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 REFERENCES
Note: OCR errors may be found in this Reference List extracted from the full text article. ACM has opted to expose the complete List rather than only correct and linked references.
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1
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Tanzi, D., Time, Proximity and Meaning on the Net, Twenty-ninth Popular Culture Association Conference, march 3 i-April 3, 1999, San Diego, California.
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2
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3
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Magnani, L., Ingegnerie della Conoscenza, Marcos y Marcos, Milano, 1997.
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4
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Draper, S.W., Design as Communication, Commentary on Borderline Issues, Human-Computer Interaction, Volume 9, pp. 61-66, Lawrence Erlbaum Associates, Inc., 1994.
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5
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Tanzi {1}.
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6
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Lazzarato, M., Videofilosofia, - La percezione del tempo nel postfordismo, Roma, Manifestolibri, 1996.
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7
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Minsky, M., Laske, O.E., Foreword: A Conversation with Marvin Minsky, in: AA.VV: Understanding Music with AI: Perspectives on Music Cognition. Edited by Mira Balaban, Kemal Ebcioglu, and Otto Laske. The AAAI Press, 1992.
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8
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Zanarini, G., Diario di viaggio. Autoorgani~ione e livelli di realth, Milano, Guerini e associati, 1990.
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9
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Bateson, G., quoted in: Zarmrini, G., Diario di viaggio. Autoorganizzazione e livelli di reatt~, Milano, Guerini e associati,1990.
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10
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Novak, M., Trans Terra Form. Liquid Architectures And the Loss of Inscription, 1997. Available at: httD://www.t0.or.at/-~krcf/nlonline/nonMarcos.html
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Ascott, R., From App~ce to Apparition: Communications and Consdusness in the Cybersphere. Leonaxio Electronic Almanac, Volume 1, No. 2, October 1993. At: http ://www-mitlres s. m it. edu/ejourml s/LEA/ART IC LES/AS COT T 2. htm 1
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12
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Novak {8}
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13
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Lazmmto {4}
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14
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Mandni, E., La misteriosaapol~osi, Psi0ologia del punto culminante nella musica, Franoa Angdi, Milano, 1998.
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15
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~cott {91
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16
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Di Seipio, A., Question Concerning Music Technology. From Heidegger's view to Feenberg's Subversive Rationalization. Available at: http://cadre, s jsu.edu/switch/sound/articles/discipio 10.ht
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17
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Tanfi, D., Linguaggi Compositivi e Innovazione Teca~logica fra Sciaaza c Art~ De Musica, annuario in divmire a cura del Seminario Perrmnente di Filosofia della Musica, Dipmimento di Filosotia dell' Universit~ degli Studi di Milmo, Anno HI, 1999. Available at: httlX.//i m i ucca. eft. unimi, it/--glfi ana/dm 3/din3 lindt, hlm
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18
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Lazauato {4}
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19
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Bedworth, J., Artificial Life, Embodiment and Computer Music, Proceedings of XII Colloquium of Musical informaties, AIMI, Udine University, october 1998.
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20
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Imberty, M., Ordine e disordine. Un punto di vista psico-cognitivo sulla creazione musicale, Atti del Simposio "'Psicologia cognitiva e composizione musicale - Intersezioni e prospettive comuni ". Universith di Roma 'La Sapienza', 13 - 14 dicembre 1996, a cura di Rosalia di Matteo.
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21
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Ascott, R., The Architecture of eybav, eption. Leonardo Electronic Almamc, Volume 2, No. 8, August 1994. At: http'.//www-mitpress, m it. edu/ejourr~ s/LEA/ART IC LE S/AS COT T 2. html
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22
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Mandni {13}
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23
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Pim'a, G., Filosofia della Musica, Cap. W, Guefini e associati, Milmo 1991.
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24
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Berio, L., Presentazione a: "Le seqmnz_e", C on~'a'to del 14 f~bh~o 1982, Pieoola Scala di Milano - Archivio Fonico del Tealro alia Scala.
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25
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Novak {8}
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INDEX TERMS
Primary Classification:
H.
Information Systems
H.1
MODELS AND PRINCIPLES
Additional Classification:
H.
Information Systems
H.5
INFORMATION INTERFACES AND PRESENTATION (I.7)
J.
Computer Applications
J.4
SOCIAL AND BEHAVIORAL SCIENCES
Subjects:
Psychology
General Terms:
Design,
Human Factors,
Performance,
Theory
Keywords:
context and meaning permanence,
contextual preeminence,
cyberspace,
linguistic codes,
music,
musical object,
musical process,
time matter
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