Epitaffio di Silicio. Traccia per improvvisazione in live coding Nicola Buso 15-27 PDF DOI: https://doi.org/10.13128/Music_Tec-23797
Lost in feedback (2014): soluzioni personali di musica mista tra il teatro musicale e la performance visuale Maurilio Cacciatore 29-44 PDF DOI: https://doi.org/10.13128/Music_Tec-23798
Three years of fragments: music, sound design, and sketching Andrea Cera 45-62 PDF DOI: https://doi.org/10.13128/Music_Tec-23799
ANTIDINAMICA (2015-2016). Da 1 a 4 sassofoni e live electronics, per Gianpaolo Antongirolami Roberto Doati 63-72 PDF DOI: https://doi.org/10.13128/Music_Tec-23800
Social and psychological impact of musical collective creative processes in virtual environments; The Avatar Orchestra Metaverse in Second Life Gema F.B. Martín 73-85 PDF DOI: https://doi.org/10.13128/Music_Tec-23801
Estremo d’ombra: an interactive electronic composition Lara Morciano 87-108 PDF DOI: https://doi.org/10.13128/Music_Tec-23802
Relating Timbre and Shape in the Audiovisual Composition S Phase Lance Putnam 109-117 PDF DOI: https://doi.org/10.13128/Music_Tec-23803
Time-variant infrastructures and dynamical adaptivity for higher degrees of complexity in autonomous music feedback systems: the Order from noise (2017) project Dario Sanfilippo 119-129 PDF DOI: https://doi.org/10.13128/Music_Tec-23804
