Press

Bergson, Henri. Time and Free Will. London: George Allen & Company Ltd., 1913. Billboard. April 28, 1958.

Manhattan School of Music, CONCERT AND OPERA PROGRAMS OF THE WEEK, New York Herald Tribune, April 15, 1959

Gluck, Bob. "Nurturing Young Composers: Morton Subotnick's Late-1960s Studio in New York City."

Mery Porter, 'Mrs. Erda's Student Give Dance Program', Dance Magazine, Pleasantille, 1960

Bettie Erda, School of Dance, Armonk Village. New York, 1960

Cage, John. “Experimental Music: Doctrine.” In Silence. Middletown, CT: Wesleyan University Press, 1961.

Eric Salzman. "Percussion Group in Concert Here; Composers Unit is Host to Manhattan Ensemble.” The New York Times (November 22, 1961)

Eric Salzman, Disks: Percussive and Electronic.” The New York Times (July 2, 1961).

Ericson, Raymond. “Music: Unusual Sounds.” New York Times (August 28, 1963): 38

Parmenter, Ross. “Music: Mechanical Star; A Self-Playing Percussion Assemblage Performs at Pocket Theater Concert.” New York Times (August 27, 1963): 28

Schonberg, Harold C. “Music: Frederic Rzewski at the Piano; Presents Avant-Garde Concert in Debut.” New York Times (August 21, 1963): 39.

Ross Parmenter, Music: Mechanical Star; A Self-Playing Percussion Assemblage Performs at Pocket Theater Concert, The New York Times, Aug. 27, 1963

Hughes, Allen. “Judson Dance Theater Seeks New Paths – Avant-Gardists Give First Programs in a Church.” New York Times (June 26, 1963).

Marjorie Rubin, Musicians Using Bizarre Sounds; Judson Hall Plans Festival Featuring Unusual Idiom, Published August 17, 1963

Carl Cunningham, Mostly Low-Key, Houston Post 1963 and later the Houston Chronicle.

Theodore Strongin, Striking the gong around, Diamond Point, N.Y. The New York Times, Richard Saunders-Scope, Sunday, August 25, 1963

WBAI Folio 4, no. 20 (September 30-October 13, 1963).

Sargeant, Winthrop. “Musical Events: It Just Is-or Is It?” The New Yorker (September 14, 1963): 120-123.

Schonberg, Harold C. “Dada, Dada; Avant-Garde Doings to Pepper Up the Town,” New York Times (August 25, 1963)

Klein, Howard. “Music: Varese Concert.” New York Times (September 3, 1964): 25.

Max Neuhaus: Über die Schlagzeug-Technik des, Zyklus' 1962 -1964

Ericson, Raymond. “Music: An Evening with Stockhausen – Composer Appears in Lecture- Recital.” New York Times January 7, 1964: p.26.

Johnston, Jill. “Dance: Inside Originale.” Village Voice (October 1, 1964): 6, 16.

Klein, Howard. “Music: Avant-Garde Festival Closes” New York Times September 4, 1964 : 18

Steinem, Gloria. “Music, Music, Music, Music.” 4:60 Show Magazine Jun 1964.

Malcolm Goldstein, 'Neuhaus Realizations', Recital reviews. The Village Voice , June 18, 1964

Kohn, Karl, H. Wiley Hitchcock, Donald C. Johns and John S. Weissmann. “Current Chronicle.” The Musical Quarterly 50, no. 2 (Apr., 1964), 249–51.

Musikmachen im Netz Elektronische, ästhetische und soziale Strukturen einer partizipativen Musik, Dissertation, von Herrn Golo Föllmer geboren am 25. Juni 1964 in Karlsruhe

The New York Times, Critic's Notebook, Passive solution to Music's Ortopedic Mishap, 1964

The New York Times, Max Neuhaus, May 24, 1964

Music: Stockhausen's 'Originale' Given at Judson, The New York Times, 1964

Jack Kroll, Birds, Beasts, and Bach, Newsweek, September 21, 1964

William Berner "Percussion Solo, a Matter of Choice" New York Times, June 3, 1964 p.36

Strongin Theodore,"Concert is given by percussionist" The New York Times, 3/1964

Klein, Howard. “Music: The Avant-Garde: Second Concert Given in Festival Series.” The New York Times. September 2, 1964.

Max Neuhaus, Percussion Solo and a Matter of Choice, 1964.

The New York Times, Sunday, May 24, 1964

3 Compositions of Grad Student to be Performed. The Daily Iowan (Tuesday, February 16, 1965): 7.

Schonberg, Harold. “Music: Chicago Group Ends Series.” New York Times (April 2, 1965).

Snyder, Louis. “The Quick Chicagoans.” New York Herald Tribute (April 2, 1965).

Paese Sera, Grande scalpore per "Selon Sade", 1965

THE PERCUSSIONIST, Max Neuhaus, 3:6-12 1965 (Article)

Max Neuhaus, Max Paa Oden Avenyr, NUTDA MUSIK 9:36-7 n.5-6 1965

Herald Tribune New York, At Avan-Garde Concert, Rewards for everybody, January 4, 1965

Max Neuhaus: percusionista eletronico, Colegio Mayor Menéndez Pelayo, Musix News, Madrid, November 27, 1965.

New York Herald Tribune, " At Avant-garde Concert, Rewards for Everybody" by Bender Williams, New York . Jan. 4, 1965

Musica, "Max Neuhaus y la percussion" by Marcos Tomas, Madrid 1965

Neuhaus, Max. “Zyklus.” Percussionist, Number 1 Chicago Tribune (November, 1965): 3; 6-12

Theodore Strongin's review, "Avant-Garde Music Switched on Here," published in The New York Times on September 14, 1966

Klein, Howard. “Hartt Group Plays Avant-Garde Music.” The New York Times (December 2, 1966).

