Publikationen
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.
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.
(
).
International Conference for Live Interfaces Proceedings (International Conference for Live Interfaces)
.
2014.
Towards an Aesthetic of Electronic Music Performance Practice.
(
).
ICMC_SMC_2014_Proceedings (SMC/ICMC proceedings 2014)
.
2014.
Musical Experience beyond audible Sound.
(
).
ICMC 2012
.
2012.
Vorstellung einer Methode zur Analyse von Aufführungspraktiken in der elektronischen Musik.
In
,
10 Years Anniversary of Master Multimedia Composition, HfMT Hamburg
HfMT Hamburg,
Hamburg (Deutschland),
2015.
Music in the Expanded Field – On Recent Approaches to Interdisciplinary Composition.
In
,
Darmstädter Beiträge zur Neuen Musik
(pp. 23-35).
Schott,
Mainz (Deutschland),
2017.
A Method for Subjective Analysis of Audiovisual Works.
Poster at International Computer Music Conference in Shanghai (China),
Shanghai Conservatory (China),
Shanghai Conservatory (China),
2017.
'Dirty Light': approaching lighting in audio-cisual contexts beyond its material-immanent properties.
(
).
Musica Nova VII (Musica Nova VII)
.
2012.
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.
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.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
Emille. the Journal of the Korean Electro-Acoustic Music Society,
02
2018.
Tangential Intensity Algorithm for Acoustic Centering.
Fortschritte der Akustik - DAGA 2011 (DAGA 2011)
.
2011.
Audification.
In
,
The Sonification Handbook
(pp. 141-151).
Logos,
Berlin (Deutschland),
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.
Surround with Depth on First-Order Beam-Controlling Loudspeakers.
(
).
Proceedings of the 144th AES Convention Milan (144th AES Convention Milan)
.
2018.
New Sonification Tools for EEG Data Screening and Monitoring.
(
).
Proc ICAD 2007
.
2007.
Konzertsaal.
In
,
Künstlerische Forschung – Ein Handbuch
(pp. 307-310).
Diaphanes,
Zürich (Schweiz),
2015.
„Engineer Your Sound“ – Partizipative Technikgestaltung im Klassenzimmer.
Soziale Technik. Zeitschrift für sozial- und umweltverträgliche Technikgestaltung,
pp. 17-19,
06
2009.
Stop challenging technology! Towards content-based audio production.
(
).
Proceedings of the 2017 ICSA (International Conference on Spatial Audio 2017)
.
2017.
Physical modelling enabling enaction: an example.
(
).
Proceedings of the International Conference on New Interfaces for Musical Expression
.
2011.
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