Publikationen
Music in the Expanded Field – On Recent Approaches to Interdisciplinary Composition.
In
,
Darmstädter Beiträge zur Neuen Musik
(pp. 23-35).
Schott,
Mainz (Deutschland),
2017.
Evaluating a method for the analysis of performance practices in electronic music.
(
).
International Conference on Live Interfaces Proceedings (International Conference on Live Interfaces)
.
2015.
'Dirty Light': approaching lighting in audio-cisual contexts beyond its material-immanent properties.
(
).
Musica Nova VII (Musica Nova VII)
.
2012.
A Method for Subjective Analysis of Audiovisual Works.
Poster at International Computer Music Conference in Shanghai (China),
Shanghai Conservatory (China),
Shanghai Conservatory (China),
2017.
Virtuelle 3D Umgebungen als Raum fuer Komposition und Performance.
In
,
Erkundungen
Schott Verlag,
Mainz (Deutschland),
2018.
Token of Enunciation in Multimedia Performance.
(
).
International Computer Music Conference Proceedings (International Computer Music Conference)
.
2017.
Virtual 3D Environments as Composition and Performance Spaces.
Journal of New Music Research,
02
2019.
Molding the pop ghost – noise and immersion.
In
,
Noise in and As Music
(pp. 191-208).
University of Huddersfield Press,
University of Huddersfield (Vereinigtes Königreich),
2013.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
(
).
Korean Electroacoustic Music Society's Annual Conference (Korean Electroacoustic Music Society's Annual Conference)
.
2017.
A STANDARD FOR INTERCHANGE OF AMBISONIC SIGNAL SETS.
(
).
ambisonics.iem.at/symposium2009/proceedings (Ambisonics Symposium Graz)
.
2009.
next generation 4.0 Festival ZKM Karlsruhe.
University of Music and Performing Arts Graz,
Graz (Austria),
2012.
Towards an Aesthetic of Electronic Music Performance Practice.
(
).
ICMC_SMC_2014_Proceedings (SMC/ICMC proceedings 2014)
.
2014.
Towards an Aesthetic of Electronic Music Performance Practice.
(
).
International Conference for Live Interfaces Proceedings (International Conference for Live Interfaces)
.
2014.
Musical Experience beyond audible Sound.
(
).
ICMC 2012
.
2012.
Musik jenseits des Klangs.
Österreichische Musikzeitschrift,
4
pp. 24-26,
12
2017.
Vom Kanon der Verbote und der postmedialen Musik.
Theater heute. die deutsche Theaterzeitschrift,
12
2012.
Virtuelle 3D-Umgebungen als Raum für Komposition und Performance.
In
,
Erkundungen. Gegenwartsmusik als Forschung und Experiment
Schott,
Mainz (Deutschland),
2019.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
Emille. the Journal of the Korean Electro-Acoustic Music Society,
02
2018.
Surround with Depth on First-Order Beam-Controlling Loudspeakers.
(
).
Proceedings of the 144th AES Convention Milan (144th AES Convention Milan)
.
2018.
Tangential Intensity Algorithm for Acoustic Centering.
Fortschritte der Akustik - DAGA 2011 (DAGA 2011)
.
2011.
Acoustic center and orientation analysis of sound-radiation recorded with a surrounding spherical microphone array.
(
).
Proceedings of the Int. Symp. on Ambisonics and Spherical Acoustics (Proceedings of the Int. Symp. on Ambisonics and Spherical Acoustics)
.
2010.
Audification.
In
,
The Sonification Handbook
(pp. 141-151).
Logos,
Berlin (Deutschland),
2011.
New Sonification Tools for EEG Data Screening and Monitoring.
(
).
Proc ICAD 2007
.
2007.
DA TA.
MER. Paper Kunsthalle,
Gent (Belgien),
2017.
Improvisation as Epistemic Practice.
(
).
(re)thinking improvisation - Artistic explorations and conceptual writing ((re)thinking improvisation)
.
2013.
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