MTF in Academic Publications

Music Tech Fest has been cited in academic journals, reference works and white papers created by members of the MTF community and the global MTF Research Network. This is a growing list of citations where MTF has played a significant role in the creation of new knowledge.

Arniani, M., 2015. Technology, citizens and social change in the framework of European research and innovation programmes: towards a paradigm shift. Presented at the International Internet of Things Summit, Springer, pp. 233–238.
https://link.springer.com/chapter/10.1007/978-3-319-47063-4_21

Austen, K., 2019. Sounding Dispersal as a Route to Empathy with the Changing Arctic. Leonardo Music J. 29, 3–7.
https://www.mitpressjournals.org/doi/abs/10.1162/LMJ_a_01054

Baker, C.C., 2014. ICT&ART Connect: Connecting ICT & Art Communities–Early Outcomes. Electron. Vis. Arts EVA 2014 134–141.
https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2014.34

Baracskai, Z., Finn, S., 2013. Relaxation Effects of Binaural Phenomena. Presented at the Audio Engineering Society Conference: 52nd International Conference: Sound Field Control-Engineering and Perception, Audio Engineering Society. https://www.aes.org/e-lib/browse.cfm?elib=16900

Brennan, M., 2012. One is the loneliest number:“one-man bands” and doing-it-yourselves versus doing-it-alone.
https://www.researchgate.net/profile/Liljana_Siljanovska/publication/330848866_The_influence_of_punk_in_the_social_movements/links/5c58250e458515a4c7571226/The-influence-of-punk-in-the-social-movements.pdf#page=253

Brown, N.G., 2017. flockOmania 4 (London Edition), Jan 2017, The Cass Bank Gallery, Invited Artists, Robertson, Garrett Brown, Voris, Kipp & Snell. Presented at the FlockOmania 4.
https://pureportal.coventry.ac.uk/en/publications/flockomania-4-london-edition-jan-2017-the-cass-bank-gallery-invit

Brown, N.G., 2016. flockOmania 3 (Berlin Edition) invited artists, Music Tech Fest, performance event, & symposium contribution. May 2016, Funkhaus, Germany, Robertson, Garrett Brown, Voris, Kipp & Snell. Presented at the FlockOmania 3.
https://pureportal.coventry.ac.uk/en/publications/flockomania-3-berlin-edition-invited-artists-music-tech-fest-perf

Di Donato, B., 2020. Unconstrained and constrained embodied interaction with audiovisual feedback during vocal performance.
https://leicester.figshare.com/articles/conference_contribution/Unconstrained_and_constrained_embodied_interaction_with_audiovisual_feedback_during_vocal_performance/12919232

Di Donato, B., Bullock, J., Tanaka, A., 2018. Myo Mapper: a Myo armband to OSC mapper.
http://research.gold.ac.uk/id/eprint/26006/

Dubber, A., 2016. You have 24 hours to invent the future of music: music hacks, playful research and creative innovation, in: Business Innovation and Disruption in the Music Industry. Edward Elgar Publishing.
https://www.elgaronline.com/view/edcoll/9781783478149/9781783478149.00019.xml

Ericson, P., Harris, P., Larcombe, E., Pekari, T., Snook, K., Dubber, A., 2016. # MTFLabs: Blockchain. Presented at the Music Tech Fest 2016.
https://research.brighton.ac.uk/en/publications/mtflabs-blockchain

Hamilton, C., 2016. The Harkive Project: Rethinking Music Consumption. Netw. Knowl. J. MeCCSA Postgrad. Netw. 9.
https://www.ojs.meccsa.org.uk/index.php/netknow/article/view/466

Lidy, T., Schindler, A., 2015. Klingende Bausteine für die Industrie; Ein Projekt ebnet der Musiktechnologie den Weg in den Markt. OCG J.
https://repositum.tuwien.at/bitstream/20.500.12708/1024/2/Klingende%20Bausteine%20fuer%20die%20Industrie%20Ein%20Projekt%20ebnet%20der%20Musiktechnologie%20den%20Weg%20in%20den%20Markt.pdf

Lidy, T., Schindler, A., Magas, M., 2015. MusicBricks: Connecting digital Creators to the Internet of Music Things. ERCIM NEWS 101, 39–40.
https://hal.inria.fr/hal-01244735/document#page=40

Marques, H.A.B.T., 2018. Da floresta ao papel: pedagogia e sustentabilidade: Museu do Papel: Projeto Núcleo 3| 2012-2014.
https://recipp.ipp.pt/handle/10400.22/12733

Matuszewski, B., Schnell, N., Bevilacqua, F., 2019. Interaction topologies in mobile-based situated networked music systems. Wirel. Commun. Mob. Comput. 2019.
https://www.hindawi.com/journals/wcmc/2019/9142490/

Pardo, B.A., 2014. Professional employment. IEEE Trans Signal Process 62, 4298–4310.
https://users.cs.northwestern.edu/~pardo/bryanpardocv.pdf

Paterson, J., 2015. MTF research network.
http://repository.uwl.ac.uk/id/eprint/2079/

Pawlak, J., Chotzen-Hartzell, D., 2020. California Tech v. 123: 3, February 4, 2020. Calif. Tech Newsp. 123.
https://caltechcampuspubs.library.caltech.edu/3334/1/TheCaliforniaTech_CXXIII_3.pdf

Razlogova, E., 2020. Provincializing Spotify: Radio, algorithms and conviviality. Radio J. Int. Stud. Broadcast Audio Media 18, 29–42.
https://www.ingentaconnect.com/contentone/intellect/rj/2020/00000018/00000001/art00004

Redhead, T., 2020. Dynamic Music The Implications of Interactive Technologies on Popular Music Making.
https://nova.newcastle.edu.au/vital/access/services/Download/uon:36630/ATTACHMENT01

Redhead, T., 2016. The Interactive Music Producer. Presented at the INTERACTIVE AUDIO SYSTEMS SYMPOSIUM 2016, University of York.
https://www.york.ac.uk/sadie-project/IASS2016/IASS_Papers/IASS_2016_paper_19.pdf

Reilly, C., 2013. SOLO EXHIBITIONS & PERFORMANCES.
http://chris-reilly.org/wp-content/uploads/web-resume/Chris_Reilly_CV_web.pdf

Saffiotti, A., Fogel, P., Knudsen, P., de Miranda, L., Thörn, O., 2020. On human-AI collaboration in artistic performance. Presented at the First International Workshop on New Foundations for Human-Centered AI (NeHuAI) co-located with 24th European Conference on Artificial Intelligence (ECAI 2020), Santiago de Compostella, Spain, September 4, 2020, CEUR-WS, pp. 38–43.
https://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1470288&dswid=-2948

Vendrell-Herrero, F., Parry, G., Opazo-Basáez, M., Sanchez-Montesinos, F.J., 2018. Does business model experimentation in dynamic contexts enhance value capture? Int. J. Bus. Environ. 10, 14–34.
https://www.inderscienceonline.com/doi/abs/10.1504/IJBE.2018.093301