Manual Input Workstation, Small Fish, Very Nervous System (VNS)

Abe Shuya (Chap. 6), Behrman David (Chap. 8), Brecht George (Chap. 4), Cage John (Chap. 3, 2), Diamond Bob (Chap. 8), Duchamp Marcel (Chap. 2), Eco Umberto (Chap. 2), Elka Vincent (Chap. 12), Fujihata Masaki (Chap. 10), Furukawa Kiyoshi (Chap. 10), Higgins Dick (Chap. 3), Iwai Toshio (Chap. 9, 10, ), Kaprow Allan (Chap. 4), Klüver Billy (Chap. 3), Krueger Myron (Chap. 7, ), Kurenniemi Erkki (Chap. 8), Levin Golan (Chap. 10, 9, , 12), Lieberman Zachary (Chap. 12, 10, ), Mayoux Jehan (Chap. 2), Münch Wolfgang (Chap. 10), Paik Nam June (Chap. 6), Pask Gordon (Chap. 5), Pollock Jackson (Chap. 2), Rauschenberg Robert (Chap. 2, 3, 4), Rokeby David (Chap. , 7), Schöffer Nicolas (Chap. 5), Stout David (Chap. 6), Tinguely Jean (Chap. 5), Tudor David (Chap. 3), Vasulka Steina (Chap. 6), Watts Robert (Chap. 8), Xenakis Iannis (Chap. 8)

9 Evenings – Theater and Engineering (Chap. 3), Ars Electronica Futurelab (Chap. 12), Exposition of Music. Electronic Television (Chap. 6), Interval Research Corporation (Chap. 11), Palindrome (Chap. 7)

4′33″ (Chap. 2), Audiovisual Environment Suite (AVES) (Chap. 9), Bandoneon! (a combine) (Chap. 3), Cloud Music (Chap. 8), Combine-Painting (Chap. 3), Cybernetic Vision in Art (Chap. 5), Digital Performer (Chap. 11), Dimi-O (Digital Music Instrument, Optical Input) (Chap. 8), Loom (Chap. 9), Motor Vehicle Sundown (Chap. 4), Music Insects (Chap. 10), Musicolour (Chap. 5), Open Score (Chap. 3), Oracle (Chap. 3), Paik/Abe Video-Synthesizer (Chap. 6), Piano as image media (Chap. 9), Shout (Chap. 12), Soundings (Chap. 3), Spatiodynamique Towers (Chap. 5), The Hidden Worlds of Noise and Voice (Chap. 12), The Open Work (Chap. 2), UPIC (Unité Polyagogique Informatique du CEMAMu) (Chap. 8), Videoplace (Chap. 7), Violin Power (Chap. 6), White Paintings (Chap. 2), Yellowtail (Chap. 9), messa di voce (Chap. 12), re:MARK (Chap. 12), reacTable (Chap. 11)

Entgrenzung (Chap. 3), Intermedialität (Chap. 3), Performativität (Chap. 4, 12), Polysensualität (Chap. 7), Realtime (Chap. 7, 8, 9, 10, 11, 12), Simultaneität (Chap. 6), digital signal processing (Chap. 7, 8, 9, 10, 11, 12), drawn sound (Chap. 8), generative Verfahren (Chap. 7, 8, 9, 11), improvisation (Chap. 11), indeterminism (Chap. 2), modulation (Chap. 6), notation (Chap. 9), participation (Chap. 2, 4, 5), synthesis (Chap. 7)

1900 – 1970, 1950 – 1970, 1960 – 1970, 1950 – 1970, 1970 – 1980, 1970 – 1990, 1970 – 1980, 1990 – 2008, ab 1990, ab 1990, ab 2000