General References
Bailey, D. (1992). Improvisation : its nature and practice in music [Rev ed.]. London :
British Library National Sound Archive.
Bishop, C. (2012). Artificial Hells: Particpatory Art and the Politics of Spectatorship.
Brooklyn, NY: Verso.
Cousins, J. (2017). JOHN COUSINS on retirement and implementation of the ‘pure
research ethic’ [Video]. Retrieved from
Deleuze, G., & Guattari, F. (1987). A Thousand Plateaux. Minneapolis, MN:
University of Minnisota Press.
Demers, J. T. (2010). Listening Through the Noise: The Aesthetics of Experimental
Electronic Music. Cary, NC: Oxford University Press.
Eco, U. (2006). The Poetics of the Open Work. In C. Bishop (Ed.), Participation:
Documents of Contemporary Art. MA: MIT Press.
Fischlin, D., Heble, A., & Lipsitz, G. (2013). The fierce urgency of now : improvisation,
rights, and the ethics of cocreation. Durham : Duke University Press. 2013.
Katzmaier, D. (2017, January 17). Shambling corpse of 3D TV finally falls down dead –
CNET [Technology news]. Retrieved 25 August 2017, from
Lopes, D. (2010). A philosophy of computer art. London; New York: Routledge, 2010.
Mandel, E., & Novack, G. (1973). The Marxist Theory of Alienation. Pathfinder Press.
Marx, K. (1847). Economic and Philosophic Manuscripts. Retrieved from
McLean, M. (2012). Māori Music. Auckland: Auckland University Press, 2012.
Māori Dictionary. (n.d.). Retrieved 11 October 2017, from
Nechvatal, J. (2009). Immersive ideals / critical distances: a study of the affinity
between artistic ideologies based in virtual reality and previous immersive idioms.
Köln, Germany: LAP Lambert Academic Publishing, 2009.
Ogston, S., & Stewart, O. (2015). Philip Dadson: Sonics From Scratch.
Popova, M. (2012). What Is Art? A Few Famous Definitions, From Antiquity to Today
(Quoting Fellini, F. from 1965) Retrieved June 01, 2016 from
Pirani, S. (2008). The Russian revolution in retreat, 1920-24: Soviet workers and the
new communist elite. New York, NY : Routledge, 2008.
Schafer, R. M. (1994). The soundscape : our sonic environment and the tuning of the
world. Rochester, VT : Destiny Books, [1994].
Sooke, A. (2016). Was modern art a weapon of the CIA? Retrieved 19 October 2017,
Turino, T. (1999). Signs of Imagination, Identity, and Experience: A Peircian Semiotic
Theory for Music. Ethnomusicology, 43(2), 221.
Voegelin, S. (2010). Listening to noise and silence: Towards a philosophy of sound art.
New York, NY: Bloomsbury.
Woods, C. (2013). Dadson, P. in personal communication [Digital recording].
Woods, C. (2015). 53 [Sound/audio]. Retrieved from
Woods, C. (2015). Gazebophone [Interactive sound and light installation in a portable
Woods, C. (2015). Handsax [Performance, saxophone with real-time electronic