Bengt Emil Johnson om Max Neuhaus 'Med Ett Ton Slagverk, Stockholms-Tidningen, Torsdag, 27 Januari, 1966

John Kraglund,Percussion ad absurdum -it was asful, The Globe and Mail , Monday, May 2, 1966

Artforum, NEWS AND ANNOUNCEMENTS, JANUARY 1966

Douglas M. Davis, The National Observer, The Long, Long Day of Dadaism, Monday, September 19, 1966

Robert Morris in his “Notes on Sculpture”, Parts I and II, published in Artforum in February and October 1966.

Gives Poetry Reading, "Applauded in Spoleto", European Edition at Spoleto. N.Y. Herald Tribune. July 2, 1966.

Fylkingen Bulletin 1. Stockholm: Fylkingen, 1966.

New York Herald Tribune, "Music in our Time: 1 of 6 Pieces Clicks" by Salzman Eric, New York, March 24, 1966

Johnson Emil, "Met ett Ton Slagwerk" Stockholms-Tidningen, Jan 27, 1966

Higgins, Dick. “Intending.” The Something Else Newsletter 1, no. 3 (April, 1966).

WBAI Folio 6, no. 19 (December-January 1966).

WBAI Folio 7, no. 11 (October 1966).

Pfeiffer, John F. “Living with the Bugaboo.” New York Times (September 25, 1966)

Sontag, Susan. Against Interpretation and Other Essays. New York: Farrar, Straus & Giroux, 1966.

John F. Pfeiffer, Living with the Bugaboo, Edgard Varese, John Cage, Max Neuhaus, The New York Time, September 25, 1966.

Thomas Willis, "Just Like Space Age, Music Has Its Hardware" Chicago Tribune, April 10, 1966, pp. G9-10

In City’ Concert Honors Grand Old Architecture.” Buffalo Evening News (October 21, 1967).

Plumb, Barbara. “New Design, U.S.A..” New York Times (April 23, 1967): 112.

Sitts, Maxine. “Hippies Reign on Art Cruise – Thousands Jam Ferry Festival.” Staten Island Advance (September 30, 1967).

R. Murray Schafer, Ear Cleaning (Clark & Cruickshank, 1967)

Cage, John. A Year from Monday: New Lectures and Writings. Wesleyan, 1967.

The Village Voice, 1967 (Fan Music)

Meyer, Leonard B. Music, the Arts and Ideas: Patterns and Predictions in Twentieth- Century Culture. Chicago: University of Chicago Press, 1967.

Glueck, Grace. “If It’s Art You Want, Try Your Supermarket.” Canaday, “Pop Art Sells,” 123. 1967 -(The New York Times. August 6, 1967. Section 2)

McLuhan, Marshall and Quentin Fiore, eds., Aspen 4 (1967).

McLuhan, Marshall and Quentin Fiore, eds., Medium is the Massage. New York: Bantam Books, 1967.

Moog, Robert. "Introduction to Mixers and Level Controls." Electronic Music Review 4 (October 1967): 10-13.

Moore, Carmen. “Listen Max.” The Village Voice. May 25, 1967.

Clark, Alfred E. “And in the Park It’s a Happening: 1,000 Hear a Work by Cage with Hoving as Host.” The New York Times (January 1, 1967).

The Talk of the Town. The New Yorker (October 14, 1967): 49.

Michael Fried, "Art and Objecthood" (1967)

R. P. M., “Max Neuhaus: Electronics and Percussion: Five Realizations.” High Fidelity Magazine/Musical America, Volume 18, Issue 2. (August, 1968): 100.

Neuhaus Contemporary Album.” Billboard (June 8, 1968): 40.

Johnston, Jill. “The Avant Garde has a Float-In,” The Village Voice (September 19, 1968): 35; 38.

Theodore Strongin, The Listener is Composer, New York Time, Sanday, June 16, 1968

Musical America / High Fedelity, April 1968

Source Magazine, Max Neuhaus, general works, A Max Sampler, 5:48-56, illustration, photos

The New York Times, Electronic Music Hits open switch, by Donald Hernahan, Jan 9, 1969, p.35

G. Allen and Unwin, "Twentieth Century Music", by Yates Peter, p. 367, London 1968.

ELECTRONIC MUSIC HITS OPEN SWITCH; Max Neuhaus's 14 Speakers Betray Him at Recital, January 9, 1968.

Junker, Howard. “’Probabilistic Theater 1’: New look for a New Music.” Newsweek. November 25, 1968.

Kostelanetz, Richard. The Theatre of Mixed-Means: An Introduction to Happenings, Kinetic Environments, and other Mixed-Means Presentations. New York: Dial Press, 1968.

KPFA Folio 19, no. 2 (February 1968).

Musica Elettronica Viva, 'Press Kit Booklet', 1968

Lippard, Lucy and John Chandler. "The Dematerialization of Art.” Art International 12, no. 2 (February 1968): 31-36.

Moran, Robert. “Titus Number 1 for Amplified Automobile.” In Source: Music of the Avant- Garde, by Larry Austin (editor) Issue no. 3. January 1968.

Ouellette, Fernand. Edgard Varèse, trans. Derek Coltman. New York: The Orion Press, 1968.

Smithson, Robert. “A Museum of Language in the Vicinity of Art.” In Robert Smithson: The Collected Writings, 78-94. Berkley: University of California Press.

Henahan, Donal. “Electronic Music Hits Open Switch: Max Neuhaus’s 14 Speakers Betray Him at Recital.” The New York Times. January 9, 1968, p. 35

Poggioli, Renato. The Theory of the Avant-Garde, translated by Gerald Fitzgerald. Cambridge, MA: Harvard University Press, 1968.

Robert Smithson, "A Sedimentation of the Mind: Earth Projects," Artforum 7, no. I (September 1968), p. 50

Ashton, Dore, "A Planned Coincidence." Art in America (September-October, 1969): 36-47.

Whitman, Simone, “Interview with Max Neuhaus and Ted Wolff.” Techne: A Projects and Process Paper, Vol. 1, No. 1 (April 14, 1969): 4.1970 Bell, Michael. Experiments in Art & Technology Bulletin (1970)

Max Raphael, Raumgestaltungen, Frankfurt, 1969, p. 62

The New York Times, Source. Music of the Avant-Garde, January 1969

Bachelard, Gaston. The Poetics of Space. Boston: Beacon Press. 1969.

