specification V 0.3.pdf} +} + +@online{petricek, + title = {Cultures of Programming: {{Understanding}} the History of Programming through Controversies and Technical Artifacts}, + shorttitle = {Cultures of Programming}, + author = {Petricek, Tomas}, + url = {http://tomasp.net/academic/drafts/cultures/}, + urldate = {2024-10-30}, + abstract = {This paper documents the socio-technological context that shapes programming languages. To structure our discussion, we introduce the idea of a culture of programming which embodies a particular perspective on programming. We identify four major cultures: hacker culture, engineering culture, managerial culture and mathematical culture.}, + file = {/Users/tomoya/Zotero/storage/87JFVTZQ/cultures.html} +} + +@article{petrickBuildingBlackBox2020, + title = {Building the {{Black Box}}: {{Cyberneticians}} and {{Complex Systems}}}, + author = {Petrick, Elizabeth R.}, + date = {2020}, + journaltitle = {Science Technology and Human Values}, + volume = {45}, + number = {4}, + pages = {575--595}, + issn = {15528251}, + doi = {10.1177/0162243919881212}, + abstract = {In the 1950s and 1960s, cyberneticians defined and utilized a concept previously described by electronic engineers: the black box. They were interested in how it might aid them, as both a metaphor and as a physical or mathematical model, in their analysis of complex human-machine systems. The black box evolved as they applied it in new ways, across a range of scientific fields, from an unnamed concept involving inputs and outputs, to digital representations of the human brain, to white boxes that might be used to replicate black boxes. The diversity of understandings of the black box reflected the diversity of scientific perspectives and goals brought under the label of cybernetics. In this paper, I examine how cyberneticians drew upon the black box in their personal writings and publications. My goal is to unpack what the black box meant to these theorists as a starting framework from which we may understand the initial shape of the black box.}, + isbn = {0162243919881}, + keywords = {black box,computer technology,cybernetics,history of technology,metaphor,modeling}, + file = {/Users/tomoya/Zotero/storage/UT6FGK2A/10.1177@0162243919881212.pdf} +} + +@article{petzoldCodeHiddenLanguage2000, + title = {Code: The Hidden Language of Computer Hardware and Software}, + author = {Petzold, Charles}, + date = {2000}, + journaltitle = {New Phytologist}, + volume = {183}, + number = {2}, + eprint = {19594700}, + eprinttype = {pmid}, + pages = {393}, + issn = {14698137}, + doi = {10.1111/j.1469-8137.2009.02932.x}, + url = {http://portal.acm.org/citation.cfm?id=1204587}, + abstract = {What do flashlights, the British invasion, black cats, and seesaws have to do with computers? In CODE, they show us the ingenious ways we manipulate language and invent new ways to communicate with each other. And through CODE, we see how this ingenuity-and our very human compulsion to communicate-have driven the technological innovations of the past two centuries. Now in paperback edition, this critically praised book weaves an inventive and eminently comprehensible narrative for anyone who's ever wondered about the secret inner life of computers and other smart machines. The work of legendary computer book author Charles Petzold has influenced an entire generation of programmers. And with CODE, Microsoft Press is proud to share this gifted teacher and communicator with every reader interested in understanding today's world of PCs, digital media, and the Internet. Charles Petzold's latest book, Code: The Hidden Language of Computer Hardware and Software, crosses over into general-interest nonfiction from his usual programming genre. It's a carefully written, carefully researched gem that will appeal to anyone who wants to understand computer technology at its essence. Readers learn about number systems (decimal, octal, binary, and all that) through Petzold's patient (and frequently entertaining) prose and then discover the logical systems that are used to process them. There's loads of historical information too. From Louis Braille's development of his eponymous raised-dot code to Intel Corporation's release of its early microprocessors, Petzold presents stories of people trying to communicate with (and by means of) mechanical and electrical devices. It's a fascinating progression of technologies, and Petzold presents a clear statement of how they fit together. The real value of Code is in its explanation of technologies that have been obscured for years behind fancy user interfaces and programming environments, which, in the name of rapid application development, insulate the programmer from the machine. In a section on machine language, Petzold dissects the instruction sets of the genre-defining Intel 8080 and Motorola 6800 processors. He walks the reader through the process of performing various operations with each chip, explaining which opcodes poke which values into which registers along the way. Petzold knows that the hidden language of computers exhibits real beauty. In Code, he helps readers appreciate it. -David Wall Topics covered: Mechanical and electrical representations of words and numbers, number systems, logic gates, performing mathematical operations with logic gates, microprocessors, machine code, memory and programming languages.}, + isbn = {0735611319}, + file = {/Users/tomoya/Zotero/storage/7DY2IR86/Petzold_2000_Code the hidden language of computer hardware and software.pdf;/Users/tomoya/Zotero/storage/LI3MDUFY/Petzold_2000_Code the hidden language of computer hardware and software.pdf} +} + +@online{PgHeroExplain, + title = {{{PgHero}} / {{Explain}}}, + url = {https://social.matsuuratomoya.com/pghero/explain}, + urldate = {2023-10-06}, + file = {/Users/tomoya/Zotero/storage/FCWP4CF6/explain.html} +} + +@article{phone-basedAudienceParticipationChamber, + title = {Audience for {{Participation}} in a {{Chamber Music Performance}}}, + author = {Phone-based, Nime and Field, Moffett and Thørväld, Lars}, + pages = {7--12}, + file = {/Users/tomoya/Zotero/storage/FZ5MI2XR/Phone-based, Field, Thørväld_Unknown_Audience for Participation in a Chamber Music Performance.pdf} +} + +@article{piepenbrinkEmbeddedDigitalShakers, + title = {Embedded {{Digital Shakers}} : {{Handheld Physical Modeling Synthesizers}}}, + author = {Piepenbrink, Andrew}, + pages = {362--363}, + issue = {Figure 2}, + file = {/Users/tomoya/Zotero/storage/TJ7IC3LD/Piepenbrink_Unknown_Embedded Digital Shakers Handheld Physical Modeling Synthesizers.pdf} +} + +@article{pigremWeSpeakSensor2018, + title = {Do {{We Speak Sensor}} ? {{Cultural Constraints}} of {{Embodied Interaction}}}, + author = {Pigrem, Jon and Mcpherson, Andrew}, + date = {2018}, + pages = {382--385}, + file = {/Users/tomoya/Zotero/storage/WKDLJXHI/Pigrem, Mcpherson_2018_Do We Speak Sensor Cultural Constraints of Embodied Interaction.pdf} +} + +@book{pinchAnalogDaysInvention2004, + title = {Analog Days: The Invention and Impact of the {{Moog}} Synthesizer}, + shorttitle = {Analog Days}, + author = {Pinch, Trevor J. and Trocco, Frank}, + date = {2004}, + edition = {1st Harvard University Press paperback edition}, + publisher = {Harvard University Press}, + location = {Cambridge, Massachusetts London, England}, + isbn = {978-0-674-01617-0}, + language = {eng}, + pagetotal = {368} +} + +@article{pinchOpeningBlackBoxes1992, + title = {Opening {{Black Boxes}}: {{Science}}, {{Technology}} and {{Society}}}, + author = {Pinch, Trevor J.}, + date = {1992}, + journaltitle = {Social Studies of Science}, + volume = {22}, + number = {3}, + pages = {487--510}, + issn = {14603659}, + doi = {10.1177/0306312792022003003}, + abstract = {This lecture traces the theme of opening black boxes in the sociology of science. It is argued that now sociologists have got inside the black box of science, they need to make more impact upon the conduct of areas of science. The issue of what makes for ‘heroes’ and ‘villains’ within science is considered by tracing different styles of science. Two cases where scientific heroes became villains are examined: Andrew Crosse's claim to observe life emerging from a galvanic cell, and the claims by Pons and Fleischmann to observe cold fusion. The lecture concludes by considering possible characteristics which a hero within the field of STS would need to exhibit. © 1992, SAGE Publications. All rights reserved.}, + file = {/Users/tomoya/Zotero/storage/EDPL37V5/pinch1992.pdf} +} + +@article{PingJingYinLeFenXihenoAIShouFanoYingYong1988, + title = {{{音楽分析へのAI手法の応用}}}, + author = {坪井, 邦明}, + date = {1988}, + journaltitle = {情報処理学会}, + volume = {29}, + number = {6}, + pages = {579--585}, + file = {/Users/tomoya/Zotero/storage/AYGHBT4C/Unknown_Unknown_IPSJ-MGN290608.pdf.pdf} +} + +@software{piquemalWebPd2022, + title = {{{WebPd}}}, + author = {Piquemal, Sebastien}, + date = {2022-01-23T20:57:19Z}, + origdate = {2012-01-09T00:35:53Z}, + url = {https://github.com/sebpiq/WebPd}, + urldate = {2022-01-29}, + abstract = {Run your Pure Data patches on the web.} +} + +@article{placido2023, + title = {Review of {{Diminished Faculties}}}, + author = {Placido, Cinzia Di}, + date = {2023-11-29}, + journaltitle = {Canadian Journal of Disability Studies}, + volume = {12}, + number = {3}, + pages = {253--257}, + issn = {1929-9192}, + url = {https://cjds.uwaterloo.ca/index.php/cjds/article/view/1041}, + urldate = {2024-03-31}, + abstract = {In Diminished Faculties: A Political Phenomenology of Impairment, Jonathan Sterne shares his experience with vocality after experiencing a paralyzed vocal cord from thyroid cancer. Sterne grapples with his changing voice and his positionality toward disability while trying to make sense of these experiences through impairment phenomenology, a novel approach used in disability studies. This book was not meant to be organized in a traditional way as it lacks a proper introduction and conclusion. Rather, in each chapter, Sterne integrates personal reflections, blog posts, theories, and artistic pieces to develop impairment phenomenology.}, + issue = {3}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/4X6ZA8XZ/Placido - 2023 - Review of Diminished Faculties.pdf} +} + +@online{PneumaticMultiplexer3d, + title = {Pneumatic {{Multiplexer-}} 3d {{Printed}} : 8 {{Steps}} (with {{Pictures}}) - {{Instructables}}}, + url = {https://www.instructables.com/Pneumatic-Multiplexer/}, + urldate = {2021-01-06} +} + +@audio{Podcast350James, + title = {Podcast 350: {{James McCartney}}}, + shorttitle = {Podcast 350}, + url = {https://html5-player.libsyn.com/embed/episode/id/18122702/height/90/theme/custom/thumbnail/yes/direction/forward/render-playlist/no/custom-color/000000/}, + urldate = {2022-01-12}, + language = {en} +} + +@online{PoetryFeedbackJournal, + title = {The {{Poetry}} of {{Feedback}} - {{Journal}} \#82 {{May}} 2017 - e-Flux}, + url = {https://www.e-flux.com/journal/82/127862/the-poetry-of-feedback/}, + urldate = {2021-11-24}, + abstract = {Cybernetics, in its ambition to unify the natural and social sciences, and even the humanities and the arts, is a relic of the massive cross-scientifi…}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/YQN23WXW/the-poetry-of-feedback.html} +} + +@article{polfremanHandPostureRecognition2018, + title = {Hand {{Posture Recognition}} : {{IR}} , {{IMU}} and {{sEMG NIME Proceedings Template}} for {{LaTeX}}}, + author = {Polfreman, Richard and Trovato, Ben and Field, Moffett}, + date = {2018}, + pages = {249--254}, + file = {/Users/tomoya/Zotero/storage/6RWYMBWW/Polfreman, Trovato, Field_2018_Hand Posture Recognition IR , IMU and sEMG NIME Proceedings Template for LaTeX.pdf} +} + +@article{pondTimbreTuningVariation2018, + title = {Timbre {{Tuning}} : {{Variation}} in {{Cello Spectrum Across Pitches}} and {{Instruments}}}, + author = {Pond, Robert and Klassen, Alex and Mcnally, Kirk}, + date = {2018}, + pages = {356--359}, + file = {/Users/tomoya/Zotero/storage/V7HZ2Z8X/Pond, Klassen, Mcnally_2018_Timbre Tuning Variation in Cello Spectrum Across Pitches and Instruments.pdf} +} + +@incollection{Popp2001, + title = {オヴァルプロセス講義 オヴァル的メソッドとその音楽的アプローチ}, + booktitle = {ポスト・テクノ(ロジー)ミュージック―拡散する「音楽」、解体する「人間}, + author = {ポップ, マーカス}, + date = {2001}, + pages = {220--243}, + publisher = {大村書店}, + isbn = {4-7563-2026-0} +} + +@article{porrazzoWaterGatedNTypeOrganic2017, + title = {Water-{{Gated}} n-{{Type Organic Field-Effect Transistors}} for {{Complementary Integrated Circuits Operating}} in an {{Aqueous Environment}}}, + author = {Porrazzo, Rossella and Luzio, Alessandro and Bellani, Sebastiano and Bonacchini, Giorgio Ernesto and Noh, Yong-Young and Kim, Yun-Hi and Lanzani, Guglielmo and Antognazza, Maria Rosa and Caironi, Mario}, + date = {2017-01-31}, + journaltitle = {ACS Omega}, + volume = {2}, + number = {1}, + pages = {1--10}, + publisher = {American Chemical Society}, + doi = {10.1021/acsomega.6b00256}, + url = {https://doi.org/10.1021/acsomega.6b00256}, + urldate = {2022-07-20}, + abstract = {The first demonstration of an n-type water-gated organic field-effect transistor (WGOFET) is here reported, along with simple water-gated complementary integrated circuits, in the form of inverting logic gates. For the n-type WGOFET active layer, high-electron-affinity organic semiconductors, including naphthalene diimide co-polymers and a soluble fullerene derivative, have been compared, with the latter enabling a high electric double layer capacitance in the range of 1 μF cm–2 in full accumulation and a mobility–capacitance product of 7 × 10–3 μF/V s. Short-term stability measurements indicate promising cycling robustness, despite operating the device in an environment typically considered harsh, especially for electron-transporting organic molecules. This work paves the way toward advanced circuitry design for signal conditioning and actuation in an aqueous environment and opens new perspectives in the implementation of active bio-organic interfaces for biosensing and neuromodulation.}, + file = {/Users/tomoya/Zotero/storage/L6JMQLYD/Porrazzo et al. - 2017 - Water-Gated n-Type Organic Field-Effect Transistor.pdf} +} + +@inproceedings{porter2011rethinking, + title = {Rethinking the Library {{OS}} from the Top Down}, + booktitle = {Proceedings of the Sixteenth International Conference on {{Architectural}} Support for Programming Languages and Operating Systems}, + author = {Porter, Donald E and Boyd-Wickizer, Silas and Howell, Jon and Olinsky, Reuben and Hunt, Galen C}, + date = {2011}, + pages = {291--304}, + file = {/Users/tomoya/Zotero/storage/W2WRXQZT/1950365.1950399.pdf} +} + +@article{pucketteCombiningEventSignal1991, + title = {Combining {{Event}} and {{Signal Processing}} in the {{MAX Graphical Programming Environment}}}, + author = {Puckette, Miller}, + date = {1991}, + journaltitle = {Computer Music Journal}, + volume = {15}, + number = {3}, + eprint = {3680767}, + eprinttype = {jstor}, + pages = {68--77}, + publisher = {The MIT Press}, + issn = {0148-9267}, + doi = {10.2307/3680767}, + url = {https://www.jstor.org/stable/3680767}, + urldate = {2022-01-06} +} + +@inproceedings{pucketteInterprocessCommunicationTiming1986, + title = {Interprocess {{Communication}} and {{Timing}} in {{Real-time}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Puckette, Miller S.}, + date = {1986}, + pages = {43--46}, + url = {http://msp.ucsd.edu/Publications/icmc86.pdf}, + urldate = {2022-01-24}, + file = {/Users/tomoya/Zotero/storage/42WP4TBP/icmc86.pdf} +} + +@article{pucketteMaxSeventeen2002, + title = {Max at Seventeen}, + author = {Puckette, Miller}, + date = {2002}, + journaltitle = {Computer Music Journal}, + volume = {26}, + number = {4}, + eprint = {36920865}, + eprinttype = {pmid}, + pages = {31--43}, + issn = {01489267}, + doi = {10.1162/014892602320991356}, + abstract = {Max is a computer environment for realizing live electronic music, named in honor of Max Mathews. The history of the Max paradigm is given, including background and influences; development of the three currently supported computer programs (Max/MSP, jmax, and Pd); design issues; scheduling; and programming. It is now possible to usefully assess what Max (the paradigm) does well, what it does less well, and what can be learned from the experience. The computer should ideally feel in the musician's hands like a musical instrument, needing only to be tuned and then played. Although Max has not completely reached this ideal (nor has any other piece of computer music software), it will hopefully prove to have been a step in a good direction.}, + file = {/Users/tomoya/Zotero/storage/GRCJNCIK/Puckette_2002_Max at seventeen.pdf;/Users/tomoya/Zotero/storage/ICZUHN99/Puckette - 2002 - Max at seventeen.pdf} +} + +@inproceedings{pucketteMUSIC500NewRealtime1983, + title = {{{MUSIC-500}}: A New, Real-Time {{Digital Synthesis}} System.}, + booktitle = {Proceeedings of {{International Computer Music Conference}}}, + author = {Puckette, Miller S.}, + date = {1983}, + file = {/Users/tomoya/Zotero/storage/DHWQTKV6/icmc83.ps} +} + +@inproceedings{puckettePatcher1988, + title = {The {{Patcher}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Puckette, Miller S.}, + date = {1988}, + pages = {420--429}, + url = {http://msp.ucsd.edu/Publications/icmc88.pdf}, + urldate = {2022-01-24}, + file = {/Users/tomoya/Zotero/storage/LPUK9F34/icmc88.pdf} +} + +@inproceedings{puckettePureData1997, + title = {Pure {{Data}}}, + booktitle = {International {{Computer Music Conference Proceedings}}}, + author = {Puckette, Miller S.}, + date = {1997}, + publisher = {Michigan Publishing, University of Michigan Library}, + issn = {2223-3881}, + url = {http://hdl.handle.net/2027/spo.bbp2372.1997.060}, + file = {/Users/tomoya/Zotero/storage/E5VQAJSD/puredata_icmc97.pdf} +} + +@article{pucketteSamplingTheoremIts2015, + title = {The {{Sampling Theorem}} and {{Its Discontents}}}, + author = {Puckette, Miller}, + date = {2015}, + journaltitle = {International Computer Music Conference}, + pages = {1--14}, + url = {http://msp.ucsd.edu/Publications/icmc15.pdf}, + abstract = {The fundamental principle of Computer Music is usually taken to be the Nyquist Theorem, which, in its usually cited form, states that a band-limited function can be exactly represented by sampling it at regular intervals. This paper will not quarrel with the theorem itself, but rather will test the assump-tions under which it is commonly applied, and endeavor to show that there are interesting approaches to computer music that lie outside the framework of the sampling theorem. As we will see in Section 3, sampling violations are ubiquitous in every-day electronic music practice. The severity of these violations can usually be mitigated either through various engineering practices and/or careful critical lis-tening. But their existence gives the lie to the popular understanding of digital audio practice as being " lossless " . This is not to deny the power of modern digital signal processing theory and its applications, but rather to claim that its underlying assumption—that the sampled signals on which we are operating are to be thought of as exactly rep-resenting band-limited continuous-time functions—sheds light on certain digital operations (notably time-invariant filtering) but not so aptly on others, such as classical synthesizer waveform generation. Digital audio practitioners cannot escape the necessity of representing contin-uous-time signals with finite-sized data structures. But the blanket assumption that such signals can only be represented via the sampling theorem can be unnecessarily limiting. In Sections 4 and 6 I'll describe investigations by two recent UCSD graduates that each adopt a distinct approach to audio manipu-lation outside the framework of the sampling theorem. A collection of accompanying patches that demonstrate some of these ideas can be downloaded from msp.ucsd.edu/ideas/icmc15-examples/. 1 1 The assumptions Band-limited functions are a vector space: you can scale one of them, or add two of them, to get another. But that is where closure ends. The trouble begins as soon as we even go so far as to multiply one signal by another. Suppose two sampled signals, X[n] and Y [n], are used to represent two continuous functions of time x(t), y(t), which we assume to be band-limited, containing only frequen-cies in the Nyquist frequency band, the interval (−R/2, R/2) where R is the sample rate. The values can either be real or complex, and for simplicity we'll assume the computer can exactly represent the numerical values. (It isn't true but that is usually a comparatively minor issue). There is, of course, a perfectly good continuous-time signal, call it z(t), that is represented by the computable product, Z[n] = X[n]Y [n]. But it's not in general the case that z(t) = x(t)y(t). We didn't in reality make the product of the two continuous-time signals we were representing when we multiplied their computer representations. At this point we can look ruefully back at every occurrence of the character " * " in all the Csound, Pd, SuperCollider, Kyma, 4X, or MUSIC 10 instruments we've ever built and reflect on the fact that the result isn't really correct, if we regard our sampled signals as representing continuous-time ones. Often it's a very serviceable approximation. If, for instance, the signals x(t) and y(t) have frequency limits whose sum is less than R/2, the multiplication is exact; and when not exact, it is often a very good approximation. But the approximation's accuracy or lack thereof is rarely worked out explicitly. We could always take action to band-limit two signals (by filtering them) before multiplying so that the multiplication itself doesn't yield frequencies out-side the Nyquist frequency band. But this would cause delays and/or phase distortion, not to mention the computational cost this would incur. One fundamental operation in electronic music practice (in my thinking, the most fundamental one) is table lookup, which is used in digital oscillators and samplers, and also in nonlinear techniques such as FM and waveshaping. Again sidestepping the comparatively minor issue of the accuracy limits of wavetable lookup, we instead again consider the possibility of frequency products landing outside the Nyquist band. Suppose the incoming signal is a sinusoid of frequency \$ømega\$ and that the wavetable lookup can be approximated as a power series, f (x) = a 0 + a 1 x + a 2 x 2 + · · ·}, + keywords = {★}, + file = {/Users/tomoya/Zotero/storage/MID3RJBP/Puckette - 2015 - The Sampling Theorem and Its Discontents.pdf;/Users/tomoya/Zotero/storage/PSEY42RW/m-api-72fdc1c2-f979-d1a3-01e3-3e0da12b5bbf.pdf} +} + +@article{pucketteSomethingDigital1991, + title = {Something {{Digital}}}, + author = {Puckette, Miller}, + date = {1991}, + journaltitle = {Computer Music Journal}, + volume = {15}, + number = {4}, + pages = {65--69}, + file = {/Users/tomoya/Zotero/storage/WSC7QGIJ/full-text.pdf} +} + +@article{pulkkiVirtualSoundSource1997, + title = {Virtual {{Sound Source Positioning Using Vector Base Amplitude Panning}}}, + author = {Pulkki, Ville}, + date = {1997}, + journaltitle = {Audio Engineering Society}, + volume = {45}, + number = {6}, + pages = {456--466}, + file = {/Users/tomoya/Zotero/storage/SHBPIDRS/1997-Virtual_Sound_Source_Positioning_Using_Vector_Base_Amplitude_Panning.pdf} +} + +@online{PutusiyupurukuratupuFaZhenQi, + title = {プッシュプルクラップ発振器}, + url = {https://qhodo.at.webry.info/201001/article_11.html}, + urldate = {2022-08-13}, + abstract = {前の記事でクラップ発振器の図を載せませんでしたから、今回コルピッツと一緒の図にまとめてみます。}, + language = {ja}, + organization = {鳩歩堂の電子工作館}, + file = {/Users/tomoya/Zotero/storage/6XJIBCWG/article_11.html} +} + +@article{QianTianGuangXinHaodeGuangXinHaowoZhiYusuru3DuanZiGuangZengFuZhuangZhi, + title = {光信号で光信号を制御する３端子光増幅装置}, + author = {前田, 佳伸}, + pages = {8502}, + url = {https://doi.org/10.15017/1654964}, + file = {/Users/tomoya/Zotero/storage/4RDS8Z9J/前田_Unknown_光信号で光信号を制御する３端子光増幅装置.pdf} +} + +@misc{QingJinShuGuanXiZiLiao1937, + title = {軽金属関係資料}, + author = {, 南満州鉄道株式会社}, + date = {1937}, + url = {https://doi.org/10.11501/1878834}, + urldate = {2022-01-18}, + language = {ja}, + organization = {南満州鉄道調査部}, + keywords = {Matsuura} +} + +@online{QingMuMSWmoderuniyorukurarinetutoChuiMingnoFeiXianXingXianXiangnoJieXiPart12012, + title = {{{MSWモデルによるクラリネット吹鳴の非線形現象の解析Part1}}}, + author = {青木, 優子 and 岩本, 翔 and 佐藤, 譲}, + date = {2012}, + volume = {67}, + number = {4}, + pages = {2012}, + file = {/Users/tomoya/Zotero/storage/DCWDJAZP/青木, 岩本, 佐藤_2012_MSWモデルによるクラリネット吹鳴の非線形現象の解析Part1.pdf} +} + +@incollection{QiuJiRekodoShiNoZaiFaMing2020, + title = {レコード（史）の再発明 城一裕《月の光に》（2015）とメディア考古学的作者性}, + booktitle = {Poi {{Vol}}.3 Featuring {{Kazuhiro Jo}}}, + author = {秋吉, 康晴}, + editor = {松谷, 容作 and 秋吉, 康晴 and 増田, 展大 and 水野, 勝仁}, + date = {2020}, + pages = {50--69}, + publisher = {independent} +} + +@article{raffelPracticalModelingBucketbrigade2010, + title = {Practical Modeling of Bucket-Brigade Device Circuits}, + author = {Raffel, Colin and Smith, Julius}, + date = {2010}, + journaltitle = {Proc Int Conf Digital Audio Effects}, + pages = {1--7}, + abstract = {This paper discusses the sonic characteristics of the bucket-brigade device (BBD) and associated circuitry. BBDs are integrated cir- cuits which produce a time-delayed version of an input signal. In order to reduce aliasing, distortion, and noise, BBDs are typ- ically accompanied by low-pass filters and compander circuitry. Through circuit analysis and measurements, each component of the BBD system can be accurately modeled.}, + isbn = {9783200019409}, + file = {/Users/tomoya/Zotero/storage/KH3CPMJH/Raffel, Smith_2010_Practical modeling of bucket-brigade device circuits.pdf} +} + +@article{ramakrishnanZKMKlangdom2006, + title = {The {{ZKM Klangdom}}}, + author = {Ramakrishnan, Chandrasekhar and Goßman, Joachim and Brümmer, Ludger}, + date = {2006}, + journaltitle = {Proceedings of theconference on New interfaces for musical expression}, + pages = {140--143}, + abstract = {... This is best illustrated by the acousmonium [3], developed at GRM in the mid-1970s. An acousmonium is made up of different types of loudspeakers distributed throughout a room. ... Soc. 19, 1971, 2-6. [3] Bayle, Fran√ßois. √Ä propos de l\' Acousmonium , Recherche Musicale au GRM. ...}, + isbn = {2-84426-314-3}, + keywords = {acousmatic music,ambisonics,panning,sound spatialization,vbap,vector based additive,wave field synthesis}, + file = {/Users/tomoya/Zotero/storage/YT8IND62/Ramakrishnan, Goßman, Brümmer_2006_The ZKM Klangdom.pdf} +} + +@article{ramsayGroupLoopCollaborativeNetworkEnabled2015, + title = {{{GroupLoop}} : {{A Collaborative}} , {{Network-Enabled Audio Feedback Instrument}}}, + author = {Ramsay, David B and Paradiso, Joseph A}, + date = {2015}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {251--254}, + abstract = {GroupLoop is a browser-based, collaborative audio feedback control system for musical performance. GroupLoop users send their microphone stream to other participants while simultaneously controlling the mix of other users’ streams played through their speakers. Collaborations among users can yield complex feedback loops where feedback paths over- lap and interact. Users are able to shape the feedback sounds in real-time by adjusting delay, EQ, and gain, as well as manipulating the acoustics of their portion of the au- dio feedback path. This paper outlines the basic principles underlying GroupLoop, describes its design and feature-set, and discusses observations of GroupLoop in performances. It concludes with a look at future research and refinement.}, + file = {/Users/tomoya/Zotero/storage/T3K9IFRC/m-api-5d4d71fe-7d70-07ff-3674-dc099cebed0f.pdf} +} + +@article{rautiainen-keskustaloEmbodimentDigitalIntangibility2021, + title = {Embodiment through Digital Intangibility: {{Infrastructures}} of Musicking}, + author = {Rautiainen-Keskustalo, Tarja}, + date = {2021}, + doi = {10.1080/09298215.2021.1899248}, + url = {https://www.tandfonline.com/action/journalInformation?journalCode=nnmr20}, + urldate = {2021-09-06}, + file = {/Users/tomoya/Zotero/storage/6F9KDKZB/full-text.pdf} +} + +@inproceedings{reachINCREMENTALFUNCTIONALREACTIVE2013, + title = {{{INCREMENTAL FUNCTIONAL REACTIVE PROGRAMMING FOR INTERACTIVE MUSIC SIGNAL PROCESSING}}}, + booktitle = {Proc. of the 16th {{Int}}. {{Conference}} on {{Digital Audio Effects}} ({{DAFx-13}})}, + author = {Reach, Caleb}, + date = {2013}, + abstract = {Textual music programming languages offer greater expressive power than diagrammatic visual programming languages and semi-modular graphical user interfaces. However, textual music programming languages don't allow fine-grained incremental updates to the signal flow graph-instead, they only allow course-grained updates at the statement level. In both the diagrammatic visual programming language and the graphical user interface paradigms, users can directly adjust a parameter by editing the value inline, and such an adjustment does not affect the state of any other part of the signal flow graph. For example, adjusting the attack time of an envelope does not affect the contents of a delay line. By contrast , users of textual music programming languages must either: 1) assign names to nodes and then later use a separate statement to adjust the parameter value, or 2) lose node states (eg. envelope positions, instantaneous LFO phases, and delay line contents) by reevaluating the entire original statement or program. We present a new paradigm in which users can directly edit programs without losing state. In our approach, time-varying programs evaluate to time-varying signal processing graphs, and incremental updates to the program result in incremental updates to the signal processing graph.}, + file = {/Users/tomoya/Zotero/storage/3TK8WL3S/m-api-57b914e5-acb1-7615-77dc-12bc5bac67ef.pdf} +} + +@online{REAPER2019, + title = {{{ReaScript}}}, + author = {{REAPER}}, + date = {2019}, + url = {https://www.reaper.fm/sdk/reascript/reascript.php}, + urldate = {2019-05-27} +} + +@article{recoveryQAMDemodulation, + title = {{{QAM Demodulation}}}, + author = {Recovery, Carrier}, + pages = {0--21}, + file = {/Users/tomoya/Zotero/storage/2TQ3DSLG/Recovery_Unknown_QAM Demodulation.pdf} +} + +@audio{reese47MillerPuckette2020, + title = {47 • {{Miller Puckette}} • {{Max}}/{{MSP}} \& {{Pure Data}}}, + author = {Reese, Ivan}, + namea = {Puckette, Miller S.}, + nameatype = {collaborator}, + date = {2020-05-22}, + journaltitle = {Future of Coding}, + number = {47}, + url = {https://futureofcoding.org/episodes/047.html}, + urldate = {2022-01-23}, + abstract = {Are you looking for the real computer revolution? Join the club! Future of Coding is a podcast and community of toolmakers, researchers, and creators working together to reimagine computing.