[PDF AVAILABLE FOR DOWNLOAD] Abstract for a talk. The Journal of the Acoustical Society of America, 92, 4, 2, 2403.
"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."
[PDF AVAILABLE FOR DOWNLOAD] In Scholz, C. (ed.). Frog Peak Anthology. (Hanover, NH: Frog Peak Music). Also in Leonardo, 6,4, (1993), 273–274.
In Proceedings Of The 1992 International Computer Music Conference. (San Francisco: International Computer Music Association - ICMA.)
[PDF AVAILABLE FOR DOWNLOAD] In Brooks, I. (Ed.). New Music Across America. (Valencia and Santa Monica, CA: California Institute of the Arts and High Performance Books), 66-70.
In Sound & Images, Conference Report, Program For Art On Film. (New York: The Metropolitan Museum of Art and the J. Paul Getty Trust), 22-23.
[PDF AVAILABLE FOR DOWNLOAD] Extended musical interface with the human nervous system, assessment and prospectus is the 1997 revised edition of the original 1990 monograph published by Leonardo as Leonardo Monograph No. 1, International Society for the Arts, Sciences and Technology, (San Francisco: Leonardo/ISAST) and as an electronic document by MIT Press, (Cambridge, MA).
Perspectives Of New Music, 28, 2, 136–178.
Computer Music Journal, 14,1, 48–66.
[Includes accompanying sound sheet with two recorded excerpts from On Being Invisible with printed notes.]
Abstract of talk given to First International Symposium On Electronic Art, (Utrecht, Holland: Leonardo, Electronic Art Supplemental Issue), 121.
Leonardo, 20, 4, 363–365.
In Proceedings Of The 1987 International Computer Music Conference. (San Francisco: International Computer Music Association - ICMA), 220–227.
Perspectives Of New Music, 25, 1 & 2, 562–563.