Chase, Gilbert. “New Musical Resources – Yesterday and Today.” Anuario 5 (1969): 101-109

Gordon, Camille, “Camille Reports Again.” The Something Else Newsletter, Volume 1, Number 10 (November, 1969): 3.

Henahan, Donal. “What, You Never Learned to Read Music?” The New York Times. November 30, 1969.

Higgins, Dick. “Boredom and Danger.” In Source Magazine, no. 5 (January, 1969).

Music of the Avant Garde, no. 5 (January 1969).

Tenney, James. “Computer Music Experiences.” In Electronic Music Reports 1. Utrecht: Institute of Sonology, 1969.

McShine, Kynaston. Information. New York: The Museum of Modern Art, 1970.

Source: Music of the Avant Garde no. 7. (January 1970).

Young, La Monte and Jackson Mac Low, eds., An Anthology of Chance Operations, 1970.

Bell, Michael. Experiments in Art & Technology Bulletin (1970)

Cott, Jonathan. “Max Neuhaus, The Floating Composer.” Rolling Stone Magazine, August 19, 1971 p18.

Clifford R. Bragdon, Noise Pollution: The Unquiet Crisis, (University of Pennsylvania Press, Philadelphia 1971).

Robert Sherman, Concert Wets Whistles for more, The New York Times, Sunday May 9, 1971

Andy Port, 'Avant-gard beeps: The sound of music' Change/II, 1971

J.N. Herlin, Inc. Max Neuhaus. Water Whistle. Hayden Hall Swimming Pool, 33 Washington Square West, New York, May 7 - 8, [1971] - J.N. Herlin, Inc.

Neuhaus Underwater. High Fidelity Magazine/Musical America AM 21 MA 17 Aug 1971.

New York Magazine, May 10, 1971 (preview)

MINNEAPOLIS STAR, Jan 1972, p. 1 review

Martin Bernheimer, Neuhaus Conducts a Water Whistle, LOS ANGELES TIMES, Jan 14, 1972 review, photograph

CHICAGO TRIBUNE, review, photograph Jun 6, 1972

Jim Klobuchar, "Rhapsody at fourfathoms" Minneapolis Star, January 4, 1972

Triton Times, Underwater Sounds, U.C. San Diego, 1/21/72

They'll wet their whistles at the 'Y', Minneapolis Tribune, 1972.

New York Times, Concert to Bathe Audience in Music, Water Whistle, University of California, San Diego (UCSD), La Jolla. 1972

Wybum Pickford, Human Senses and Perception, Edinburgh: Oliver & Boyd. 1972

Doug Oppenheimer, "Musical Concert's All Wet", Minneapolis Star, January 5, 1972.

“Composer Dives in to Wet his ‘Whistle’.” The Sydney Morning Herald. Jan 16, 1972.

Karen Monson, " Neuhaus' Submerged Premiere," Christian Science Monitor, January 19, 1972 p. 6

Harold C. Schonberg, "Things You May Not Know You Missed-Until Now," New York Times, January 2, 1972, p. D11

Johnson, Tom. “The First Meredith Monk Review.” Village Voice. February 3, 1972.

Knowles, Alison and James Tenney. A House of Dust. at CalArts, Cologne, Verlag Gebr. Koenig, 1972.

Marzella, Michael. “Audience Floats in Pool of Music.” The St. Petersburg Times. June 6, 1972. 279

Fuller, Lawrence. “Underwater Audiences Thrill to New Sounds: Water Whistle Concerts Lure Art Sponsors Around the Land.” The National Observer, January 15, 1972.

Ken Friedman, Ken Friedman and Stanley Lunetta, eds. Source - Music of the Avant-Garde, No. 11, 1972

Mitch Kimaka, 'Music Takes On A New Dimention', San Diego Union, Jan 26, 1972

Krista Lee, World's Fist Underwater Concert Attracts Flippered Music Lovers, Pool at Michigan State University's Woman's Intramural Building, Mount Pleasant, 1972

Friday, March 23-Sunday, March 25, 1971. Daily Bulletin. (March 23-25). Toronto: York University, 1973.

Lambert, James William. “A Student’s Preparation of Zyklus.” Percussionist 11 (Fall 1973): 15- 18.

Elliot Schwartz, A listener's guide, Electronic Music; Praeger; NY 1973, pp.139-40; 160-161

HEUTE KUNST, Christina Kubisch

Walkthrough, Strange (But Interesting) Sound at 370 Jay Street, Transit, New York Dec. 1973

Best Bets, These sounds are for the swimmers, The Times-Union, June 9, 1973

Ernest Leogrande, 'Walk Through Sound of Pleasure in City of Noise' Sunday News, Brooklyn, December 9, 1973

Tom Johnson, The Max Neuhaus Beep: But What’s it for?, 1973 (articles originally published in the Village Voice)

Willis, Thomas. “Public Supply: A Sound Idea.” Newsday, October, 1973 article, photograph

ART IN AMERICA, Vol. 62 no. 5 Sept-Oct 1974, p. 88 article, photograph

EXPERIMENTAL MUSIC ; CAGE AND BEYOND, Cassell & Coller Mac Millan Pub. Ltd., London, 1974 pp 85, 88, 89

Max Neuhaus, “BANG, BOOooom, ThumP, EEEK, tinkle,” New York Times December 6, 1974

Peter Garland, “Americas,” Soundings (Spring 1974), p. 115

Annual Report 1973. Washington D.C.: National Endowment for the Arts, 1974

Frank, Peter. “The Avant Garde Festival: And Now, Shea Stadium.” Art in America (November and December, 1974): 1-5

SOURCE MAGAZINE, no 11, Water Whistle, Description photos, 1974

Baron, Robert Alex. “What Noise Does to Us.” The New York Times (December 21, 1974): 26.