}, + language = {english}, + file = {/Users/tomoya/Zotero/storage/E4PL98DG/047.html} +} + +@patent{Reeves1942, + type = {patent}, + title = {Electric Signaling System}, + author = {Reeves, Alec Harley}, + date = {1942-02-03}, + url = {https://patents.google.com/patent/US2508622}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/VFE3KRAI/full-text.pdf} +} + +@article{reidWomenWhoBuild2018, + title = {Women {{Who Build Things}} : {{Gestural Controllers}}, {{Augmented Instruments}}, and {{Musical Mechatronics}}}, + author = {Reid, Sarah and Sithi-Amnuai, Sara and Kapur, Ajay}, + date = {2018}, + pages = {178--183}, + keywords = {Augmented instrument,Gestural controller,Mechatronic,Women}, + file = {/Users/tomoya/Zotero/storage/9BAISVXZ/Reid, Sithi-Amnuai, Kapur_2018_Women Who Build Things Gestural Controllers, Augmented Instruments, and Musical Mechatronics.pdf} +} + +@article{reissSlidesHoodDynamic2011, + title = {[{{Slides}}] {{Under}} the Hood of a Dynamic Range Compressor}, + author = {Reiss, Josh}, + date = {2011}, + file = {/Users/tomoya/Zotero/storage/MSWA672M/Reiss_2011_Slides Under the hood of a dynamic range compressor.pdf} +} + +@article{remache-vinuezaAudioTactileRenderingReview2021, + title = {Audio-{{Tactile Rendering}}: {{A Review}} on {{Technology}} and {{Methods}} to {{Convey Musical Information}} through the {{Sense}} of {{Touch}}}, + shorttitle = {Audio-{{Tactile Rendering}}}, + author = {Remache-Vinueza, Byron and Trujillo-León, Andrés and Zapata, Mireya and Sarmiento-Ortiz, Fabián and Vidal-Verdú, Fernando}, + date = {2021-09-30}, + journaltitle = {Sensors}, + shortjournal = {Sensors}, + volume = {21}, + number = {19}, + pages = {6575}, + issn = {1424-8220}, + doi = {10.3390/s21196575}, + url = {https://www.mdpi.com/1424-8220/21/19/6575}, + urldate = {2023-01-17}, + abstract = {Tactile rendering has been implemented in digital musical instruments (DMIs) to offer the musician haptic feedback that enhances his/her music playing experience. Recently, this implementation has expanded to the development of sensory substitution systems known as haptic music players (HMPs) to give the opportunity of experiencing music through touch to the hearing impaired. These devices may also be conceived as vibrotactile music players to enrich music listening activities. In this review, technology and methods to render musical information by means of vibrotactile stimuli are systematically studied. The methodology used to find out relevant literature is first outlined, and a preliminary classification of musical haptics is proposed. A comparison between different technologies and methods for vibrotactile rendering is performed to later organize the information according to the type of HMP. Limitations and advantages are highlighted to find out opportunities for future research. Likewise, methods for music audio-tactile rendering (ATR) are analyzed and, finally, strategies to compose for the sense of touch are summarized. This review is intended for researchers in the fields of haptics, assistive technologies, music, psychology, and human–computer interaction as well as artists that may make use of it as a reference to develop upcoming research on HMPs and ATR.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/SX7FF58H/Remache-Vinueza et al. - 2021 - Audio-Tactile Rendering A Review on Technology an.pdf} +} + +@report{resnickDesignPrinciplesTools2005, + title = {Design {{Principles}} for {{Tools}} to {{Support Creative Thinking}}}, + author = {Resnick, Mitchel and Shneiderman, Ben and Nakakoji, Kumiyo and Shineiderman, Ben and Pausch, Rnady and Selker, Ted and Eisenberg, Mike}, + date = {2005}, + file = {/Users/tomoya/Zotero/storage/CT2ZLZ8C/full-text.pdf} +} + +@article{resnickDigitalFluencyShould2009, + title = {"{{Digital}} Fluency" Should Mean Designing, Creating, and Remixing, Not Just Browsing, Chatting, and Interacting}, + author = {Resnick, Mitchel and Maloney, Andrés Monroy-Hernández, John and Rusk, Natalie and Eastmond, Evelyn and Brennan, Karen and Rosenbaum, Eric and Silver, Jay and Silverman, Brian and Kafai, Yasmin}, + date = {2009}, + volume = {52}, + number = {11}, + doi = {10.1145/1592761.1592779}, + url = {http://scratch.mit.edu}, + abstract = {contributed articles discussing, and remixing one another's projects. Scratch has been called "the YouTube of interactive media." Each day, Scratchers from around the world upload more than 1,500 new projects to the site, with source code freely available for sharing and remixing. The site's collection of projects is wildly diverse , including video games, interactive newsletters, science simulations, virtual tours, birthday cards, animated dance contests, and interactive tutori-als, all programmed in Scratch. The core audience on the site is between the ages of eight and 16 (peak-ing at 12), though a sizeable group of adults participates as well. As Scratch-ers program and share interactive projects , they learn important mathematical and computational concepts, as well as how to think creatively, reason systematically, and work collaborative-ly: all essential skills for the 21st century. Indeed, our primary goal is not to prepare people for careers as professional programmers but to nurture a new generation of creative, systematic thinkers comfortable using programming to express their ideas. In this article, we discuss the design principles that guided our development of Scratch and our strategies for making programming accessible and engaging for everyone. But first, to give a sense of how Scratch is being used, we describe a series of projects developed by a 13-year-old girl with the Scratch screen name BalaBethany. BalaBethany enjoys drawing anime characters. So when she started using Scratch, it was natural for her to program animated stories featuring these characters. She began sharing her projects on the Scratch Web site, and other members of the community responded positively, posting glowing comments under her projects (such as "Awesome!" and "OMG I LUV IT!!!!!!"), along with questions about how she achieved certain visual effects (such as "How do you make a sprite look see-through?"). Encouraged , BalaBethany then created and shared new Scratch projects on a regular basis, like episodes in a TV series. WheN Moshe Y. Vardi, Editor-in-Chief of Communications, invited us to submit an article, he recalled how he first learned about Scratch: "A colleague of mine (CS faculty)," he said, "told me how she tried to get her 10-year-old daughter interested in programming, and the only thing that appealed to her was Scratch." That's what we were hoping for when we set out to develop Scratch six years ago. We wanted to develop an approach to programming that would appeal to people who hadn't previously imagined themselves as programmers. We wanted to make it easy for everyone, of all ages, backgrounds, and interests, to program their own interactive stories, games, animations, and simulations, and share their creations with one another. Since the public launch in May 2007, the Scratch Web site (http://scratch.mit.edu) has become a vibrant online community, with people sharing, scratch: Programming for all}, + file = {/Users/tomoya/Zotero/storage/MJNSU43G/full-text.pdf} +} + +@article{resnickScratchProgrammingAll2009, + title = {Scratch: Programming for All}, + shorttitle = {Scratch}, + author = {Resnick, Mitchel and Maloney, John and Monroy-Hernández, Andrés and Rusk, Natalie and Eastmond, Evelyn and Brennan, Karen and Millner, Amon and Rosenbaum, Eric and Silver, Jay and Silverman, Brian and Kafai, Yasmin}, + date = {2009-11}, + journaltitle = {Communications of the ACM}, + shortjournal = {Commun. ACM}, + volume = {52}, + number = {11}, + pages = {60--67}, + issn = {0001-0782, 1557-7317}, + doi = {10.1145/1592761.1592779}, + url = {https://dl.acm.org/doi/10.1145/1592761.1592779}, + urldate = {2022-01-31}, + abstract = {"Digital fluency" should mean designing, creating, and remixing, not just browsing, chatting, and interacting.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/2X54RNJ9/Resnick et al. - 2009 - Scratch programming for all.pdf} +} + +@online{reyesHistoryHardwareCCRMA2006, + title = {Some of the {{History}} of {{Hardware}} at {{CCRMA}}}, + author = {Reyes, Juan}, + date = {2006}, + url = {https://web.archive.org/web/20150620184632/https://ccrma.stanford.edu/guides/planetccrma/Some.html}, + urldate = {2022-01-05}, + annotation = {archved at 2015-01-20}, + file = {/Users/tomoya/Zotero/storage/7CA25UXR/Some.html} +} + +@inproceedings{reyndersEfficientFunctionalReactive2017, + title = {Efficient Functional Reactive Programming through Incremental Behaviors}, + booktitle = {Lecture {{Notes}} in {{Computer Science}} (Including Subseries {{Lecture Notes}} in {{Artificial Intelligence}} and {{Lecture Notes}} in {{Bioinformatics}})}, + author = {Reynders, Bob and Devriese, Dominique}, + date = {2017}, + volume = {10695 LNCS}, + pages = {321--338}, + publisher = {Springer Verlag}, + issn = {16113349}, + doi = {10.1007/978-3-319-71237-6_16}, + abstract = {Many types of software are inherently event-driven ranging from web applications to embedded devices and traditionally, such applications are implemented using imperative callbacks. An alternative approach to writing such programs is functional reactive programming (FRP). FRP offers abstractions to make event-driven programming convenient, safe and composable, but they come at a price. FRP behaviors cannot efficiently deal with larger, incrementally constructed values such as a collection of messages or a list of connected devices. Since these situations occur naturally, it hinders the use of FRP. We report on a new FRP primitive: ‘incremental behavior’. We show that the semantics fit within existing FRP semantics and that their API can be used as a foundation for more ad-hoc solutions, such as incremental collections and discrete behaviors. Finally, we present benchmarks that demonstrate the advantages of incremental behaviors in terms of reduced computation time and bandwidth.}, + isbn = {978-3-319-71236-9}, + file = {/Users/tomoya/Zotero/storage/75YADWSF/incbeh.pdf} +} + +@online{RiBenLuHaiJunnoTanZhaoDengtoKongZhongTingYinJiJapaneseSearchlight, + title = {日本陸海軍の探照灯と空中聴音機（{{Japanese Searchlight}} and {{Sound Locator}}）}, + url = {http://www17.big.or.jp/~father/aab/kikirui/sl.html}, + urldate = {2021-01-08} +} + +@article{Richards2017, + title = {The {{Music}} of {{Things}}}, + author = {Richards, John}, + date = {2017}, + journaltitle = {Journal of the Japanese Society for Sonic Arts}, + volume = {9}, + number = {2}, + pages = {16--20}, + file = {/Users/tomoya/Zotero/storage/JD5J9KQK/Richards_2017_the Music of Things.pdf} +} + +@book{Rid2016, + title = {Rise of the Machines : A Cybernetic History}, + author = {Rid, Thomas}, + date = {2016}, + publisher = {SCRIBE}, + abstract = {First edition. Includes index. "Springing from the febrile mind of mathematician Norbert Wiener amid the devastation of World War II, the cybernetic vision underpinned a host of seductive myths about the future of machines. This vision would radically transform the postwar world, ushering in sweeping cultural change. From the Cold War's monumental SAGE bomber defense system to enhanced humans, Wiener's scheme turned computers from machines of assured destruction into engines of brilliant utopias. Cybernetics triggered blissful cults, the Whole Earth Catalog, and feminist manifestos, just as it fueled martial gizmos and the air force's foray into virtual space. As Rid shows, Cybernetics proved a powerful tool for two competing factions-- those who sought to make a better world and those who sought to control the one at hand. In the Bay Area, techno-libertarians embraced networked machines as the portal to a new electronic frontier: a peaceful, open space of freedom. In Washington, DC, cyberspace provided the perfect theater for dominance and war. Meanwhile the future arrived secretly in 1996, with Moonlight Maze, dawn of a new age of digital state-on-state espionage. That "first cyberwar" ... went on for years-- and indeed has never stopped. In our long-promised cybernetic future, the line between utopia and dystopia continues to be disturbingly thin."--Jacket flap. Control and communication at war -- Cybernetics -- Automation -- Organisms -- Culture -- Space -- Anarchy -- War -- Fall of the machines.}, + isbn = {0-393-28600-2}, + pagetotal = {414} +} + +@article{rimDirectLightPattern2014, + title = {Direct {{Light Pattern Integration}} of {{Low-Temperature Solution-Processed All-Oxide Flexible Electronics}}}, + author = {Rim, You Seung and Chen, Huajun and Liu, Yongsheng and Bae, Sang-Hoon and Kim, Hyun Jae and Yang, Yang}, + date = {2014-09-23}, + journaltitle = {ACS Nano}, + shortjournal = {ACS Nano}, + volume = {8}, + number = {9}, + pages = {9680--9686}, + issn = {1936-0851, 1936-086X}, + doi = {10.1021/nn504420r}, + url = {https://pubs.acs.org/doi/10.1021/nn504420r}, + urldate = {2023-08-10}, + language = {en} +} + +@article{Risset1965, + title = {Computer {{Study}} of {{Trumpet Tones}}}, + author = {Risset, J. C.}, + date = {1965-11-20}, + journaltitle = {The Journal of the Acoustical Society of America}, + volume = {38}, + number = {5}, + pages = {912--912}, + publisher = {Acoustical Society of America}, + issn = {0001-4966}, + doi = {10.1121/1.1939648}, + url = {http://asa.scitation.org/doi/10.1121/1.1939648}, + urldate = {2019-01-12}, + abstract = {A study of the trumpet tone quality has been undertaken to determine the important physical correlates of trumpet timbre. Musical fragments played by a professional trumpet player have been recorded; selected tones have been converted into digital form by sampling at 10‐kcps rate for subsequent spectral analysis. The computer analysis has yielded displays of the amplitude of each harmonic as a function of time (one point per fundamental pitch period). From these displays and computer sound‐generation programs, tones were synthetized that proved to be indistinguishable from the real tones by skilled musicians. By systematically altering the tones' parameters, it was found that a few physical features were of utmost aural importance: the attack time (which is shorter for the low‐frequency harmonics than for the high‐frequency ones), the fluctuation of the pitch frequency (which is of small amplitude, fast, and quasirandom), the harmonic content (which becomes richer in high‐frequency harmonic when the loudn...}, + file = {/Users/tomoya/Zotero/storage/3CXKCWJQ/full-text.pdf} +} + +@misc{rissetIntroductoryCatalogueComputer1969, + title = {An {{Introductory Catalogue}} of {{Computer Synthesized Sounds}}}, + author = {Risset, Jean Claude}, + date = {1969}, + file = {/Users/tomoya/Zotero/storage/A7VLL8MR/Risset_1969_An Introductory Catalogue of Computer Synthesized Sounds.pdf} +} + +@article{rittelDilemmasGeneralTheory1973, + title = {Dilemmas in a {{General Theory}} of {{Planning}}}, + author = {Rittel, Horst W. J. and Webber, Melvin M.}, + date = {1973}, + journaltitle = {Policy Sciences}, + volume = {4}, + number = {2}, + eprint = {4531523}, + eprinttype = {jstor}, + pages = {155--169}, + url = {http://www.jstor.org/stable/4531523}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/48PJRWTN/Rittel and Webber - 1973 - Dilemmas in a General Theory of Planning.pdf;/Users/tomoya/Zotero/storage/4Z27FBVJ/Rittel and Webber - 1973 - Dilemmas in a General Theory of Planning.pdf} +} + +@incollection{rittelSystemsAnalysisFirst1982, + title = {Systems {{Analysis}} of the ‘{{First}} and {{Second Generations}}’}, + booktitle = {Human and {{Energy Factors}} in {{Urban Planning}}: {{A Systems Approach}}}, + author = {Rittel, H.}, + editor = {Laconte, P. and Gibson, J. and Rapoport, A.}, + date = {1982}, + pages = {35--52}, + publisher = {Springer Netherlands}, + location = {Dordrecht}, + doi = {10.1007/978-94-009-7651-1_4}, + url = {http://link.springer.com/10.1007/978-94-009-7651-1_4}, + urldate = {2021-11-24}, + isbn = {978-94-009-7653-5 978-94-009-7651-1}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/K84SNJQX/Rittel - 1982 - Systems Analysis of the ‘First and Second Generati.pdf;/Users/tomoya/Zotero/storage/LXHCKL5F/Rittel - 1982 - Systems Analysis of the ‘First and Second Generati.pdf} +} + +@book{roads2001, + title = {コンピュータ音楽: 歴史・テクノロジー・アート}, + author = {Roads, Curtis}, + translator = {青柳, 竜也 and 小阪, 直敏 and 平田, 圭二 and 堀内, 靖雄 and 後藤, 真孝and 引地, 孝文 and 平野, 砂峰旅 and 松島, 俊明}, + date = {2001-01}, + edition = {単行本}, + publisher = {東京電機大学出版局}, + url = {https://lead.to/amazon/jp/ex-mendeley-jp.html?key=4501532106}, + abstract = {原タイトル: The computer music tutorial. 本体価格: 12800円 文献あり}, + isbn = {978-4-501-53210-9}, + pagetotal = {1054}, + keywords = {楽譜・スコア・音楽書} +} + +@book{roads2004, + title = {Microsound}, + author = {Roads, Curtis}, + date = {2004}, + publisher = {The MIT Press}, + isbn = {978-0-262-68154-4} +} + +@book{roadsComputerMusicTutorial1996, + title = {The {{Computer Music Tutorial}}}, + author = {Roads, Curtis}, + date = {1996}, + publisher = {MIT Press}, + location = {Cambridge, Mass}, + isbn = {978-0-262-18158-7 978-0-262-68082-0}, + pagetotal = {1234}, + keywords = {Computer composition (Music),Computer music,Computer sound processing,Instruction and study,Software synthesizers} +} + +@book{rodgersPinkNoisesWomen2010, + title = {Pink {{Noises}}: {{Women}} on {{Electronic Music}} and {{Sound}}}, + shorttitle = {Pink {{Noises}}}, + author = {Rodgers, Tara}, + date = {2010}, + eprint = {j.ctv1134dqn}, + eprinttype = {jstor}, + publisher = {Duke University Press}, + doi = {10.2307/j.ctv1134dqn}, + url = {https://www.jstor.org/stable/j.ctv1134dqn}, + urldate = {2024-02-24}, + abstract = {Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, "performance novels," sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns. Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)}, + isbn = {978-0-8223-4661-6} +} + +@misc{rodgersSynthesizingSoundMetaphor2011, + title = {Synthesizing Sound: Metaphor in Audio-Technical Discourse and Synthesis History}, + author = {Rodgers, Tara}, + date = {2011}, + url = {http://digitool.library.mcgill.ca/R/?func=dbin-jump-full&object_id=97090&local_base=GEN01-MCG02}, + urldate = {2019-01-14}, + file = {/Users/tomoya/Zotero/storage/97XCCVBI/full-text.pdf} +} + +@article{rodgersTinkeringCulturalMemory2015, + title = {Tinkering with {{Cultural Memory}}}, + author = {Rodgers, Tara}, + date = {2015-10-01}, + journaltitle = {Feminist Media Histories}, + volume = {1}, + number = {4}, + pages = {5--30}, + issn = {2373-7492}, + doi = {10.1525/fmh.2015.1.4.5}, + url = {https://online.ucpress.edu/fmh/article/1/4/5/106392/Tinkering-with-Cultural-MemoryGender-and-the}, + urldate = {2022-06-10}, + abstract = {In 2015, analog synthesizers are resurgent in popular appeal. Robert Moog is often celebrated as the central and originary figure who launched a so-called revolution in sound by making synthesizers widely available in the late 1960s and early '70s. This essay examines the figure of the humble tinkerer, as exemplified by Moog, along with other historically specific and archetypal forms of masculinity that are embodied by the male subjects at the center of electronic music's historical accounts. Critical readings of audio-technical discourse, and of the periodization of synthesizer histories, reveal that women are always already rendered out of place as subjects and agents of electronic music history and culture. Yet a set of letters, written by young women across the United States to Harry F. Olson at the Radio Corporation of America (RCA) in the mid-1950s and analyzed in this article, demonstrates that women were an enthusiastic audience for the RCA synthesizer a decade before Moog built his prototypes. As they did with new media, including wireless radio and the phonograph, in the early twentieth century, women played a key role at midcentury in enabling the broad-based market for analog synthesizers that greeted Moog and others in the 1960s once these instruments were made available for widespread use.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/WI7JV9IJ/Rodgers - 2015 - Tinkering with Cultural Memory.pdf} +} + +@article{roelsInterviewAgostinoDi2012, + title = {Interview with {{Agostino Di Scipio}}}, + author = {Roels, Hans}, + date = {2012}, + number = {2007}, + pages = {311--318}, + file = {/Users/tomoya/Zotero/storage/RYMZNZT7/Roels_2012_Interview with Agostino Di Scipio.pdf} +} + +@book{rosenbergExploringBlackBox1994, + title = {Exploring the {{Black Box}}: {{Technology}}, {{Economics}}, and {{History}}}, + shorttitle = {Exploring the {{Black Box}}}, + author = {Rosenberg, Nathan}, + date = {1994}, + publisher = {Cambridge University Press}, + location = {Cambridge}, + doi = {10.1017/CBO9780511582554}, + url = {https://www.cambridge.org/core/books/exploring-the-black-box/C0479C873BF4AE241D6E445DE9847C3C}, + urldate = {2024-02-24}, + abstract = {The process of technological change takes a wide variety of forms. Propositions that may be accurate when referring to the pharmaceutical industry may be totally inappropriate when applied to the aircraft industry or to computers or forest products. The central theme of Nathan Rosenberg's new book is the idea that technological changes are often 'path dependent', in the sense that their form and direction tend to be influenced strongly by the particular sequence of earlier events out of which a new technology has emerged. The book advances the understanding of technological change by explictly recognising its essential diversity and path-dependent nature. Individual chapters explore the particular features of new technologies in different historical and sectoral contexts. This book presents a unique account of how technological change is generated and the processes by which improved technologies are introduced.}, + isbn = {978-0-521-45270-0}, + file = {/Users/tomoya/Zotero/storage/NWHRFYZS/C0479C873BF4AE241D6E445DE9847C3C.html} +} + +@book{rosnerCriticalFabulationsReworking2018, + title = {Critical {{Fabulations}}: {{Reworking}} the {{Methods}} and {{Margins}} of {{Design}} ({{Design Thinking}}, {{Design Theory}})}, + author = {Rosner, Daniela K}, + date = {2018}, + publisher = {The MIT Press}, + doi = {10.7551/mitpress/11035.001.0001}, + isbn = {978-0-262-54268-5}, + pagetotal = {212} +} + +@inproceedings{rosnerMakingCoreMemory2018, + title = {Making {{Core Memory}}: {{Design Inquiry}} into {{Gendered Legacies}} of {{Engineering}} and {{Craftwork}}}, + shorttitle = {Making {{Core Memory}}}, + booktitle = {Proceedings of the 2018 {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + author = {Rosner, Daniela K. and Shorey, Samantha and Craft, Brock R. and Remick, Helen}, + date = {2018-04-21}, + pages = {1--13}, + publisher = {ACM}, + location = {Montreal QC Canada}, + doi = {10.1145/3173574.3174105}, + url = {https://dl.acm.org/doi/10.1145/3173574.3174105}, + urldate = {2021-11-26}, + abstract = {This paper describes the Making Core Memory project, a design inquiry into the invisible work that went into assembling core memory, an early form of computer information storage initially woven by hand. Drawing on feminist traditions of situated knowing, we designed an electronic quilt and a series of participatory workshops that materialize the work of the core memory weavers. With this case we not only broaden dominant stories of design, but we also reflect on the entanglement of predominantly male, high status labor with the ostensibly low-status work of women’s hands. By integrating design and archival research as a means of cultural analysis, we further expand conversations on design research methods within human-computer interaction (HCI), using design to reveal legacies of practice elided by contemporary technology cultures. In doing so, this paper highlights for HCI scholars that worlds of handwork and computing, or weaving and space travel, are not as separate as we might imagine them to be.}, + eventtitle = {{{CHI}} '18: {{CHI Conference}} on {{Human Factors}} in {{Computing Systems}}}, + isbn = {978-1-4503-5620-6}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/ELSV8KXE/Rosner et al. - 2018 - Making Core Memory Design Inquiry into Gendered L.pdf;/Users/tomoya/Zotero/storage/SIGCV2T4/Rosner et al. - 2018 - Making Core Memory Design Inquiry into Gendered L.pdf} +} + +@book{rossingPhysicsMusicalInstruments1998, + title = {The Physics of {{Musical Instruments}}}, + author = {Rossing, Thomas D and Fletcher, Neville H}, + date = {1998}, + isbn = {978-0-387-21603-4}, + file = {/Users/tomoya/Zotero/storage/B7YM4EM8/Rossing, Fletcher_1998_The physics of Musical Instruments.pdf} +} + +@article{rothenbergPlayingMachineImprovising2010, + title = {Playing into the Machine: {{Improvising}} across the Electronic Abyss}, + author = {Rothenberg, David and Neill, Ben}, + date = {2010}, + journaltitle = {Leonardo Music Journal}, + volume = {20}, + pages = {19--20}, + issn = {09611215}, + doi = {10.1162/LMJ_a_00006}, + abstract = {Two musicians who have focused on playing acoustic wind instruments into electronics for the purposes of enhancing their original sound reflect on how the use of such new technologies inherently pushes "old technologies" toward a new aesthetics of improvisation.}, + issue = {May}, + file = {/Users/tomoya/Zotero/storage/X5G46R2E/Rothenberg, Neill_2010_Playing into the machine Improvising across the electronic abyss.pdf} +} + +@inproceedings{Ruggieri1988, + title = {Lifetime Analysis of Dynamically Allocated Objects}, + booktitle = {Conference {{Record}} of the {{Annual ACM Symposium}} on {{Principles}} of {{Programming Languages}}}, + author = {Ruggieri, Cristina and Murtagh, Thomas P.}, + date = {1988-01-13}, + volume = {Part F1301}, + pages = {285--293}, + publisher = {Association for Computing Machinery}, + issn = {07308566}, + doi = {10.1145/73560.73585}, + abstract = {The choice of binding time disciplines has major consequences for both the run-time efficiency of programs and the convenience of the language expressing algorithms. Late storage binding time, dynamic allocation, provides the flexibility necessary to implement the complex data structures common in today's object oriented style of programming. In this paper we show that compile-time lifetime analysis can be applied to programs written in languages with static type systems and dynamically allocated objects, to provide earlier storage binding time for objects, while maintaining all the advantages of dynamic allocation.}, + isbn = {0-89791-252-7}, + file = {/Users/tomoya/Zotero/storage/GGX8SHQE/full-text.pdf} +} + +@online{Ruiz2020, + title = {Vult {{Language}}}, + author = {Ruiz, Leonardo Laguna}, + date = {2020}, + url = {http://modlfo.github.io/vult/}, + urldate = {2020-09-27} +} + +@misc{ruizVultLanguage2020, + title = {Vult {{Language}}}, + author = {Ruiz, Leonardo Laguna}, + date = {2020}, + url = {http://modlfo.github.io/vult/}, + urldate = {2020-09-27} +} + +@article{rumseyHighResolutionAudio2001, + title = {High {{Resolution Audio}}}, + author = {Rumsey, Francis}, + date = {2001}, + file = {/Users/tomoya/Zotero/storage/P8DMT972/2001-High_Resolution_Audio.pdf} +} + +@article{ryanRemarksMusicalInstrument1991, + title = {Some Remarks on Musical Instrument Design at {{STEIM}}}, + author = {Ryan, Joel}, + date = {1991-01}, + journaltitle = {Contemporary Music Review}, + volume = {6}, + number = {1}, + pages = {3--17}, + issn = {0749-4467}, + doi = {10.1080/07494469100640021}, + url = {http://www.tandfonline.com/doi/abs/10.1080/07494469100640021}, + urldate = {2019-05-31}, + file = {/Users/tomoya/Zotero/storage/79V3YKK6/some remarks on musicla instrument design at STEIM.pdf} +} + +@inproceedings{sabuncuoglu2020, + title = {Tangible {{Music Programming Blocks}} for {{Visually Impaired Children}}}, + booktitle = {Proceedings of the {{Fourteenth International Conference}} on {{Tangible}}, {{Embedded}}, and {{Embodied Interaction}}}, + author = {Sabuncuoglu, Alpay}, + date = {2020-02-09}, + series = {{{TEI}} '20}, + pages = {423--429}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3374920.3374939}, + url = {https://doi.org/10.1145/3374920.3374939}, + urldate = {2024-06-23}, + abstract = {Programming can benefit children on learning science, math, and creative thinking, and has become a part of the primary school curriculum. However, programming tools for visually impaired children are still scarce. We developed an affordable and accessible tangible music platform for visually impaired children that aims to teach the basics of programming through music creation. By ordering the tangible blocks in an algorithmic structure, the children can create a melody. The physical and conceptual design of the system was developed with the help of visually impaired developers. We conducted a user study with fourteen visually impaired middle school children to observe their interactions with the prototype. In this paper, we present our design, provide several TUI design considerations for students with low to zero sight, and discuss the results of our user study and future directions.}, + isbn = {978-1-4503-6107-1}, + keywords = {music programming,tangible programming blocks,visually-impaired student education}, + file = {/Users/tomoya/Downloads/preprint.pdf} +} + +@inproceedings{Salazar2012, + title = {{{CHUGENS}}, {{CHUBGRAPHS}}, {{CHUGINS}}: 3 {{TIERS FOR EXTENDING CHUCK}}}, + booktitle = {International {{Computer Music Conference Proceedings}}}, + author = {Salazar, Spencer and Wang, Ge}, + date = {2012}, + pages = {60--63}, + url = {http://hdl.handle.net/2027/spo.bbp2372.2012.010}, + file = {/Users/tomoya/Zotero/storage/6XY3DR2B/chugens-chubgraphs-chugins-3-tiers-for-extending-chuck.pdf} +} + +@article{salazarDevelopingPerformancePractice2018, + title = {Developing a {{Performance Practice}} for {{Mobile Music Technology}}}, + author = {Salazar, Spencer and Piepenbrink, Andrew and Reid, Sarah}, + date = {2018}, + pages = {59--64}, + file = {/Users/tomoya/Zotero/storage/SXY6FKM5/Salazar, Piepenbrink, Reid_2018_Developing a Performance Practice for Mobile Music Technology.pdf} +} + +@article{salazarReengagingBodyGesture2018, + title = {Re-Engaging the {{Body}} and {{Gesture}} in {{Musical Live Coding}}}, + author = {Salazar, Spencer and Armitage, Jack}, + date = {2018}, + pages = {386--389}, + url = {https://www.researchgate.net/publication/324783054}, + abstract = {At first glance, the practice of musical live coding seems dis-tanced from the gestures and sense of embodiment common in musical performance, electronic or otherwise. This work-shop seeks to explore the extent to which this assertion is justified, to re-examine notions of gesture and embodiment in musical live coding performance, to consider historical approaches for integrating musical programming and ges-ture, and to look to the future for new ways of fusing the two. The workshop will consist firstly of a critical discussion of these issues and related literature. This will be followed by applied practical experiments involving ideas generated during these discussions. The workshop will conclude with a recapitulation and examination of these experiments in the context of previous research and proposed future direc-tions.}, + keywords = {Author Keywords Live coding,embodiment,gesture,Performing arts}, + file = {/Users/tomoya/Zotero/storage/QYZDCSX9/Salazar, Armitage_2018_Re-engaging the Body and Gesture in Musical Live Coding.pdf} +} + +@article{saleaMetalOxideSemiconductor2017, + title = {Metal {{Oxide Semiconductor 3D}} Printing: {{Preparation}} of {{Copper}} ({{II}}) {{Oxide}} by {{Fused Deposition Modelling}} for {{Multi-functional Semiconducting Applications}}}, + shorttitle = {Metal {{Oxide Semiconductor 3D}} Printing}, + author = {Salea, Ahamad and Prathumwan, Rat and Junpha, Jedsada and Subannajui, Kittitat}, + date = {2017-05-18}, + journaltitle = {J. Mater. Chem. C}, + shortjournal = {J. Mater. Chem. C}, + volume = {5}, + doi = {10.1039/C7TC00990A}, + abstract = {CuO semiconductor was successfully prepared by fused deposition modeling (FDM) and sintering technique. The 1.75 mm high-loading Cu composite was extruded and printed into a desired size and shape. The sample was sintered and calcined to transform Cu powder to CuO semiconductor. The 3 dimension (3D) printed CuO had a scaffold structure with a half density of bulk CuO. It had a mechanical characteristic like a scaffold ceramics although prepared by FDM machine. The Van der paw measurement and UV-vis absorption spectroscopy were used to observe the electrical and optical properties of 3D printed CuO respectively. The 3D printed CuO was used as an example of a 3D semiconductor which has the response with light, pressure, and temperature. This technique has a potential to be applied in any FDM machine which might allow anyone to print semiconductor or other related materials.