1. < 40: Emerging Voices
  2. Nicolas Collins
  3. pp. 1-2
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  1. The Voice-Index and Digital Voice Interface
  2. Andrea Young
  3. pp. 3-5
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  1. Singing Interaction: Embodied Instruments for Musical Expression in Opera
  2. Ludvig Elblaus, Carl Unander-Scharin, Åsa Unander-Scharin
  3. pp. 7-12
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  1. Emerging Technologies for Real-Time Diffusion Performance
  2. Bridget Johnson
  3. pp. 13-15
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  1. Affective Audio
  2. Jonathan Weinel, Stuart Cunningham, Darryl Griffiths, Shaun Roberts, Richard Picking
  3. pp. 17-20
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  1. Ritualized Performance in the Networked Era: Alternative Models for New Artistic Media
  2. Juan David Rubio R.
  3. pp. 21-23
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  1. Album Apps: A New Musical Album Format and the Influence of Open Works
  2. Fernanda Sa Dias
  3. pp. 25-27
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  1. Dataffect: Numerical Epistemology and the Art of Data Sonification
  2. Mitchell Akiyama
  3. pp. 29-32
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  1. Electric Music (for Helen Keller)
  2. Noel Celtovic
  3. pp. 33-34
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  1. Moving Instruments
  2. Cody Eikman
  3. pp. 34-35
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  1. Interaction, onde Martenot and Répertoire
  2. Nadia Ratsimandresy
  3. pp. 35-36
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  1. The Mobile Solo Auditor: Personalization and Located Listening
  2. Elen Flügge
  3. pp. 37-38
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  1. Convergence by the Noise Index
  2. Owen Vallis, Jordan Hochenbaum, Jasmin Blasco
  3. pp. 38-39
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  1. Skin Pattern Sonification as a New Timbral Expression
  2. Yoon Chung Han, Byeong-jun Han
  3. pp. 41-43
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  1. Along a Duration of Time: Extending Human Involvement to Remote Regions of the Earth
  2. Anastasya Koshkin
  3. pp. 43-44
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  1. I Have No Mouth (pts.1–6): Introducing Postdigital Spectralism
  2. Ian Fleming
  3. pp. 45-48
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  1. An Elegy for the City: Composing the Urban Character
  2. Budhaditya Chattopadhyay
  3. pp. 49-51
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  1. Cracking Ray Tubes: Reanimating Analog Video in a Digital Context
  2. James Connolly, Kyle Evans
  3. pp. 53-56
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  1. The Decoupled Acoustic String Instrument: A New Concept for an Acoustic String Instrument
  2. Byungjoo Lee
  3. pp. 61-63
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  1. The Role of Mechanical Reproduction in (What Was Formerly Known as) the Record in the Age of Personal Fabrication
  2. Kazuhiro Jo
  3. pp. 65-67
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  1. Dumpster Diving and Post-Electronic Soundmaking
  2. Daniel Wilson
  3. pp. 69-70
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  1. Fun with Information or How I Learned to Stop Worrying and Love Objectivity
  2. Daniel Iglesia
  3. pp. 70-71
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  1. Synthesizing Performance
  2. Kristin Grace Erickson
  3. pp. 71-73
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  1. Discourse, Ideas, Frequencies and Technology
  2. Nicolas Bernier
  3. pp. 73-74
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  1. Convergent Technologies, Custom Aesthetics
  2. Phillip Hermans
  3. pp. 74-75
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  1. Art and the Uncanny: Tapping the Potential
  2. Natacha Diels
  3. pp. 75-77
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  1. Engaging the Audience: A Primer for Sound Art in Public Spaces
  2. Jesse Seay
  3. pp. 77-78
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  1. Sensation and Control: Indeterminate Approaches in Popular Music
  2. Si Waite
  3. pp. 78-79
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  1. The Shape of Spaces yet to Come
  2. Jonathan Chen
  3. p. 81
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  1. The Shape of Spaces yet to Come
  2. Jonathan Chen
  3. p. 82
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  1. Leonardo Volume 47 and Leonardo Music Journal Volume 24
  2. pp. 86-90
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  1. Leonardo Network News
  2. p. 91
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  1. A Closing Remark: On Several Technologies inside the Concertos Series
  2. Kay Festa, Jay Barnacle, You Nakai
  3. pp. 39-41
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  1. A Brief Introduction to Gremlins as Aesthetic Devices
  2. Heather Contant
  3. pp. 57-60
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  1. The Shape of Spaces yet to Come: Contributors’ Notes
  2. Jonathan Chen, Seth Cluett, Li Jianhong, Jessica Feldman, Charles Céleste, Hiram Navarrete, Doug Van Nort, Anne Guthrie
  3. pp. 83-85
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