Art in America 62, No. 1 Jan.-Feb. 1974, p. 88

Responsive Prototype, IDS Center Crystal Court, Variety The Minneapolis Star, thurs, June 5, 1975

Westdeutsche Allgemeine Zeitung, "Auf Knopfdruck piept ein Dauerton", by Wanzelius Rainer, Essen, Mittnoch, Nov 19, 1975

ROBERT WILSON, Illustrations from the Scenario / Illustrationen aus dem Szenario: «Einstein on the Beach», 1975

Germano Celant, « Artspaces », Studio International, vol. 190, no 977, sept.-oct. 1975, p. 115-123.

Zum erstenmal in Europa: Max Neuhaus bei Baecker. N. 265 / Ruhr-Nachrichten, Samstang 15, November 1975

Artforum, October 1976 (ps1-rooms)

Chuck Graham Here's a wish for '77, Tucson Daily Citizen in Tucson, Arizona, Dec. 30 1976

Jim Gallagher, Just give a little whistle and tune in. Minneapolis Tribune on January 19, 1972

Downtowner, Artist's Sound Installation Becomes Permanent Feature at Como Conservatory, 1976

Edwin Safford, Twelfth Night celebration in Westerly, The Evening Bulletin, Dec 31, 1976

Israel Shenker, "Foundations Get Real and Unreal Pleas for Aid," New York Times, Toronto, September 2, 1976, p. 66.

Max Neuhaus, Composer, Presents ‘Round’ in Rotunda of U.S. Custom House on Bowling Green: Vacant Landmark Opens Doors for Avant-Garde Music.” Letter from Creative Time to New York Landmarks Conservancy. [Undated], November 19 - 21, 1976

Baracks, Barbara. “Artpark: The New Esthetic Playground.” Artforum (November 1976): 28- 33.

Foote, Nancy. “The Apotheosis of the Crummy Space.” Artforum (October 1976): 28-37.

Vidéo stills, Lynn Bennett et Margaret Gregg, A look behind the scenes at Radio Net’s realization process, 1977

Schafer, R. Murray, The Tuning of the World, The soundscape, New York : A. A. Knopf, 1977

Ballentine, Christopher. “Towards an Aesthetic of Experimental Music.” The Musical Quarterly, 63, no. 2 (April 1977): 227-246.

Whistling Up A SYmphony, The Charlotte, N. C., Jan 2, 1977

NPR REPORT, 1977?

International whistle-in reported huge success despite apparent burp, The Houston Post, Texas, Jan 4, 1977

Ozzie St. George, Hile you Listen... Slice of Wry, 1977?

Tom Johnson, Seven Kinds of Minimalism, Today 'Voice', Nov. 30, 1977

Enrico Pedrini, Arte & Fisica. Dalla Relativita', all'indeterminismo alla Dissipazione, Arte Media e Comunicazione, 1977

Raymond Ericson, Music Made Especially for Times Square, - Max Neuhaus COMPOSER - New York Times Sunday, November 27, 1977

Shapiro, David. “A View of Kassel.” Artforum (September 1977): 56-62.

Elliott Schwartz, ISCM WORLD MUSIC DAYS The "environment" is very much present, HIGH FIDELITY / musical america, Bonn, September 1977

Johnny Mop, Monotonophobia, Village Voice, Nov 9, 1977

Singing Network, Listerers Can Help Create Radio Music, The Kansas City Star, 41/A, New York Time Service, Jan 2, 1977

Domus #567 'Sound Environments, people brought together in an unique informal situation, Febbraio, 1977

E.A.T. Special Projects Since 9 Evenings. In E.A.T. News 1, no. 2 (June 1, 1967): 13; 15-18.

The New York Times, "Whisly While You Tune In to Avant-Garde Radio" by Rockwell John, New York, Jan.2, 1977

What Happened?, The Fight to Save WBAI, Issue 1 (April 1977).

The Program in Visual Arts. Edited by Sharon Edelman. Lewiston, NY: Artpark, 1977: 86, 88, 132.

Dibble, Arnold. “Radio Listeners Provide the Music with their Lips.” St. Petersburg Times (Jan 4, 1977): 4a.

Ericson, Raymond. “Max Neuhaus Music Made Especially for Times Square.” New York Times Nov. 27, 1977.

Water Music Berlin von Max Neuhaus im Prinzen-Bad." Der Tagesspiege (June 21, 1977).

Wade, Norma Adams. “Whistlers Stage Big Blowout.” Dallas Morning News, January 3, 1977.

Gilles Deleuze, "Vincennes Seminar Session. May 3, 1977

Whistle While You Work, 24-Hour Eats. dial WNCYC and whistle, 1977

'Just Whistle to get into this radio act'. Evening Tribune, Jan 1, 1977

Slice of Wry by Ozzie St. George, St. Paul Pioneer Press, Jan 5, 1977

'Whistlers compose music' The Lincoln Star, Minneapolis, Jan 4, 1977

Julia Inman, 'Whistle-In' Music Was No 'Tweet'. TV SCENE, The Indianapolis Star, Jan 4, 1977

Arnold Dibble, Listeners whistle a 'classic' tune, St Paul Pioneer Press, Jan 4, 1977

Dana Herto, 'Whisle Start', The Springfield, Special to The Union, Amherst, Jan 1, 1977

Background Music, Horizon, Future Subjunctive, August 1978

Hartford Curiant, A New Sound for Hartford? by Rick Walker, April 12, 1978

Horizon Magazine, August 1978

Undergraund Music, MoMa 7 (Summer 1978), p. 7

Lang, Joel. “Sirens May Be Tuned to Please.” Hartford Courant. June 12, 1978.

Max Neuhaus: A New Work (Underground). Press Release No. 41. New York: The Museum of Modern Art, 1978.

Max Neuhaus, The Talk of the Town – Music Below. The New Yorker (June 5, 1978): 27.

Siren Score Art Idea Nearly Passed On By.” Houston Post, Hartford, June 15, 1978

Around Town.” New York Magazine 1978 (September 4): 28.