}, + file = {/Users/tomoya/Zotero/storage/J7MEXYK2/Salea et al. - 2017 - Metal Oxide Semiconductor 3D printing Preparation.pdf} +} + +@online{Samadhisound2010, + title = {Egrets - {{Toshimaru Nakamura}}}, + author = {{Samadhisound}}, + date = {2010}, + url = {http://www.samadhisound.com/toshimarunakamura/}, + urldate = {2019-01-20} +} + +@article{sanfilippoFeedbackSystemsAnalytical2013, + title = {Feedback {{Systems}}: {{An Analytical Framework}}}, + author = {Sanfilippo, Dario and Valle, Andrea}, + date = {2013}, + journaltitle = {Computer Music journal}, + volume = {37}, + number = {3}, + pages = {26--48}, + issn = {1531-5169}, + doi = {10.1162/COMJ}, + abstract = {The use of feedback-based systems in the music domain dates back to the 1960s. Their applications span from music composition and sound organization to audio synthesis and processing, as the interest in feedback resulted both from theoretical reflection on cybernetics and system theory, and from practical experimentation on analog circuits. The advent of computers has made possible the implementation of complex theoretical systems in audio-domain oriented applications, in some sense bridging the gap between theory and practice in the analog domain, and further increasing the range of audio and musical applications of feedback systems. In this article we first sketch a minimal history of feedback in music; second, we briefly introduce feedback systems from a theoretical point of view; then we propose a set of features that characterize them from the perspective of music applications; finally, we propose a typology targeted at feedback systems used in the audio/musical domain and discuss some relevant examples. Some}, + isbn = {8187672641}, + file = {/Users/tomoya/Zotero/storage/SXSE3PB4/Sanfilippo, Valle_2013_Feedback Systems An Analytical Framework.pdf} +} + +@article{sanfilippoTurningPerturbationEmergent2013, + title = {Turning {{Perturbation Into Emergent Sound}}, and {{Sound}} into {{Perturbation}}}, + author = {Sanfilippo, Dario}, + date = {2013}, + journaltitle = {Interference / Ajournal of Audio Culture}, + number = {6}, + url = {www.interferencejournal.com/articles/noise/turning-perturbation-into-emergent-sound}, + urldate = {2019-01-16}, + abstract = {In this paper I will discuss the implementation of cybernetic music systems based on feedback. As a case study, I will present my projects for human-computer interaction performance and autonomous interactive sound installations, LIES and SD/OS, describing their characteristics from a systemic perspective, their structure, and the concepts behind these works. Concepts such as complexity, self-dis/organisation, emergence and chaos are crucial to these works, as are those of autonomy and synergy. Feedback, a mechanism that makes the subversion of technology possible, is the key for the design of these systems and for establishing a strict coupling between environment, performer, and machine. It will be shown that in such music systems ‘noise’ can be the sole source of alimentation, and that sound affects itself, becoming a continuous perturbation for the spontaneous behaviour of such systems.}, + file = {/Users/tomoya/Zotero/storage/YQWZZKYP/full-text.pdf} +} + +@article{sangsterBucketBrigadeElectronicsNewPossibilities1969, + title = {Bucket-{{Brigade Electronics-New Possibilities}} for {{Delay}}, {{Time-Axis Conversion}}, and {{Scanning}}}, + author = {Sangster, F. L J and Teer, K.}, + date = {1969}, + journaltitle = {IEEE Journal of Solid-State Circuits}, + volume = {4}, + number = {3}, + pages = {131--136}, + issn = {1558173X}, + doi = {10.1109/JSSC.1969.1049975}, + file = {/Users/tomoya/Zotero/storage/89JU3UF2/Sangster, Teer_1969_Bucket-Brigade Electronics-New Possibilities for Delay, Time-Axis Conversion, and Scanning.pdf} +} + +@inproceedings{SanLunQingBaoKeXueYunShuDaXueYuanDaXueJiYao, + title = {情報科学芸術大学院大学紀要}, + author = {三輪, 眞弘 and 入江, 経一 and {幽霊トリオ} and 小林, 孝浩 and 山田, 晃嗣 and 関口, 敦仁 and 小林, 昌廣}, + file = {/Users/tomoya/Zotero/storage/PB7BMXUB/Arts_Unknown_No Title.pdf} +} + +@incollection{Sano2023, + title = {「経験から「普通」を問い直す」とはどういうことか？ー「経験」のポリティクス}, + booktitle = {フェミニスト現象学: 経験が響きあう場所へ}, + author = {佐野, 泰之}, + editor = {稲原, 美苗 and 川崎, 唯史 and 中澤, 瞳 and 宮原, 優}, + date = {2023-08}, + eprint = {Db8P0AEACAAJ}, + eprinttype = {googlebooks}, + pages = {265--282}, + publisher = {ナカニシヤ出版}, + isbn = {978-4-7795-1698-6}, + language = {ja}, + keywords = {Language Arts & Disciplines / Library & Information Science / General} +} + +@article{sarwatePerformanceSystemsLive2018, + title = {Performance {{Systems}} for {{Live Coders}} and {{Non-Coders Performance Systems}} for {{Live Coders}} and {{Non-Coders}}}, + author = {Sarwate, Avneesh and Rose, Ryan and Nw, Mcmillan Street and Armitage, Jack}, + date = {2018}, + pages = {370--373}, + url = {https://drive.google.com/open?id=1CY_t3T2LIWiupyQKGxoOLYISQ9toioCb}, + issue = {April}, + file = {/Users/tomoya/Zotero/storage/RGFBYIA4/Sarwate et al._2018_Performance Systems for Live Coders and Non-Coders Performance Systems for Live Coders and Non-Coders.pdf} +} + +@article{sasaDevelopmentZincOxide2019, + title = {Development of Zinc Oxide Thin Films and Their Device Applications}, + author = {Sasa, Shigehiko and Koike, Kazuto and Yano, Mitsuaki and Maemoto, Toshihiko}, + date = {2019-07-10}, + journaltitle = {Vacuum and Surface Science}, + shortjournal = {Vac. Surf. Sci.}, + volume = {62}, + number = {7}, + pages = {421--426}, + issn = {2433-5835, 2433-5843}, + doi = {10.1380/vss.62.421}, + url = {https://www.jstage.jst.go.jp/article/vss/62/7/62_20180376/_article/-char/ja/}, + urldate = {2023-08-10}, + abstract = {Oxide semiconductors have various useful material properties such as a wide bandgap and capability of low temperature film formation and therefore can be formed on a glass or plastic substrate by sputtering or other methods. A thin film transistor is becoming its major application as a pixel driver for LCD or OLEDs. We focused on zinc oxide among oxide semiconductors and evaluated the electron transport properties using a single crystal heterostructure formed by MBE in order to evaluate the potential performance of ZnO based transistors. The devices showed high performance applicable to various applications. As a possible application of ZnO transistors, we also report applications to biosensors.}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/WQKICIVM/Sasa et al. - 2019 - Development of Zinc Oxide Thin Films and Their Dev.pdf} +} + +@article{sauerWorkingWFSCollider, + title = {Working with {{WFSCollider}}}, + author = {Sauer, Arthur and Snoei, Wouter}, + isbn = {9788740306828}, + file = {/Users/tomoya/Zotero/storage/4QSGMAB4/Sauer, Snoei_Unknown_Working with WFSCollider.pdf} +} + +@article{saundersImprovedFMAudio1977, + title = {Improved {{FM Audio Synthesis Methods}} for {{Real-Time Digital Music Generation}}}, + author = {Saunders, Steve}, + date = {1977}, + journaltitle = {Source: Computer Music Journal}, + volume = {1}, + number = {1}, + pages = {53--55}, + url = {https://about.jstor.org/terms}, + urldate = {2021-07-21}, + file = {/Users/tomoya/Zotero/storage/EUXLTLK6/full-text.pdf;/Users/tomoya/Zotero/storage/PGL65828/Saunders - 1977 - Improved FM Audio Synthesis Methods for Real-Time Digital Music Generation.pdf} +} + +@article{scavoneAcousticAnalysisSinglereed1997, + title = {An Acoustic Analysis of Single-Reed Woodwind Instruments with an Emphasis on Design and Performance Issues and Digital Waveguide Modeling Techniques}, + author = {Scavone, Gp}, + date = {1997}, + abstract = {Current acoustic theory regarding single-reed woodwind instruments is reviewed and summarized, with special attention given to a complete analysis of conical air column issues. This theoretical acoustic foundation is combined with an empirical perspective gained through professional performance experience in a discussion of woodwind instrument design and performance issues. Early saxophone design specifications, as given by Adolphe Sax, are investigated to determine possible influences on instrument response and intonation. Issues regarding saxophone mouthpiece geometry are analyzed. Piecewise cylindrical and conical section approximations to narrow and wide mouthpiece chamber designs o er an acoustic basis to the largely subjective examinations of mouthpiece e ects conducted in the past. The influence of vocal tract manipulations in the control and performance of woodwind instruments is investigated and compared with available theoretical analyses. Several extended performance techniques are discussed in terms of acoustic principles. Discrete-time methods are presented for accurate time-domain implementation of single-reed woodwind instrument acoustic theory using digital waveguide techniques. Two methods for avoiding unstable digital waveguide scattering junction implementations, associated with taper rate discontinuities in conical air columns, are introduced. A digital waveguide woodwind tonehole model is presented which incorporates both shunt and series impedance parameters. Two-port and threeport scattering junction tonehole implementations are investigated and the results are compared with the acoustic literature. Several methods for modeling the single-reed excitation mechanism are discussed. Expressive controls within the context of digital waveguide woodwind models are presented, as well as model extensions for the implementation of register holes and mouthpiece variations. Issues regarding the control and performance of real-time models are discussed. Techniques for verifying and calibrating the time-domain behavior of these models are investigated and a study is presented which seeks to identify an instrument's linear and nonlinear characteristics based on periodic prediction.}, + issue = {March}, + file = {/Users/tomoya/Zotero/storage/77R7XJHV/m-api-53108a2e-418d-7ca7-518d-b58e320bdca7.pdf} +} + +@inproceedings{scavoneRtAudioCrossPlatformClass2002, + title = {{{RtAudio}}: {{A Cross-Platform C}}++ {{Class}} for {{Realtime Audio Input}}/{{Output}}}, + booktitle = {Proceedings of the 2002 {{International Computer Music Conference}}}, + author = {Scavone, Gary P.}, + date = {2002}, + location = {Goteborg, Sweden}, + file = {/Users/tomoya/Zotero/storage/3Q8YHHPB/full-text.pdf;/Users/tomoya/Zotero/storage/W988SUS8/Scavone - 2002 - RtAudio A Cross-Platform C Class for Realtime Audio InputOutput.pdf} +} + +@article{scheirerSAOLMPEG4Structured1999, + title = {{{SAOL}}: {{The MPEG-4 Structured Audio Orchestra Language}}}, + shorttitle = {{{SAOL}}}, + author = {Scheirer, Eric D. and Vercoe, Barry L.}, + date = {1999-06}, + journaltitle = {Computer Music Journal}, + shortjournal = {Computer Music Journal}, + volume = {23}, + number = {2}, + pages = {31--51}, + issn = {0148-9267, 1531-5169}, + doi = {10.1162/014892699559742}, + url = {https://direct.mit.edu/comj/article/23/2/31-51/93395}, + urldate = {2022-01-06}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/NIULED49/Scheirer and Vercoe - 1999 - SAOL The MPEG-4 Structured Audio Orchestra Langua.pdf;/Users/tomoya/Zotero/storage/U9MFTBDB/Scheirer and Vercoe - 1999 - SAOL The MPEG-4 Structured Audio Orchestra Langua.pdf} +} + +@article{schmeleExploring3DAudio2009, + title = {Exploring {{3D Audio}} as a {{New Musical Language}}}, + author = {Schmele, Timothy and Finney, Nathaniel}, + date = {2009}, + journaltitle = {Group}, + file = {/Users/tomoya/Zotero/storage/7JIH8HY6/2009-Exploring_3D_Audio_as_a_New_Musical_Language.pdf} +} + +@article{schrammPolyphonicPitchTracking2018, + title = {A Polyphonic Pitch Tracking Embedded System for Rapid Instrument Augmentation}, + author = {Schramm, Rodrigo and Visi, Federico and Johann, Marcelo}, + date = {2018}, + pages = {120--125}, + file = {/Users/tomoya/Zotero/storage/V9Z6XH3P/Schramm, Visi, Johann_2018_A polyphonic pitch tracking embedded system for rapid instrument augmentation.pdf} +} + +@article{schuitmanWaveFieldSynthesis2005, + title = {Wave {{Field Synthesis Using Multi Actuator Panel Loudspeakers}} : {{Design}} and {{Application}} of {{Various Digital Filtering Algorithms}}}, + author = {Schuitman, J Van Dorp}, + date = {2005}, + issue = {October}, + file = {/Users/tomoya/Zotero/storage/TF4Z8H3K/Schuitman_2005_Wave Field Synthesis Using Multi Actuator Panel Loudspeakers Design and Application of Various Digital Filtering Algorit.pdf} +} + +@article{scipioUsingPDLive, + title = {Using {{PD}} for {{Live Interactions}} in {{Sound}} . {{An Exploratory Approach School}} of {{Electronic Music}}}, + author = {Scipio, Agostino D I}, + keywords = {audio feedback control,control signals,generation and processing of,live-electronics,pure data,real-time}, + file = {/Users/tomoya/Zotero/storage/T3NG8WFN/Using_PD_for_Live_Interactions_in_Sound_._An_Exploratory_Approach_School_of_Electronic_Music.pdf} +} + +@article{seriesConversationsCriticalMaking, + title = {Conversations in {{Critical Making}}}, + author = {Series, Blueshift}, + file = {/Users/tomoya/Zotero/storage/FSUTKNFW/Series_Unknown_Conversations in Critical Making.pdf} +} + +@online{shadertoyShadertoyShadertoyV02014, + title = {Shadertoy - Shadertoy v0.5 comes with a huge new feature: Music Synthesis in the GPU! Check it out: https://www.shadertoy.com/view/XsfXD2 https://www.shadertoy.com/view/4dfXWj | Facebook}, + shorttitle = {Shadertoy - Shadertoy v0.5 comes with a huge new feature}, + author = {Shadertoy}, + date = {2014-08}, + url = {https://www.facebook.com/Shadertoy/photos/a.171238383023138/352238541589787/}, + urldate = {2022-01-28}, + abstract = {Shadertoy v0.5 comes with a huge new feature: Music Synthesis in the GPU! Check it out: https://www.shadertoy.com/view/XsfXD2 https://www.shadertoy.com/view/4dfXWj}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/4ZHSB6HU/352238541589787.html} +} + +@article{shahSimulationSpectralAnalysis2008, + title = {Simulation and {{Spectral Analysis}} of {{Inharmonic Tones}} of {{Musical Instruments}}}, + author = {Shah, Varsha and Patil, Rekha S}, + date = {2008}, + pages = {261--264}, + isbn = {9789606766442}, + keywords = {- inharmonic signal,inharmonicity,partial,spectrum analysis,synthesis}, + file = {/Users/tomoya/Zotero/storage/F67UKDK4/Shah, Patil_2008_Simulation and Spectral Analysis of Inharmonic Tones of Musical Instruments.pdf} +} + +@inproceedings{ShanBenGaoZhouBoYinCiJigaRenJianniYueruYingXiangniGuansuruJiChuDeYanJiu2000, + title = {高周波音刺激が人間に与える影響に関する基礎的研究}, + booktitle = {日本建築学会大会学術講演梗概集}, + author = {杉本, 純一 and 上森, 弘恵 and 崔, 鍾仁 and 堀田, 健治}, + date = {2000}, + file = {/Users/tomoya/Zotero/storage/UEM962IH/2000-file.pdf} +} + +@online{ShanBenKaraokeWenHuaLunLiMingGuanDaXueChanYeSheHuiXueBuJASRACJiFuJiangZuo2007, + title = {カラオケ文化論 立命館大学産業社会学部 {{JASRAC寄附講座}}　音楽・文化産業論Ⅱ}, + author = {山本, 裕治}, + date = {2007-12-22}, + url = {http://www.ritsumei.ac.jp/acd/cg/ss/07jasrac/kouki/13/kouki13.htm}, + urldate = {2022-01-16}, + file = {/Users/tomoya/Zotero/storage/FQPTZYFN/kouki13.html} +} + +@article{ShangSenGaoZhouBoYinCiJigaRenJianniYueruYingXiangniGuansuruJiChuDeYanJiuSono12000, + title = {高周波音刺激が人間に与える影響に関する基礎的研究 その1}, + author = {上森, 弘恵 and 杉本, 純一 and 崔, 鍾仁 and 堀田, 健治}, + date = {2000}, + journaltitle = {日本建築学会大会学術講演梗概集}, + file = {/Users/tomoya/Zotero/storage/4KVT59MX/2000-_1.pdf} +} + +@book{ShanKouYuCegaZuoruSheHuiKeXuenoYanXieNoShiwareFang2019, + title = {予測が作る社会 「科学の言葉」の使われ方}, + author = {山口, 富子 and 福島, 真人}, + date = {2019}, + publisher = {東京大学出版会}, + isbn = {978-4-13-056120-4} +} + +@article{Shannon1948, + title = {A {{Mathematical Theory}} of {{Communication}}}, + author = {Shannon, C. E.}, + date = {1948-07}, + journaltitle = {Bell System Technical Journal}, + volume = {27}, + number = {3}, + pages = {379--423}, + issn = {00058580}, + doi = {10.1002/j.1538-7305.1948.tb01338.x}, + url = {http://ieeexplore.ieee.org/lpdocs/epic03/wrapper.htm?arnumber=6773024}, + urldate = {2019-01-20}, + file = {/Users/tomoya/Zotero/storage/ZC2CRWSH/Shannon_1948_A Mathematical Theory of Communication.pdf} +} + +@article{shannonBandwagonEdtl1956, + title = {The Bandwagon ({{Edtl}}.)}, + author = {Shannon, C.}, + date = {1956}, + journaltitle = {IRE Transactions on Information Theory}, + volume = {2}, + number = {1}, + pages = {3--3}, + issn = {0096-1000}, + doi = {10.1109/TIT.1956.1056774}, + url = {http://ieeexplore.ieee.org/document/1056774/}, + abstract = {Not available}, + file = {/Users/tomoya/Zotero/storage/HK2P7JWW/Shannon_1956_The Bandwagon.pdf} +} + +@article{shannonMathematicalTheoryCommunication1948, + title = {A Mathematical Theory of Communication}, + author = {Shannon, Claude E}, + date = {1948}, + journaltitle = {The Bell System Technical Journal}, + volume = {27}, + eprint = {9230594}, + eprinttype = {pmid}, + pages = {379--423}, + issn = {07246811}, + doi = {10.1145/584091.584093}, + abstract = {The recent development of various methods of modulation such as PCM and PPM which exchange bandwidth for signal-to-noise ratio has intensified the interest in a general theory of communication. A basis for such a theory is contained in the important papers of Nyquist and Hartley on this subject. In the present paper we will extend the theory to include a number of new factors, in particular the effect of noise in the channel, and the savings possible due to the statistical structure of the original message and due to the nature of the final destination of the information. The fundamental problem of communication is that of reproducing at one point either exactly or approximately a message selected at another point. Frequently the messages have meaning; that is they refer to or are correlated according to some system with certain physical or conceptual entities. These semantic aspects of communication are irrelevant to the engineering problem. The significant aspect is that the actual message is one selected from a set of possible messages. The system must be designed to operate for each possible selection, not just the one which will actually be chosen since this is unknown at the time of design. If the number of messages in the set is finite then this number or any monotonic function of this number can be regarded as a measure of the information produced when one message is chosen from the set, all choices being equally likely. As was pointed out by Hartley the most natural choice is the logarithmic function. Although this definition must be generalized considerably when we consider the influence of the statistics of the message and when we have a continuous range of messages, we will in all cases use an essentially logarithmic measure.}, + isbn = {0252725484}, + issue = {July 1928}, + file = {/Users/tomoya/Zotero/storage/URTKVWXQ/m-api-06930adb-792a-b90e-5159-b2ec8c3bf2eb.pdf} +} + +@thesis{ShanShanZhouBoShuLingYusanpuruwoYongitaDSPniyoruPSKFuDiaonoYanJiu2003, + title = {{{周波数領域サンプルを用いたDSPによるPSK復調の研究}}}, + author = {杉山, 克己}, + date = {2003}, + institution = {Shizuoka University}, + doi = {10.14945/00003057}, + url = {http://doi.org/10.14945/00003057}, + pagetotal = {1-116}, + file = {/Users/tomoya/Zotero/storage/RCDDTFCQ/杉山_2003_周波数領域サンプルを用いたDSPによるPSK復調の研究.pdf} +} + +@article{ShanTian4ZhangRiBennokonpiyutaKaiFaShi2010, + title = {4章 日本のコンピュータ開発史}, + author = {山田, 昭彦}, + date = {2010}, + journaltitle = {電子情報通信学会}, + number = {23}, + pages = {1--14}, + file = {/Users/tomoya/Zotero/storage/48UI7A79/Unknown_2010_第 4 章 配位化合物.pdf} +} + +@article{sheffieldMechanoiseMechatronicSound2018, + title = {Mechanoise : {{Mechatronic Sound}} and {{Interaction}} in {{Embedded Acoustic Instruments}}}, + author = {Sheffield, Eric}, + date = {2018}, + pages = {380--381}, + file = {/Users/tomoya/Zotero/storage/UA2G96BI/Sheffield_2018_Mechanoise Mechatronic Sound and Interaction in Embedded Acoustic Instruments.pdf} +} + +@online{ShenZhiJieYinShengnoTeZhengChouChuDFTLPC2016, + title = {音声の特徴抽出 ( {{ＤＦＴ}} , {{ＬＰＣ}} , ケプストラム分析 )}, + author = {慎之介, 高道}, + date = {2016}, + file = {/Users/tomoya/Zotero/storage/JMRM4GG7/慎之介_2016_音声の特徴抽出 ( ＤＦＴ , ＬＰＣ , ケプストラム分析 ).pdf} +} + +@article{ShiJingJieShuoJiYiZhuangZhinituite1962, + title = {解説-記憶装置について}, + author = {石井, 治}, + date = {1962}, + journaltitle = {計測と制御}, + volume = {7}, + number = {5}, + pages = {316--326}, + file = {/Users/tomoya/Zotero/storage/Y2T4U4EJ/Unknown_Unknown_sicejl1962記憶装置について.pdf.pdf} +} + +@article{ShiTianYinLenotamenokonpiyutasisutemu1971, + title = {音楽のためのコンピュータシステム}, + author = {石田, 晴久}, + date = {1971}, + journaltitle = {バイオテク}, + volume = {2}, + number = {2}, + pages = {26--37}, + issn = {03856895}, + language = {japanese}, + annotation = {publisher=講談社} +} + +@online{ShiYinghuiruta, + title = {適応フィルタ}, + pages = {1--8}, + file = {/Users/tomoya/Zotero/storage/EJU7WNB5/Unknown_Unknown_適応フィルタ.pdf} +} + +@online{shriffkenSoftwareWovenWire2019, + title = {Software Woven into Wire: {{Core}} Rope and the {{Apollo Guidance Computer}}}, + shorttitle = {Software Woven into Wire}, + author = {Shriff,Ken}, + date = {2019}, + url = {http://www.righto.com/2019/07/software-woven-into-wire-core-rope-and.html}, + urldate = {2021-12-25}, + abstract = {Onboard the Apollo spacecraft, the revolutionary Apollo Guidance Computer helped navigate to the Moon and land on its surface. One of the f...}, + file = {/Users/tomoya/Zotero/storage/KQ74ULKT/software-woven-into-wire-core-rope-and.html} +} + +@online{shriffSoftwareWovenWire2019, + title = {Software Woven into Wire: {{Core}} Rope and the {{Apollo Guidance Computer}}}, + shorttitle = {Software Woven into Wire}, + author = {Shriff, Ken}, + date = {2019}, + url = {http://www.righto.com/2019/07/software-woven-into-wire-core-rope-and.html}, + urldate = {2021-12-25}, + abstract = {Onboard the Apollo spacecraft, the revolutionary Apollo Guidance Computer helped navigate to the Moon and land on its surface. One of the f...}, + file = {/Users/tomoya/Zotero/storage/I4PE9CPR/software-woven-into-wire-core-rope-and.html} +} + +@article{ShuiYeXueJiDeLingYutositenoShiJianDedezainrisatiDezainnoDezainniyoru2014, + title = {学際的領域としての実践的デザインリサーチ デザインの、デザインによる、デザインを通した研究とは}, + author = {水野, 大二郎}, + date = {2014}, + journaltitle = {KEIO SFC JOURNAL}, + volume = {14}, + number = {1}, + pages = {62--80} +} + +@article{ShuiYeYiDiEnaWenTiKaraFuZanaSheHui2017, + title = {「意地悪な問題」から「複雑な社会・技術的問題へ」 移行するデザイン学の研究、教育動向に関する考察}, + author = {水野, 大二郎}, + date = {2017}, + journaltitle = {KEIO SFC JOURNAL}, + volume = {17}, + number = {1}, + pages = {6--28} +} + +@online{sifaSoruresorunoWenFaMatahahuransowaSiyudoruno2018, + title = {ソルレソルの文法 またはフランソワ・シュドルの 国際語}, + author = {Sifa, Fasi}, + date = {2018}, + file = {/Users/tomoya/Zotero/storage/4MVEX75L/Sifa_2018_ソルレソルの文法 またはフランソワ・シュドルの 国際語.pdf} +} + +@online{SipShiCeKunNannanHaonoKeShiHuaJiShu, + title = {実測困難なん号の可視化技術}, + author = {辻, 嘉樹}, + file = {/Users/tomoya/Zotero/storage/CWPXM7LY/辻_Unknown_実測困難なん号の可視化技術.pdf} +} + +@article{skovenborgLoudnessDescriptorsCharacterize2009, + title = {Loudness {{Descriptors}} to {{Characterize Wide Loudness-Range Material}}}, + author = {Skovenborg, Esben and Lund, Thomas}, + date = {2009}, + journaltitle = {Proc. of the AES 127th Convention, New York}, + volume = {c}, + abstract = {Previously we introduced the concept of loudness descriptors - key numbers to summarize loudness properties of a broadcast programme or music track. This paper presents the descriptors: Foreground Loudness, which measures the level of foreground sound, and Loudness Range, which quantifies the variation in loudness. Wide loudness-range material may benefit from level-alignment based on foreground loudness rather than overall loudness. We propose to use these descriptors for loudness profiling and alignment, especially when live, raw, and film material is combined with other broadcast programs, thereby minimizing level-jumps and also applying appropriate dynamics-processing. Finally, we introduce the "zap test" which can objectively characterize the quality of loudness-balancing schemes, based on statistics of the potential loudness-jumps. A study of "loudness-jump tolerance" is presented, considering loudness-jumps from a subjective point of view.}, + isbn = {9781615677122}, + keywords = {broadcast,EBU,ITU-R,loudness,music}, + file = {/Users/tomoya/Zotero/storage/SLUU4QU4/2009-Loudness_Descriptors_to_Characterize_Wide_Loudness-Range_Material.pdf} +} + +@article{skrebowskiAllSystemsGo, + title = {All {{Systems Go}}: {{Recovering Jack Burnham}}’s ‘{{Systems Aesthetics}}’}, + author = {Skrebowski, Luke}, + url = {https://www.tate.org.uk/download/file/fid/7301}, + urldate = {2018-07-12}, + keywords = {Feedback}, + file = {/Users/tomoya/Zotero/storage/KNEHGUMB/full-text.pdf} +} + +@book{Small2011, + title = {ミュージッキング―音楽は“行為”である}, + author = {Small, Christopher}, + date = {2011}, + publisher = {水声社}, + isbn = {4-89176-826-6} +} + +@inproceedings{smith2009augmenting, + title = {Augmenting Computer Music with Just-in-Time Compilation}, + booktitle = {{{ICMC}}}, + author = {Smith, Wesley and Wakefield, Graham}, + date = {2009}, + file = {/Users/tomoya/Zotero/storage/RCEF86Q4/smith_wakefield_ICMC2009.pdf} +} + +@online{smithPDP1Music2006, + title = {{{PDP-1 Music}}}, + author = {Smith, Dan}, + date = {2006}, + url = {http://www.dpbsmith.com/pdp1music/index.html}, + urldate = {2022-01-05}, + file = {/Users/tomoya/Zotero/storage/FWUCSHIJ/index.html} +} + +@article{smithPhysicalModelingUsing1992, + title = {Physical Modeling Using Digital Waveguides}, + author = {Smith, Julius O}, + date = {1992}, + journaltitle = {Computer Music journal}, + pages = {74--91}, + issn = {01489267}, + doi = {10.2307/3680470}, + abstract = {Music synthesis based on a physical model promises the highest quality when it comes to imitating natural instruments. Because the artificial instrument can have the same control parameters as the real instrument, expressivity of control is unbounded. Historically, physical models have led to prohibitively expensive synthesis algorithms, and commercially available synthesizers do not yet appear to make use of them. These days, most synthesizers use either processed digital recordings ("sampling synthesis") or an abstract algorithm such as frequency modulation (FM). However, as computers become faster and cheaper, and as algorithms based on physical models become more efficient, we may expect to hear more from them. Most attempts to synthesize sounds based on a physical model have been based on numerical integration of the wave equation (covered in any textbook on acoustics). These methods generally require at least one operation (multiplication and/or addition) for each point on a grid that permeates the instrument. In principle, the grid spacing must be less than half a wavelength at the highest audio frequency. This is essentially why the computational costs are so high in "brute force" numerical solutions of the wave equation. More recently developed "digital waveguide" methods follow a different path to the physical model; the wave equation is first solved in a general way to obtain traveling waves in the medium interior. The traveling waves are explicitly simulated in the waveguide model, in contrast to computing a physical variable. (The traveling waves must be summed together to produce a physical output.) In the lossless case, a traveling wave between two points in the medium can be simulated using nothing but a digital delay line. In the general linear case, in which there are frequency-dependent losses and dispersion, the commutativity of linear time-invariant systems allows the losses and dispersion to be lumped at discrete points such that most of the simulation still consists of multiply-free delay lines. This is essentially why computational costs are so low in "waveguide synthesis" algorithms. Computer-music programmers know very well that a delay line can be implemented by a single fetch, store, and pointer update for each sample of output. If the delay line is, say, 500 samples long (corresponding to a pitch of 44,100/500=88 Hz in a string or bore model of compact disk quality), computational requirements relative to "brute force" numerical integration on the grid are reduced by three orders of magnitude. As a result, for very simple physical models, several CD-quality voices can be sustained in real time on a single digital signal processing (DSP) chip costing only a few dollars. This article develops waveguide synthesis beginning with the wave equation for vibrating strings. Transverse waves on a string are taken as the primary example due to the relative clarity of the underlying physics, but the formulation for string simulation is unified with that of the acoustic tube. The technique of lumping losses at discrete points in the waveguide, replacing more expensive distributed losses, is described.}, + isbn = {0148-9267}, + file = {/Users/tomoya/Zotero/storage/TN6AR8EG/Smith_1992_Physical modeling using digital waveguides.pdf} +} + +@article{smithSignalProcessingLibraries2012, + title = {Signal {{Processing Libraries}} for {{Faust}}}, + author = {Smith, Julius}, + date = {2012}, + journaltitle = {Linux Audio Conference (LAC-2012)}, + keywords = {audio signal processing,effects,faust,filters,oscilla-}, + file = {/Users/tomoya/Zotero/storage/G27APS59/Smith_2012_Signal Processing Libraries for Faust.pdf} +} + +@inproceedings{smithViewpointsHistoryDigital1991, + title = {Viewpoints on the {{History}} of {{Digital Synthesis}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Smith, Julius O}, + date = {1991}, + pages = {1--10}, + file = {/Users/tomoya/Zotero/storage/RHQHY4VX/kna.pdf} +} + +@article{snyderFeedbackTromboneControlling2018, + title = {The {{Feedback Trombone}} : {{Controlling Feedback}} in {{Brass Instruments}}}, + author = {Snyder, Jeff and Mulshine, Mike and Art, Prior}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces For Musical Expression}, + pages = {374--379}, + file = {/Users/tomoya/Zotero/storage/P867XQRN/Snyder, Mulshine, Art_2018_The Feedback Trombone Controlling Feedback in Brass Instruments.pdf} +} + +@article{snyderNeuronmodeledAudioSynthesis2018, + title = {Neuron-Modeled {{Audio Synthesis}}}, + author = {Snyder, Jeff and Mulshine, Mike and Art, Prior}, + date = {2018}, + pages = {394--397}, + file = {/Users/tomoya/Zotero/storage/PRC32WMB/Snyder, Mulshine, Art_2018_Neuron-modeled Audio Synthesis.pdf} +} + +@misc{SongDaoCiQiZengFuQiniokeruTiaoYueJibiChiYanXianXiangnituiteSonoEr, + title = {磁気増幅器における跳躍及び遅延現象について(その二)}, + author = {松島, 久夫}, + file = {/Users/tomoya/Zotero/storage/X9U9W2YF/松島_Unknown_磁気増幅器における跳躍及び遅延現象について(その二).pdf} +} + +@article{SongDaoYinLeBiaoJinoBiaoZhunHuaDongXiang1988, + title = {音楽表記の標準化動向}, + author = {松島, 俊明 and 神前, 尚生}, + date = {1988}, + journaltitle = {情報処理学会}, + volume = {29}, + number = {6}, + pages = {566--578}, + file = {/Users/tomoya/Zotero/storage/ZY28LKVQ/Unknown_Unknown_IPSJ-MGN290607.pdf.pdf} +} + +@inproceedings{SongPuMimiumYintoYinLenotamenoZiJiKuoZhangXingnoGaoipuroguraminguYanYunoSheJitoShiZhuang2021, + title = {Mimium: 音と音楽のための自己拡張性の高いプログラミング言語の設計と実装}, + booktitle = {日本ソフトウェア科学会研究会資料シリーズ({{Web}})}, + author = {松浦, 知也 and 城, 一裕}, + date = {2021-12}, + url = {https://www.wiss.org/WISS2021Proceedings/}, + eventtitle = {{{WISS}} インタラクティブシステムとソフトウェアに関するワークショップ} +} + +@article{SongPuYinLepuroguraminguYanYunososukodowoLePutoZhuoeSorewoBianJisuruturunoGouXiang2019, + title = {音楽プログラミング言語のソースコードを楽譜と捉え, それを編集するツールの構想}, + author = {松浦, 知也 and 城, 一裕}, + date = {2019}, + journaltitle = {研究報告音楽情報科学 (MUS)}, + volume = {2019}, + number = {17}, + pages = {1--4} +} + +@thesis{SongPuYinLeTuMuGongXuewoSheJisuruYinLenotamenopuroguraminguYanYumimiumnoKaiFawoTongzite2022, + title = {音楽土木工学を設計する―音楽のためのプログラミング言語mimiumの開発を通じて}, + author = {松浦, 知也}, + date = {2022-03-23}, + institution = {九州大学}, + url = {http://hdl.handle.net/2324/4784631} +} + +@thesis{SongPuYinXiangZhuangZhiZuoPinSongreChire2016, + title = {音響装置作品《送れ|遅れ / Post | Past》の制作からの考察 ——メディア考古学的視点からのメディアアート——}, + author = {松浦, 知也}, + date = {2016}, + institution = {東京藝術大学 音楽学部 音楽環境創造科} +} + +@thesis{sorensenExtemporeDesignImplementation2018, + type = {phdthesis}, + title = {Extempore: {{The}} Design, Implementation and Application of a Cyber-Physical Programming Language}, + author = {Sorensen, Andrew Carl}, + date = {2018}, + institution = {The Australian National University}, + doi = {10.25911/5D67B75C3AAF0}, + keywords = {Computer Music,Cyber,Extempore,High Performance Computing,Human Computer Interaction,Live Coding,Live Programming,Physical Programming}, + file = {/Users/tomoya/Zotero/storage/5HUUW8EZ/full-text.pdf;/Users/tomoya/Zotero/storage/B2JYT8R8/Sorensen - 2018 - Extempore The design, implementation and application of a cyber-physical programming language(3).pdf} +} + +@inproceedings{sorensenProgrammingTimeCyberphysical2010, + title = {Programming {{With Time Cyber-physical}} Programming with {{Impromptu}}}, + booktitle = {Proceedings of the {{ACM}} International Conference on {{Object}} Oriented Programming Systems Languages and Applications - {{OOPSLA}} '10}, + author = {Sorensen, Andrew and Gardner, Henry}, + date = {2010}, + publisher = {ACM Press}, + location = {New York, New York, USA}, + abstract = {The act of computer programming is generally considered to be temporally removed from a computer program's execution. In this paper we discuss the idea of programming as an activity that takes place within the temporal bounds of a real-time computational process and its interactions with the physical world. We ground these ideas within the context of livecoding-a live audiovisual performance practice. We then describe how the development of the programming environment "Impromptu" has addressed our ideas of programming with time and the notion of the programmer as an agent in a cyber-physical system.