Academic Writing

(some items not yet listed)

Bell, Renick (2022). Chapter 3.8. In Blackwell, A. F., Cocker, E., Cox, G., McLean, A., & Magnusson, T. Live coding: A user’s manual. MIT Press.

Chicau, Joana and Bell, Renick (2022). Choreographies of the Circle & Other Geometries. In Shih, X. X. et al. (2022). Critcal Coding Cookbook. Critical Coding Cookbook. Retrieved March 5, 2023, from https://criticalcode.recipes

2018. “Limits in Algorithmic Dance Music”. Dancecult: Journal of Electronic Dance Music Culture. https://dj.dancecult.net/index.php/dancecult/article/view/1082/965

2019. van der Walt, J. S., Street, Z., Albornoz, A., Bell, R., John, G., Jack, O., … & Velasco, G. R. (2019, January). Towards Improving Collaboration Between Visualists and Musicians at Algoraves. In International Conference on Livecoding. https://iclc.toplap.org/2019/papers/paper137.pdf

2018. Renick Bell and Joana Chicau. “A Trans-Disciplinary Tool for Collaborative, Choreographed, and Embodied Audio-Visual Live Coding”. In Proceedings of the International Conference on Live Interfaces 2018. Porto, Portugal. http://www.liveinterfaces.org/2018/#papers

2018. Joana Chicau and Renick Bell. “Círculo e Meio: An Audio-Visual Live Coding Performance Combining Choreographic Thinking and Algorithmic Improvisation.”In Proceedings of the International Conference on Live Interfaces 2018. Porto, Portugal. http://www.liveinterfaces.org/2018/

2015. Adam Parkinson and Renick Bell. “Deadmau5, Derek Bailey, and the Laptop Instrument – Improvisation, Composition, and Liveness in Live Coding”. In Proceedings of the International Conference on Live Coding 2015. Leeds, UK. http://iclc.livecodenetwork.org/programme.html

2014. “Experimenting with a Generalized Rhythmic Density Function for Live Coding.” In Proceedings of LAC 2014. Karlsruhe, Germany. http://lac.linuxaudio.org/2014/papers/38.pdf

2014. Oliver Bown, Renick Bell, and Adam Parkinson. “Examining the Perception of Liveness and Activity in Laptop Music: Listeners’ inference about what the performer is doing from the audio alone.” In Proceedings of the International Conference on New Interfaces for Musical Expression. London, UK.

2013. “Pragmatically Judging Generators.” In Proceedings of the Generative Art 2013 Conference. Milan, Italy. http://www.generativeart.com/ga2013xWEB/proceedings1/17.pdf

2013. “Considering Interaction in Live Coding through a Pragmatic Aesthetic Theory.” In Proceedings of SI13, NTU/ADM Symposium on Sound and Interactivity. Nanyang Technological University, Singapore. http://soundislands.com/si13/proceedings/papers/04-Considering%20Interaction%20in%20Live%20Coding%20through%20a%20Pragmatic%20Aesthetic%20Theory.pdf

2013. “Pragmatic Aesthetic Evaluation of Abstractions for Live Coding.” In Proceedings of Meeting No. 17 of the Japanese Society for Sonic Arts. Nagoya, Japan: The Japanese Society for Sonic Arts. http://www.jssa.info/doku.php?id=journal017

2013. “Towards Useful Aesthetic Evaluations of Live Coding.” In Proceedings of the International Computer Music Conference. Perth, Australia. http://renickbell.net/pdf/renick-bell-icmc-2013.pdf

2013. “A live coding improvisation.” In Proceedings of the 9th ACM Conference on Creativity & Cognition, 392–393. Sydney, Australia: ACM. http://dl.acm.org/citation.cfm?id=2481241

2013. “An Approach to Live Algorithmic Composition using Conductive.” In Proceedings of LAC 2013. Graz, Austria. http://lac.linuxaudio.org/2013/papers/49.pdf

2011. “An Interface for Realtime Music Using Interpreted Haskell.” In Proceedings of LAC 2011. Maynooth, Ireland. http://lac.linuxaudio.org/2011/papers/35.pdf

2014. “Algorave Set.” In Proceedings of xCoAx2014: Computation Communication Aesthetics and X. Porto, Portugal. http://xcoax.org/

2011. Improvisation (video on the accompanying DVD). Computer Music Journal, 35 (4), 119–137.

2014. “Considering Interaction in Live Coding through a Pragmatic Aesthetic Theory.” eContact! 16 (2). http://cec.sonus.ca/econtact/16_2/bell_livecoding.html (This paper is a revised version of the paper with the same title published in 2013.)