Avant‐Garde: Max Neuhaus’ Sounds, The New York Time, Nov. 11, 1979

"Time into Space/Space into Time. New sound installations in New York" by Christina Kubisch, which was published in Flash Art magazine, issue number 88–89, in March/April 1979

Carter Ratcliff, Max Neuhaus at the MOMA Sculpture Garden and Time Square. Art in America January-February 1979 p. 143

The New York Times, Avant-Garde: Max Neuhaus' Sound, by John Rockwell, November 11, 1979, review

Max Neuhaus's Broadway Melody, ARTnews, Volume 78 Number 9, -special sections- New York/Boston. (Photo Cover)

Cinthia Nadelman, 'What's that forest doing in Greenwich Village?' ARTnews, November 9, 1979 p.66

Christina Kubisch, "Time into Space/Space into Time: New Sound Installations in New York, "trans. Michael Moore, Flash Art, Text September 1978 p. 16.17.18

Kramer Hilton, "Temporary Art in the Museum", Art View Chicago, The New York Times, April 1, 1979

Rosalind Krauss, « Sculpture in the Expanded Field », October, vol. 8, printemps 1979, p. 30-44

Artner, Alan G., “A Range of Art that Says We’re Doing Things Right.” Chicago Tribune (October 7, 1979): 14-15.

John Von Rhein, 'At MCA, a new sculpture converts space into Sound', Chicago Tribune, Sunday, March 25, 1979

Mick Farren, Well it's one for the money, two for the show..., Durrant's, 25 Oct 1980

Carrie Rickey, 'Canonizing Joan of Art', Voice, August 26, 1980.

News Japan, 1980

Who'sWho Art America, 1980

Artforum, MAX NEUHAUS AND PETER DOWNSBROUGH, by Ronny H. Cohen REVIEWS OCTOBER 1980

The Minneapolis Star, Sound sculpts conservatory space, by Joa Bream, June 6, 1980

People Magazine, "The World Is Alive With the Sound of Music and Some of it is by Composer Max Neuhaus", by Reilly Patti, New York, July 1980.

Asahi Shimbun, "Music" From Underground" by Sakane Itsou, Tokyo, March 24, 1980

Reilly, Patti. “The World Is Alive with the Sound of Music, and Some of It Is by Composer Max Neuhaus.” People 13, no. 26. June 30, 1980.

Chapter: “Information Theory and Art” in John R. Pierce, An Introduction to Information Theory: Symbols, Signals and Noise (Second Edition), (New York: Dover Publications, 1980), pp. 250-267.

René Block, Lorenz Dombois et al., Für Augen und Ohren: Von der Spieluhr zum akustischen Environment. Objekte, Installationen, Performances, cat. exp. (Berlin, Akademie der Künste, 1980), Berlin, Akademie der Künste, 1980.

Knowles, Alison. “The House of Dust: A Chronicle.” New Wilderness Letter, No. 8 (Spring 1980): 17-24.

Zounds! Such sounds!” The Des Moines Register, Des Moines, Iowa. (Sunday June 1, 1980): 32.

Steve Rathe, “Letter to RadioVisions music advisory panel,” November 24, 1980.

Wilson, David B. “Unwelcome Intruder of the Airwaves.” Boston Globe, March 3, 1980, 1.

Taylor, Robert. “In This Corner: Tuning out Humanity.” Boston Globe, February 20, 1980, 1.

Hal Foster, Max Neuhaus Artforum, January 1980 (Hal Foster wrote a review of Max Neuhaus's exhibition at The Clocktower in New York)

Art in the Public Space, LIBRARY NATIONAL ENDOWMENT FOR THE ARTS, Edited by Andy Leon Harney, 1981

Max Neuhaus 'Electronic Design' News, August 20, 1981

Rosalind Krauss, Passages in Modern Sculpture, Cambridge, Mass. And London: MIT Press, 1981, pp. 266-7 and Alex Potts, Sculptural Imagination, pp. 236-42, 263, 312-3, 302-4.

Henahan, Donal. “Music View; And Now, The World’s First Composing Machine.” New York Times (April 19, 1981).

Larson, Kay. “The Craft of Art.” New York Magazine (December 29, 1980-January 5, 1981): 53.

Rockwell, John. “Avant-Garde: Liz Phillips Sound.” The New York Times. May 14, 1981.

Anthony, Michael. “A New NPR Series Tunes in New Music.” The New York Times. October 11, 1981.

Artner, Alan G., “Glowing Works of Fiber and Paper Shine at MCA.” Chicago Tribute (June 7, 1981): 20

Basler, Barbara. “On the Police Beat, The New York Times, Saturday, April 4, 1981.

Larson, Kay. “The Patter of Little Feats.” New York Magazine (October 12): 1981. p.78.

RadioVisions Advertisement. The American Organist 15/2 (December 1981): 25.

Monique Veaute, 'Audiovisuel, Max Neuhaus 'la radio comme couloir de correspondance du métro' Juillet Aout '82

John Rockwell, "In the Arts: Critics' Choises," New York Times, May 30, 1982, p.103

Delehanty, Suzanne. “Soundings.” In Soundings. Purchase, NY: Neuberger Museum, 1982.

Penchansky, Alan. “Varied Fare to Be Offered at New Music Fest.” Billboard. June 26, 1982

Cage's introduction to his Themes & Variations (Barrytown, N.Y.: Station Hill Press, 1982)

Richard Flood, “Soundings” Artforum, 1982

John Rockwell, 'Environmental Composers & Ambient Music: Max Neuhaus' All American Music ( New York: Knopf, 1983

MAX NEUHAUS AU MUSÉE D'ART MODERNE. Un rien pour Edouard, Le Monde 15/16 Mai 1983

Le Monde, " Un rien pour Edouard" by La Bardonnie Mathilde,, Paris, 15-16 Mar. 1983

Rockwell, John. All American Music: Composition in The Late Twentieth Century. New York: Alfred A. Knopf, 1983.

Public Art: Recent Works, Design Quarterly, No. 122, Site: The Meaning of Place in Art and Architecture (1983): 30-34.

