Page 66 - Composing Processes and Artistic Agency
P. 66
The topography of composing work 55
Heinich, Nathalie (2014) “Practices of contemporary art: a pragmatic approach to a
new artistic paradigm”. In Tasos Zembylas (ed.) Artistic Practices: Social Interactions
and Cultural Dynamics. London: Routledge, 32–43.
Iser, Wolfgang (1978) The Implicit Reader: Patterns of Communication in Prose Fiction
from Bunyan to Beckett. Baltimore: The John Hopkins University Press.
Janik, Allan (1994) The Concept of Knowledge in Practical Philosophy. Original
manuscript, Innsbruck: Brenner Archiv. (Published in 1996 in Swedish, Kunskaps-
begreppet i Praktisk Filosofi, Stockholm: Brutus Östling.)
John-Steiner, Vera (1995) “Cognitive pluralism”. Mind, Culture, and Activity, 2(1): 2–11.
Karkoschka, Erhard (1972) Notation in New Music: A Critical Guide to Interpretation
and Realisation. London: Universal Edition.
Kneif, Tibor (1973) “Musik und Zeichen: Aspekte einer nicht vorhandenen musikalischen
Semiotik”. Musica,27:134–141.
Knorr-Cetina, Karin (2001) “Objectual practice”. In Theodore Schatzki, Karin
Knorr-Cetina and Eike von Savigny (ed.) The Practice Turn in Contemporary
Theory. London: Routledge, 175–188.
Lando, Pascal, Lapujade, Anne, Kassel, Gilles and Fürst, Frédéric (2008) “An onto-
logical investigation in the field of computer programs”. In Joaquim Filipe, Boris
Shishkov, Markus Helfert and Leszek A. Maciaszek (eds.) Software and Data
Technologies. Second International Conference ICSOFT/ENASE 2007. Selected
Papers. Berlin: Springer, 371–383.
Mahnkopf, Claus-Steffen (2003) “Das dekonstruktive Verhältnis von musikalischer
Schrift und ihrer Interpretation”. In Otto Kolleritsch (ed.) Musikalische Produktion
und Interpretation: Zur historischen Unaufhebbarkeit einer ästhetischen Konstellation.
Wien: Universal Edition, 54–74.
McAndrew, Siobhan and Everett, Martin (2015) “Music as collective invention: A
social network analysis of composers”. Cultural Sociology, 9(1): 56–80.
Meizoz, Jérôme (2007) Postures littéraires: Mises en scène modernes de l’auteur.
Genève: Slatkine.
Morgner, Christian (2016) “Artistic practice and the studio”. The International Journal
of Arts Theory and History, 11/2: 39–48.
Nicolini, Davide (2012) Practice Theory, Work, and Organization: An Introduction.
Oxford: Oxford University Press.
Nierhaus, Gerhard (2012) Algorithmische Komposition im Kontext Neuer Musik. Graz:
Universität für Musik und darstellende Kunst Graz.
Nierhaus, Gerhard (ed.) (2015) Patterns of Intuition: Musical Creativity in the Light of
Algorithmic Composition. Dordrecht: Springer.
Noë, Alva (2012) Varieties of Presence. Cambridge: Harvard University Press.
O’Doherty, Brian (2007) Studio and Cube. New York: Columbia University Press.
Ong, Walter (1982) Orality and Literacy: The Technologizing of the Word. London:
Metheun.
Pickering, Andrew (1995) The Mangle of Practice: Time, Agency, and Science.Chicago:
University of Chicago Press.
Pickering, Andrew (2001) “Practice and posthumanism: social theory and a history of
agency”. In Theodore Schatzki, Karin Knorr-Cetina and Eike von Savigny (eds.)
The Practice Turn in Contemporary Theory. London: Routledge, 163–174.
Polanyi, Michael (1958) Personal Knowledge: Towards a Post-Critical Philosophy.
London: Routledge.
Polanyi, Michael (1966) The Tacit Dimension. Garden City: Doubleday & Company.