Published: The Oxford Handbook of Interactive Audio

My chapter, Musical Behavior and Amergence in Technoetic and Media Arts, explores the techniques and ideas behind Amergent music, a genre that draws from Experimental, Ambient, and Generative musical traditions and creates a third-order cybernetic stipulation between person and sound in environments of mediated interaction: games, apps, virtual worlds, and mediated spaces in the physical world. The specifics of this relationship are borrowed from Humberto Maturana & Francisco Varela and conceptualized in a model for musical interaction called structaural coupling. The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Amergent music establishes a new relationship between listeners, generative systems, and the musically mediated environment. This person is  best known as a poiesist, in that music is brought-forth and created in the course of their interaction, play, and presence.

I am honored to be in such excellent company!

The Oxford Handbook of Interactive Audio

Edited by Karen Collins, Bill Kapralos, and Holly Tessler

Section 1: Interactive Sound in Practice

Chapter 1 Spatial Reconfiguration in Interactive Video Art (Holly Rogers)
Chapter 2 Navigating Sound: Locative and Translocational Approaches to Interactive Audio (Nye Parry)
Chapter 3 Defining Sound Toys: Play as Composition (Andrew Dolphin)
Chapter 4 Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies (M.J. Bishop)
Chapter 5 Acoustic Scenography and Interactive Audio: Sound Design for Built Environments (Jan Paul Herzer )

Section 2: Videogames and Virtual Worlds

Chapter 6 The Unanswered Question of Musical Meaning: A Cross-Domain Approach (Tom Langhorst)
Chapter 7 How can Interactive Music be Used in Virtual Worlds like World of Warcraft? (Jon Inge Lomeland)
Chapter 8 Sound and the Videoludic Experience (Guillaume Roux-Girard)
Chapter 9 Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity. (Richard Stevens and Dave Raybould)
Chapter 10 Worlds of music: Strategies for creating music-based experiences in videogames (Melanie Fritsch)

Section 3: The Psychology and Emotional Impact of Interactive Audio

Chapter 11 Embodied Virtual Acoustic Ecologies of Computer Games (Mark Grimshaw and Tom Garner)
Chapter 12 A Cognitive Approach to the Emotional Function of Game Sound (Inger Ekman)
Chapter 13 The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality (Rolf Nordahl and Niels C. Nilsson)
Chapter 14 Sonic interactions in multimodal environments: An overview (Stefania Serafin)
Chapter 15 Musical Interaction for Health Improvement (Anders-Petter Andersson and Birgitta Cappelen)
Chapter 16 Engagement, Immersion and Presence: The role of audio interactivity in location-aware sound design (Natasa Paterson and Fionnuala Conway)

Section 4: Performance and Interactive Instruments

Chapter 17 Multisensory Musicality in Dance Central (Kiri Miller)
Chapter 18 Interactivity and Liveness in Electroacoustic Concert Music (Mike Frengel)
Chapter 19 Skill in Interactive Digital Music Systems (Michael Gurevich)
Chapter 20 Gesture in the Design of Interactive Sound Models (Marc Ainger and Benjamin Schroeder)
Chapter 21 Virtual Musicians and Machine Learning (Nick Collins)
Chapter 22 Musical Behavior and Amergence in Technoetic and Media Arts (Norbert Herber)

Section 5: Tools and Techniques

Chapter 23 Flow of Creative Interaction with Digital Music Notations (Chris Nash and Alan F. Blackwell)
Chapter 24 Blurring Boundaries, Trends and Implications in Audio Production Software Developments. (David Bessell)
Chapter 25 Delivering Interactive Experiences Through the Emotional Adaptation of Automatically Composed Music (Maia Hoeberechts, Jeff Shantz, and Michael Katchabaw)
Chapter 26 A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player? (Niels Böttcher and Stefania Serafin)
Chapter 27 Interactive Spectral Processing of Musical Audio (Victor Lazzarini)

Section 6: The Practitioner’s Point of View

Chapter 28 Let’s Mix it up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games (Helen Mitchell)
Chapter 29 Our Interactive Audio Future (Damian Kastbauer)
Chapter 30 For the Love of Chiptune (Leonard J. Paul)
Chapter 31 Procedural Audio Theory and Practice (Andy Farnell)
Chapter 32 Live Electronic Preparation: Interactive Timbral Practice (Rafal Zapala)
Chapter 33 New Tools for Interactive Audio, and What Good they Do. (Tim van Geelen)