Selected Publications | Google Scholar 

2019

Hayes, L. 2019. PARIESA: Practice and Research in Enactive Sonic Art in Jose L. Contreras-Vidal, Dario Robleto, Jesus G. Cruz-Garza, José M. Azorín, Chang S. Nam [Eds.] Mobile Brain – Body Imaging and the Neuroscience of Art, Innovation and Creativity. Switzerland: Springer. [forthcoming] 

Hayes, L. 2019. Beyond Skill Acquisition: Improvisation, Interdisciplinarity, and Enactive Music Cognition. Contemporary Music Review. London: Taylor & Francis. doi 

Hayes, L. 2019. Investigating Autopoiesis in Site-Responsive Sonic Art. Interference Journal. pdf

2018

Hayes, L. and Stein, J. 2018. Desert and Sonic Ecosystems: Incorporating Environmental Factors  within Site-Responsive Sonic Art. Applied Sciences, 8(1). pdf  html

2017

Hayes, L. 2017. Sound, Electronics and Music: a radical and hopeful experiment in early music education. Computer Music Journal. 41(3). MIT Press. 36-49. pdf cite

Hayes, L and Rajko, J. 2017. Towards an Aesthetics of Touch. Proceedings of the 4th International Conference on Movement Computing. London. (<45% acceptance rate). pdf cite

Isaac, G, Hayes, L and Ingalls, T. 2017. Cross-Modal Terrains: Navigating Sonic Space through Haptic Feedback. In Proceedings of the International Conference on New Interfaces for Musical Expression. Copenhagen. (24% acceptance rate). pdf cite

Hayes, L. 2017. Some Thoughts on Friction and Physicality Within Past and for Future NIME Research. In Jensenius, A. R. & Lyons, M. (Eds.) A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. New York: Springer. buy

Hayes, L. 2017. From Site-Specific to Site-Responsive: Sound Art Performances as Participatory Milieux. Organised Sound, 22(1). 82-92. Cambridge University Press. pdf

cite

2016

Hayes, L. 2016. Sound, Electronics and Music: an evaluation of early embodied education. In Proceedings of the 42nd International Computer Music Conference [best paper award]. pdf cite

2015

Hayes, L. 2015. Enacting Musical Worlds: Common Approaches to using NIMEs within both Performance and Person-Centred Arts Practices. In Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 299-302). Baton Rouge, USA. pdf cite

Hayes, L. 2015. Skin Music (2012): an Audio-Haptic Composition for Ears and Body. In Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition (pp. 359-360). ACM. pdf cite

2014

Hayes, L. 2014. Audio-Haptic Relationships as Compositional and Performance Strategies. [PhD Thesis]. University of Edinburgh. pdf cite

2013

Hayes, L. 2013. Haptic Augmentation of the Hybrid Piano. Contemporary Music Review, 32(5). 499-509. London: Taylor & Francis. pdf cite

2012

Hayes, L and Michalakos, C. 2012. Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion. Organised Sound, 17(1). 36-44. Cambridge University Press. pdf cite

Hayes, L. 2012. Performing Articulation and Expression through a Haptic Interface. In Proceedings of the 2012 International Computer Music Conference (pp. 400-403). pdf cite

Hayes, L. 2011. Vibrotactile Feedback-Assisted Performance. In Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 72-75). Oslo, Norway. pdf cite

Supported by

PARIESA | Practice and Research in Enactive Sonic Art

© 2017 ElleEsAich