}, + isbn = {978-1-4503-0203-6}, + keywords = {Concurrency,Cyber-physical Systems,D10 [Programming Techniques]: General-With-Time Pr,D10 [Programming Techniques]: General-With-Time Programming General Terms Design,Experimentation,Hu-man Factors Keywords Time,Impromptu,Languages,Livecoding}, + file = {/Users/tomoya/Zotero/storage/KKPNASGJ/Sorensen, Gardner - 2010 - Programming With Time Cyber-physical programming with Impromptu(2).pdf;/Users/tomoya/Zotero/storage/N354856Z/full-text.pdf} +} + +@misc{sorensenTimeExtempore2016, + title = {Time in {{Extempore}}}, + author = {Sorensen, Andrew Carl}, + date = {2016}, + url = {https://extemporelang.github.io/docs/overview/time}, + urldate = {2021-06-18} +} + +@article{Spinellis2001, + title = {Notable Design Patterns for Domain-Specific Languages}, + author = {Spinellis, Diomidis}, + date = {2001-02-01}, + journaltitle = {Journal of Systems and Software}, + volume = {56}, + number = {1}, + pages = {91--99}, + publisher = {Elsevier Inc.}, + issn = {01641212}, + doi = {10.1016/S0164-1212(00)00089-3}, + abstract = {The realisation of domain-specific languages (DSLS) differs in fundamental ways from that of traditional programming languages. We describe eight recurring patterns that we have identified as being used for DSL design and implementation. Existing languages can be extended, restricted, partially used, or become hosts for DSLS. Simple DSLS can be implemented by lexical processing. In addition, DSLS can be used to create front-ends to existing systems or to express complicated data structures. Finally, DSLS can be combined using process pipelines. The patterns described form a pattern language that can be used as a building block for a systematic view of the software development process involving DSLS. © 2001 Elsevier Science Inc. All rights reserved.}, + keywords = {Design patterns,Domain-specific languages}, + file = {/Users/tomoya/Zotero/storage/RKYRSCKJ/dslpat.pdf;/Users/tomoya/Zotero/storage/SVXY7CTA/dslpat.pdf} +} + +@article{standardARIBDiShangdezitaruterebiziyonFangSongnoChuanSongFangShi, + title = {{{ARIB}} 地上デジタルテレビジョン放送の伝送方式}, + author = {Standard, Arib}, + file = {/Users/tomoya/Zotero/storage/ARPUWWIC/Standard_Unknown_ARIB 地上デジタルテレビジョン放送の伝送方式.pdf} +} + +@article{stapletonCoTuningVirtualAcousticPerformance2018, + title = {Co-{{Tuning Virtual-Acoustic Performance Ecosystems}} : Observations on the Development of Skill and Style in the {{Template}} for {{LaTeX}} Study of Musician-Instrument Relationships}, + author = {Stapleton, Paul and Walstijn, Maarten Van and Mehes, Sandor and Thørväld, Lars}, + date = {2018}, + pages = {311--314}, + file = {/Users/tomoya/Zotero/storage/FY4B3NLY/Stapleton et al._2018_Co-Tuning Virtual-Acoustic Performance Ecosystems observations on the development of skill and style in the Templ.pdf} +} + +@article{starEthnographyInfrastructure1999, + title = {The Ethnography of Infrastructure}, + author = {Star, Susan Leigh}, + date = {1999}, + journaltitle = {American Behavioral Scientist}, + number = {3}, + pages = {377--391}, + issn = {00027642}, + doi = {10.1177/00027649921955326}, + abstract = {This article asks methodological questions about studying infrastructure with some of the tools and perspectives of ethnography. Infrastructure is both relational and ecological - it means different things to different groups and it is part of the balance of action, tools, and the built environment, inseparable from them. It also is frequently mundane to the point of boredom, involving things such as plugs, standards, and bureaucratic forms. Some of the difficulties of studying infrastructure are how to scale up from traditional ethnographic sites, how to manage large quantities of data such as those produced by transaction logs, and how to understand the interplay of online and offline behavior. Some of the tricks of the trade involved in meeting these challenges include studying the design of infrastructure, understanding the paradoxes of infrastructure as both transparent and opaque, including invisible work in the ecological analysis, and pinpointing the epistemological status of indictors.}, + file = {/Users/tomoya/Zotero/storage/22SGVHF8/The_ethnography_of_infrastruct.pdf} +} + +@article{starStepsEcologyInfrastructure1996, + title = {Steps {{Toward}} an {{Ecology}} of {{Infrastructure}}: {{Design}} and {{Access}} for {{Large Information Spaces}}}, + author = {Star, Susan Leigh and Ruhleder, Karen}, + date = {1996}, + journaltitle = {Research}, + volume = {7}, + number = {1}, + eprint = {23010792}, + eprinttype = {jstor}, + pages = {111--134}, + url = {https://www.jstor.org/stable/23010792}, + urldate = {2021-09-15}, + file = {/Users/tomoya/Zotero/storage/TRXTXK2G/full-text.pdf} +} + +@article{Sterne2006, + title = {The Mp3 as Cultural Artifact}, + author = {Sterne, Jonathan}, + date = {2006-10-30}, + journaltitle = {New Media \& Society}, + volume = {8}, + number = {5}, + pages = {825--842}, + issn = {1461-4448}, + doi = {10.1177/1461444806067737}, + url = {http://journals.sagepub.com/doi/10.1177/1461444806067737}, + urldate = {2019-01-23} +} + +@book{Sterne2012, + title = {{{MP3}} : The Meaning of a Format}, + author = {Sterne, Jonathan}, + date = {2012}, + publisher = {Duke University Press}, + abstract = {MP3: The Meaning of a Format recounts the hundred-year history of the world's most common format for recorded audio. Understanding the historical meaning of the MP3 format entails rethinking the place of digital technologies in the larger universe of twentieth-century communication history, from hearing research conducted by the telephone industry in the 1910s, through the mid-century development of perceptual coding (the technology underlying the MP3), to the format's promiscuous social life since the mid 1990s. MP3s are products of compression, a process that removes sounds unlikely to be heard from recordings. Although media history is often characterized as a progression toward greater definition, fidelity, and truthfulness, MP3: The Meaning of a Format illuminates the crucial role of compression in the development of modern media and sound culture. Taking the history of compression as his point of departure, Jonathan Sterne investigates the relationships among sound, silence, sense, and noise; the commodity status of recorded sound and the economic role of piracy; and the importance of standards in the governance of our emerging media culture. He demonstrates that formats, standards, and infrastructures--and the need for content to fit inside them--are every bit as central to communication as the boxes we call "media." Introduction : format theory -- Perceptual technics -- Nature builds no telephones -- Perceptual coding and the domestication of noise -- Making a standard -- Of MPEG, measurement, and men -- Is music a thing? -- Conclusion : the end of MP3.}, + isbn = {0-8223-5287-7}, + pagetotal = {341}, + file = {/Users/tomoya/Zotero/storage/UNKLMJEU/Unknown_Unknown_mm.pdf} +} + +@book{Sterne2015, + title = {聞こえくる過去─音響再生産の文化的起源}, + author = {スターン, ジョナサン}, + translator = {中川, 克志 and 金子, 智太郎 and 谷口, 文和}, + date = {2015}, + publisher = {インスクリプト}, + url = {http://www.inscript.co.jp/b2/978-4-900997-58-5}, + urldate = {2019-01-20}, + isbn = {978-4-900997-58-5}, + language = {ja} +} + +@book{sterne2021, + title = {Diminished Faculties: A Political Phenomenology of Impairment}, + shorttitle = {Diminished Faculties}, + author = {Sterne, Jonathan}, + date = {2021}, + publisher = {Duke University Press}, + location = {Durham}, + abstract = {In Diminished Faculties Jonathan Sterne offers a sweeping cultural study and theorization of impairment. Drawing on his personal history with thyroid cancer and a paralyzed vocal cord, Sterne undertakes a political phenomenology of impairment in which experience is understood from the standpoint of a subject that is not fully able to account for itself. He conceives of impairment as a fundamental dimension of human experience, examining it as both political and physical. While some impairments are enshrined as normal in international standards, others are treated as causes or effects of illness or disability. Alongside his fractured account of experience, Sterne provides a tour of alternative vocal technologies and practices; a study of “normal” hearing loss as a cultural practice rather than a medical problem; and an intertwined history and phenomenology of fatigue that follows the concept as it careens from people to materials science to industrial management to spoons. Sterne demonstrates how impairment is a problem, opportunity, and occasion for approaching larger questions about disability, subjectivity, power, technology, and experience in new ways. Diminished Faculties ends with a practical user’s guide to impairment theory.}, + isbn = {978-1-4780-1508-6}, + language = {英語}, + pagetotal = {293} +} + +@book{sterneAudibleCulturalOrigins2003, + title = {The Audible Past: Cultural Origins of Sound Reproduction}, + shorttitle = {The Audible Past}, + author = {Sterne, Jonathan}, + date = {2003}, + publisher = {Duke University Press}, + location = {Durham}, + isbn = {978-0-8223-3013-4 978-0-8223-3004-2}, + pagetotal = {450}, + keywords = {Popular culture,Recording and reproducing History,Social aspects,Sound,Sound in mass media,Sound recording industry,Sound recordings} +} + +@book{sterneSoundStudiesReader2012, + title = {The Sound Studies Reader}, + editor = {Sterne, Jonathan}, + date = {2012}, + publisher = {Routledge}, + location = {New York}, + abstract = {"The Sound Studies Reader is a groundbreaking anthology blending recent work that self-consciously describes itself as 'sound studies' with earlier and lesser known scholarship on sound. The collection begins with an introduction to welcome novice readers to the field and acquaint them with key themes and concepts in sound studies. Individual section introductions give readers further background on the essays and an extensive up to date bibliography for further reading in 'sound studies' make this an original and accessible guide to the field"--}, + isbn = {978-0-415-77130-6 978-0-415-77131-3}, + pagetotal = {566}, + keywords = {Hearing,Listening,MUSIC / Recording & Reproduction,Recording and reproducing History,Recording and reproducing Social aspects,SOCIAL SCIENCE / Media Studies,Sound} +} + +@article{sterneThereNoMusic2014, + title = {There {{Is No Music Industry}}}, + author = {Sterne, Jonathan}, + date = {2014-01-01}, + journaltitle = {Media Industries Journal}, + volume = {1}, + number = {1}, + pages = {50--55}, + publisher = {University of Michigan Library}, + doi = {10.3998/MIJ.15031809.0001.110}, + abstract = {The locution “music industry” still too often refers to a single subset of profit-making practices in music: record labels and the activities around them. Media scholars are partly to blame, as they continue to define record labels, and especially labels that are part of conglomerates, in this way. Yet this notion of the production and sale of recordings as the basis of "the music industry" is hardly a part that represents the whole. Drawing on the work of Christopher Small and others who have decentered the musical text as the basis of music criticism, I argue that media industries scholars must do the same, opening up our inquiries to a wide range of music industries ; that is, industries whose activities directly affect the performance, production, circulation, consumption, recirculation, appropriation, and enjoyment of music today. Opening the term up in this way will allow us to develop more robust and coherent social accounts of music as a media practice, and provide a stronger empirical basis for criticizing current institutional arrangements and proposing new, more just and convivial alternatives.}, + file = {/Users/tomoya/Downloads/full-text (日本語).pdf;/Users/tomoya/Zotero/storage/BAS5KW6K/full-text.pdf} +} + +@article{sterneTuningSoundInfrastructures2021, + title = {Tuning Sound for Infrastructures: Artificial Intelligence, Automation, and the Cultural Politics of Audio Mastering}, + shorttitle = {Tuning Sound for Infrastructures}, + author = {Sterne, Jonathan and Razlogova, Elena}, + date = {2021-09-03}, + journaltitle = {Cultural Studies}, + shortjournal = {Cultural Studies}, + volume = {35}, + number = {4-5}, + pages = {750--770}, + issn = {0950-2386, 1466-4348}, + doi = {10.1080/09502386.2021.1895247}, + url = {https://www.tandfonline.com/doi/full/10.1080/09502386.2021.1895247}, + urldate = {2023-12-27}, + abstract = {This paper traces the infrastructural politics of automated music mastering to reveal how contemporary iterations of artificial intelligence (AI) shape cultural production. The paper examines the emergence of LANDR, an online platform that offers automated music mastering, built on top of supervised machine learning branded as artificial intelligence. Increasingly, machine learning will become an integral part of signal processing for sounds and images, shaping the way media cultures sound, look, and feel. While LANDR is a product of the so-called ‘big bang’ in machine learning, it could not exist without specific conditions: specific kinds of commensurable data, as well as specific aesthetic and industrial conditions. Mastering, in turn, has become an indispensable but understudied part of music circulation as an infrastructural practice. Here we analyze the intersecting histories of machine learning and mastering, as well as LANDR’s failure at automating other domains of audio engineering. By doing so, we critique the discourse of AI’s inevitability and show the ways in which machine learning must frame or reframe cultural and aesthetic practices in order to automate them, in service of digital distribution, recognition, and recommendation infrastructures.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/43WY8VE3/Sterne and Razlogova - 2021 - Tuning sound for infrastructures artificial intel.pdf} +} + +@article{stevensonExperimentalInvestigationsLip2009, + title = {Experimental {{Investigations}} of {{Lip Motion}} in {{Brass Instrument Playing}}}, + author = {Stevenson, Samuel D F}, + date = {2009}, + journaltitle = {Physics}, + pages = {211}, + abstract = {The precise nature of the motion of the lips of the musician is critically important to the sound of the brass wind instrument. The player must match the oscillation of the lips to the acoustical properties of the instrument and it can take many years of practice to master the techniques involved. Visualisation techniques for capturing the motion of the lips during performance are described and the behaviour of the lips quantitatively analysed using digital image analysis. The concept of an artificial mouth for the sounding of brass wind instruments is discussed and the motion of the artificial lips is compared to that of human musicians. When a brass instrument is played loudly the energy of the higher harmonics increases, creating a distinctive ‘brassy’ timbre. It has been suggested that saturation or constraint of the lips of the musician during extremely loud playing is responsible for this change in sound. Measurements of the motion of the lips of a number of different musicians on different instruments suggest that the lips are not significantly constrained at any playing dynamic, and that it is the phenomena of nonlinear propagation and shockwave generation that is responsible for the increase in energy of the higher harmonics. It is widely accepted that the starting transient of a musical instrument is of great importance to both listener and musician. Previous studies of brass instruments have focused on the steady-state behaviour of the lip-instrument interaction. Measurements of the motion of the lips have been synchronised with the pressure in the mouthpiece of the instrument and the sound radiated from the bell in order to investigate the transient behaviour of the system during both the starting transient and slurs between notes. Thiswork has been extended to include measurements of the pressure in the mouth of the player during the starting transient, and this information used to recreate realistic transients using an artificial mouth. The transient behaviour of the system is clearly affected by the time delay between the start of the note and the acoustical feedback from the instrument beginning. The information obtained can be used to aid in the creation of accurate computational and physical models of brass wind instruments.}, + file = {/Users/tomoya/Zotero/storage/RZ7TH7EJ/Stevenson_2009_Experimental Investigations of Lip Motion in Brass Instrument Playing.pdf} +} + +@book{stokesPasteurQuadrantBasic1997, + title = {Pasteur's {{Quadrant}}: {{Basic Science}} and {{Technological Innovation}}}, + author = {Stokes, Donald E.}, + date = {1997-10-29}, + publisher = {Brookings Institution Press}, + isbn = {978-0-8157-8177-6} +} + +@article{stolfiPlaysoundSpaceInclusive2018, + title = {Playsound.Space: {{Inclusive Free Music Improvisations Using Audio Commons}}}, + author = {Stolfi, Ariane and Ceriani, Miguel and Truchet, Luca and Barthet, Mathieu}, + date = {2018}, + journaltitle = {Proc. Nime}, + pages = {228--233}, + url = {https://www.researchgate.net/publication/324546442_Playsoundspace_Inclusive_Free_Music_Improvisations_Using_Audio_Commons}, + file = {/Users/tomoya/Zotero/storage/Z5GJSZDJ/Stolfi et al._2018_Playsound.space Inclusive Free Music Improvisations Using Audio Commons.pdf} +} + +@online{Storer2019, + title = {{{SOUL}}\_{{Overview}}.Md}, + author = {Storer, Julian}, + date = {2019-11-12}, + url = {https://github.com/soul-lang/SOUL/blob/master/docs/SOUL_Overview.md}, + urldate = {2020-03-28} +} + +@misc{storerSOUL_OverviewMd2019, + title = {{{SOUL}}\_{{Overview}}.Md}, + author = {Storer, Julian}, + date = {2019-11}, + url = {https://github.com/soul-lang/SOUL/blob/master/docs/SOUL_Overview.md}, + urldate = {2020-03-28} +} + +@inproceedings{Sumii2005, + title = {{{MinCaml}}: {{A}} Simple and Efficient Compiler for a Minimal Functional Language}, + booktitle = {{{FDPE}}'05 - {{Proceedings}} of the {{ACM SIGPLAN}} 2005 {{Workshop}} on {{Functional}} and {{Declarative Programming}} in {{Education}}}, + author = {Sumii, Eijiro}, + date = {2005}, + pages = {27--38}, + publisher = {ACM Press}, + location = {New York, New York, USA}, + doi = {10.1145/1085114.1085122}, + url = {http://portal.acm.org/citation.cfm?doid=1085114.1085122}, + urldate = {2020-06-05}, + abstract = {We present a simple compiler, consisting of only 2000 lines of ML, for a strict, impure, monomorphic, and higher-order functional language. Although this language is minimal, our compiler generates as fast code as standard compilers like Objective Caml and GCC for several applications including ray tracing, written in the optimal style of each language implementation. Our primary purpose is education at undergraduate level to convince students-as well as average programmers - that functional languages are simple and efficient. Copyright © 2005 ACM.}, + isbn = {1-59593-067-1}, + keywords = {Education,ML,Objective Caml,Teaching}, + file = {/Users/tomoya/Zotero/storage/N4VW4YGI/1085114.1085122.pdf} +} + +@article{sundbergRoboticPercussiveAerophone, + title = {A {{Robotic Percussive Aerophone}}}, + author = {Sundberg, Karl and Trovato, Ben and Barton, Scott and Field, Moffett and Walter, Andrew and Brien, Alex O and Leipuner, P}, + pages = {409--412}, + file = {/Users/tomoya/Zotero/storage/YJW5FWIC/Sundberg et al._Unknown_A Robotic Percussive Aerophone.pdf} +} + +@thesis{sutherlandSketchpadManmachineGraphical1963, + title = {Sketchpad: {{A}} Man-Machine Graphical Communication}, + author = {Sutherland, Ivan Edward}, + date = {1963}, + institution = {Massachusetts Institute of Technology}, + file = {/Users/tomoya/Zotero/storage/IYZH4SX4/UCAM-CL-TR-574.pdf} +} + +@book{sutiyuatoAndasutandeingukonpiyutesiyonDanChunnaJiJiekaraBuKeNengnapuroguramumade2014, + title = {アンダースタンディングコンピュテーション ―単純な機械から不可能なプログラムまで}, + author = {スチュアート, トム}, + translator = {笹田, 耕一 and 笹井, 崇司}, + date = {2014-09-19}, + publisher = {オライリー}, + isbn = {978-4-87311-697-6} +} + +@inproceedings{suwa2024, + title = {An {{ML-Style Module System}} for~{{Cross-Stage Type Abstraction}} in~{{Multi-stage Programming}}}, + booktitle = {Functional and {{Logic Programming}}}, + author = {Suwa, Takashi and Igarashi, Atsushi}, + editor = {Gibbons, Jeremy and Miller, Dale}, + date = {2024}, + pages = {237--272}, + publisher = {Springer Nature}, + location = {Singapore}, + doi = {10.1007/978-981-97-2300-3_13}, + abstract = {We propose MetaFM, a novel ML-style module system that enables users to decompose multi-stage programs (i.e., programs written in a typed multi-stage programming language) into loosely coupled components in a manner natural with respect to type abstraction. The distinctive aspect of MetaFM is that it allows values at different stages to be bound in a single structure (i.e., \$\$ \textbackslash textbf\{struct\} \textbackslash{} \textbackslash cdots \textbackslash{} \textbackslash textbf\{end\} \$\$struct⋯end). This feature is crucial, for example, for defining a function and a macro that use one abstract type in common, without revealing the implementation detail of that type. MetaFM also accommodates functors, higher-kinded types, the \$\$\textbackslash textbf\{with\} \textbackslash{} \textbackslash textbf\{type\} \$\$withtype-construct, etc. with staging features. For defining semantics and proving type safety, we employ an elaboration technique, i.e., type-directed translation to a target language, inspired by the formalization of F-ing Modules. Specifically, we give a set of elaboration rules for converting MetaFM programs into System~F\$\$\textbackslash omega \textasciicircum\{\textbackslash langle \textbackslash rangle \}\$\$ω⟨⟩, a multi-stage extension of System~F\$\$\textbackslash omega \$\$ω, and prove that the elaboration preserves typing. Additionally, our language supports cross-stage persistence (CSP), a feature for code reuse spanning more than one stage, without breaking type safety.}, + isbn = {978-981-9723-00-3}, + language = {en}, + keywords = {Code generation,Macros,Module systems,Staging}, + file = {/Users/tomoya/Zotero/storage/6D4K4DX5/Suwa and Igarashi - 2024 - An ML-Style Module System for Cross-Stage Type Abs.pdf} +} + +@report{tadeuszm.drzewieckiFluerics42Commonly1982, + title = {Fluerics 42: Some {{Commonly Used Laminar Fluidic Gain Blocks}}}, + author = {{Tadeusz M. Drzewiecki}}, + date = {1982}, + abstract = {examples of this program are given to cover multiple-stage gain blocks. As an example of the utility of the program, a step-by-step tradeoff study is presented for the Massachusetts Institute of Technology fluidic servovalve, for which an attempt is made to maximize bandwidth and minimize leakage flow.}, + file = {/Users/tomoya/Zotero/storage/6TRUKNVQ/m-api-1483374d-80fb-981d-418e-ed86ebe058a7.pdf} +} + +@online{taeyoonOpenCircuitOpen, + title = {Open {{Circuit}}, {{Open City}} – {{Taeyoon Choi}}}, + author = {{Taeyoon}}, + url = {http://taeyoonchoi.com/2016/12/open-circuit-open-city/}, + urldate = {2021-12-18}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/AAHN388B/open-circuit-open-city.html} +} + +@article{Taha1997, + title = {Multi-{{Stage Programming}} with {{Explicit Annotations}}}, + author = {Taha, Walid and Sheard, Tim}, + date = {1997-12-01}, + journaltitle = {SIGPLAN Notices (ACM Special Interest Group on Programming Languages)}, + volume = {32}, + number = {12}, + pages = {203--214}, + publisher = {Association for Computing Machinery (ACM)}, + issn = {03621340}, + doi = {10.1145/258994.259019}, + abstract = {We introduce MetaML, a statically-typed multi-stage programming language extending Nielson and Nielson's two stage notation to an arbitrary number of stages. MetaML extends previous work by introducing four distinct staging annotations which generalize those published previously [25, 12, 7, 6] We give a static semantics in which type checking is done once and for all before the first stage, and a dynamic semantics which introduces a new concept of cross-stage persistence, which requires that variables available in any stage are also available in all future stages. We illustrate that staging is a manual form of binding time analysis. We explain why, even in the presence of automatic binding time analysis, explicit annotations are useful, especially for programs with more than two stages. A thesis of this paper is that multi-stage languages are useful as programming languages in their own right, and should support features that make it possible for programmers to write staged computations without significantly changing their normal programming style. To illustrate this we provide a simple three stage example, and an extended two-stage example elaborating a number of practical issues.}, + file = {/Users/tomoya/Zotero/storage/KFYY25CM/Taha, Sheard - 1997 - Multi-Stage Programming with Explicit Annotations.pdf;/Users/tomoya/Zotero/storage/X3DDM6HN/full-text.pdf} +} + +@article{tahirogluDigitalMusicalInstruments2020, + title = {Digital {{Musical Instruments}} as {{Probes}}: {{How}} Computation Changes the Mode-of-Being of Musical Instruments}, + shorttitle = {Digital {{Musical Instruments}} as {{Probes}}}, + author = {Tahıroğlu, Koray and Magnusson, Thor and Parkinson, Adam and Garrelfs, Iris and Tanaka, Atau}, + date = {2020-04}, + journaltitle = {Organised Sound}, + shortjournal = {Org. Sound}, + volume = {25}, + number = {1}, + pages = {64--74}, + issn = {1355-7718, 1469-8153}, + doi = {10.1017/S1355771819000475}, + url = {https://www.cambridge.org/core/product/identifier/S1355771819000475/type/journal_article}, + urldate = {2021-12-24}, + abstract = {This article explores how computation opens up possibilities for new musical practices to emerge through technology design. Using the notion of the cultural probe as a lens, we consider the digital musical instrument as an experimental device that yields findings across the fields of music, sociology and acoustics. As part of an artistic-research methodology, the instrumental object as a probe is offered as a means for artists to answer questions that are often formulated outside semantic language. This article considers how computation plays an important role in the authors’ personal performance practices in different ways, which reflect the changed mode-of-being of new musical instruments and our individual and collective relations with them.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/I97JY8TV/Tahıroğlu et al. - 2020 - Digital Musical Instruments as Probes How computa.pdf} +} + +@article{Takahashi1987, + title = {キネチックアートの製作}, + author = {Takahashi, Shiro}, + date = {1987}, + journaltitle = {多摩美術大学研究紀要}, + volume = {3}, + pages = {149--156}, + file = {/Users/tomoya/Zotero/storage/RBTFAK68/m-api-2ce68ee7-a227-c689-0433-9a6c976790bf.pdf} +} + +@book{Takayama2022, + title = {ろう者学とソーシャルワーク教育}, + author = {高山, 亨太}, + date = {2022-04}, + eprint = {IBcGzwEACAAJ}, + eprinttype = {googlebooks}, + publisher = {生活書院}, + abstract = {なぜ、人々の福利や社会正義を追求するソーシャルワーク実践が、ろう・難聴者の抑圧に加担しているのか。}, + isbn = {978-4-86500-140-2}, + language = {ja}, + pagetotal = {272}, + keywords = {Reference / Encyclopedias} +} + +@online{Tanaka2021, + title = {解体しながらつくる、音で観るダンスは続いていく- 音で観るダンス}, + author = {田中, みゆき}, + date = {2021}, + url = {http://www.otodemiru.net/}, + urldate = {2024-05-19}, + abstract = {音声ガイドは、視覚情報を音で置き換えることで、鑑賞する人の頭の中にイメージを浮かび上がらせる手法です。そんな音声ガイドをダンスという身体表現につけるとしたら、どんなイメージや体験が生まれるでしょうか。}, + language = {ja}, + organization = {音で観るダンスのワークインプログレス}, + file = {/Users/tomoya/Zotero/storage/L9MELJIY/report.html} +} + +@inproceedings{tanaka2023, + title = {Action {{RPG Game Space Created}} by {{Listening}}: {{Spatial Exploration}} and {{Cognition}} without {{Vision}}}, + shorttitle = {Action {{RPG Game Space Created}} by {{Listening}}}, + booktitle = {Companion {{Proceedings}} of the {{Annual Symposium}} on {{Computer-Human Interaction}} in {{Play}}}, + author = {Tanaka, Miyuki}, + date = {2023-10-06}, + series = {{{CHI PLAY Companion}} '23}, + pages = {337--340}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3573382.3616037}, + url = {https://doi.org/10.1145/3573382.3616037}, + urldate = {2024-06-19}, + abstract = {Game design has been video-driven, and sound has been treated as something that augments the effects of video. On the other hand, for people with visual impairment to play video games, they need to be able to control the game without vision, but there have been few video games that serve this function. However, The Last of Us: Part II, released in 2020, made a global splash by allowing gamers with visual impairment to play and complete the game without the help of a sighted person. Using the video of a blind gamer playing this game and his own commentary, this study analyzes the role and effect of accessibility features in enabling play and discusses how visually impaired people could grasp the game space through sound to determine the next action.}, + isbn = {9798400700293}, + keywords = {auditory cue,blindness,modality,navigation,perception} +} + +@book{Tanaka2024, + title = {誰のためのアクセシビリティ？ 障害のある人の経験と文化から考える}, + author = {田中, みゆき}, + date = {2024-07-29}, + publisher = {リトル・モア}, + abstract = {スロープや字幕を付ければ終わりではない。 