Michel Chion, Guide des objets sonores. Pierre Schaeffer et la recherche musicale, Paris, Buchet-Chastel/INA, 1983.

Wim Mertens, American Minimal Music (London: Kahn & Averill, 1983), p. 90.

Herald Tribune, "Musics, for Sound Reasons" by Mary Brume, Paris, Friday, January 21, 1983.

Ammann Jean-Christophe, "A Plea For New Art in Public Space", Parkett n.2, Zurich, 1984, pp. 7-35

Marie-Louise Jeanneret-Art moderne, Max Neuhaus. Installations sonores. 1984

Max Wechsler PARADISE GAINED, Artforum, SEPTEMBER 1985.

Javault, Patrick and Yehuda Safran "Max Neuhaus: Noises in the Corridor." Art Press, no. 100 (February 1986). p.55

Jiji-Tsushin-Sha Ed. "Wave Notation" by Ogawa, Shono, Tanaka, Tokyo, 1986

Deborah Caulfield, Los Angeles Times, Nov. 11, 1987 12 AM PT

The New York Times, "Art Soothes In Times Square" by John Rockwell, New York, November 10, 1987

DOMUS Milan #684, "Max Neuhaus: Concetto e Metodo di Una Architettura Sonora" by Pierre Restany, Milan June 1987. pp. 154-163

Ratcliff, Carter. “Max Neuhaus.” Art in America. October 1987. 154-163.

Le Diffichos de Grenoble, Max Neuhaus au CNAC, 25, mars 1988

Neuhaus, ça attire les oreilles, Liberation Arts, April 5, 1988

Sylvie Perrard, Max Neuhaus, Sculpteur de sond, Dauphiné Libéré, Une école volantairement différente, 30-5-1988

Philippe Piquet, Max Neuhaus Centre-national d'Art contemporain - Magasin Site Bouchayer-Viallet, 155 cours Berriat, Grenoble. Avril 1988

La Lettre, Grenoble Culture, supplément au 3 Mars-Avril 1988.

Honan, William. “Book Discloses that Regan Planned to Kill National Endowment for the Arts.” The New York Times. May 15, 1988.

Henri Bergson, Time and Free Will, An Essay on the Immediate Data of Consciousness, 1988

Gilles Deleuze, Bergsonism, trans. Hugh Tomlinson and Barbara Habberiam (New York: Zone Books, 1988), pp. 54-62

Daniel Dobbels, Neuhaus, ça attire les oreilles, Liberation, Mardi 5 Avril 1988

Arte Factum Magazine of contemporary art in Europe, September - October 1988

Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), p. 81.

L' oeil, Max Neuhaus, by Philippe Piguet, Grenoble Mars 1989

William J. Hawkins. Popularscience, Electronic Newfront, by , October 1989

Jane Gross, "Composer is Replacing Sirens Wail with Melody and Meaning" New York Times, New York, April 1, 1989.

Stover, Dawn. “Sounding off... safely.” Popular Science (October 1989): 36.

Rodano Ronald, Interpreting Muzak: Speculations on the Musical Experience in Every Life', American Music, vol. 7, n° 4, 1989, p.448-460

Kaharl Victoria A. Water Baby: The Story of Alvin, New York, Oxford University Press, 1989

Tom Johnson, 'The Voice of New Music New York City 1972-1982' A collection of articles originally published in the Village Voice, Published 1989

Music and Society: The Politics of Composition, Performance and Reception (Cambridge, UK: Cambridge University Press, 1989).

Kilworth Garry, white Noise, in Ellen Datlow (ed.), Year's Best Fantasy and Horror vol. 3, New York, St Martin's, 1990

Max Neuhaus, “Listen,” in Sound by Artists, edited by Dan Lander and Micah Lexier, Art Metropole, and Walter Phillips Gallery. Toronto, Canada, 1990, p.63

Makous, J.C. and Middlebrooks, J.C. (1990) 'Two-dimensional sound localization by human listeners', Journal of the Acoustical Society of America, 87, 2188-200. (Siren)

Wolf Kahlen (über zeit) Die Ruine der Künste Berlin, 1988 (TIME PIECE # 1 first published in 1990)

King, A.J. (1990) 'The integration of visual and auditory spatial information in the brain', in D.M. Gutherie (ed.), Higher Order Sensory Processing, Manchester: Manchester University Press.

Hallmark Neff, John, “Introduction: Daring to Dream,” Critical Inquiry, Vol. 16, No. 4 (Summer 1990): 857-859.

Morse Margaret « An Ontology of Everyday Distraction: The Freeway, the Mall, and Television », Bloomington, Indiana University Press, 1990, 193-221

McDermott Judy 'If It's to Be Heard But Not Listened to, Then It Must Be Muzak', Smithsonian, vol.20, n° 10, 1990, p. 70-80..

Meintjes Louise « Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning, Ethnomusicology, vol. 34, n° 1, 1990, p. 37-74

Domus #722, 6 Dicembre 1990

E. Fubini, Estetica Musicale, dal settecento a oggi, Feltrinelli, Torino, 1991

The Nation 252, no 8 "Max Neuhaus: Sound Works", March 4, 1991

Grossberg Lawrence « Rock, Territorialization and Power », Cultural Studies. vol. 5, n° 3, 1991, p. 358-367.

De Lorenzo, R.A. and Eilers, M.A. (1991), 'Lights and Siren: A review of emergency vehicle warning systems', Annals of Emergency Medicine, Z0, 1331-5.

Hamilton-Paterson James, The Great Deep: The Sea and its Thresholds, New York, Random, 1992

Three to One“ Klanginstallation, Max Neuhaus Documenta 9, Kassel 1992

Schumacher Thomas G. et Jones Simon « Muzak: On Functional Music and Power », Critical Studies in Mass Communication, n° 9, 1992, p. 156-169.

R. Murray Schafer, A Sound Education: 100 Exercises in Listening and Sound-Making (1992)

Jean-Yves Bosseur, Le sonore et le visuel, op. cit. Editor Dis Voir, novembre 1992 p 149.

