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.
   61   62   63   64   65   66   67   68   69   70   71