アクセシビリティの先には、生々しい身体を持った人間がいる。 　 映画を観る、ゲームをする、アートを鑑賞する。 そのために、チケットを買う、座席を選ぶ、会場に行く。 多くの人が日常的にしていることを、マジョリティとは異なる身体を持つというだけで同じように楽しめない人たちがいる。 　 コンテンツを作るとき、情報を発信するとき、イベントを催すとき。 わたしたちは、自分と異なる身体と感覚を持つ人のニーズをどのくらい想像しているだろう？ そもそも人が「体験する」とは、どういうことだろう？ アクセシビリティについて考えることは、“当たり前”を問い直すこと。 　 『ルール？展』や『音で観るダンス』など、常識をくつがえすプロジェクトを生み出し、アクセシビリティを研究してきた著者が、障害のある人と対話・実験しながら書き上げた初のエッセイ！ 障害のある人13人との対話・鑑賞ワークショップ・座談会の様子も記録。 　 「バリアフリー」や「インクルーシブ」からこぼれ落ちる声を聞き、AIなどのテクノロジーにも領域を広げて考える。 今の時代、どんな仕事、どんな表現をしている人も無関係ではいられない。 アクセシビリティの必要性と可能性、それを考えることの面白さも伝える著者ならではの人文エッセイ。 　 2024年度から改正障害者差別解消法の施行により、民間事業者も義務化となった「合理的配慮」。 何から始めよう？と考えている人も、はじめの一歩になる必読の本！ 　 “アクセシビリティは、社会のあらゆる場所が連携しながら、 つくる人と使う人が一緒に更新していく、終わりのないプロセスなのだ。” （本文より）}, + isbn = {978-4-89815-591-2}, + language = {日本語} +} + +@inproceedings{tanakaMappingOutInstruments2010, + title = {Mapping {{Out Instruments}}, {{Affordances}}, and {{Mobiles}}}, + booktitle = {Proceedings of the 2010 {{Conference}} on {{New Interfaces}} for {{Musical Expression}} ({{NIME}} 2010)}, + author = {Tanaka, Atau}, + date = {2010}, + pages = {88--93}, + abstract = {This paper reviews and extends questions of the scope of an interactive musical instrument and mapping strategies for expressive performance. We apply notions of embodiment and affordance to characterize gestural instruments. We note that the democratization of sensor technology in consumer devices has extended the cultural contexts for interaction. We revisit questions of mapping drawing upon the theory of affordances to consider mapping and instrument together. This is applied to recent work by the author and his collaborators in the development of instruments based on mobile devices designed for specific performance situations.}, + keywords = {instrument definition,mapping,mobile,multimodal interaction,Musical affordance,NIME}, + file = {/Users/tomoya/Zotero/storage/PCRXZEW3/Tanaka - 2010 - Mapping Out Instruments, Affordances, and Mobiles.pdf;/Users/tomoya/Zotero/storage/UG3FLLKG/full-text.pdf} +} + +@article{TangTianBanJiHeXueDeFeiXianXingXingwoKaoLusitasinbarunoYinXiangmoDeru2014, + title = {幾何学的非線形性を考慮したシンバルの音響モ デル}, + author = {湯田坂, 卓人 and 若槻, 尚斗 and 水谷, 孝一}, + date = {2014}, + journaltitle = {日本音響学会誌}, + volume = {70}, + number = {7}, + pages = {362--370}, + abstract = {］ シ ン バ ル は 薄板 の 幾何 学的非線 形性 に よ り打 叩の 強弱で音色 が大き く変化す る が，サ ン プ リ ン グ 音源を利用する電子楽器 は こ れ を十分 に は再現で きない 。 非線形性に起因する モ ード問エ ネ ル ギー遷 移を考 慮 して適切に モ デル 化 しシ ン バ ル音を合成すれば，自然 な音色変化が再現で きる と期待され る。 本研究では， ー シ ンバ ル音をリア ル タイ ム合成する簡易な音響モ デ ル を開発する こ とを目的と し，非線形 に起因す る高次モ ドの発生及 び各モ ードの減衰率を測 定 した。また，測定 した パ ラ メ ータを用 い た音響 モ デ ル で シ ン バ ル 音 を 合成 した結果，エ ン ベ ロ ープ等が実測波形 とよ く一致 し，初期振幅に応 じた音色変化 を再現で きる こ とを確 認 した。}, + file = {/Users/tomoya/Zotero/storage/W82ZVTGP/湯田坂, 若槻, 水谷_2014_幾何学的非線形性を考慮したシンバルの音響モ デル.pdf} +} + +@book{Taniguchi2015, + title = {音響メディア史 （「シリーズ」メディアの未来, 5）}, + author = {Taniguchi, Fumikazu and Nakagawa, Katsushi and Fukuda, Yūdai}, + date = {2015}, + publisher = {ナカニシヤ出版}, + url = {https://ci.nii.ac.jp/ncid/BB18419926}, + urldate = {2019-01-20}, + isbn = {978-4-7795-0951-3}, + pagetotal = {321} +} + +@online{taylorArticleInterviewDavid1999, + title = {Article: {{An Interview With David Wessel}} | {{Cycling}} '74}, + shorttitle = {Article}, + author = {Taylor, Gregory}, + date = {1999}, + url = {https://cycling74.com/articles/an-interview-with-david-wessel}, + urldate = {2022-01-20}, + abstract = {David Wessel is Professor of Music at the University of California, Berkeley where he directs the Center for New Music and Audio Technologies (CNMAT). Wessel worked at IRCAM between 1979 and 1988; his activities there included starting the department where Miller Puckette first began working on Max on a Macintosh. Since Wessel's arrival in Berkeley over ten years ago, CNMAT has been actively involved in teaching Max/MSP as well as developing freely available Max-based software projects.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/ZM7E9L9Q/an-interview-with-david-wessel.html} +} + +@article{techIntroducingK12Mechatronic2018, + title = {Introducing a {{K-12 Mechatronic NIME Kit NIME Proceedings Template}} for {{LaTeX}}}, + author = {Tech, Virginia and Field, Moffett}, + date = {2018}, + pages = {206--209}, + file = {/Users/tomoya/Zotero/storage/65E45CZK/Tech, Field_2018_Introducing a K-12 Mechatronic NIME Kit NIME Proceedings Template for LaTeX.pdf} +} + +@incollection{TeJiBatiyaruAkosuteitukugamotarasuTMnoXinsiiKeNengXing1996, + title = {特集＝バーチャル・{{アコースティックがもたらすTMの新しい可能性}} -}, + booktitle = {コンピューター・ミュージック・マガジン {{Vol}}.73}, + date = {1996-08}, + pages = {2--7}, + publisher = {電波新聞社}, + keywords = {★}, + file = {/Users/tomoya/Zotero/storage/FGXNIMQ5/Unknown_Unknown_computermusicmagazine.pdf.pdf} +} + +@article{tektronixUnderstandingFFTOverlap2009, + title = {Understanding {{FFT Overlap Processing Fundamentals}}}, + author = {{Tektronix}}, + date = {2009}, + pages = {1--24}, + url = {papers2://publication/uuid/B3646B77-110E-4855-9967-A9433626129B}, + keywords = {LFP analysis}, + file = {/Users/tomoya/Zotero/storage/YHHHWJJL/Tektronix_2009_Understanding FFT Overlap Processing Fundamentals.pdf} +} + +@book{Tenbata2022, + title = {しゃべれない生き方とは何か}, + author = {天畠, 大輔}, + date = {2022-02}, + eprint = {E97lzgEACAAJ}, + eprinttype = {googlebooks}, + publisher = {生活書院}, + isbn = {978-4-86500-136-5}, + language = {ja}, + pagetotal = {392}, + keywords = {Reference / Encyclopedias} +} + +@online{Tensoku2022, + title = {いま、「女性」はどう生きるか ―キャリア・結婚・装い・命― 第Ⅲ期 美か束縛か 纏足・コルセットの歴史と\#KuToo運動}, + author = {聖心女子大学グローバル共生研究所}, + date = {2022}, + url = {https://kyosei.u-sacred-heart.ac.jp/exhibition/2022_women_3/}, + urldate = {2024-05-07}, + abstract = {いま、「女性」はどう生きるか ―キャリア・結婚・装い・命― 第3期 美か束縛か| 聖心女子大学グローバル共生研究所 BE*hive 展示＋ワークショップスペース}, + language = {ja}, + organization = {聖心女子大学グローバル共生研究所 BE*hive 展示＋ワークショップスペース}, + file = {/Users/tomoya/Zotero/storage/5PBCS52S/chapter_01.html} +} + +@article{terrellSoundsNotSignals2012, + title = {Sounds Not {{Signals}}: {{A Perceptual Audio Format}}}, + author = {Terrell, Mj and Simpson, Ajr and Sandler, M}, + date = {2012}, + journaltitle = {Audio Engineering Society}, + volume = {29}, + number = {1}, + url = {http://www.aes.org/e-lib/browse.cfm?conv2=132&ebrief=52}, + file = {/Users/tomoya/Zotero/storage/UTEPQAKD/Terrell, Simpson, Sandler_2012_Sounds not Signals A Perceptual Audio Format.pdf} +} + +@book{thebergeAnySoundYou1997, + title = {Any Sound You Can Imagine: Making Music/Consuming Technology}, + shorttitle = {Any Sound You Can Imagine}, + author = {Théberge, Paul}, + date = {1997}, + series = {Music/Culture}, + publisher = {Wesleyan University Press : University Press of New England}, + location = {Hanover, NH}, + isbn = {978-0-8195-5307-2 978-0-8195-6309-5}, + pagetotal = {293}, + keywords = {Computer sound processing,Electronic musical instruments,Music and technology} +} + +@article{theile53WaveField, + title = {5-3．{{Wave Field Synthesisによる空間音響レンダリング手法}}}, + author = {Theile, Günther and Wittek, Helmut}, + file = {/Users/tomoya/Zotero/storage/P79HC3H4/5-3Wave_Field_Synthesis.pdf} +} + +@report{thesisMakingThingsLouder, + title = {Making {{Things Louder}} : {{Amplified Music}} and {{Multimodality}}}, + author = {Thesis, Phd and Mulder, Johannes and Van Leeuwen, Theo}, + file = {/Users/tomoya/Zotero/storage/57HLFVJT/full-text.pdf} +} + +@article{TianKouJiSuanJiniyoruYinLeYanZou1988, + title = {計算機による音楽演奏}, + author = {田口, 友康}, + date = {1988}, + journaltitle = {情報処理学会}, + volume = {29}, + number = {6}, + pages = {557--565}, + file = {/Users/tomoya/Zotero/storage/Q7LGPKJX/Unknown_Unknown_IPSJ-MGN290606.pdf.pdf} +} + +@article{TianZhong2021, + title = {聴取と動作によって生まれるアクション {{Rpgゲーム空間}} — 視覚障害者の空間探索と認知}, + author = {田中, みゆき and 細馬, 宏通}, + date = {2021}, + journaltitle = {人工知能学会研究会資料 言語・音声理解と対話処理研究会}, + volume = {91}, + pages = {17}, + doi = {10.11517/jsaislud.91.0_17}, + file = {/Users/tomoya/Zotero/storage/WDNB8I9K/田中 and 細馬 - 2021 - 聴取と動作によって生まれるアクション Rpgゲーム空間 — 視覚障害者の空間探索と認知.pdf;/Users/tomoya/Zotero/storage/MP9JHI7E/ja.html} +} + +@book{TianZhongTituputiyunnosubeteAllChiptune2017, + title = {チップチューンのすべて {{All About Chiptune}}: ゲーム機から生まれた新しい音楽}, + author = {田中, 治久(hally)}, + date = {2017}, + edition = {単行本}, + publisher = {誠文堂新光社}, + url = {https://lead.to/amazon/jp/?op=bt&la=ja&key=441661621X}, + isbn = {978-4-416-61621-5}, + pagetotal = {335}, + keywords = {コンピュータミュージック,デジタル音楽} +} + +@book{tkaczyk2020, + title = {Testing {{Hearing}}: {{The Making}} of {{Modern Aurality}}}, + shorttitle = {Testing {{Hearing}}}, + editor = {Tkaczyk, Edited by Viktoria and Mills, Mara and Hui, {and} Alexandra}, + date = {2020-10-01}, + publisher = {Oxford University Press}, + location = {Oxford, New York}, + abstract = {Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, and other fields. Applied at large scale, tests of seemingly small measure-of auditory acuity, of hearing range-helped redefine the modern concept of hearing as such. During the twentieth and twenty-first centuries, the epistemic function of hearing expanded. Hearing took on the dual role of test object and test instrument; in the latter case, human hearing became a gauge by which to evaluate or regulate materials, nonhuman organisms, equipment, and technological systems. This book considers both the testing of hearing and testing with hearing to explore the co-creation of modern epistemic and auditory cultures. The book's twelve contributors trace the design of ever more specific tests for the arts, education and communication, colonial and military applications, sociopolitical and industrial endeavors. Together, they demonstrate that testing as such became an enduring and wide-ranging cultural technique in the modern period, one that is situated between histories of scientific experimentation and many fields of application. , Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, and other fields. Applied at large scale, tests of seemingly small measure-of auditory acuity, of hearing range-helped redefine the modern concept of hearing as such. During the twentieth and twenty-first centuries, the epistemic function of hearing expanded. Hearing took on the dual role of test object and test instrument; in the latter case, human hearing became a gauge by which to evaluate or regulate materials, nonhuman organisms, equipment, and technological systems. This book considers both the testing of hearing and testing with hearing to explore the co-creation of modern epistemic and auditory cultures. The book's twelve contributors trace the design of ever more specific tests for the arts, education and communication, colonial and military applications, sociopolitical and industrial endeavors. Together, they demonstrate that testing as such became an enduring and wide-ranging cultural technique in the modern period, one that is situated between histories of scientific experimentation and many fields of application.}, + isbn = {978-0-19-751113-8}, + pagetotal = {416}, + file = {/Users/tomoya/Zotero/storage/I7K4V45W/testing-hearing-9780197511138.html} +} + +@article{tokaSirenInterfacePattern2018, + title = {Siren: {{Interface}} for {{Pattern Languages}}}, + author = {Toka, Mert and Ince, Can and Bayta, Mehmet Aydın}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {53--58}, + abstract = {This paper introduces Siren, a hybrid system for algorithmic composition and live-coding performances. Its hierarchical structure allows small modifications to propagate and ag-gregate on lower levels for dramatic changes in the musical output. It uses functional programming language TidalCy-cles [13, 14] as the core pattern creation environment due to its inherent ability to create complex pattern relations with minimal syntax. Borrowing the best from TidalCycles, Siren augments the pattern creation process by introducing various interface level features: a multi-channel sequencer, local and global parameters, mathematical expressions, and pattern history. It presents new opportunities for record-ing, refining, and reusing the playback information with the pattern roll component. Subsequently, the paper concludes with a preliminary evaluation of Siren in the context of user interface design principles [18], which originates from the cognitive dimensions framework for musical notation design [6, 20].}, + keywords = {algorithmic composition,Author Keywords Siren,hierarchical structure,interface design,live-coding,Media arts,pat-tern programming}, + file = {/Users/tomoya/Zotero/storage/DW3IRFXS/Toka, Ince, Bayta_2018_Siren Interface for Pattern Languages.pdf} +} + +@inproceedings{tomoyaCivilEngineeringMusic2022, + title = {Towards a {{Civil Engineering}} of {{Music}}: {{A Media-Archeological Approach}} in the {{Development}} of “Mimium,” the {{Programming Language}} for {{Music}}}, + author = {Tomoya, Matsuura and Kazuhiro, Jo and Akihiro, Kubota}, + date = {2022-06-09}, + publisher = {CeReNeM | Centre for Research in New Music, University of Huddersfield}, + doi = {10.5920/CivilEngineering}, + eventtitle = {Rethinking the {{History}} of {{Technology-based Music}}} +} + +@misc{ToneJs2021, + title = {Tone.Js}, + date = {2021}, + url = {https://tonejs.github.io/}, + urldate = {2021-10-29} +} + +@online{ToneJs2021a, + title = {Tone.Js}, + date = {2021}, + url = {https://tonejs.github.io/}, + urldate = {2021-10-29} +} + +@inproceedings{tong2014, + title = {Design Guidelines for Audio-Based Game Features}, + booktitle = {Proceedings of the First {{ACM SIGCHI}} Annual Symposium on {{Computer-human}} Interaction in Play}, + author = {Tong, Tiffany and Zingaro, Daniel and Engels, Steve}, + date = {2014-10-19}, + series = {{{CHI PLAY}} '14}, + pages = {443--444}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/2658537.2661307}, + url = {https://doi.org/10.1145/2658537.2661307}, + urldate = {2024-06-23}, + abstract = {The game design process integrates visual, audio, gameplay, and control elements into a single experience. Of these, the audio component is often treated as a secondary concern in both the design and research arenas. Our research seeks to remedy this, by focusing on audio elements of games, their impact they can have, and how audio design can be integrated in the overall design process. This poster will present the audio games we have created to test these elements, and our current research findings on how audio features can affect overall gameplay. We will also propose the configuration of these audio features for effective audio-based games.}, + isbn = {978-1-4503-3014-5}, + keywords = {audio game,auditory interface,game audio,games,usability,user experience,user interaction} +} + +@article{torreHandsMakingDigital, + title = {The {{Hands}}: {{The Making}} of a {{Digital Musical Instrument}}}, + author = {Torre, Giuseppe and Andersen, Kristina and Baldé, Frank}, + doi = {10.1162/COMJ}, + url = {http://crackle.org.}, + urldate = {2019-05-31}, + abstract = {Michel Waisvisz's The Hands is one of the most famous and long-lasting research projects in the literature of digital music instruments. Consisting of a pair of data gloves and exhibited for the first time in 1984, The Hands is a pioneering work in digital devices for performing live music. It is a work that engaged Waisvisz for almost a quarter of a century and, in turn, has inspired many generations of music technologists and performers of live music. Despite being often cited in the relevant literature, however, the documentation concerning the sensor architecture, design, mapping strategies, and development of these data gloves is sparse. In this article, we aim to fill this gap by offering a detailed history behind the development of The Hands. The information contained in this article was retrieved and collated by searching the STEIM archive, interviewing close collaborators of Waisvisz, and browsing through the paper documentation found in his personal folders and office.}, + file = {/Users/tomoya/Zotero/storage/6DM59KUQ/full-text.pdf} +} + +@incollection{torreInstrumentalityTimePerseverance2017, + title = {Instrumentality, {{Time}} and {{Perseverance}}}, + booktitle = {Musical {{Instruments}} in the 21st {{Century}}}, + author = {Torre, Giuseppe and Andersen, Kristina}, + date = {2017}, + pages = {127--136}, + publisher = {Springer Singapore}, + location = {Singapore}, + doi = {10.1007/978-981-10-2951-6_9}, + url = {http://link.springer.com/10.1007/978-981-10-2951-6_9}, + urldate = {2019-05-31}, + file = {/Users/tomoya/Zotero/storage/CZ56RXFI/Instrumentalities.pdf} +} + +@book{toueituZerokaratosutawoZuotutemitaJieGuo2015, + title = {ゼロからトースターを作ってみた結果}, + author = {トウェイツ, トーマス}, + translator = {村井, 理子}, + date = {2015-10-01}, + publisher = {新潮社}, + isbn = {978-4-10-220002-5} +} + +@misc{tovarMusicManual1977, + title = {Music {{Manual}}}, + author = {Tovar and Smith, Leland}, + date = {1977}, + url = {https://purl.stanford.edu/yd668xf8379}, + urldate = {2022-01-05}, + file = {/Users/tomoya/Zotero/storage/NIF9JLWV/yd668xf8379.pdf} +} + +@book{Trautman2003, + title = {Digital {{Sound Synthesis}} by {{Physical Modelong Using}} the {{Functional Transformation Method}}}, + author = {Trautman, Lutz and Rabenstein, Rudolf}, + date = {2003}, + publisher = {Springer}, + doi = {10.1007/978-1-4615-0049-0}, + isbn = {978-1-4613-4900-6}, + file = {/Users/tomoya/Zotero/storage/PKTH3VQN/Trautman, Rabenstein_2003_Digital Sound Synthesis by Physical Modelong Using the Functional Transformation Method.pdf} +} + +@article{trautteurNoteDiscretenessVirtuality2007, + title = {A Note on Discreteness and Virtuality in Analog Computing}, + author = {Trautteur, Giuseppe and Tamburrini, Guglielmo}, + date = {2007}, + journaltitle = {Theoretical Computer Science}, + volume = {371}, + number = {1-2}, + pages = {106--114}, + issn = {03043975}, + doi = {10.1016/j.tcs.2006.10.017}, + abstract = {The need for physically motivated discreteness and finiteness conditions emerges in models of both analog and digital computing that are genuinely concerned with physically realizable computational processes. This is brought out by a critical examination of notional analog superTuring devices which involve physically untenable idealizations about the perfect functioning of analog apparatuses and infinite precision of physical measurements. The capability for virtual behaviour, that is, the capability of interpreting, storing, transforming, creating the code, and thereby mimicking the behaviour of (Turing) machines, is used here to introduce a new dimension in the discussion of the analog-digital watershed. In the light of recent results on the analog simulation of digital computing, we examine the role of virtuality as a discriminating factor between these two species of computing, and immerse this problem in the context of natural computing. Is virtuality instantiated in parts of the natural world other than computer technology? This broad issue is examined in connection with the computational modelling of brain and mental information processing. © 2006 Elsevier Ltd. All rights reserved.}, + keywords = {Analog computing,Cognitive modelling,Virtual machine}, + file = {/Users/tomoya/Zotero/storage/GEUIN82T/Trautteur, Tamburrini_2007_A note on discreteness and virtuality in analog computing.pdf} +} + +@article{trovatoOrchestraSpeechProceedings, + title = {The {{Orchestra}} of {{Speech}} : {{Proceedings}} Instrument {{Template}} for {{LaTeX}} a Speech-Based System}, + author = {Trovato, Ben and Formo, Daniel and Field, Moffett}, + pages = {342--343}, + keywords = {a tighter-looking paper and,alternate style which produces}, + file = {/Users/tomoya/Zotero/storage/E8KZRFCA/Trovato, Formo, Field_Unknown_The Orchestra of Speech Proceedings instrument Template for LaTeX a speech-based system.pdf} +} + +@article{trovatoTemplateLaTeXMechatronic1932, + title = {Template for {{LaTeX Mechatronic Expression}} : {{Reconsidering Expressivity}} in {{Music}} for {{Robotic Instruments}}}, + author = {Trovato, Ben and Tobin, G K M and Barton, Scott and Field, Moffett and Proceedings, S I G and Fogarty, Sean}, + date = {1932}, + pages = {84--87}, + file = {/Users/tomoya/Zotero/storage/CAXQDNKV/Trovato et al._1932_Template for LaTeX Mechatronic Expression Reconsidering Expressivity in Music for Robotic Instruments.pdf} +} + +@article{tsoukalasL2OrkMoteReimaginingLowCost2018, + title = {{{L2OrkMote}}: {{Reimagining}} a {{Low-Cost Wearable Controller}} for a {{Live Gesture-Centric Music Performance}}}, + author = {Tsoukalas, Kyriakos D and Tech, Virginia and Kubalak, Joseph R and Tech, Virginia and Tech, Virginia}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {275--280}, + file = {/Users/tomoya/Zotero/storage/3Q444JT4/Tsoukalas et al._2018_L2OrkMote Reimagining a Low-Cost Wearable Controller for a Live Gesture-Centric Music Performance.pdf} +} + +@article{turchetDemoInteractionsPerformer, + title = {Demo of Interactions between a Performer Playing a {{Smart Mandolin}} and Audience Members Using {{Musical Haptic Wearables}}}, + author = {Turchet, Luca}, + pages = {82--83}, + file = {/Users/tomoya/Zotero/storage/ZYC37KIQ/Turchet_Unknown_Demo of interactions between a performer playing a Smart Mandolin and audience members using Musical Haptic Wearables.pdf} +} + +@misc{TX0DemoPgms, + title = {{{TX-0 DemoPgms}}}, + shorttitle = {Mit}, + url = {http://archive.org/details/bitsavers_mittx0memo_497914}, + urldate = {2022-01-05}, + abstract = {From the bitsavers.org collection, a scanned-in computer-related document. mit :: tx-0 :: memos :: TX-0 DemoPgms}, + language = {eng}, + keywords = {measure} +} + +@online{ucilabINTERVIEWRiChangShengHuonoZaiFaJianEsunomesodorozi, + title = {{{INTERVIEW}}「日常生活の再発見 －エスノメソドロジー－」｜{{UCI Lab}}.の研究活動　{{学問するUCI Lab}}.｜{{UCI Lab}}. User Centered Innovation}, + author = {UCI Lab, 仰, 西阪}, + url = {http://www.ucilab.yrk.co.jp/interview02/02-2.html}, + urldate = {2021-12-21}, + file = {/Users/tomoya/Zotero/storage/M8KC8J5R/02-2.html} +} + +@online{ucilabINTERVIEWRiChangShengHuonoZaiFaJianEsunomesodorozi2020, + title = {{{INTERVIEW}}「日常生活の再発見 －エスノメソドロジー－」｜{{UCI Lab}}.の研究活動 学問する {{UCI Lab}}.｜{{UCI Lab}}. User Centered Innovation}, + author = {{UCI Lab} and 仰, 西阪}, + date = {2020}, + url = {http://www.ucilab.yrk.co.jp/interview02/02-2.html}, + urldate = {2021-12-21}, + file = {/Users/tomoya/Zotero/storage/UVJNUJQZ/02-2.html} +} + +@book{UCNV2020, + title = {グリッチアート試論}, + author = {{UCNV}}, + date = {2020}, + publisher = {Independent} +} + +@online{ueyamaDireiyawoZhiritaiRennotamenoCkonpairaZuoChengRuMen2020, + title = {低レイヤを知りたい人のためのCコンパイラ作成入門}, + author = {Ueyama, Rui}, + date = {2020-03-16}, + url = {https://www.sigbus.info/compilerbook#}, + urldate = {2022-01-31}, + language = {ja-JP}, + file = {/Users/tomoya/Zotero/storage/N9VIC4ZU/compilerbook.html} +} + +@article{ulfarssonHalldorophoneOngoingInnovation1977, + title = {The Halldorophone : {{The}} Ongoing Innovation of a Cello-like Drone Instrument}, + author = {Úlfarsson, Halldór}, + date = {1977}, + number = {1975}, + pages = {269--274}, + file = {/Users/tomoya/Zotero/storage/EIGLIXUB/Úlfarsson_1977_The halldorophone The ongoing innovation of a cello-like drone instrument.pdf} +} + +@misc{universityofmichigancomputingcenterComputingCenterMemo1969, + title = {Computing {{Center Memo}}}, + author = {University of Michigan Computing Center}, + date = {1969}, + eprint = {mHVQAAAAMAAJ}, + eprinttype = {googlebooks}, + language = {en}, + organization = {UM Libraries} +} + +@online{Unknown, + title = {Sounders \& {{Relays}} / {{TELEGRAPHKEYS}}.{{COM}}}, + author = {{unknown}}, + url = {http://www.telegraphkeys.com/pages/sounders.html}, + urldate = {2019-01-21} +} + +@inproceedings{vanderploegPracticalPrincipledFRP2015, + title = {Practical {{Principled FRP}}}, + booktitle = {{{ICFP}} 2015: {{Proceedings}} of the 20th {{ACM SIGPLAN International Conference}} on {{Functional Programming}}}, + author = {Van Der Ploeg, Atze and Claessen, Koen}, + date = {2015}, + doi = {10.1145/10.1145/2784731.2784752}, + url = {http://dx.doi.org/10.1145/10.1145/2784731.2784752}, + urldate = {2021-04-02}, + abstract = {We present a new interface for practical Functional Reactive Programming (FRP) that (1) is close in spirit to the original FRP ideas, (2) does not have the original space-leak problems, without using arrows or advanced types, and (3) provides a simple and expressive way for performing I/O actions from FRP code. We also provide a denotational semantics for this new interface, and a technique (using Kripke logical relations) for reasoning about which FRP functions may "forget their past", i.e. which functions do not have an inherent space-leak. Finally, we show how we have implemented this interface as a Haskell library called FRPNow.}, + isbn = {10.1145/10.1145/2}, + keywords = {D32 [Applicative (func-tional) languages] Keywords Functional Reactive Programming,Kripke logical relations,Purely functional I/O,Space-leak}, + file = {/Users/tomoya/Zotero/storage/ZAE5NZUV/full-text.pdf} +} + +@article{vantendelooConcreteSyntaxMultiparadigm, + title = {Concrete {{Syntax}}: {{A Multi-paradigm Modelling Approach}}}, + author = {Van Tendeloo, Yentl and Van Mierlo, Simon and Meyers, Bart and Make vzw Belgium BartMeyers, Flanders and Hans Vangheluwe, uantwerpenbe}, + journaltitle = {Canada ACM Reference Format: Yentl Van Tendeloo}, + volume = {12}, + publisher = {ACM}, + doi = {10.1145/3136014.3136017}, + url = {https://doi.org/10.1145/3136014.3136017}, + abstract = {Domain-Specific Modelling Languages (DSLs) allow domain experts to create models using abstractions they are most familiar with. A DSL's syntax is specified in two parts: the abstract syntax defines the language's concepts and their allowed combinations, and the concrete syntax defines how those concepts are presented to the user (typically using a graphical or textual notation). However important concrete syntax is for the usability of the language, current modelling tools offer limited possibilities for defining the mapping between abstract and concrete syntax. Often, the language designer is restricted to defining a single icon representation of each concept, which is then rendered to the user in a (fixed) graph-ical interface. This paper presents a framework that explicitly models the bi-directional mapping between the abstract and concrete syntax, thereby making these restrictions easy to overcome. It is more flexible and allows, amongst others, for a model to be represented in multiple front-ends, using multiple representation formats, and multiple mappings. Our approach is evaluated with an implementation in our prototype tool, the Modelverse, and by applying it on an example language. CCS Concepts • Software and its engineering → Domain specific languages; Integrated and visual development environments ; • Computing methodologies → Model development and analysis;}, + isbn = {9781450355254}, + keywords = {Abstract Syntax,Concrete Syntax,Model Transformation,Plot-ting,Simulation,Visual}, + file = {/Users/tomoya/Zotero/storage/DHFZT78L/full-text.pdf} +} + +@article{vanwalstijnRealtimeSynthesisOriented2016, + title = {A Real-Time Synthesis Oriented Tanpura Model}, + author = {family=Walstijn, given=Maarten, prefix=van, useprefix=true and Bridges, Jamie and Mehes, Sandor}, + date = {2016}, + journaltitle = {Proceedings of The International Conference on Digital Audio Effects (DAFX)}, + pages = {175--182}, + issue = {September}, + file = {/Users/tomoya/Zotero/storage/HPVC486Q/van Walstijn, Bridges, Mehes_2016_A real-time synthesis oriented tanpura model.pdf} +} + +@online{Vardalas2012, + title = {Your {{Engineering Heritage}}: {{Pulse Code Modulation}}: {{It}} All {{Started}} 75 {{Years Ago}} with {{Alec Reeves}} - {{IEEE-USA InSight}}}, + author = {Vardalas, John}, + date = {2012}, + url = {https://insight.ieeeusa.org/articles/your-engineering-heritage-pulse-code-modulation-it-all-started-75-years-ago-with-alec-reeves/}, + urldate = {2019-01-20} +} + +@article{vercoeAudioProMultipleDSPs2004, + title = {Audio-{{Pro}} with {{Multiple DSPs}} and {{Dynamic Load Distribution}}}, + author = {Vercoe, B.}, + date = {2004-10-01}, + journaltitle = {BT Technology Journal}, + shortjournal = {BT Technology Journal}, + volume = {22}, + number = {4}, + pages = {180--186}, + issn = {1358-3948}, + doi = {10.1023/B:BTTJ.0000047597.07098.3a}, + url = {https://doi.org/10.1023/B:BTTJ.0000047597.07098.3a}, + urldate = {2022-01-16}, + abstract = {The latest professional Karaoke system released in Japan has no ASIC for sound synthesis and effects processing, but instead a small group of load-sharing DSPs that co-operatively handle the varied and dynamically varying tasks of complex high-quality audio performance. The software-only system is a first for the audio industry, heralding a new generation of downloadable and task-sensitive software that delivers time-critical performance from distributed general-purpose silicon. The tasks of emulating a 64-voice orchestra plus real-time MPEG decode, live voice tracking with pitch and tempo following, and a full range of audio effects processing are represented in a network of active objects which are just-in-time serviced by a co-operating array of SIMD DSPs.} +} + +@audio{vercoeBarryVercoe24, + title = {Barry {{Vercoe}} 4/24/2012}, + author = {Vercoe, Barry L.}, + url = {https://libraries.mit.edu/music-oral-history/interviews/barry-vercoe-4242012/}, + urldate = {2022-01-14}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/H5B6GV4U/barry-vercoe-4242012.html} +} + +@inproceedings{vercoeRealTimeCSOUNDSoftware1990, + title = {Real-{{Time CSOUND}}: {{Software Synthesis}} with {{Sensing}} and {{Control}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Vercoe, Barry L. and Ellis, Dan}, + date = {1990}, + pages = {209--211}, + location = {Glasgow}, + url = {https://web.media.mit.edu/~bv/papers/realtime%20csound.pdf}, + urldate = {2022-01-24}, + file = {/Users/tomoya/Zotero/storage/95BS6WVK/realtime csound.pdf} +} + +@inproceedings{vercoeSyntheticPerformerContext1984, + title = {The {{Synthetic Performer}} in the {{Context}} of {{Live Performance}}}, + booktitle = {Proceedings of {{International Computer Music Conference}}}, + author = {Vercoe, Barry L.}, + date = {1984}, + pages = {199--200}, + url = {https://web.media.mit.edu/~bv/papers/synthetic%20performer.pdf}, + urldate = {2022-01-24}, + file = {/Users/tomoya/Zotero/storage/FKLJ8WKA/synthetic performer.pdf} +} + +@unpublished{vercoeWhatLearnedInnovation2016, + title = {What {{I}} Learned about Innovation from Founding the {{MIT Media Lab}} | {{Barry Vercoe}} | {{TEDxChristchurch}}}, + author = {Vercoe, Barry L.}, + date = {2016-12-13}, + url = {https://www.youtube.com/watch?v=_fDEm1esS0g}, + urldate = {2022-01-17}, + abstract = {When you've been hanging out at the cutting edge of innovation for as long as Barry Vercoe has, you learn a thing or two. In this humorous and engaging talk, he shares some of the key insights he's come away with from decades at one of the most innovative institutions in the world. Born in New Zealand, Barry Vercoe was a founding member of the MIT Media Laboratory, where he is currently a Professor of Music and Professor of Media Arts and Sciences, and Associate Academic Head of the Program in Media Arts \& Sciences. Barry pioneered the composition of works combining computers and live instruments. In 1983 he developed a Synthetic Performer -- a computer that could listen to other performers and play its own part in musical sync, even learning from rehearsals. He won the 1992 Computer World / Smithsonian Award in Media Arts and Entertainment and the 2004 SEAMUS Lifetime Achievement Award. His several Music Synthesis languages are used around the world, and a variant of his Csound and NetSound languages has recently been adopted as the core of MPEG-4 audio -- an international standard that enables efficient transmission of audio over the Internet. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx} +} + +@article{vergezModelTrumpetFunctioning1997, + title = {Model of the {{Trumpet Functioning}}: {{Real Time Simulation}} and {{Experiments}} with an {{Artificial Mouth}}}, + author = {Vergez, C and Rodet, X}, + date = {1997}, + journaltitle = {Proc International Sympsyum on Musical Acoustics}, + pages = {425--432}, + file = {/Users/tomoya/Zotero/storage/PSLFTPV9/Vergez, Rodet_1997_Model of the Trumpet Functioning Real Time Simulation and Experiments with an Artificial Mouth.pdf} +} + +@article{vetterExpoChirpToolboxPureData2011, + title = {{{ExpoChirpToolbox}}: A {{Pure Data}} Implementation of {{ESS}} Impulse Response Measurement.Pdf}, + author = {Vetter, Katja and Rosario, Serafino}, + date = {2011}, + journaltitle = {Pure Data Convention 2011}, + keywords = {ess method,ir measurement,room acoustics}, + file = {/Users/tomoya/Zotero/storage/AJCTJEDL/m-api-3234ce3b-58ab-7cc5-2984-772c43cbb277.pdf} +} + +@article{villanuevaPulsedLaserDeposition2006, + title = {Pulsed Laser Deposition of Zinc Oxide}, + author = {Villanueva, Yolanda Y. and Liu, Da-Ren and Cheng, Pei Tzu}, + date = {2006-04-20}, + journaltitle = {Thin Solid Films}, + shortjournal = {Thin Solid Films}, + series = {Proceedings of the {{Third International Conference}} on {{Hot-Wire CVD}} ({{Cat-CVD}}) {{Process}}}, + volume = {501}, + number = {1}, + pages = {366--369}, + issn = {0040-6090}, + doi = {10.1016/j.tsf.2005.07.152}, + url = {https://www.sciencedirect.com/science/article/pii/S0040609005010205}, + urldate = {2023-08-10}, + abstract = {Zinc oxide (ZnO) thin films were grown using pulsed laser deposition (PLD) technique. A pulsed Nd:YAG laser operating at 355 nm wavelength was used to vaporize a polycrystalline ZnO target and consequently deposit it onto a nearby glass substrate set at a high temperature of 250 °C. The depositions were done under background pressure of 10−7 Torr and with ambient oxygen pressure of 50 mTorr and 100 mTorr. X-ray diffraction (XRD) scans of the samples indicated that ZnO were deposited predominantly in the [002] orientation. Photoluminescence spectrum showed an emission at 339 nm. The thickness and roughness of samples were measured using X-ray reflectivity and confirmed with atomic force microscopy. The thickness and roughness were determined to be 45.8 nm and 3.5 nm, respectively.}, + language = {en}, + keywords = {Pulsed laser deposition,Thin film coating,Zinc oxide}, + file = {/Users/tomoya/Zotero/storage/65WGKWW7/S0040609005010205.html} +} + +@article{visiRealTimeMotionCapture2018, + title = {Real-{{Time Motion Capture Analysis}} and {{Music Interaction}} with the {{Modosc Descriptor Library}}}, + author = {Visi, Federico and Dahl, Luke}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {144--147}, + file = {/Users/tomoya/Zotero/storage/2GRS7K7U/Visi, Dahl_2018_Real-Time Motion Capture Analysis and Music Interaction with the Modosc Descriptor Library.pdf} +} + +@article{vonneumannFirstDraftReport1945, + title = {First {{Draft}} of a {{Report}} on the {{EDVAC}}}, + author = {family=Neumann, given=John, prefix=von, useprefix=true}, + date = {1945}, + journaltitle = {American Mathematical Society}, + volume = {15}, + number = {1}, + pages = {1--10}, + file = {/Users/tomoya/Zotero/storage/27DU5TY8/von Neumann_1945_First Draft of a Report on the EDAVAC.pdf} +} + +@article{vossCadmiumSulfideThinfilm2004, + title = {Cadmium Sulfide Thin-Film Transistors Fabricated by Low-Temperature Chemical-Bath Deposition}, + author = {Voss, C. and Subramanian, S. and Chang, C.-H.}, + date = {2004-11-05}, + journaltitle = {Journal of Applied Physics}, + shortjournal = {Journal of Applied Physics}, + volume = {96}, + number = {10}, + pages = {5819--5823}, + issn = {0021-8979}, + doi = {10.1063/1.1804244}, + url = {https://doi.org/10.1063/1.1804244}, + urldate = {2023-05-15}, + abstract = {In this paper, we report the characterization and analysis of the dc electrical characteristics of thin-film transistors fabricated from low-temperature chemical-bath-deposited CdS as the channel layer. Our analysis shows that the device can be operated either in the depletion mode or in the accumulation mode. In the depletion mode, the channel lies completely within the bulk of the CdS layer. In the accumulation mode, the current is carried by an accumulation channel at the SiO2∕CdS interface and a buried channel that lies in the bulk of the CdS layer. Using our device analysis, we have extracted the threshold voltage, the carrier concentration in CdS, and the carrier mobility in the bulk channel as well as in the surface channel. The extracted value of the surface channel mobility is found to be greater than 1cm2∕Vs, which shows that the CdS deposited by this method has a great promise for applications that require low-temperature processing (e.g., in plastic electronics).}, + file = {/Users/tomoya/Zotero/storage/QGJ89C4F/Voss et al. - 2004 - Cadmium sulfide thin-film transistors fabricated b.pdf;/Users/tomoya/Zotero/storage/MJZQQWKS/Cadmium-sulfide-thin-film-transistors-fabricated.html} +} + +@book{vuikutapapanetukuShengkinobirutamenodezain1974, + title = {生きのびるためのデザイン}, + author = {{ヴィクター,パパネック}}, + translator = {阿部, 公正}, + date = {1974}, + publisher = {晶文社}, + isbn = {978-4-7949-7185-2} +} + +@online{Waisvisz2004, + title = {Crackle History}, + author = {Waisvisz, Michel}, + date = {2004}, + url = {http://www.crackle.org/CrackleBox.htm}, + urldate = {2018-12-30} +} + +@inproceedings{wakefieldLuaAVExtensibilityHeterogeneity2010, + title = {{{LuaAV}}: {{Extensibility}} and {{Heterogeneity}} for {{Audiovisual Computing}}}, + booktitle = {Proceeding of {{Linux Audio Conference}}}, + author = {Wakefield, Graham and Smith, Wesley and Roberts, Charles}, + date = {2010}, + url = {http://www.charlie-roberts.com/projects/circles/2http://www.mat.ucsb.edu/˜whsmith/Synecdoche/3http://lua-av.mat.ucsb.edu/}, + urldate = {2020-06-07}, + abstract = {We describe LuaAV, a runtime library and application which extends the Lua programming language to support computational composition of temporal, sound, visual, spatial and other elements. In this paper we document how we have attempted to maintain several core principles of Lua itself-extensibility, meta-mechanisms, efficiency, portabil-ity-while providing the flexibility and temporal accuracy demanded by interactive audiovisual media. Code generation is noted as a recurrent strategy for increasingly dynamic and extensible environments. LuaAV is an integrated programming environment based upon extensions to the Lua programming language enabling the tight real-time integration of computation, time, sound and space. LuaAV has grown from the needs of students and researchers in the Media Arts \& Technology program at the University of California Santa Barbara; its origins lie in earlier Lua-based audio and visual tools [20] [15] [22]. More recently it has formed a central component of media software infrastructure for the AlloSphere [1] research space (a 3-storey immersive spherical cave-like environment with stereographic projection and spatial audio). Various projects built using LuaAV have been performed, exhibited or installed internationally , for scientific visualization [1], data visualization [13], immersive generative art [21], game development 1 , live-coding (Figure 1) and audiovisual performance 2. LuaAV is available under a UC Regents license similar in nature to the BSD license 3 .}, + keywords = {Audio-visual,composition,Lua,scripting language 1 LuaAV}, + file = {/Users/tomoya/Zotero/storage/C8WADNNI/full-text.pdf} +} + +@book{waldenCompatibleTimeSharingSystem2011, + title = {Compatible {{Time-Sharing System}} (1961-1973) {{Fiftieth Anniversary Commemorative Overview}}}, + editor = {Walden, David and Vleck, Tom Van}, + namea = {Corbató, Fernando and Daggett, Marjorie and Daley, Robert and Denning, Peter and Grier, David Alan and Mills, Richard and Roach, Roger and Scherr, Allan}, + nameatype = {collaborator}, + date = {2011}, + publisher = {IEEE Computer Society}, + url = {https://history.computer.org/pubs/2011-06-ctss.pdf}, + urldate = {2022-02-10}, + file = {/Users/tomoya/Zotero/storage/X972ELHY/2011-06-ctss.pdf} +} + +@article{wallisConventionPaper90262014, + title = {Convention {{Paper}} 9026}, + author = {Wallis, Rory and Lee, Hyunkook}, + date = {2014}, + file = {/Users/tomoya/Zotero/storage/K993LN77/2014-Convention_Paper_9026.pdf} +} + +@inproceedings{Wang2005, + title = {Designing and {{Implementing}} the {{ChucK Programming Language}}}, + booktitle = {Proceedings of the {{International Computer Music Conference}}}, + author = {Wang, Ge and Cook, Perry and Misra, Ananya}, + date = {2005-04}, + url = {https://www.researchgate.net/publication/250140958_Designing_and_Implementing_the_ChucK_Programming_Language}, + file = {/Users/tomoya/Zotero/storage/IELJ5FXG/Designing_and_Implementing_the_ChucK_Programming_L.pdf} +} + +@article{Wang2015, + title = {{{ChucK}}: {{A Strongly Timed Computer Music Language}}}, + author = {Wang, Ge and Cook, Perry R and Salazar, Spencer}, + date = {2015}, + journaltitle = {Computer Music Journal}, + volume = {39}, + number = {4}, + pages = {10--29}, + doi = {10.1162/COMJ}, + abstract = {ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.}, + file = {/Users/tomoya/Zotero/storage/EI3UAPYX/full-text.pdf} +} + +@inproceedings{wangChucKProgrammingLanguage2004, + title = {{{ChucK}}: A Programming Language for on-the-Fly, Real-Time Audio Synthesis and Multimedia}, + booktitle = {Proceedings of the 12th Annual {{ACM}} International Conference on {{Multimedia}} - {{MULTIMEDIA}} '04}, + author = {Wang, Ge and Cook, Perry}, + date = {2004}, + pages = {815}, + publisher = {Association for Computing Machinery (ACM)}, + location = {New York, New York, USA}, + doi = {10.1145/1027527.1027716}, + url = {http://portal.acm.org/citation.cfm?doid=1027527.1027716}, + urldate = {2020-06-05}, + abstract = {In this paper, we describe ChucK - a programming language and programming model for writing precisely timed, concurrent audio synthesis and multimedia programs. Precise concurrent audio programming has been an unsolved (and ill-defined) problem. ChucK provides a concurrent programming model that solves this problem and significantly enhances designing, developing, and reasoning about programs with complex audio timing. ChucK employs a novel data-driven timing mechanism and a related time-based synchronization model, both implemented in a virtual machine. We show how these features enable precise, concurrent audio programming and provide a high degree of programmability in writing real-time audio and multimedia programs. As an extension, programmers can use this model to write code on-the-fly -- while the program is running. These features provide a powerful programming tool for building and experimenting with complex audio synthesis and multimedia programs.} +} + +@article{wangChucKStronglyTimed2015, + title = {{{ChucK}}: {{A Strongly Timed Computer Music Language}}}, + author = {Wang, Ge and Cook, Perry R and Salazar, Spencer}, + date = {2015}, + journaltitle = {Computer Music Journal}, + volume = {39}, + number = {4}, + pages = {10--29}, + doi = {10.1162/COMJ_a_00324}, + url = {https://ccrma.stanford.edu/~ge/publish/files/2015-cmj-chuck.pdf}, + abstract = {ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.}, + file = {/Users/tomoya/Zotero/storage/4BFQ6VDF/Wang, Cook, Salazar - 2015 - ChucK A Strongly Timed Computer Music Language.pdf} +} + +@inproceedings{wangFAUCKHYBRIDIZINGFAUST2016, + title = {{{FAUCK}}‼ {{HYBRIDIZING THE FAUST AND CHUCK AUDIO PROGRAMMING LANGUAGES}}}, + booktitle = {Sound and {{Music Computing Conference}} ({{SMC-16}})}, + author = {Wang, Ge and Michon, Romain}, + date = {2016-08}, + pages = {310--313}, + location = {Hamburg, Germany}, + url = {https://hal.archives-ouvertes.fr/hal-03162895}, + urldate = {2022-01-28}, + abstract = {This paper presents a hybrid audio programming environment, called FAUCK, which combines the powerful, succinct Functional AUdio STream (FAUST) language with the strongly-timed CHUCK audio programming language. FAUCK allows programmers to on-the-fly evaluate FAUST code directly from CHUCK code and control FAUST signal processors using CHUCK's sample-precise timing and concurrency mechanisms. The goal is to create an amalgam that plays to the strengths of each language, giving rise to new possibilities for rapid prototyping, interaction design and controller mapping, pedagogy, and new ways of working with both FAUST and CHUCK. We present our motivations, approach, implementation, and preliminary evaluation. FAUCK is open-source and freely available.}, + file = {/Users/tomoya/Zotero/storage/RWLQ9BTB/Wang and Michon - 2016 - FAUCK‼ HYBRIDIZING THE FAUST AND CHUCK AUDIO PROGR.pdf} +} + +@report{wangGeneratingMultiScrollChua, + title = {Generating {{Multi-Scroll Chua}}'s {{Attractors}} via {{Simplified Piecewise-Linear Chua}}'s {{Diode}}}, + author = {Wang, Ning and Li, Chengqing and Member, Senior and Bao, Han and Chen, Mo and Bao, Bocheng}, + eprint = {1810.11474v2}, + eprinttype = {arXiv}, + url = {http://www.ieee.org/publications}, + urldate = {2021-04-07}, + abstract = {High implementation complexity of multi-scroll circuit is a bottleneck problem in real chaos-based communication. Especially, in multi-scroll Chua's circuit, the simplified implementation of piecewise-linear resistors with multiple segments is difficult due to their intricate irregular breakpoints and slopes. To solve the challenge, this paper presents a systematic scheme for synthesizing a Chua's diode with multi-segment piecewise-linearity, which is achieved by cascading even-numbered passive nonlinear resistors with odd-numbered ones via a negative impedance converter. The traditional voltage mode op-amps are used to implement nonlinear resistors. As no extra DC bias voltage is employed, the scheme can be implemented by much simpler circuits. The voltage-current characteristics of the obtained Chua's diode are analyzed theoretically and verified by numerical simulations. Using the Chua's diode and a second-order active Sallen-Key high-pass filter, a new inductor-free Chua's circuit is then constructed to generate multi-scroll chaotic attractors. Different number of scrolls can be generated by changing the number of passive nonlinear resistor cells or adjusting two coupling parameters. Besides, the system can be scaled by using different power supplies, satisfying the low-voltage low-power requirement of integrated circuit design. The circuit simulations and hardware experiments both confirmed the feasibility of the designed system.}, + keywords = {Chua's circuit,Chua's diode,Index Terms-Chaos,multi-scroll chaotic attractor,Secure communication}, + file = {/Users/tomoya/Zotero/storage/TRLR2M2E/full-text.pdf} +} + +@incollection{wangHistoryProgrammingMusic2017, + title = {A {{History}} of {{Programming}} and {{Music}}}, + booktitle = {Cambridge {{Companion}} to {{Electronic Music}}}, + author = {Wang, Ge}, + date = {2017}, + edition = {2}, + pages = {58--85}, + publisher = {Cambridge University Press}, + doi = {10.1017/9781316459874.006}, + isbn = {978-1-107-59002-1}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/B4EJW298/Wang - A History of Programming and Music.pdf} +} + +@article{WanJing2013, + title = {音のためのインタフェース，音によるインタフェース}, + author = {丸井, 淳史}, + date = {2013}, + journaltitle = {精密工学会誌}, + volume = {79}, + number = {6}, + pages = {502--505}, + doi = {10.2493/jjspe.79.502}, + keywords = {auditory display,effect processor,nonlinear distortion,sonification,timbre}, + file = {/Users/tomoya/Zotero/storage/W8XBZ3QL/丸井 - 2013 - 音のためのインタフェース，音によるインタフェース.pdf;/Users/tomoya/Zotero/storage/VPP7XWJQ/ja.html} +} + +@article{watanabeStudyUnderwaterAcoustic, + title = {Study of Underwater Acoustic Communication under Multipaths or {{Doppler}} Shift with Simulation}, + author = {Watanabe, Yoshitaka}, + keywords = {doppler shift,japan marin science and,marin technology department,multi-channels dfe,multipath,simulation,technology center,underwater acoustic communication}, + file = {/Users/tomoya/Zotero/storage/CGUZWWAE/Watanabe_Unknown_Study of underwater acoustic communication under multipaths or Doppler shift with simulation.pdf} +} + +@report{watsonUltrasonicDelayLines, + title = {Ultrasonic {{Delay Lines For Millisecond Delays}}}, + author = {Watson, S.N. and Maurice, R.D.A}, + file = {/Users/tomoya/Zotero/storage/33WNNPZE/Unknown_Unknown_Ultrasonic Delay line1964-55.pdf.pdf} +} + +@article{waveformRecoverySoundSource, + title = {Recovery of the {{Sound Source Waveform}} Using the {{Pole}} and {{Zero Model}} of {{Inverse Filtering}} in a {{Reverberant Sound Field}}}, + author = {Waveform, Sound Source and Model, Zero and Filtering, Inverse and Field, Reverberant Sound}, + keywords = {inverse filter,multiple-input,non-minimum phase,output inverse-filtering theorem,reverberant sound field,transfer function,ޔቶ,ޔੂ,વ,ീᢙޔๆᦨዊ,ະ,ᚑಽޔ mint ᴺ}, + file = {/Users/tomoya/Zotero/storage/3GW3553P/Waveform et al._Unknown_Recovery of the Sound Source Waveform using the Pole and Zero Model of Inverse Filtering in a Reverberant Sound.pdf} +} + +@article{webbLimitsRealtimePhysical2015, + title = {On the Limits of Real-Time Physical Modelling Synthesis with a Modular Environment}, + author = {Webb, Craig and Bilbao, Stefan}, + date = {2015}, + journaltitle = {Proceedings of The International Conference on Digital Audio Effects (DAFX)}, + volume = {0}, + number = {1}, + pages = {1--8}, + file = {/Users/tomoya/Zotero/storage/UJPKTNJA/Webb, Bilbao_2015_On the limits of real-time physical modelling synthesis with a modular environment.pdf} +} + +@article{WeiBiGemuodeioYanJiunoZhanWangIntarakuteibumiyuzitukugamotarasuYinXiangmedeianoKuoZhangniXiangkete2020, + title = {ゲームオーディオ研究の展望：インタラクティブミュージックがもたらす音響メディアの拡張に向けて}, + author = {尾鼻, 崇}, + date = {2020}, + journaltitle = {立命館映像学}, + volume = {13}, + number = {14}, + pages = {55--67}, + doi = {10.34382/00014337}, + file = {/Users/tomoya/Zotero/storage/3DJ3NV3X/ias_13-14_obana.pdf} +} + +@book{weidenaarMagicMusicTelharmonium, + title = {Magic {{Music}} from the {{Telharmonium}}}, + author = {Weidenaar, Reynold}, + isbn = {0-8108-2692-5}, + file = {/Users/tomoya/Zotero/storage/7QTQ2GEK/Ih_Unknown_lUl IH.pdf} +} + +@misc{weidenaarMagicMusicTelharmoniuma, + title = {Magic {{Music From Telharmonium}}}, + author = {Weidenaar, Reynold}, + file = {/Users/tomoya/Zotero/storage/5DYBIYID/Weidenaar_Unknown_Magic Music From Telharmonium.pdf} +} + +@article{weisbergWhoModeler2007, + title = {Who Is a Modeler?}, + author = {Weisberg, Michael}, + date = {2007}, + journaltitle = {British Journal for the Philosophy of Science}, + volume = {58}, + number = {2}, + pages = {207--233}, + issn = {00070882}, + doi = {10.1093/bjps/axm011}, + abstract = {Many standard philosophical accounts of scientific practice fail to distinguish between modeling and other types of theory construction. This failure is unfortunate because there are important contrasts among the goals, procedures, and representations employed by modelers and other kinds of theorists. We can see some of these differences intuitively when we reflect on the methods of theorists such as Vito Volterra and Linus Pauling on the one hand, and Charles Darwin and Dimitri Mendeleev on the other. Much of Volterra's and Pauling's work involved modeling; much of Darwin's and Mendeleev's did not. In order to capture this distinction, I consider two examples of theory construction in detail: Volterra's treatment of post-WWI fishery dynamics and Mendeleev's construction of the periodic system. I argue that modeling can be distinguished from other forms of theorizing by the 'procedures' modelers use to represent and to study real-world phenomena: 'indirect' representation and analysis. This differentiation between modelers and nonmodelers is one component of the larger project of understanding the practice of modeling, its distinctive features, and the strategies of abstraction and idealization it employs.}, + isbn = {0007-0882}, + file = {/Users/tomoya/Zotero/storage/YWE5TLJS/Weisberg_2007_Who is a modeler.pdf} +} + +@inbook{weiserComingAgeCalm1997, + title = {The {{Coming Age}} of {{Calm Technology}}}, + booktitle = {Beyond {{Calculation}}}, + author = {Weiser, Mark and Brown, John Seely}, + date = {1997}, + pages = {75--85}, + publisher = {Springer New York}, + location = {New York, NY}, + doi = {10.1007/978-1-4612-0685-9_6}, + url = {http://link.springer.com/10.1007/978-1-4612-0685-9_6}, + urldate = {2022-01-25}, + bookauthor = {Denning, Peter J. and Metcalfe, Robert M.}, + isbn = {978-0-387-98588-6 978-1-4612-0685-9}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/XE33ARBS/Weiser and Brown - 1997 - The Coming Age of Calm Technology.pdf} +} + +@article{weiserWorldNotDesktop1994, + title = {The World Is Not a Desktop}, + author = {Weiser, Marc}, + date = {1994-01-02}, + journaltitle = {Interactions}, + shortjournal = {interactions}, + volume = {1}, + number = {1}, + pages = {7--8}, + issn = {1072-5520}, + doi = {10.1145/174800.174801}, + url = {https://doi.org/10.1145/174800.174801}, + urldate = {2022-01-25} +} + +@article{weislingSurveyingCompositionalPerformance, + title = {Surveying the {{Compositional}} and {{Performance Practices}} of {{Audiovisual Practitioners}}}, + author = {Weisling, Anna and Xambó, Anna}, + pages = {344--345}, + file = {/Users/tomoya/Zotero/storage/7SKGYWW9/Weisling, Xambó_Unknown_Surveying the Compositional and Performance Practices of Audiovisual Practitioners.pdf} +} + +@unpublished{widemannFoundationsTotalFunctional2014, + title = {Foundations of {{Total Functional Data-Flow Programming}}}, + author = {family=Widemann, given=Baltasar Trancón, prefix=y, useprefix=false and Lepper, Markus}, + date = {2014-06-09}, + eprint = {1406.2063}, + eprinttype = {arXiv}, + doi = {10.4204/eptcs.153.10}, + url = {https://arxiv.org/abs/1406.2063}, + urldate = {2020-08-21}, + file = {/Users/tomoya/Zotero/storage/7D3NIA9L/full-text.pdf} +} + +@article{wiffenDigidesignTurbosynth1988, + entrysubtype = {magazine}, + title = {Digidesign Turbosynth}, + author = {Wiffen, Paul}, + date = {1988-12}, + journaltitle = {Sound On Sound}, + volume = {4}, + number = {2}, + pages = {38--41}, + url = {http://www.muzines.co.uk/articles/digidesign-turbosynth/4028}, + urldate = {2022-01-22}, + abstract = {Review - Digidesign Turbosynth (Sound On Sound, Dec 1988)}, + language = {English (UK)}, + file = {/Users/tomoya/Zotero/storage/7IAASXJZ/4028.html} +} + +@inproceedings{wilcoxPdPartyIOSComputer2016, + title = {{{PdParty}}: {{An iOS Computer Music Platform}} Using Libpd}, + booktitle = {{{PdCon}}}, + author = {Wilcox, Dan}, + date = {2016}, + pages = {7}, + url = {http://danomatika.com/publications/pdparty_pdcon_16.pdf}, + urldate = {2022-01-26}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/QMTCF5SK/Wilcox - PdParty An iOS Computer Music Platform using libp.pdf} +} + +@article{wilcoxRobotcowboy10Years2018, + title = {Robotcowboy : 10 {{Years}} of {{Wearable Computer Rock}}}, + author = {Wilcox, Dan}, + date = {2018}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {318--323}, + file = {/Users/tomoya/Zotero/storage/GRXA6ASX/Wilcox_2018_robotcowboy 10 Years of Wearable Computer Rock.pdf} +} + +@article{wilcoxRobotcowboySupplementalMaterial2009, + title = {Robotcowboy Supplemental Material Webpages}, + author = {Wilcox, Dan}, + date = {2009}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + file = {/Users/tomoya/Zotero/storage/2LT3YKX3/Wilcox_2009_robotcowboy supplemental material webpages.pdf} +} + +@article{wilkesMakingProgressSheds2015, + title = {Making Progress in Sheds and Attics to Rebuild {{EDSAC}}}, + author = {Wilkes, Maurice}, + date = {2015}, + pages = {1--3}, + issue = {December}, + file = {/Users/tomoya/Zotero/storage/NPEER9ET/Wilkes_2015_Making progress in sheds and attics to rebuild EDSAC.pdf} +} + +@article{wilkesUltrasonicMemoryUnit1948, + title = {An Ultrasonic Memory Unit for the {{EDSAC}}}, + author = {family=Wilkes, given=MV, given-i=MV and Renwick, W.}, + date = {1948}, + journaltitle = {Electronic Engineering}, + volume = {20}, + pages = {208--213}, + file = {/Users/tomoya/Zotero/storage/MKWJQ5WL/Wilkes, Renwick_1948_An ultrasonic memory unit for the EDSAC.pdf} +} + +@article{winberg, + title = {The Quest for Auditory Direct Manipulation: {{The}} Sonified {{Towers}} of {{Hanoi}}}, + author = {Winberg, Fredrik and Hellström, Sten Olof}, + abstract = {This paper presents a study of an auditory version of the game Towers of Hanoi. The goal of this study was to investigate the nature of continuos presentation and what this could mean when implementing auditory direct manipulation. We also wanted to find out if it was possible to make an auditory interface that met the requirements of a direct manipulation interface. The results showed that it was indeed possible to implement auditory direct manipulation, but using Towers of Hanoi as the underlying model restricted the possibilities of scaling the auditory space. The results also showed that having a limited set of objects, the nature of continuos presentation was not as important as how to interact with the auditory space.}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/P2WS2JPC/Winberg and Hellström - The quest for auditory direct manipulation The so.pdf} +} + +@inproceedings{winberg2001, + title = {Auditory Direct Manipulation for Blind Computer Users: Report on Work in Progress}, + shorttitle = {Auditory Direct Manipulation for Blind Computer Users}, + booktitle = {Proceedings of the {{Sixth International Symposium}} on {{Signal Processing}} and Its {{Applications}} ({{Cat}}.{{No}}.{{01EX467}})}, + author = {Winberg, F.}, + date = {2001-08}, + volume = {1}, + pages = {56-59 vol.1}, + doi = {10.1109/ISSPA.2001.949774}, + url = {https://ieeexplore.ieee.org/document/949774}, + urldate = {2024-06-13}, + abstract = {This paper describes ongoing work with auditory direct manipulation for blind computer users. Two studies have been performed on an auditory version of the game Towers of Hanoi, and the results have pointed out important aspects of auditory direct manipulation such as focus in the auditory space and articulatory directness. Future research directions include studies on these aspects, collaboration between sighted and blind subjects and an implementation of auditory drag \& drop in a file system.}, + eventtitle = {Proceedings of the {{Sixth International Symposium}} on {{Signal Processing}} and Its {{Applications}} ({{Cat}}.{{No}}.{{01EX467}})}, + keywords = {Collaboration,Computer interfaces,Employment,Face,Feedback,File systems,Graphical user interfaces,Human computer interaction,Mice,Poles and towers}, + file = {/Users/tomoya/Zotero/storage/2E7TU9NT/949774.html} +} + +@book{winthrop-youngTranslatorsIntroductionFriedrich1999, + title = {Translators' {{Introduction}}: {{Friedrich Kittler}} and {{Media Discourse Analysis}}}, + author = {Winthrop-Young, Geoffrey and Wutz, Micahel}, + date = {1999}, + issn = {0163-4437}, + doi = {10.1177/0163443714542218}, + abstract = {Mediatization is emerging as an influential new concept that places the media at the centre of all kinds of important cultural, political and social developments. However, it has so far attracted little critical evaluation. In this article the authors identify three areas of concern, namely, how causal processes are thought about, how historical change is understood, and how concepts are designed. It is hoped this article will generate critical debate and reflection to prevent the term from being applied so inconsistently and indiscriminately that it becomes a ‘concept of no difference’.}, + isbn = {0163443714542}, + pagetotal = {xi-xxxviii}, + file = {/Users/tomoya/Zotero/storage/SWW6M8FQ/Unknown_Unknown_No Title(2).pdf} +} + +@online{wiserUbiquitousComputing1996, + title = {Ubiquitous {{Computing}}}, + author = {Wiser, Mark}, + date = {1996-03-17}, + url = {https://web.archive.org/web/20180604013008/http://www.ubiq.com/hypertext/weiser/UbiHome.html}, + urldate = {2022-01-25}, + file = {/Users/tomoya/Zotero/storage/CCHHZFII/UbiHome.html} +} + +@article{wobbrockResearchContributionsHumancomputer2016, + title = {Research Contributions in Human-Computer Interaction}, + author = {Wobbrock, Jacob O. and Kientz, Julie A.}, + date = {2016-05-01}, + journaltitle = {Interactions}, + volume = {23}, + number = {3}, + pages = {38--44}, + publisher = {Association for Computing Machinery}, + issn = {15583449}, + doi = {10.1145/2907069}, + url = {http://dl.acm.org/citation.cfm?doid=2930854.2907069}, + urldate = {2020-08-01}, + file = {/Users/tomoya/Zotero/storage/3KQ56SEI/full-text.pdf} +} + +@report{woltmanUNIVACConference1990, + title = {{{UNIVAC Conference}}.}, + author = {Woltman, Richard D. and Woltman, Frances B. and Wilson, Louis D. and Tonik, Albert B. and Swearingen, John K. and Shuler, Cecil M. and Sberro, Joseph E. and Sammet, Jean E. and Matter, H. W. and Marquardt, Donald W. and Koons, Florence K. and Huff, Morgan W. and Holberton, Frances E. and Hammer, Carl and Dixon, Donald B. and Delves, Eugene L. and Danehower, George and Chinitz, M. Paul and Carter, Lee S. and Bartik, Jean and Armstrong, Lancelot W. and Armstrong, Dorothy P. and Adams, Armand E.}, + date = {1990}, + institution = {Charles Babbage Institute}, + url = {https://hdl.handle.net/11299/104288}, + file = {/Users/tomoya/Zotero/storage/QCBXZMFI/Woltman, Richard D. et al. - 1990 - UNIVAC Conference..pdf} +} + +@online{WorldFirstAlbum2009, + title = {World's First Album of {{Twitter}} Music}, + date = {2009-11-19}, + url = {https://web.archive.org/web/20130221151624/https://www.qmul.ac.uk/media/news/items/se/20934.html}, + urldate = {2022-01-23}, + file = {/Users/tomoya/Zotero/storage/H28L33G7/20934.html} +} + +@inproceedings{wrightImplementationPerformanceIssues1998, + title = {Implementation and {{Performance Issues}} with {{OpenSound Control}}}, + author = {Wright, Matthew}, + date = {1998}, + pages = {4}, + url = {http://hdl.handle.net/2027/spo.bbp2372.1998.281}, + eventtitle = {International {{Computer Music Conference}} ({{ICMC}})}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/8RI8TIPH/Wright - Implementation and Performance Issues with OpenSou.pdf} +} + +@inproceedings{wrightOpenSoundControlNew1997, + title = {Open {{SoundControl}}: {{A New Protocol}} for {{Communicating}} with {{Sound Synthesizers}}}, + author = {Wright, Matthew and Freed, Adrian}, + date = {1997}, + pages = {4}, + url = {http://hdl.handle.net/2027/spo.bbp2372.1997.033}, + abstract = {Open SoundControl is a new protocol for communication among computers, sound synthesizers, and other multimedia devices that is optimized for modern networking technology. Entities within a system are addressed individually by an open-ended URL-style symbolic naming scheme that includes a powerful pattern matching language to specify multiple recipients of a single message. We provide high resolution time tags and a mechanism for specifying groups of messages whose effects are to occur simultaneously. There is also a mechanism for dynamically querying an Open SoundControl system to find out its capabilities and documentation of its features.