Kahn, Douglas and Gregory Whitehead, eds., Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: The MIT Press, 1992.

Shields Rob, Lifestyle Shopping: The subject of Consumption, New York, Routledge, 1992

Dirk Schwarze, AUF DEM WEG ZUR DOCUMENTA IX, 05.02.1992

Max Neuhaus "Brummen vor dem Tor", Der Spiegel 37, 1992

Douglas Kahn, Wireless imagination. Sound Radio and the Avant-Garde, The Mit Press, Cambridge, 1992

Interview with curator Denys Zacharopoulos on Documenta IX: It’s a Documenta of certainties, The Art Newpaper, 31 March 1992

Elayne Achilles, “Music Making Beyond the Classroom,” Music Educators Journal, Vol. 79, No. 4 (Dec1992), 36.

Pelisero Tom Entremen, téléphonique avec l'auteur, 31 août 1993

Foucault Michel 'Surveiller et punir. Naissance de la prison'. Paris. Gallimard, 1993 (1975). Frow John et Morris Meaghan, Australian Culture Studies: A Reader, Urbana, University of Illinois Press, 1993.

Manuel Peter Cassette Culture: Popular Music and Technology in North India, Chicago, University of Chicago Press, 1993.

Max Neuhaus, Parkett #35/ Zurich 1993, pp. 24-29

John Gray. Action art : a bibliography of artists' performance from futurism to fluxus and beyond. Art Reference Collection, Number 16, British Library Cataloguing-in-Publication Data 1993

Kunst + Museum Journaal (Amsterdam) vol. 4, no. 6 (1993).

David Michael Levin, ed., “Decline and Fall: Ocularcentrism in Heidegger’s Reading of the History of Metaphysics” in Modernity and the Hegemony of Vision (Berkeley: University of California Press, 1993), 201.

Carlile, S. and King, A.J. (1993) 'Auditory Neuroscience: from outer ear to virtual space', Current Biology, 3, 446-8.

Steinhauer, Jennifer. “F.Y.I.” The New York Times. December 19, 1993.

Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought, Berkeley/Los Angeles/Londres, University of California Press, 1993.

Tick, Judith. “Charles Ives and Gender Ideology.” In Musicology and Difference: Gender and Sexuality in Music Scholarship, edited by Ruth A. Solie, 83–106. Berkeley: University of California Press, 1993.

Pritchett, James. The Music of John Cage. New York: Cambridge University Press, 1993.

Don’t Sell Out WNYC.” The New York Times. February 28, 1994.

Danto, Arthur C. Embodied Meanings: Critical Essays and Aesthetic Mediations. New York: Farrar Straus Giroux, 1994.

Jay Martin, Downcast Eye: The Denigration of Vision in Twentieth-Century French Thought, Berkeley, Londres University or California Press, 1994.

Welsch, John P. “Open Form and Earle Brown’s Modules I and II (1967).” Perspectives of New Music 32, No. 1 (Winter 1994): 254–290.

Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press, 1994.

Gilles Deleuze. Translated by Paul Patton, Difference and Repetition, (New York: Columbia University Press, 1994), pp. 79-80.

Judith Lochhead, Performance Practice in the Indeterminate Works of John Cage, Performance Practice Review, 1994

Szeemann, Harald. “Max Neuhaus.” 1994

William Cronon, “The Trouble with Wilderness, or Getting Back to the Wrong Nature,” Uncommon Ground: Toward Reinventing Nature (W.W. Norton, 1995).

David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds (London: Serpent’s Tail, 1995)

Munk Walter, Worcester Peter. Wunsch Carl, Ocean Acoustic Tomography, New York, Cambridge University Press, 1995.

Haim Steinbach, Max Neuhaus, 27 ottobre 31 dicembre 1995. Published Segno e Progetto / Badriotto - Torino

Adachiara Zevi, TANDEM Rivoli: Steinbach e Neuhaus al Castello. Corriere della sera, Lunedi 20 novembre 1995

Kotz, Liz. “Post-Cagean Aesthetics and the “Event” Score,” October 95 (Winter 2001): 55-99.

Tanenbaum, Susie J. Underground Harmonies: Music and Politics in the Subways of New York. Ithica, Cornell University Press, 1995.

Christian Bernard, Christian Besson (dir.), Sous le soleil, cat. exp. (Nice, Villa Arson, 1991), Nice, Villa Arson, 1995.

Giampiero Cane G.., in Monkcage. Il novecento musicale americano, Clueb Lexis Biblioteca delle arti, 1995

des Kunst-Bulletin #9, September 1995

Ruggero Pierantoni, La trottola di Prometeo: introduzione alla percezione acustica e visiva, Roma, Laterza, 1996

Karolyi, Otto. Modern American Music: From Charles Ives to the Minimalists. Cranbury, NJ: Fairleigh Dickinson University Press, 1996.

Horowitz, Gregg. "Public Art/Public Space: The Spectacle of the Tilted Arc Controversy," The Journal of Aesthetics and Art Criticism 54, no. 1 (Winter, 1996): 8-14.

Haas, E.C. and Edworthy, J. (1996) 'Designing urgency into auditory warnings using pitch, speed and loudness', Computing and Control Engineering Journal, August, 193-8.

Withington, D.J. and Chapman, A.C. (1996) 'Where's that siren?', Science and Public Affairs, Summer, 1996. 59-61. (Siren)

Keightley, Kier. “'Turn It down!' She Shrieked: Gender, Domestic Space, and High Fidelity, 1948-59.” Popular Music 15, no. 2 (May, 1996): 149-177

Lewis, George. “Improvised Music after 1950: Afrological and Eurological Perspectives.” Black Music Research Journal 16, no. 1 (1996): 91-122.

Militus, Joe. “Radiophonic Ontologies of the Avant-Garde.” TDR 40, no. 3, Experimental Sound & Radio (Autumn, 1996): 63-79.

Pritchett, James. The Music of John Cage. New York: Cambridge University Press, 1996.

Flannery, Merle, “A Night at the Academy Awards: In a Limousine with Gregory Peck and Michael J. Fox,” Visual Arts Research 22, No.1 (Spring 1996): 26-33.

