TopLap

• TOPLAP mailing list archives. 2004-2007.
• Amy Alexander, Live coding is not synaesthesia. 2004. http://www.toplap.org/index.php/LivecodingIsNotSynaesthesia.
• David P. Anderson and Ron Kuivila, "Formula: A Programming Language for Expressive Computer Music" Computer no. 7, vol. 24, (1991), 12-21.
• R. Andrews, "Real DJs code live" Wired: Technology News, (2006). http://www.wired.com/news/technology/0,71248-0.html.
• Alan Blackwell and Nick Collins, The programming language as a musical instrument. 2005.
• Chris Brown and John Bischoff, Indigenous to the Net: Early Network Music Bands in the San Francisco Bay Area. 2002. http://crossfade.walkerart.org/brownbischoff/IndigenoustotheNetPrint.html.
• Andrew R. Brown, "Code jamming" M/C Journal no. 6, vol. 9, (2006). http://journal.media-culture.org.au/0612/03-brown.php.
• Reas Casey and Ben Fry, Processing: A Learning Environment for Creating Interactive Web Graphics. San Diego, 2003.
• D. J. Collinge, MOXIE: A Language for Computer Music Performance. 1984.
• D. J. Collinge and D. J. Scheidt, MOXIE for the Atari ST. 1988, 231-238.
• Nick Collins, "Generative music and laptop performance" Contemporary Music Review no. 4, vol. 22, (2003), 67-79.
• Nick Collins, Alex McLean, Julian Rohrhuber and Adrian Ward, "Live coding techniques for laptop performance" Organised Sound no. 3, vol. 8, (2003), 321-330.
• Nick Collins, Some thoughts (on live coding). 2004. http://www.toplap.org/index.php/Some_thoughts.
• Nick Collins, Live coding practice. 2007.
• Ben Fry and Casey Reas, Processing. 2005?. http://processing.org/.
• D. Griffiths, Live coding of graphics. 2004. http://www.toplap.org/index.php/Live_coding_of_graphics.
• D. Griffiths, pushing and popping polygons for pleasure. 2006. http://www.xmeda.be/xmeda.screen.pdf.
• Hermann Hesse, The Glass bead game. London: Vintage, 1943.
• A. Kubota, Interview with Akihiro Kubota by so-on. 2006. http://www.xmeda.be/xmeda.screen.pdf.
• Kupka and Wilsing, Conversational Languages. John Wiley and Sons, 1980.
• R. Martin, The Sound of Invention. 2006. http://www.abc.net.au/catapult/indepth/s1725739.htm.
• James McCartney, SuperCollider: A New Real-Time Sound Synthesis Language. International Computer Music Association, San Francisco, 1996, 257-258.
• Alex McLean, ANGRY - /usr/bin/bash as a performance tool. vol. 12, Twenteenth Century, 2003. http://twenteenthcentury.com/saul/cream12.htm.
• Alex McLean, Hacking Perl in nightclubs. 2004. http://www.perl.com/pub/a/2004/08/31/livecode.html.
• Curtis Roads, "The Second STEIM Symposium on interactive composition in live electronic music" Computer Music Journal no. 2, vol. 10, (1986), 44-50.
• Julian Rohrhuber and Alberto de Campo, Uncertainty and waiting in computer music networks. 2004.
• Julian Rohrhuber, Alberto de Campo and R Wieser, Algorithms today - notes on language design for just in time programming. Barcelona, 2005.
• W. A. Schloss, "Using contemporary technology in live performance: The dilemma of the performer" Journal of New Music Research no. 3, vol. 32, (2003), 239--42. http://taylorandfrancis.metapress.com/content/l03ptpx7kby863e1/.
• Andrew Sorensen, Impromptu: an interactive programming environment for composition and performance. 2005, 149-153. http://impromptu.moso.com.au/resources.html.
• Ge Wang and Perry R. Cook, ChucK: a concurrent, on-the-fly audio programming language. 2003. http://chuck.cs.princeton.edu/.
• Ge Wang and Perry R. Cook, The Audicle: a context-sensitive, on-the-fly audio programming environ/mentality. 2004. http://www.cs.princeton.edu/~gewang/research/#pubs.
• Ge Wang and Perry R. Cook, On-the-fly programming: using code as an expressive musical instrument. Hamamatsu, Japan, 2004. http://on-the-fly.cs.princeton.edu/.
• Adrian Ward , Julian Rohrhuber , Fredrik Olofsson , Alex McLean , Dave Griffiths , Nick Collins and Amy Alexander, Live Algorithm Programming and a Temporary Organisation for its Promotion. README, 2004, 243--261. http://www.toplap.org/index.php/Read_me_paper.