}, + eventtitle = {International {{Computer Music Conference}} ({{ICMC}})}, + language = {en}, + keywords = {OSC}, + file = {/Users/tomoya/Zotero/storage/Z6ML7WDE/Wright and Freed - Open SoundControl A New Protocol for Communicatin.pdf} +} + +@article{WuGangAreiZhiYuwoYongitaZhiXiangXingKeBiannaparametoritukusupika2012, + title = {アレイ制御を用いた指向性可変なパラメトリックスピーカ}, + author = {武岡, 成人}, + date = {2012}, + file = {/Users/tomoya/Zotero/storage/3RUVBJN6/2012-file.pdf} +} + +@misc{WuTianDianZiJiSuanJinoChengChang, + title = {電子計算機の成長}, + author = {武田, 楠雄}, + file = {/Users/tomoya/Zotero/storage/T5ANHYNV/Unknown_Unknown_1951電子計算機の成長.pdf.pdf} +} + +@article{xamboLiveRepurposingSounds2018, + title = {Live {{Repurposing}} of {{Sounds}} : {{MIR Explorations}} with {{Personal}} and {{Crowdsourced Databases}}}, + author = {Xambó, Anna and Roma, Gerard and Lerch, Alexander}, + date = {2018}, + pages = {364--369}, + issue = {Cc}, + file = {/Users/tomoya/Zotero/storage/TUP6EB89/Xambó, Roma, Lerch_2018_Live Repurposing of Sounds MIR Explorations with Personal and Crowdsourced Databases.pdf} +} + +@article{xamboWhoAreWomen2018, + title = {Who {{Are}} the {{Women Authors}} in {{NIME}} ?— {{Improving Gender Balance}} in {{NIME Research}}}, + author = {Xambó, Anna}, + date = {2018}, + pages = {174--177}, + file = {/Users/tomoya/Zotero/storage/MLY2F325/Xambó_2018_Who Are the Women Authors in NIME — Improving Gender Balance in NIME Research.pdf} +} + +@thesis{XiaoTianMIDIGuiGenoSheHuiShi2018, + type = {mathesis}, + title = {{{MIDI}} 規格の社会史}, + author = {篠田, ミル}, + date = {2018}, + institution = {東京大学}, + file = {/Users/tomoya/Zotero/storage/KU8P38RM/篠田 - 2018 - MIDI 規格の社会史.pdf} +} + +@thesis{XiKouHairezoriyusiyonodeionoYanJiu2009, + title = {ハイレゾリューションオーディオの研究}, + author = {西口, 敏行}, + date = {2009}, + file = {/Users/tomoya/Zotero/storage/SBNE3MV3/2009-file.pdf} +} + +@online{XinHaoChuLisisutemuTeLunChaoLinChangGanZaiShengJiShuYinXiang, + title = {信号処理システム特論 超臨場感再生技術（音響）の現状と未来}, + file = {/Users/tomoya/Zotero/storage/ZZPWEDDC/Unknown_Unknown_信号処理システム特論 超臨場感再生技術（音響）の現状と未来.pdf} +} + +@article{XueJiDeLingYutositenoShiJianDedezainrisati2014, + title = {学際的領域としての実践的デザインリサーチ}, + date = {2014}, + pages = {19}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/NSGEV4FC/2014 - 学際的領域としての実践的デザインリサーチ.pdf} +} + +@article{xuElectronicEngineeringComputing2010, + title = {Electronic {{Engineering}} and {{Computing Technology}}}, + author = {Xu, Tao and Condon, Marissa}, + date = {2010}, + volume = {60}, + doi = {10.1007/978-90-481-8776-8}, + url = {http://link.springer.com/10.1007/978-90-481-8776-8}, + isbn = {978-90-481-8775-1}, + keywords = {delta,multi-moduli co-prime,sigma modulation sequence length}, + file = {/Users/tomoya/Zotero/storage/MESWUF9E/Xu, Condon_2010_Electronic Engineering and Computing Technology.pdf} +} + +@inproceedings{XueZeShiJiantoZhouBoShuLingYudeGouChengsuruYinXiangkodoFuHaoHuaFangShi2014, + title = {時間と周波数領域で構成する音響コード符号化方式}, + booktitle = {情報処理学会第76回全国大会}, + author = {穴澤, 裕太 and Ardiansyah, Prima Oky Dicky and 伊藤, 久祥}, + date = {2014}, + pages = {361--362}, + file = {/Users/tomoya/Zotero/storage/VDXRSP5N/穴澤, Ardiansyah, 伊藤_2014_時間と周波数領域で構成する音響コード符号化方式.pdf} +} + +@article{YaGuiZiSupureReFenJieFaniyoruSuanHuaYaQianBoMonoDiWenDaQiZuoZhi2013, + title = {スプレー熱分解法による酸化亜鉛薄膜の低温大気作製}, + author = {亜貴子, 井手 and 稔, 小嶋 and {吉野 賢二}}, + date = {2013}, + journaltitle = {宮崎大学工学部紀要}, + number = {42}, + file = {/Users/tomoya/Zotero/storage/8NYFBASD/亜貴子 et al. - 2013 - スプレー熱分解法による酸化亜鉛薄膜の低温大気作製.pdf} +} + +@online{YAMAHACorporation2017, + title = {ヤマハ | ヴェノーヴァ™}, + author = {{YAMAHA Corporation}}, + date = {2017}, + url = {https://jp.yamaha.com/products/musical_instruments/winds/casual_wind_instruments/venova/index.html}, + urldate = {2019-01-20} +} + +@misc{YAMAHAVL1Perfect1993, + title = {{{YAMAHA VL1 Perfect Guide}}}, + date = {1993}, + url = {https://jp.yamaha.com/files/download/other_assets/3/316523/VL1J4.pdf}, + urldate = {2019-01-14}, + organization = {YAMAHA Corporation} +} + +@inproceedings{yanFibercuitPrototypingHighResolution2022, + title = {Fibercuit: {{Prototyping High-Resolution Flexible}} and {{Kirigami Circuits}} with a {{Fiber Laser Engraver}}}, + shorttitle = {Fibercuit}, + booktitle = {Proceedings of the 35th {{Annual ACM Symposium}} on {{User Interface Software}} and {{Technology}}}, + author = {Yan, Zeyu and Sathya, Anup and Yusuf, Sahra and Lien, Jyh-Ming and Peng, Huaishu}, + date = {2022-10-28}, + series = {{{UIST}} '22}, + pages = {1--13}, + publisher = {Association for Computing Machinery}, + location = {New York, NY, USA}, + doi = {10.1145/3526113.3545652}, + url = {https://doi.org/10.1145/3526113.3545652}, + urldate = {2023-08-09}, + abstract = {Prototyping compact devices with unique form factors often requires the PCB manufacturing process to be outsourced, which can be expensive and time-consuming. In this paper, we present Fibercuit, a set of rapid prototyping techniques to fabricate high-resolution, flexible circuits on-demand using a fiber laser engraver. We showcase techniques that can laser cut copper-based composites to form fine-pitch conductive traces, laser fold copper substrates that can form kirigami structures, and laser solder surface-mount electrical components using off-the-shelf soldering pastes. Combined with our software pipeline, an end user can design and fabricate flexible circuits which are dual-layer and three-dimensional, thereby exhibiting a wide range of form factors. We demonstrate Fibercuit by showcasing a set of examples, including a custom dice, flex cables, custom end-stop switches, electromagnetic coils, LED earrings and a circuit in the form of kirigami crane.}, + isbn = {978-1-4503-9320-1}, + keywords = {circuit board,fiber laser,flexible PCB,kirigami,laser cut,PCB}, + file = {/Users/tomoya/Zotero/storage/J4QVKTC7/Yan et al. - 2022 - Fibercuit Prototyping High-Resolution Flexible an.pdf} +} + +@article{YangJieDuoDianZhiYuYinChangZaiXianniokeruNihuirutanoZhuCiDeSheJiShouFanoJianTao2000, + title = {多点制御音場再現における逆フィルタの逐次的設計手法の検討}, + author = {洋介, 立蔵}, + date = {2000}, + file = {/Users/tomoya/Zotero/storage/E7D95EP5/洋介_2000_多点制御音場再現における逆フィルタの逐次的設計手法の検討.pdf} +} + +@article{yangSubwavelengthTotalAcoustic2015, + title = {Subwavelength Total Acoustic Absorption with Degenerate Resonators}, + author = {Yang, Min and Meng, Chong and Fu, Caixing and Li, Yong and Yang, Zhiyu and Sheng, Ping}, + date = {2015}, + journaltitle = {Applied Physics Letters}, + volume = {107}, + number = {10}, + eprint = {1509.03711}, + eprinttype = {arXiv}, + pages = {0--5}, + issn = {00036951}, + doi = {10.1063/1.4930944}, + abstract = {We report the experimental realization of perfect sound absorption by sub-wavelength monopole and dipole resonators that exhibit degenerate resonant frequencies. This is achieved through the destructive interference of two resonators' transmission responses, while the matching of their averaged impedances to that of air implies no backscattering, thereby leading to total absorption. Two examples, both using decorated membrane resonators (DMRs) as the basic units, are presented. The first is a flat panel comprising a DMR and a pair of coupled DMRs, while the second one is a ventilated short tube containing a DMR in conjunction with a sidewall DMR backed by a cavity. In both examples, near perfect absorption, up to 99.7\%, has been observed with the airborne wavelength up to 1.2 m, which is at least an order of magnitude larger than the composite absorber. Excellent agreement between theory and experiment is obtained.}, + file = {/Users/tomoya/Zotero/storage/E8SRQ22Y/Yang et al._2015_Subwavelength total acoustic absorption with degenerate resonators.pdf} +} + +@incollection{YeJiaLiShinoZhongYanToWuYunoFuQuan1990, + title = {「歴史の終焉」と物語の復権}, + booktitle = {物語の哲学（岩波現代文庫、2005年）}, + author = {野家, 啓一}, + date = {1990}, + publisher = {岩波書店} +} + +@incollection{YeJiaShengHuoShiJietoparadaimu1981, + title = {生活世界とパラダイム}, + booktitle = {科学の解釈学（講談社文庫版、2013年）}, + author = {野家, 啓一}, + date = {1981}, + publisher = {講談社} +} + +@article{YePingBurezuwomeguruJiutunoekura1994, + title = {ブーレーズをめぐる九つのエクラ}, + author = {野平, 一郎}, + date = {1994-07-01}, + journaltitle = {季刊InterCommunication}, + volume = {3}, + number = {3}, + pages = {82--89} +} + +@article{yerkesEnsembleFeedbackInstruments2015, + title = {Ensemble {{Feedback Instruments}}}, + author = {Yerkes, Karl and Wood, Timothy and Wolfe, Hannah and Roberts, Charlie and Rincón, Fernando and Wright, Matthew}, + date = {2015}, + journaltitle = {Proceedings of the International Conference on New Interfaces for Musical Expression}, + pages = {144--149}, + abstract = {We document results from exploring ensemble feedback in loosely-structured electroacoustic improvisations. A conceptual justification for the explorations is provided, in addition to discussion of tools and methodologies. Physical configurations of intra-ensemble feedback networks are documented, along with qualitative analysis of their effectiveness.}, + file = {/Users/tomoya/Zotero/storage/YCM3XVQ5/Yerkes et al._2015_Ensemble Feedback Instruments.pdf} +} + +@article{YiDiEnaWenTiKaraFuZanaSheHui2017, + title = {「意地悪な問題」から「複雑な社会・技術的問題」へ}, + date = {2017}, + pages = {23}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/K5B5NYMK/2017 - 「意地悪な問題」から「複雑な社会・技術的問題」へ.pdf} +} + +@online{YiFuBuXinLiWuLiShiYanniyorutakutairuBokodanoJiChuDeYanJiu1975, + title = {心理物理実験によるタクタイル・ボコーダーの基礎的研究}, + author = {伊福部, 達 and 湊, 博 and 吉本, 千禎}, + date = {1975}, + number = {3}, + eprint = {3}, + eprinttype = {一般社団法人 日本音響学会}, + doi = {10.20697/jasj.31.3_170}, + url = {https://doi.org/10.20697/jasj.31.3_170}, + urldate = {2023-01-23}, + language = {ja}, + pubstate = {prepublished}, + file = {/Users/tomoya/Zotero/storage/AAG9FXWN/ja.pdf} +} + +@article{YingYiQingBaoChuLiJiShuYiChanoyobiFenSankonpiyutaBoWuGuanRenDingShi2009, + title = {情報処理技術遺産および分散コンピュータ博物館認定式}, + author = {英一, 和田}, + date = {2009-05-15}, + journaltitle = {情報処理}, + volume = {50}, + number = {5}, + pages = {369--374}, + url = {https://ipsj.ixsq.nii.ac.jp/ej/index.php?active_action=repository_view_main_item_detail&page_id=13&block_id=8&item_id=60556&item_no=1}, + urldate = {2022-01-11}, + abstract = {情報学広場 情報処理学会電子図書館}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/SSLBGZPM/英一 - 2009 - 情報処理技術遺産および分散コンピュータ博物館認定式.pdf;/Users/tomoya/Zotero/storage/W6HTNTC2/ej.html} +} + +@misc{YiTengShuZiShiDianZiJiSuanJiFujic, + title = {{{数字式電子計算機Fujic}}}, + author = {伊藤, 宏}, + file = {/Users/tomoya/Zotero/storage/AU2GC5DX/Unknown_Unknown_数字式電子計算機Fujic.pdf.pdf} +} + +@article{yuan2011, + title = {Game Accessibility: A Survey}, + shorttitle = {Game Accessibility}, + author = {Yuan, Bei and Folmer, Eelke and Harris, Frederick C.}, + date = {2011-03-01}, + journaltitle = {Universal Access in the Information Society}, + shortjournal = {Univ Access Inf Soc}, + volume = {10}, + number = {1}, + pages = {81--100}, + issn = {1615-5297}, + doi = {10.1007/s10209-010-0189-5}, + url = {https://doi.org/10.1007/s10209-010-0189-5}, + urldate = {2024-06-18}, + abstract = {Over the last three decades, video games have evolved from a pastime into a force of change that is transforming the way people perceive, learn about, and interact with the world around them. In addition to entertainment, games are increasingly used for other purposes such as education or health. Despite this increased interest, a significant number of people encounter barriers when playing games due to a disability. Accessibility problems may include the following: (1) not being able to receive feedback; (2) not being able to determine in-game responses; (3) not being able to provide input using conventional input devices. This paper surveys the current state-of-the-art in research and practice in the accessibility of video games and points out relevant areas for future research. A generalized game interaction model shows how a disability affects ones ability to play games. Estimates are provided on the total number of people in the United States whose ability to play games is affected by a disability. A large number of accessible games are surveyed for different types of impairments, across several game genres, from which a number of high- and low-level accessibility strategies are distilled for game developers to inform their design.}, + language = {en}, + keywords = {Disability,Game accessibility,Impairment,Strategy} +} + +@article{YuanDuJunJieOpunsosusohutoueaWuXianGNURadio2011, + title = {オープンソースソフトウェア無線「{{GNU Radio}}」のインパクト}, + author = {{猿渡俊介}}, + date = {2011}, + journaltitle = {電子情報通信学会技術研究報告. Rcs, 無線通信システム}, + volume = {111}, + pages = {31--36}, + issn = {09135685}, + abstract = {本稿では,オープンソースのソフトウェア無線ツールキットであるGNU Radioの仕組み,応用例,課題について紹介する.既存のソフトウェア無線の多くがFPGAで無線の物理層の処理を行っているのに対し,GNU Radioではパーソナルコンピュータ上で動作するPythonで無線の物理層の処理を行う.GNU RadioはC++で提供されたライブラリとPythonを密に連携させることでPythonの持つ簡便性,柔軟性を最大限に生かしつつもパーソナルコンピュータの性能を引き出すことに成功している.GNU Radioの登場により多様な専門背景を持つユーザが電波を簡単に扱えるようになったことで,広い分野で多くの研究成果が生まれ始めている.}, + keywords = {GNU Radio,USRP,オープンソース,ソフトウェア無線,信号処理}, + file = {/Users/tomoya/Zotero/storage/VWEJIGMU/m-api-62c7fcf0-66df-894f-74f2-d930480b2127.pdf} +} + +@article{YuanTianShenCengniyurarunetutonoJiFenBiaoXianLiLunIntegralRepresentation2017, + title = {深層ニューラルネットの積分表現理論; {{Integral Representation Theory}} of {{Deep Neural Networks}}}, + author = {園田, 翔}, + date = {2017}, + file = {/Users/tomoya/Zotero/storage/YF5FFQ5H/園田_2017_深層ニューラルネットの積分表現理論 Integral Representation Theory of Deep Neural Networks.pdf} +} + +@article{YueZhi32ZhiZhiJiaoWeiXiangZhenFuBianDiaoFangShiWoYongi2007, + title = {32 値直交位相振幅変調方式 を用い た水中音響通信の 実海域基礎実験}, + author = {越智, 寛 and 渡邊, 佳孝 and 志村, 拓也 and 鎌倉, 友男}, + date = {2007}, + file = {/Users/tomoya/Zotero/storage/AECGIVZA/越智 et al._2007_32 値直交位相振幅変調方式 を用い た水中音響通信の 実海域基礎実験.pdf} +} + +@online{yunadeizitukuBenWunonikisiGuanwooJiekesuruGuoChannikisiGuanFuHuopuroziekuto2021, + title = {本物のニキシー管をお届けする 国産ニキシー管復活プロジェクト！}, + author = {ゆな でぃじっく}, + date = {2021-04-14}, + url = {https://camp-fire.jp/projects/view/411096}, + urldate = {2022-02-06}, + abstract = {ニキシー管の製造方法をゼロから研究し、将来にわたって日本製のニキシー管を世界中に供給し続けること、その製法を後世に残すことを目標に活動しています。令和の時代に作られた本物のニキシー管の輝きをご覧ください！}, + language = {ja}, + file = {/Users/tomoya/Zotero/storage/UJN7I7AD/411096.html} +} + +@inproceedings{zaal2022, + title = {Toward Inclusivity: {{Virtual}} Reality Museums for the Visually Impaired}, + shorttitle = {Toward Inclusivity}, + booktitle = {2022 {{IEEE International Conference}} on {{Artificial Intelligence}} and {{Virtual Reality}} ({{AIVR}})}, + author = {Zaal, Tycho and Akdag Salah, Alkim Almila and Hurst, Wolfgang}, + date = {2022-12}, + pages = {225--233}, + publisher = {IEEE}, + location = {CA, USA}, + doi = {10.1109/AIVR56993.2022.00047}, + url = {https://ieeexplore.ieee.org/document/10024485/}, + urldate = {2024-06-19}, + eventtitle = {2022 {{IEEE International Conference}} on {{Artificial Intelligence}} and {{Virtual Reality}} ({{AIVR}})}, + isbn = {978-1-66545-725-5}, + file = {/Users/tomoya/Zotero/storage/INCIKKS3/Zaal et al. - 2022 - Toward inclusivity Virtual reality museums for th.pdf} +} + +@article{zappiDBoxHowRethink2015, + title = {The {{D-Box}}: {{How}} to {{Rethink}} a {{Digital Musical Instrument}}}, + author = {Zappi, Victor and Mcpherson, Andrew}, + date = {2015}, + journaltitle = {Proceedings of the 21st International Symposium on Electronic Art}, + keywords = {appropritation,dmi,embedded hardware,hacking}, + file = {/Users/tomoya/Zotero/storage/8Z7HH37N/Zappi, Mcpherson_2015_The D-Box How to Rethink a Digital Musical Instrument.pdf} +} + +@online{zeloofSecondICHomemade2021, + title = {Second {{IC}} :) {{Homemade}} 1000+ Transistor Array Chip}, + shorttitle = {Second {{IC}}}, + author = {Zeloof, Sam}, + date = {2021-08-12}, + url = {http://sam.zeloof.xyz/second-ic/}, + urldate = {2022-02-06}, + language = {en-US}, + organization = {Sam Zeloof}, + file = {/Users/tomoya/Zotero/storage/T9MQC4NL/second-ic.html} +} + +@incollection{ZengTianYinLenodezitaruHuaGamotarasumono2008, + title = {「音楽のデジタル化」がもたらすもの}, + booktitle = {拡散する音楽文化をどうとらえるか}, + author = {増田, 聡}, + editor = {東谷, 護}, + date = {2008-12-01}, + pages = {3--24}, + isbn = {978-4-326-69861-5} +} + +@article{ZengZiIIRhuirutaniyoriJinSisitaTouBuChuanDaGuanShunoWeiXiangTeXingnituite, + title = {{{IIRフィルタにより近似した頭部伝達関数の位相特性について}}}, + author = {増子, 武 and 長谷川, 光司 and 春日, 正男 and 松本, 修一 and 小池, 淳}, + file = {/Users/tomoya/Zotero/storage/2YYMAP3Q/増子 et al._Unknown_IIRフィルタにより近似した頭部伝達関数の位相特性について.pdf} +} + +@article{zhangFabricationElectricField2005, + title = {Fabrication and {{Electric Field Dependent Transport Measurements}} of {{Mesoscopic Graphite Devices}}}, + author = {Zhang, Yuanbo and Small, Joshua P. and Pontius, William V. and Kim, Philip}, + date = {2005-02-14}, + journaltitle = {Applied Physics Letters}, + volume = {86}, + number = {7}, + eprint = {cond-mat/0410314}, + eprinttype = {arXiv}, + pages = {073104}, + issn = {0003-6951, 1077-3118}, + doi = {10.1063/1.1862334}, + url = {http://arxiv.org/abs/cond-mat/0410314}, + urldate = {2023-09-25}, + abstract = {We have developed a unique micromechanical method to extract extremely thin graphite samples. Graphite crystallites with thicknesses ranging from 10 - 100 nm and lateral size \$\textbackslash sim\$ 2 \$\textbackslash mu\$m are extracted from bulk. Mesoscopic graphite devices are fabricated from these samples for electric field dependent conductance measurements. Strong conductance modulation as a function of gate voltage is observed in the thinner crystallite devices. The temperature dependent resistivity measurements show more boundary scattering contribution in the thinner graphite samples.}, + keywords = {Condensed Matter - Mesoscale and Nanoscale Physics}, + file = {/Users/tomoya/Zotero/storage/WSJ94W54/Zhang et al. - 2005 - Fabrication and Electric Field Dependent Transport.pdf;/Users/tomoya/Zotero/storage/Y3IYKZ9L/0410314.html} +} + +@article{zhangTemperaturedependentPhotoluminescenceNanocrystalline2005, + title = {Temperature-Dependent Photoluminescence of Nanocrystalline {{ZnO}} Thin Films Grown on {{Si}} (100) Substrates by the Sol–Gel Process}, + author = {Zhang, Yang and Lin, Bixia and Sun, Xiankai and Fu, Zhuxi}, + date = {2005-03-22}, + journaltitle = {Applied Physics Letters}, + shortjournal = {Applied Physics Letters}, + volume = {86}, + number = {13}, + pages = {131910}, + issn = {0003-6951}, + doi = {10.1063/1.1891288}, + url = {https://doi.org/10.1063/1.1891288}, + urldate = {2023-09-25}, + abstract = {Temperature-dependent photoluminescence (PL) of nanocrystalline ZnO thin films grown on Si (100) substrates using a sol–gel method has been investigated. From the PL spectra measured in 83–293K, the excitonic emissions and their multiple-phonon replicas have been observed in ultraviolet region, and their origins have been identified. Moreover, it has been found that the temperature dependence of the free exciton peak position can be described by standard expression, and the thermal activation energy extracted from the temperature dependence of the free exciton peak intensity is about 101meV.}, + file = {/Users/tomoya/Zotero/storage/6VT73A5R/Zhang et al. - 2005 - Temperature-dependent photoluminescence of nanocry.pdf;/Users/tomoya/Zotero/storage/9VB7S4JK/Temperature-dependent-photoluminescence-of.html} +} + +@article{ZhengFangXingmaikurohonareiYinYuanFenLiJiShu, + title = {正方形マイクロホンアレイ 音源分離技術}, + volume = {51}, + number = {11}, + pages = {1410--1416}, + file = {/Users/tomoya/Zotero/storage/LCZYTK3J/Unknown_Unknown_正方形マイクロホンアレイ 音源分離技術.pdf} +} + +@article{ZhiYiDeizitaruDuotiyanneruZhouBoShuDuoChongChuanSongsisutemunoDaRongLiangHuaniGuansuruYanJiu2007, + title = {ディジタル多チャンネル周波数多重伝送システムの 大容量化に関する研究}, + author = {直義, 中村}, + date = {2007}, + file = {/Users/tomoya/Zotero/storage/NM4FGG4X/直義_2007_ディジタル多チャンネル周波数多重伝送システムの 大容量化に関する研究.pdf} +} + +@article{Zhong2004, + title = {水蒸気雰囲気中での酢酸亜鉛の熱分解による酸化亜鉛の低温合成}, + author = {忠, 有井 and 證, 岸}, + date = {2004}, + journaltitle = {熱測定}, + volume = {31}, + number = {3}, + pages = {151--152}, + doi = {10.11311/jscta1974.31.151}, + file = {/Users/tomoya/Zotero/storage/GD95RU2P/忠 and 證 - 2004 - 水蒸気雰囲気中での酢酸亜鉛の熱分解による酸化亜鉛の低温合成.pdf;/Users/tomoya/Zotero/storage/MZ2RH75A/忠 and 證 - 2004 - 水蒸気雰囲気中での酢酸亜鉛の熱分解による酸化亜鉛の低温合成.pdf} +} + +@article{ZhongYe60GHzSingurukiyariaKohirento2014, + title = {{{60GHz}} シングルキャリア・コヒーレント ・システムにおける16−{{QAMの信号再生手法}}}, + author = {中野, 大樹 and 甲田, 泰照 and 高野, 光司 and 大庭, 信之 and 山根, 敏志 and 片山, 泰尚}, + date = {2014}, + keywords = {millimeter}, + file = {/Users/tomoya/Zotero/storage/BCBU4IEN/中野 et al._2014_60GHz シングルキャリア・コヒーレント ・システムにおける16−QAMの信号再生手法.pdf} +} + +@article{zhuBoxJenkinsSteiglitzMcBrideAlgorithm2016, + title = {The {{Box-Jenkins Steiglitz-McBride}} Algorithm}, + author = {Zhu, Yucai and Hjalmarsson, Håkan}, + date = {2016}, + journaltitle = {Automatica}, + volume = {65}, + pages = {170--182}, + publisher = {Elsevier Ltd}, + issn = {00051098}, + doi = {10.1016/j.automatica.2015.12.001}, + url = {http://dx.doi.org/10.1016/j.automatica.2015.12.001}, + abstract = {An algorithm for identification of single-input single-output Box-Jenkins models is presented. It consists of four steps: firstly a high order ARX model is estimated; secondly, the input-output data is filtered with the inverse of the estimated disturbance model; thirdly, the filtered data is used in the Steiglitz-McBride method to recover the system dynamics; in the final step, the noise model is recovered by estimating an ARMA model from the residuals of the third step. The relationship to other identification methods, in particular the refined instrumental-variable method, are elaborated upon. A Monte Carlo simulation study with an oscillatory system is presented and these results are complemented with an industrial case study. The algorithm can easily be generalized to multi-input single-output models with common denominator.}, + keywords = {Box-Jenkins model,High-order ARX-modeling,Steiglitz-McBride,System identification}, + file = {/Users/tomoya/Zotero/storage/5YB2YPA2/Zhu, Hjalmarsson_2016_The Box-Jenkins Steiglitz-McBride algorithm.pdf} +} + +@online{ZhuKouTudearuToiuSinoKenDingKutouruXinShiniokeruSiBianDeYuHuaXiaoShuonituite2018, + title = {「土である」という死の肯定 クトゥルー新世における思弁的寓話小説について \textbackslash textbar 研究ノート \textbackslash textbar {{Vol}}.33}, + author = {猪口, 智広}, + date = {2018}, + url = {https://www.repre.org/repre/vol33/note/inokuchi/}, + urldate = {2021-12-22}, + file = {/Users/tomoya/Zotero/storage/MNCB7859/inokuchi.html} +} + +@online{ZhuKouZhiGuangTudearuToiuSinoKenDingKutouruXinShiniokeruSiBianDeYuHuaXiaoShuonituite2018, + title = {「土である」という死の肯定 クトゥルー新世における思弁的寓話小説について | 研究ノート | Vol.33}, + author = {猪口, 智広}, + date = {2018}, + url = {https://www.repre.org/repre/vol33/note/inokuchi/}, + urldate = {2021-12-22}, + language = {ja}, + organization = {REPRE}, + file = {/Users/tomoya/Zotero/storage/A8EBLCU4/inokuchi.html} +} + +@article{ZhuNeiZhangHaoInstituteImageInformation2010, + title = {The {{Institute}} of {{Image Information}} and {{Television Engineers NII-Electronic Library Service}}}, + author = {{竹内章浩} and {三田誠一}}, + date = {2010}, + journaltitle = {映像情報メディア学会技術報告}, + volume = {33}, + number = {3}, + pages = {269--274}, + issn = {1881-6908}, + doi = {13426893}, + url = {http://www.mendeley.com/research/-49485/}, + abstract = {It is very important to understand the relationship in a VR environment between the type of image projected and the user's perception of distance, speed and time. However, there has been no study on this. We studied this relationship using virtual routes that were projected in CAVE with five screens in stereo-vision. We arranged objects around the virtual route and prepared two sets of conditions. One was low density, which means the virtual routes were surrounded with not many objects. The other was high density, which means there were many objects. The results of our experiment show that the number of objects (the density of arranged objects around the virtual route) affected the user's perception of distance, speed, and time. The influence on the perception of time was smaller than that on distance and speed. Under the high density condition, the users felt that the distance and time was longer and the speed faster.}, + file = {/Users/tomoya/Zotero/storage/7AYHEZKM/竹内章浩, 三田誠一_2010_The Institute of Image Information and Television Engineers NII-Electronic Library Service.pdf;/Users/tomoya/Zotero/storage/H3CWR8N6/2010-The_Institute_of_Image_Information_and_Television_Engineers_NII-Electronic_Library_Service.pdf;/Users/tomoya/Zotero/storage/JZSMVK2Y/Unknown_Unknown_The Institute of Image Information and Television Engineers NII-Electronic Library Service.pdf;/Users/tomoya/Zotero/storage/R75EW9TI/2010-The_Institute_of_Image_Information_and_Television_Engineers_NII-Electronic_Library_Service.pdf} +} + +@report{zicarelliCommunicatingMeaninglessNumbers1991, + title = {Communicating with {{Meaningless Numbers}}}, + author = {Zicarelli, David}, + date = {1991}, + journaltitle = {Source: Computer Music Journal}, + volume = {15}, + number = {4}, + pages = {74--77}, + institution = {Winter}, + url = {https://about.jstor.org/terms}, + urldate = {2020-04-06}, + file = {/Users/tomoya/Zotero/storage/4YUCBVIP/full-text.pdf} +} + +@inproceedings{zimmermanAnalysisCritiqueResearch2010, + title = {An Analysis and Critique of {{Research}} through {{Design}}: Towards a Formalization of a Research Approach}, + shorttitle = {An Analysis and Critique of {{{\emph{Research}}}}{\emph{ through }}{{{\emph{Design}}}}}, + booktitle = {Proceedings of the 8th {{ACM Conference}} on {{Designing Interactive Systems}} - {{DIS}} '10}, + author = {Zimmerman, John and Stolterman, Erik and Forlizzi, Jodi}, + date = {2010}, + pages = {310}, + publisher = {ACM Press}, + location = {Aarhus, Denmark}, + doi = {10.1145/1858171.1858228}, + url = {http://portal.acm.org/citation.cfm?doid=1858171.1858228}, + urldate = {2021-11-23}, + eventtitle = {The 8th {{ACM Conference}}}, + isbn = {978-1-4503-0103-9}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/FQXRPPCR/Zimmerman et al. - 2010 - An analysis and critique of Research through De.pdf;/Users/tomoya/Zotero/storage/JVF3LBQ7/Zimmerman et al. - 2010 - An analysis and critique of Research through De.pdf} +} + +@article{znaidiSolGeldepositedZnO2010, + title = {Sol–Gel-Deposited {{ZnO}} Thin Films: {{A}} Review}, + shorttitle = {Sol–Gel-Deposited {{ZnO}} Thin Films}, + author = {Znaidi, Lamia}, + date = {2010-10-25}, + journaltitle = {Materials Science and Engineering: B}, + shortjournal = {Materials Science and Engineering: B}, + series = {Advances in {{Semiconducting Materials}}}, + volume = {174}, + number = {1}, + pages = {18--30}, + issn = {0921-5107}, + doi = {10.1016/j.mseb.2010.07.001}, + url = {https://www.sciencedirect.com/science/article/pii/S0921510710004630}, + urldate = {2023-09-25}, + abstract = {During the last years, ZnO thin films have been studied extensively due to their potential applications in e.g. piezoelectric and optoelectronic devices or photovoltaic cells. Ordered c-axis orientation of ZnO crystallites is desirable for applications where crystallographic anisotropy is a prerequisite such as for short-wavelength semiconductor diode lasers (SDLs), and piezoelectric surface acoustic wave or acousto-optic devices. Many works were dedicated to c-axis oriented ZnO thin films elaboration and the study of their properties, including physical and chemical methods. For instance, sol–gel processes are particularly well adapted to produce ZnO films in a simple, low-cost and highly controlled way. This review summarizes the main chemical routes used in the sol–gel synthesis of undoped ZnO thin films and highlights the chemical and physical parameters influencing their structural properties. In this process, the ZnO films synthesis includes three principal steps: (i) solution preparation, (ii) coating and (iii) heat treatment. For the first step, the particle formation is discussed including nucleation and growth, particle size, morphology and colloids stability. These three steps involve several parameters such as: (i) nature and concentration of precursor, solvent and additive, and solution aging time, for the chemical system, (ii) coating method, thickness and substrate for the coating step, and (iii) pre-and post-heat treatment for the last step. The influence of these steps and synthesis parameters on ZnO thin films orientation is discussed.}, + keywords = {-Axis,Colloids,Preferential orientation,Sol–gel,Thin films,Zinc oxide}, + file = {/Users/tomoya/Zotero/storage/GZBLT8Y6/Znaidi - 2010 - Sol–gel-deposited ZnO thin films A review.pdf;/Users/tomoya/Zotero/storage/RJFWAQXA/S0921510710004630.html} +} + +@online{zotero-1795, + title = {Moids\_infinity/Other/20180312\_1.{{MOV}} at D36cea7ff2a022d455861c6ca544794135ad1588 · Kinoshita-Lab/Moids\_infinity}, + url = {https://github.com/kinoshita-lab/moids_infinity/blob/d36cea7ff2a022d455861c6ca544794135ad1588/other/20180312_1.MOV}, + urldate = {2023-08-29}, + file = {/Users/tomoya/Zotero/storage/5LIZZ5BN/20180312_1.html} +} + +@online{zotero-1931, + title = {Accessible {{PDAs}}}, + url = {https://www.afb.org/blindness-and-low-vision/using-technology/assistive-technology-videos/transcript-accessible-pdas}, + urldate = {2024-06-18}, + language = {en-US}, + organization = {The American Foundation for the Blind} +} + +@online{zotero-1932, + title = {Screen {{Reading Technology}}}, + url = {https://www.afb.org/blindness-and-low-vision/using-technology/assistive-technology-videos/screen-reading-technology}, + urldate = {2024-06-18}, + language = {en-US}, + organization = {The American Foundation for the Blind}, + file = {/Users/tomoya/Zotero/storage/2LNITEZG/screen-reading-technology.html} +} + +@online{zotero-1934, + title = {Audio-Only Menus – {{Captivating Sound}}}, + url = {https://captivatingsound.com/audio-only-menus/}, + urldate = {2024-06-18}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/MPP2V9JY/audio-only-menus.html} +} + +@online{zotero-1940, + title = {The {{Last}} of {{Us Part II}}: {{Accessibility Features Detailed}} || {{Naughty Dog}}}, + shorttitle = {The {{Last}} of {{Us Part II}}}, + url = {https://www.naughtydog.com/blog/the_last_of_us_part_ii_accessibility_features_detailed}, + urldate = {2024-06-19}, + abstract = {Learn more about the more than 60 accessibility features in The Last of Us Part II.}, + language = {en-US}, + file = {/Users/tomoya/Zotero/storage/JJQDE8FI/the_last_of_us_part_ii_accessibility_features_detailed.html} +} + +@online{zotero-1958, + title = {The {{Use}} of {{Non-Speech Audio}} at the {{Interface}}}, + url = {https://www.billbuxton.com/Audio.TOC.html}, + urldate = {2024-06-24}, + file = {/Users/tomoya/Zotero/storage/VKQ2MBAS/Audio.TOC.html} +} + +@online{zotero-1966, + title = {Blind Learners Programming through Audio | {{CHI}} '05 {{Extended Abstracts}} on {{Human Factors}} in {{Computing Systems}}}, + url = {https://dl.acm.org/doi/abs/10.1145/1056808.1057018}, + urldate = {2024-06-24}, + file = {/Users/tomoya/Downloads/document.pdf;/Users/tomoya/Zotero/storage/DSQFSRPU/1056808.html} +} + +@online{zotero-1999, + title = {“{{A Blessed Boon}}”: {{Radio}}, {{Disability}}, {{Governmentality}}, and the {{Discourse}} of the “{{Shut-In}},” 1920–1930: {{Critical Studies}} in {{Media Communication}}: {{Vol}} 29, {{No}} 3}, + url = {https://www.tandfonline.com/doi/abs/10.1080/15295036.2011.631554}, + urldate = {2024-08-23}, + file = {/Users/tomoya/Zotero/storage/I2UE5ZHI/Kirkpatrick_ShutIns_Web ja.pdf;/Users/tomoya/Zotero/storage/TG9QGJDN/Kirkpatrick_ShutIns_Web.pdf;/Users/tomoya/Zotero/storage/XW49IMWJ/15295036.2011.html} +} + +@online{zotero-2024, + title = {Dependent Type Systems as Macros | {{Proceedings}} of the {{ACM}} on {{Programming Languages}}}, + url = {https://dl.acm.org/doi/10.1145/3371071}, + urldate = {2024-09-17}, + file = {/Users/tomoya/Zotero/storage/QYT9MY2W/3371071.html} +} + +@online{zotero-2054, + title = {2023監事監査資料-アートDX}, + url = {https://docs.google.com/document/d/1wLr20D9eN6HDA32sAB-MByBWxwzD0wuZwodBjKD4E3A/edit?usp=sharing&usp=embed_facebook}, + urldate = {2024-11-24}, + abstract = {芸術情報センターにおける「東京藝大アートDX」の活動 2023.11.21 監事監査資料 文責：松浦知也（芸術情報センター 特任助教） 東京藝大アートDXは、東京藝術大学におけるデジタル技術に関わる研究・教育・発信を推進することで、技術と社会の向かうべき最先端(State-of-the-ART)を塗り変えることを目指すプロジェクトである。 