READINGS
Archives and Anarchives
Bertelsen, L., Mason, J.E., Trento, F., Goodman, A., Cunha, A.A.F. de S., Bordeleau, E., Brunner, C., Jeffries, E. and Murphie, A. (2016). The Go-To How To Book of Anarchiving (Portrait).
McCall, S.A. (2021). Becoming Otherwise: A Speculative Ethnography of Anarchival Events.
McCall, S.A. (2021). ‘Radical edits’: anarchiving qualitative research. International Journal of Qualitative Studies in Education, pp.1–14.
Massumi, B. (2015). Politics of affect. Malden, MA: Polity.
Massumi, B. (2002). Parables for the virtual. Durham, NC: Duke University Press.
Springgay, S., Truman, A. and MacLean, S. (2019). Socially Engaged Art, Experimental Pedagogies, and Anarchiving as Research-Creation. Qualitative Inquiry.
Data / Data Poetics / Warm Data
Bateson, N. (2021). Aphanipoiesis. [online] Medium.
Bateson, N. (2021). What is Submerging? [online] Medium.
Lane, G. (2019). A Poetics of Data.
Lorber-Kasunic, J., Sweetapple, K (2015). Visualising text-based data: Identifying the potential of visual knowledge production through design practice.
Design / Digital Humanities / Text / Linguistics
Bryan, B. and Grosman, H. (2016). Drawing in Time: Processes of Design and Fabrication. Architectural Design, 86(1), pp.98–107.
Notes on Transmedia / Intermedia, Shiomi Mieko
Prescott, A. (2011). An Electric Current of the Imagination: What the Digital Humanities Are and What They Might Become. Journal of Digital Humanities.
Roozenburg, N.F.M. and Dorst, K. (1998). Describing Design as a Reflective Practice: Observations on Schön’s Theory of Practice. Designers, pp.29–41.
Ryan, M.-L. (2017). Transmedia Storytelling as Narrative Practice. Oxford Handbooks Online. Oxford University Press.
Siefkes, M. (2015). How Semiotic Modes Work Together in Multimodal Texts: Defining and Representing Intermodal Relations. (n.d.).
Movement / Mind / Nature / Performance / Body
Carpenter, E. (2014). Introduction. Living Collections Catalogue, [online] 1(1). Read here.
Chalmers, D. (1996). Conscious Mind. [online]
Hantelmann, von (2014). The Experiential Turn. Living Collections Catalogue, [online] 1(1). Read here.
Higgins, H.B. (n.d.). Intermedial Perception or Fluxing Across the Sensory – ONCURATING. [online]
Practice Research / Makers
Higgins, H.B. (n.d.). Intermedial Perception or Fluxing Across the Sensory – ONCURATING. [online].
L., L.G. (2018). What is (post)qualitative research? South African Journal of Higher Education, 32(5).
Manghani, S. (2021). Practice PhD toolkit. Journal of Visual Art Practice, pp.1–26.
Rajewsky, I.O. (2011). Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality. Intermédialités, (6), pp.43–64.
Richards, M.C. (1989). Centering: In Pottery, Poetry and the Person.
Schroter, J. (2011) Discourses and models of intermediality. Free Online Library. [online].
St. Pierre, E.A. (2018). Post Qualitative Inquiry in an Ontology of Immanence. Qualitative Inquiry, 25(1), pp.3–16.
St. Pierre, E.A. (2020). Why Post Qualitative Inquiry? Qualitative Inquiry, 27(2).
Sound
Allen, S. (2009). Mapping the Unmappable: On Notation. Practice: Architecture, Technique and Representation. London: Routledge.
Bright, D. (2020). Sonic Ghosting : Interrogating Space/place/memory through Multimodal Sonic Fracture. (University of Sussex).
Feller, R. (2019). The Digital Score: Musicianship, Creativity and Innovation. Computer Music Journal. MIT Press, 2019), 166–68
Fullman, E. (2012). A Compositional Approach Derived from Material and Ephemeral Elements. Leonardo Music Journal, December 2012; 22 3–10.
Haskell, D. (2022). Sounds Wild and Broken: Sonic Marvels, Evolution’s Creativity, and the Crisis of Sensory Extinction. Viking Press.
Mathes, C.F. (2017). Listening Not Listening: William Wordsworth and the Radical Materiality of Sound. European Romantic Review, 28(3), pp.315–324.
Oliveros, P. (2005). Deep Listening: A Composer’s Sound Practice.
Oliveros, P. (2010). Sounding the Margins: Collected Writings 1992 – 2009
Oliveros, P. (2001). Quantum Listening: From Practice to Theory (to Practise Practice).
Oliveros, P. (2022). Quantum Listening. With a forward by Laurie Anderson and an introduction by IONE.
Sauer, T. (2008). Notations 21. Mark Batty Publishing.
Schnee, D. (2009). Introduction To Graphic Scores. Canadian Musician, Toronto. Vol. 21, Iss.3. ProQuest. [online]
Voegelin, S. (2010). Listening to Noise and Silence Towards a Philosophy of Sound Art. New York: Continuum
Yan, S.C., Rodrigues, A. (2022). Iannis Xenakis’ Drawing Expands the Morphological Intuition-Thought Inside Musical Composition. Creating Through Mind and Emotions, 1st edn, CRC Press, pp. 397–401.
Time
Wordsworth / Romantics
Averill, J. (1980). John Beer’s Wordsworth and the Human Heart, and Wordsworth in Time – A Review by James H. Averill. The Wordsworth Circle, Vol. 11, No. 3 (Summer, 1980), pp. 130-132 (3 pages).
Aeon. (n.d.). English Romanticism was born from a serious Germanomania | Aeon Essays. [online].
Barker, J. (2001). Wordsworth, A Life.
Gaillet-De Chezelles, F. (2010). Wordsworth, a Wandering Poet: Walking and Poetic Creation.
Heffernan, J.A.W. (1967). Wordsworth on the Sublime: The Quest for Interfusion. Studies in English Literature, 1500-1900, 7(4), p.605.
Miller, M.G. (1995). Theories of the Mind: Wordsworth’s Anticipation of Neural Darwinism. Mosaic: A Journal for the Interdisciplinary Study of Literature, [online] 28(2), pp.63–81.
Wiley, M. (2015). Wordsworth’s Spots of Time in Space and Time. The Wordsworth Circle, 46(1), pp.52–58.
Wordsworth, D. Grasmere Journals.
Wordsworth, W. The Prelude of 1805, in Thirteen Books. (2001).
OTHER RESOURCES
Online Findings
Documentaries
M.C. Richards – The Fire Within
Symbioverse 