東京藝大では、2010年代より芸術情報センター（AMC）でデジタルファブリケーション機器を先駆けて導入したり、2020年のコロナ禍においては「東京藝大デジタルツイン」を立ち上げるなど、時代の変化に応じてデジタル技術を活用した芸術大学の新しい教育・研究...}, + language = {ja}, + organization = {Google Docs}, + file = {/Users/tomoya/Zotero/storage/H8ED3N3I/edit.html} +} + +@article{ZuLiChunno2ZiYouDumoderuwoYongitaJinGuanLeQisimiyuresiyon, + title = {唇の2自由度モデルを用いた金管楽器シミュレーション}, + author = {足立, 整治 and 佐藤, 雅昭}, + file = {/Users/tomoya/Zotero/storage/PCRHZVT8/2.pdf} +} diff --git a/src/ref_bibtex.bib b/src/ref_bibtex.bib new file mode 100644 index 0000000..22713d3 --- /dev/null +++ b/src/ref_bibtex.bib @@ -0,0 +1,306 @@ +@article{Aaron2013, + title = {From {{Sonic Pi}} to Overtone: {{Creative}} Musical Experiences with Domain-Specific and Functional Languages}, + author = {Aaron, Samuel and Blackwell, Alan F.}, + year = {2013}, + journal = {Proceedings of the ACM SIGPLAN International Conference on Functional Programming, ICFP}, + pages = {35--46}, + doi = {10.1145/2505341.2505346}, + abstract = {Domain Specific and Functional languages provide an excellent linguistic context for exploring new forms of music notation - not just for formalising compositions but also for live interaction workflows. This experience report describes two novel live coding systems that employ code execution to modify live sounds and music. The first of these systems, Sonic Pi, aims at teaching core computing notions to school students using live-coded music as a means of stimulating and maintaining student engagement. We describe how an emphasis on a functional style improves the ease in which core computer science concepts can be communicated to students. Secondly we describe Overtone, a functional language and live coding environment aimed towards professional electronic musicians. We describe how Overtone's abstractions and architecture strongly benefit from a functional-oriented implementation. Both Sonic Pi and Overtone are freely available open-source platforms.}, + isbn = {9781450323864}, + keywords = {Computational thinking,Live coding,Pedagogy,Raspberry Pi,Sound synthesis}, + file = {/Users/tomoya/Zotero/storage/BDBWTQLL/2505341.2505346.pdf;/Users/tomoya/Zotero/storage/I4Z4L95Y/2505341.2505346.pdf} +} + +@inproceedings{arias2021, + title = {The {{W-calculus}}: {{A Synchronous Framework}} for the {{Verified Modelling}} of {{Digital Signal Processing Algorithms}}}, + booktitle = {Proceedings of the 9th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}}, and {{Design}}}, + author = {Arias, Emilio Jes{\'u}s Gallego and Jouvelot, Pierre and Ribstein, Sylvain and Desblancs, Dorian}, + year = {2021}, + month = aug, + volume = {12}, + pages = {35--46}, + publisher = {ACM}, + address = {New York, NY, USA}, + doi = {10.1145/3471872.3472970}, + urldate = {2021-08-30}, + abstract = {We introduce the W-calculus, an extension of the call-byvalue {$\lambda$}-calculus with synchronous semantics, designed to be flexible enough to capture different implementation forms of Digital Signal Processing algorithms, while permitting a direct embedding into the Coq proof assistant for mechanized formal verification. In particular, we are interested in the different implementations of classical DSP algorithms such as audio filters and resonators, and their associated high-level properties such as Linear Time-invariance. We describe the syntax and denotational semantics of the W-calculus, providing a Coq implementation. As a first application of the mechanized semantics, we prove that every program expressed in a restricted syntactic subset of W is linear time-invariant, by means of a characterization of the property using logical relations. This first semantics, while convenient for mechanized reasoning, is still not useful in practice as it requires re-computation of previous steps. To improve on that, we develop an imperative version of the semantics that avoids recomputation of prior stream states. We empirically evaluate the performance of the imperative semantics using a staged interpreter written in OCaml, which, for an input program in W , produces a specialized OCaml program, which is then fed to the optimizing OCaml compiler. The approach provides a convenient path from the high-level semantical description to low-level efficient code. Publication rights licensed to ACM. ACM acknowledges that this contribution was authored or co-authored by an employee, contractor or affiliate of a national government. As such, the Government retains a nonexclusive, royalty-free right to publish or reproduce this article, or to allow others to do so, for Government purposes only.}, + keywords = {Digital Signal Processing,Formal Verification,Linear Time-invariance,Programming Language Semantics,Synchronous Programming}, + file = {/Users/tomoya/Downloads/3472970-vor.pdf;/Users/tomoya/Zotero/storage/C48ATPES/full-text.pdf} +} + +@article{Dannenberg2018, + title = {Languages for {{Computer Music}}}, + author = {Dannenberg, Roger B.}, + year = {2018}, + month = nov, + journal = {Frontiers in Digital Humanities}, + volume = {5}, + issn = {2297-2668}, + doi = {10.3389/fdigh.2018.00026}, + urldate = {2019-04-28}, + file = {/Users/tomoya/Zotero/storage/L7F62UTL/Languages_for_Computer_Music.pdf;/Users/tomoya/Zotero/storage/QVM64Q68/Dannenberg - 2018 - Languages for Computer Music.pdf} +} + +@inproceedings{Dannenberg2018, + title = {{{UGG}}: {{A Unit Generator Generator}}}, + booktitle = {Proceedings of the 2018 {{International Computer Music Conference}}}, + author = {Dannenberg, Roger B}, + year = {2018}, + month = aug, + urldate = {2020-02-28}, + abstract = {Unit generators are primary building blocks of music audio software. Unit generators aim to be both efficient and flexible, but these goals are often in opposition. As designers trade off efficiency against flexibility, many designs emerge, leading to a multitude of incompatible implementations. Thus, there are many incompatible unit generator libraries, each representing substantial effort. The present work suggests that unit generators can be written in a functional style using a conventional language with operator overloading, and an easily modifiable "back end" can generate efficient code. A prototype of this method, the Unit Generator Generator (UGG) system can be tailored quickly to target many unit generator designs. Computations can be shared across unit generators by defining simple functions, leading to an even more compact and expressive notation.}, + file = {/Users/tomoya/Zotero/storage/7PHU8UVW/full-text.pdf} +} + +@inproceedings{gaster2018, + title = {{{OUTSIDE THE BLOCK SYNDICATE}}: {{TRANSLATING FAUST}}'{{S ALGEBRA OF BLOCKS TO THE ARROWS FRAMEWORK}}}, + booktitle = {Proceedings of the 1st {{International Faust Conference}}}, + author = {Gaster, Benedict R and Renney, Nathan and Mitchell, Tom}, + year = {2018}, + address = {Mainz,Germany}, + urldate = {2020-03-29}, + abstract = {Folklore has it that Faust's algebra of blocks can be represented in Hughes' algebra of Arrows. In this paper we formalise this understanding, showing that blocks can indeed be encoded with Causal Commutative Arrows. Whilst an interesting finding in itself, we believe that this formal translation opens up new avenues of research. For instance, recent work in functional reactive programming on well typed clocks, could provide an alternative to the dependent type approach proposed for multi-rate Faust.}, + file = {/Users/tomoya/Zotero/storage/6X7SPZEM/full-text.pdf} +} + +@inproceedings{graf2010, + title = {Term {{Rewriting Extension}} for the {{Faust Programming Language}}}, + booktitle = {International {{Linux Audio Conference}}}, + author = {Gr{\"a}f, Albert}, + year = {2010}, + abstract = {This paper discusses a term rewriting extension for the functional signal processing language Faust. The extension equips Faust with a hygienic macro processing facility. Faust macros can be used to define complicated, parameterized block diagrams, and perform arbitrary symbolic manipulations of block diagrams. Thus they make it easier to create elaborate signal processor specifications involving many complicated components.}, + keywords = {Digital signal processing,Faust,functional programming,macro processing,term rewriting}, + file = {/Users/tomoya/Zotero/storage/KXEWFSGX/full-text.pdf} +} + +@article{ierusalimschy2005, + title = {The {{Implementation}} of {{Lua}} 5.0}, + author = {Ierusalimschy, Roberto and de Figueiredo, Luiz Henrique and Celes, Waldemar}, + year = {2005}, + month = jul, + journal = {JUCS - Journal of Universal Computer Science}, + volume = {11}, + number = {7}, + pages = {1159--1176}, + publisher = {Journal of Universal Computer Science}, + issn = {0948-6968}, + doi = {10.3217/jucs-011-07-1159}, + urldate = {2024-07-09}, + abstract = {We discuss the main novelties of the implementation of Lua 5.0: its register-based virtual machine, the new algorithm for optimizing tables used as arrays, the implementation of closures, and the addition of coroutines.}, + copyright = {2005 Roberto Ierusalimschy, Luiz Henrique de Figueiredo, Waldemar Celes}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/GQRQSVPC/Ierusalimschy et al. - 2005 - The Implementation of Lua 5.0.pdf} +} + +@inproceedings{kiselyov2014, + title = {The {{Design}} and {{Implementation}} of {{BER~MetaOCaml}}}, + booktitle = {Functional and {{Logic Programming}}}, + author = {Kiselyov, Oleg}, + editor = {Codish, Michael and Sumii, Eijiro}, + year = {2014}, + pages = {86--102}, + publisher = {Springer International Publishing}, + address = {Cham}, + doi = {10.1007/978-3-319-07151-0_6}, + abstract = {MetaOCaml is a superset of OCaml extending it with the data type for program code and operations for constructing and executing such typed code values. It has been used for compiling domain-specific languages and automating tedious and error-prone specializations of high-performance computational kernels. By statically ensuring that the generated code compiles and letting us quickly run it, MetaOCaml makes writing generators less daunting and more productive.}, + isbn = {978-3-319-07151-0}, + language = {en} +} + +@misc{kiselyov2014a, + title = {Introduction to Staging and {{MetaOCaml}} - {{MetaOCaml}} -- an {{OCaml}} Dialect for Multi-Stage Programming}, + shorttitle = {The {{Design}} and {{Implementation}} of {{BER MetaOCaml}}}, + author = {Kiselyov, Oleg}, + year = {2014}, + journal = {Functional and Logic Programming}, + doi = {10.1007/978-3-319-07151-0_6}, + urldate = {2024-07-11}, + collaborator = {Hutchison, David and Kanade, Takeo and Kittler, Josef and Kleinberg, Jon M. and Kobsa, Alfred and Mattern, Friedemann and Mitchell, John C. and Naor, Moni and Nierstrasz, Oscar and Pandu Rangan, C. and Steffen, Bernhard and Terzopoulos, Demetri and Tygar, Doug and Weikum, Gerhard and Codish, Michael and Sumii, Eijiro}, + howpublished = {https://okmij.org/ftp/ML/MetaOCaml.html\#using}, + language = {en} +} + +@article{Lazzarini2013, + title = {The {{Development}} of {{Computer Music Programming Systems}}}, + author = {Lazzarini, Victor}, + year = {2013}, + journal = {Journal of New Music Research}, + volume = {42}, + number = {1}, + pages = {97--110}, + publisher = {Victor Lazzarini}, + issn = {1744-5027}, + doi = {10.1080/09298215.2013.778890}, + urldate = {2020-04-06}, + abstract = {This article traces the history and evolution of Music Programming , from the early off-line synthesis programs of the MUSIC N family to modern realtime interactive systems. It explores the main design characteristics of these systems and their impact on Computer Music. In chronological fashion, the article will examine, with code examples, the development of the early systems into the most common modern languages currently in use. In particular, we will focus on Csound, highlighting its main internal aspects and its applications. The text will also explore the various paradigms that have oriented the design and use of music programming systems. This discussion is completed by a consideration of computer music ecosystems and their pervasiveness in today's practice.}, + file = {/Users/tomoya/Zotero/storage/GKN9EIMD/full-text.pdf;/Users/tomoya/Zotero/storage/VGL4U7D9/Lazzarini - 2013 - The Development of Computer Music Programming Systems.pdf} +} + +@article{mathews1963, + title = {The {{Digital Computer}} as a {{Musical Instrument}}}, + author = {Mathews, M.V.}, + year = {1963}, + month = nov, + journal = {Science,New Series}, + volume = {142}, + number = {3592}, + eprint = {1712380}, + eprinttype = {jstor}, + pages = {553--557}, + abstract = {A computer can be programmed to play "instrumental" music, to aid the composer, or to compose unaided. M. V. Mathews With the aid of suitable output equipment , the numbers which a modern digital computer generates can be directly converted to sound waves. The process is completely general, and any perceiv-able sound can be so produced. This potentiality of the computer has been of considerable use at the Bell Telephone Laboratories in generating stimuli for experiments in the field of hearing, and for generating speech sounds and connected speech in investigations of the factors which contribute to the intelligibility and naturalness of speech. The quality of sound is of great importance in two fields-that of speech and communication and that of music. Our studies at the Bell Laboratories in the first of these fields have led us, over the past few years, to related studies in the production of musical sounds and their organization into musical compositions. I believe that this by-product of our work on speech and hearing may be of considerable value in the world of music, and that further work in this direction will be of substantial value in furthering our understanding of psychoacoustics. There are no theoretical limitations to the performance of the computer as a source of musical sounds, in contrast to the performance of ordinary instruments. At present, the range of computer music is limited principally by cost and by our knowledge of psycho-acoustics. These limits are rapidly receding. In addition to generating sound, the computer can also function as a machine for composing music. It can either compose pieces based entirely on random numbers generated by itself or it can cooperate with a human composer. It can play its own compositions. Here I first describe the process for converting numbers to sounds, then I describe a program for playing music. Next I consider a psychoacoustic problem which is typical of those posed in attempts to make more interesting sounds. Finally, I look to the future, to the time when the computer is itself the composer. Sound from Numbers How can the numbers with which a computer deals be converted into sounds the ear can hear? The most general conversion is based upon the use of the numbers as samples of the sound pressure wave. A schematic diagram of this process is shown in Fig. 1. Here a sequence of numbers from the computer is put into an analog-to-digital converter, which generates a se-' quence of electric pulses whose amplitudes are proportional to the numbers. These pulses are smoothed with a filter and then converted to a sound wave by means of an ordinary loudspeaker. Intuitively, we feel that if a high enough pulse rate is used and the amplitudes of the pulses are generated with sufficient precision, then any sound wave can be closely approximated by this process. Mathematically, it has been established (1) that this conclusion is correct. A sound wave with frequencies from 0 to B cycles per second can be generated from a sequence of two B pulses per second. Thus, for example, by running our computer at a rate of 30,000 numbers per second, we can generate sound waves with frequencies from 0 to 15,000 cycles per second. Waves in this frequency range are about the only ones the human ear can perceive. The signal-to-quantizing-noise ratio of the sound wave depends on the accuracy with which the amplitudes of the pulses are represented. Computers deal with a finite number of digits and, hence, have limited accuracy. However, the computer limits are more than sufficient acoustically. For example, amplitudes represented by four-digit decimal numbers, are accurate to within 1 part in 10,000, an accuracy which represents a signal-to-noise ratio of 80 decibels; this is less noise than the ear can hear, and less noise than would be introduced by any audio equipment, such as the best tape recorder. The sampling process just described is theoretically unrestricted, but the generation of sound signals requires very high sampling rates. The question should immediately be asked, "Are computers of the type now available capable of generating numbers at these rates?" The answer is "Yes," with some qualifications. A high-speed machine such as the I.B.M. 7090, using the programs described later in this article, can compute only about 5000 numbers per second When generating a reasonably complex sound. However, the numbers can be temporarily stored on one of the computer's digital magnetic tapes, and this tape can subsequently be replayed at rates up to 30,000 numbers per second (each number being a 12-bit binary number). Thus, the computer is capable of generating wideband musical sounds. Because of the cost of computer time, we often limit our studies to those for which the computer is run at lower rates, such as 10,000 numbers per second a rate which yields a bandwidth of 5000 cycles per second. The direct conversion of numbers to sound is only one of the ways in which the computer can generate sounds. An alternate procedure is to use the numbers from the computer to control electronic apparatus such as oscillators and filters, which, in turn, generate the sounds. These processes have been carried out by the Radio Corporation of America music synthesizer (2) and by a machine constructed at the University of Illinois (3). This procedure has the advantage that a much lower rate 553}, + file = {/Users/tomoya/Zotero/storage/PG6GGQCV/Mathews - 1963 - The Digital Computer as a Musical Instrument.pdf} +} + +@inproceedings{Matsuura2021, + title = {Mimium: {{A Self-Extensible Programming Language}} for {{Sound}} and {{Music}}}, + booktitle = {{{FARM}} 2021 - {{Proceedings}} of the {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modeling}}, and {{Design}}}, + author = {Matsuura, Tomoya and Jo, Kazuhiro}, + year = {2021}, + doi = {10.1145/3471872.3472969}, + file = {/Users/tomoya/Zotero/storage/ERG4LFIZ/Matsuura and Jo - 2021 - mimium A Self-Extensible Programming Language for.pdf} +} + +@inproceedings{matsuura2021, + title = {Mimium: A Self-Extensible Programming Language for Sound and Music}, + shorttitle = {Mimium}, + booktitle = {Proceedings of the 9th {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}}, and {{Design}}}, + author = {Matsuura, Tomoya and Jo, Kazuhiro}, + year = {2021}, + month = aug, + series = {{{FARM}} 2021}, + pages = {1--12}, + publisher = {Association for Computing Machinery}, + address = {New York, NY, USA}, + doi = {10.1145/3471872.3472969}, + urldate = {2024-07-09}, + abstract = {We propose a programming language for music named mimium, which combines temporal-discrete control and signal processing in a single language. mimium has an intuitive imperative syntax and can use stateful functions as Unit Generator in the same way as ordinary function definitions and applications. Furthermore, the runtime performance is made equivalent to that of lower-level languages by compiling the code through the LLVM compiler infrastructure. By using the strategy of adding a minimum number of features for sound to the design and implementation of a general-purpose functional language, mimium is expected to lower the learning cost for users, simplify the implementation of compilers, and increase the self-extensibility of the language. In this paper, we present the basic language specification, semantics for simple task scheduling, the semantics for stateful functions, and the compilation process. mimium has certain specifications that have not been achieved in existing languages. Future works suggested include extending the compiler functionality to combine task scheduling with the functional paradigm and introducing multi-stage computation for parametric replication of stateful functions.}, + isbn = {978-1-4503-8613-5}, + file = {/Users/tomoya/Zotero/storage/TDBLJQTL/Matsuura and Jo - 2021 - mimium a self-extensible programming language for.pdf} +} + +@misc{matsuura2024, + title = {Lambda-Mmm: The {{Intermediate Representation}} for {{Synchronous Signal Processing Language Based}} on {{Lambda Calculus}}}, + shorttitle = {Lambda-Mmm}, + author = {Matsuura, Tomoya}, + year = {2024}, + month = sep, + publisher = {Zenodo}, + doi = {10.5281/zenodo.13855343}, + urldate = {2024-10-01}, + abstract = {This paper proposes Lambda-mmm, a call-by-value, simply typed lambda calculus-based intermediate representation for a music programming language that handles synchronous signal processing and introduces a virtual machine and instruction set to execute Lambda-mmm. Digital signal processing is represented by a syntax that incorporates the internal states of delay and feedback into the lambda calculus. Lambda-mmm extends the lambda calculus, allowing users to construct generative signal processing graphs and execute them with consistent semantics. However, a challenge arises when handling higher-order functions because users must determine whether execution occurs within the global environment or during DSP execution. This issue can potentially be resolved through multi-stage computation.}, + archiveprefix = {Zenodo}, + language = {eng}, + keywords = {Computer Music,Programming Language}, + file = {/Users/tomoya/Zotero/storage/UMC6L4S5/Matsuura - 2024 - Lambda-mmm the Intermediate Representation for Sy.pdf} +} + +@inproceedings{McLean2014, + title = {Making Programming Languages to Dance to: {{Live}} Coding with Tidal}, + booktitle = {{{FARM}} 2014 - {{Proceedings}} of the 2014 {{ACM SIGPLAN International Workshop}} on {{Functional Art}}, {{Music}}, {{Modelling}} and {{Design}}}, + author = {McLean, Alex}, + year = {2014}, + pages = {63--70}, + publisher = {Association for Computing Machinery}, + address = {New York, New York, USA}, + doi = {10.1145/2633638.2633647}, + urldate = {2020-06-08}, + abstract = {Live coding of music has grown into a vibrant international community of research and practice over the past decade, providing a new research domain where computer science blends with the performing arts. In this paper the domain of live coding is described, with focus on the programming language design challenges involved, and the ways in which a functional approach can meet those challenges. This leads to the introduction of Tidal 0.4, a Domain Specific Language embedded in Haskell. This is a substantial restructuring of Tidal, which now represents musical pattern as functions from time to events, inspired by Functional Reactive Programming. {\copyright} 2014 ACM.}, + isbn = {978-1-4503-3039-8}, + keywords = {domain specific languages,live coding,music}, + file = {/Users/tomoya/Zotero/storage/CGJJMBCY/2633638.2633647.pdf;/Users/tomoya/Zotero/storage/JRHVITZG/2633638.2633647.pdf} +} + +@incollection{Nishino2016, + title = {Computer {{Music Languages}} and {{Systems}}: {{The Synergy Between Technology}} and {{Creativity}}}, + booktitle = {Handbook of {{Digital Games}} and {{Entertainment Technologies}}}, + author = {Nishino, Hiroki and Nakatsu, Ryohei}, + year = {2016}, + doi = {10.1007/978-981-4560-52-8}, + abstract = {INTRODUCCI{\'O}N 1 Estamos en un momento de pleno apogeo en lo que se refiere al uso de nuevas metodolog{\'i}as en la ense{\~n}anza del espa{\~n}ol como lengua extranjera, a la implementaci{\'o}n de las tecnolog{\'i}as de la informaci{\'o}n y la comunicaci{\'o}n, y a la inclusi{\'o}n de elementos l{\'u}dicos para mejorar la experiencia de ense{\~n}anza y aprendizaje. En este art{\'i}culo queremos realizar una aproximaci{\'o}n al concepto de gamificaci{\'o}n o ludificaci{\'o}n, un t{\'e}rmino ya presente en el {\'a}mbito empresarial y que recientemente se ha adaptado al contexto docente de lenguas extranjeras por las m{\'u}ltiples ventajas que pue-de ofrecer durante el aprendizaje. El uso del juego o sus elementos en el contexto de ense{\~n}anza y aprendizaje de len-guas extranjeras tiene como fin modificar el comportamiento de los aprendientes hacia el proceso de aprendizaje de la lengua meta; por ejemplo, conseguir que aumente su mo-tivaci{\'o}n y que el aprendizaje sea significativo y duradero. No obstante, para conseguir este objetivo es necesario analizar previamente las caracter{\'i}sticas contextuales, atender a los objetivos curriculares y ante todo, tener en cuenta las necesidades espec{\'i}ficas de los aprendientes. Este art{\'i}culo tiene el objetivo principal de promover una reflexi{\'o}n sobre este t{\'e}rmi-no y su implementaci{\'o}n en el aula, as{\'i} como proponer una serie de ideas para imple-mentarlas en el contexto del aula. Por {\'u}ltimo, queremos despertar en otros profesores de lengua extranjera el inter{\'e}s y la curiosidad por implementar la gamificaci{\'o}n en sus pr{\'a}cticas docentes. 1 Los datos presentados en este taller son una adaptaci{\'o}n del taller titulado " Y t{\'u}, {\textquestiondown}gamificas? " impartido por Mat{\'i}as Hidalgo Gallardo y Antonia Garc{\'i}a Jim{\'e}nez durante las III Jornadas de formaci{\'o}n de profesores de ELE en Hong Kong (13-14 de marzo de 2015). 74 {\textquestiondown}QU{\'E} ES LA GAMIFICACI{\'O}N? La conceptualizaci{\'o}n de este t{\'e}rmino tiene su origen en el mundo de los negocios, pues es en este contexto donde se empez{\'o} a utilizar. As{\'i}, Werbach y Hunter (2012) se-{\~n}alan que la gamificaci{\'o}n consiste en el uso de elementos de juegos y t{\'e}cnicas de dise{\~n}o de juegos en contextos no l{\'u}dicos. Teniendo en cuenta en el contexto en el que nos encontramos como docentes, la definici{\'o}n que acabamos de presentar debe modificarse. Tomaremos como referencia la propuesta de Foncubierta y Rodr{\'i}guez (2014) que definen la gamificaci{\'o}n como la t{\'e}cnica o t{\'e}cnicas que el profesor emplea en el dise{\~n}o de una actividad, tarea o proceso de aprendizaje (sean de naturaleza anal{\'o}gica o digital) introduciendo elementos del juego (insignias, l{\'i}-mite de tiempo, puntuaci{\'o}n, dados, etc.) y/o su pensamiento (retos, competici{\'o}n, etc.) con el fin de enriquecer esa experiencia de aprendizaje, dirigir y/o modificar el comportamiento de los alumnos en el aula (Foncubierta y Rodriguez 2).}, + isbn = {978-981-4560-52-8}, + file = {/Users/tomoya/Zotero/storage/JVBK3LZK/Nishino, Nakatsu - 2016 - Computer Music Languages and Systems The Synergy Between Technology and Creativity.pdf;/Users/tomoya/Zotero/storage/UKFT5TD2/Nishino, Nakatsu_2016_Handbook of Digital Games and Entertainment Technologies.pdf} +} + +@article{norilo2015, + title = {Kronos: {{A Declarative Metaprogramming Language}} for {{Digital Signal Processing}}}, + author = {Norilo, Vesa}, + year = {2015}, + journal = {Computer Music Journal}, + volume = {39}, + number = {4}, + pages = {30--48}, + doi = {10.1162/COMJ_a_00330}, + abstract = {Kronos is a signal-processing programming language based on the principles of semifunctional reactive systems. It is aimed at efficient signal processing at the elementary level, and built to scale towards higher-level tasks by utilizing the powerful programming paradigms of "metaprogramming" and reactive multirate systems. The Kronos language features expressive source code as well as a streamlined, efficient runtime. The programming model presented is adaptable for both sample-stream and event processing, offering a cleanly functional programming paradigm for a wide range of musical signal-processing problems, exemplified herein by a selection and discussion of code examples.}, + file = {/Users/tomoya/Zotero/storage/THAKVEM6/m-api-574ff3be-cfe2-7867-406a-df50770bf1cb.pdf} +} + +@book{nystrom2021, + title = {{Crafting Interpreters}}, + author = {Nystrom, Robert}, + year = {2021}, + month = jul, + publisher = {Genever Benning}, + address = {Daryaganj Delhi}, + abstract = {Despite using them every day, most software engineers know little about how programming languages are designed and implemented. For many, their only experience with that corner of computer science was a terrifying "compilers" class that they suffered through in undergrad and tried to blot from their memory as soon as they had scribbled their last NFA to DFA conversion on the final exam.That fearsome reputation belies a field that is rich with useful techniques and not so difficult as some of its practitioners might have you believe. A better understanding of how programming languages are built will make you a stronger software engineer and teach you concepts and data structures you'll use the rest of your coding days. You might even have fun.This book teaches you everything you need to know to implement a full-featured, efficient scripting language. You'll learn both high-level concepts around parsing and semantics and gritty details like bytecode representation and garbage collection. Your brain will light up with new ideas, and your hands will get dirty and calloused.Starting from main(), you will build a language that features rich syntax, dynamic typing, garbage collection, lexical scope, first-class functions, closures, classes, and inheritance. All packed into a few thousand lines of clean, fast code that you thoroughly understand because you wrote each one yourself.}, + isbn = {978-0-9905829-3-9}, + language = {英語} +} + +@article{Orlarey2004, + title = {Syntactical and Semantical Aspects of {{Faust}}}, + author = {Orlarey, Yann and Fober, Dominique and Letz, Stephane}, + year = {2004}, + journal = {Soft Computing}, + volume = {8}, + number = {9}, + pages = {623--632}, + issn = {14327643}, + doi = {10.1007/s00500-004-0388-1}, + isbn = {0050000403}, + keywords = {Compiler,Dataflow,Functional programming,Real-time,Signal processing}, + file = {/Users/tomoya/Zotero/storage/YZVBLW85/Orlarey, Fober, Letz_2004_Syntactical and semantical aspects of Faust.pdf} +} + +@article{park2009, + title = {An {{Interview}} with {{Max Mathews}}}, + author = {Park, Tae Hong}, + year = {2009}, + month = sep, + journal = {Computer Music Journal}, + volume = {33}, + number = {3}, + pages = {9--22}, + issn = {0148-9267, 1531-5169}, + doi = {10.1162/comj.2009.33.3.9}, + urldate = {2022-01-02}, + language = {en}, + file = {/Users/tomoya/Zotero/storage/YJ3P36ZU/Park - 2009 - An Interview with Max Mathews.pdf} +} + +@book{roads2001, + title = {コンピュータ音楽: 歴史・テクノロジー・アート}, + author = {Roads, Curtis}, + translator = {青柳, 竜也 and 小阪, 直敏 and 平田, 圭二 and 堀内, 靖雄 and 後藤, 真孝and 引地, 孝文 and 平野, 砂峰旅 and 松島, 俊明}, + year = {2001}, + month = jan, + edition = {単行本}, + publisher = {東京電機大学出版局}, + abstract = {原タイトル: The computer music tutorial. 本体価格: 12800円 文献あり}, + isbn = {978-4-501-53210-9} +} + +@book{roads2004, + title = {Microsound}, + author = {Roads, Curtis}, + year = {2004}, + publisher = {The MIT Press}, + isbn = {978-0-262-68154-4} +} + +@misc{Ruiz2020, + title = {Vult {{Language}}}, + author = {Ruiz, Leonardo Laguna}, + year = {2020}, + urldate = {2024-11-27}, + howpublished = {http://modlfo.github.io/vult/} +}