Rosen, Miriam. “Sonambiente” Artforum (June 1997)

Simon Shaw-Miller, Oxford Art Journal, Vol. 20, No. 1 Review: Sounding out, (1997) pp. 105-109

Artforum,“SONAMBIENTE” by Miriam Rosen REVIEWS SUMMER 1997

Joel Chadabe's book, "Electric Sound: The Past and the Promise of Electronic Music, State University of New York at Albany, 1997

Rutherford, P. (1997) 'Auditory navigation and the escape from smoke filled buildings' in R. Junge (ed.), CAAD Futures, Proceedings of the 7th International Conference on Computer Aided Architectural Design Features, Dordrecht: Kluwer Academic Publishers.

Simon Shaw-Miller, Oxford Art Journal, Vol. 20, No. 1 (1997), pp. 105-109

Pour un commentaire de ce texte fameux voir Jacques Derrida, Khôra, Paris, Galilée, 1993 et aussi, en collaboration avec Peter Eisenman, Chora L Works, Jeffrey Kipnis et Thomas Leeser (édit.), New York, The Monacelli Press, 1997.

M. McLuhan, Percezioni. Per un dizionario mediologico, (titolo originale Essential Mc Luhan), a cura di Giampiero Gamaleri, Armando Editore, Roma 1998

Roberto Paci Dalò, LADA – L’Arte dell’Ascolto (The Art of Listening), Re-Inventing Radio, A Festival in Rimini, Italy, 1991–98

Selon la formule de Charles Rosen pour qui « la musique », et donc l’écoute, « se tient aux confins du sens et du non-sens », Aux confins du sens. Propos sur la musique, trad. S. Lodéon, Paris, Seuil, 1998, p 92.

Alex Pots, "The Minimalist Object and the Photographic Images",in Geraldine Johnson, ed-,Sculpture and Photography: Envisioning the Third Dimension, Cambridge and New York: Cambridge University Press 1998 pp. l8l-98.

Wolff Christian Cues, Writings & Conversations, Köln, MusikTexte. 1998.

Preziosi, David, ed. The Art of Art History: A Critical Anthology. Oxford University Press, 1998.

Varèse, Edgard, “Rhythm, Form and Content,” [1959] in Contemporary Composers on Contemporary Music, eds., Elliot Schwartz, Barney Childs, and Jim Fox, . New York: Da Capo Press, 1998.

Shultis, Christopher. Silencing the Sounded Self: John Cage and the American Experimental Tradition. Boston: Northeastern University Press, 1998.

Porcello, Thomas. “Tails out”: Social Phenomenology and the Ethnographic Representation of Technology in Music-Making.” Ethnomusicology 42/3 (Autumn 1998): 485–510.

Madsen Victoria « The Call of the Wild », in Martin Thomas (ed.). Uncertain Ground: Essaus between Art and Nature, Sydney. Art Gallery of NSW, 1999

International Herald Tribune, Wednesday, November 17, 1999 p.13

Michael Zwerin, Been There, Heard That. Max Neuhaus's Sound Works' Listen to Surroundings, International Herald Tribune, November 17, 1999 p,13

Jeremy Gaines, Max Neuhaus, Klanggestaltung im dienst der Sicherheit. 1999

Nyman Michael, Exsperimental Music: Cage and Beyond, 2nd ed.. Cambridge University Press, 1999, p.105 and Book, p.103

Duckworth, William. Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers. New York: Da Capo Press, 1999.

Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 1999), pp. 86-87.

Motte-Haber Helga de la ed. Klangkunst. Tönende Objekte und Klingende Räume, Laaber, Laaber-Verlag, 1999

David Toop, Ocean of sound, trad. It a cura di Oceano di Suono, Ancona-Milano, Costa&Nolan, 1999

Heidegger M., in Die Kunst und der Raum, tr. It. L' arte e lo spazio, a cura di Carlo Angelino, il Nuovo Melangolo, Genova, 2000

Richard Kostelanetz, A dictionary of the avant-gardes, Schimer Books, New York 2000

Chion, Michel, Le son. Traité d’acoulogie, Paris, Armand Colin, 2000

Ohne Titel, Een onderzoek naar de visie en receptie van Documenta 7, 8 en IX, Universiteit Utrecht, augustus 2000

Lefebvre Henri, La Production de l'espace. Paris, Anthropos, 2000 [1974].

Emily Erikson, PREVIEW U.S. SHORTS, Artforum, May 2000

Withington, DJ (2000) The use of directional sound to improve the safety of auditory warnings XIVth Triennial Congress of the International Ergonomics Association & 44th Annual Meeting of the Human Factors and Ergonomics Society, San Diego, August 1st, 2000. (Siren)

Jean-Luc Nancy, « Être à l’écoute », in Peter Szendy, L’Écoute, Paris, L’Harmattan, 2000, p.279

Alex Potts, The Sculpture Imagination: Figurative, Modernist, Minimalist, New Haven and London: Yale University Press, 2000.

Gann Kyke, It's Sound, It's Art, and Some Call It Music, Copyright 2000 The New York Times Company, 2000

Teresita Fernandez, "Interview with Max Neuhaus", in Laurence Bossé, Carolyn Christov-Bakargiev. 2000

Kendell Wrightson, “An Introduction to Acoustic Ecology,” Soundscape: The Journal of Acoustic Ecology, Vol 1. No 1. 2000

Goldsmith, Kenneth. “Don’t Quite Your Day Job.” New Music Box. (April 1, 2000).

Lotringer, Sylvere. “Becoming Duchamp.” Tout-Fait 1, Issue 2 (2000).

Kahn, Douglas. “James Tenney Interviewed by Douglas Kahn,” Leonardo Electronic Almanac 8, No. 11 (November 2000).

Bagli, Charles V. "Mayor Claims Credit for Times Sq. Revival." The New York Times. January 27, 2000.

David Toop (dir.), Sonic Boom: The Art of Sound, cat. exp. (Londres, Hayward Gallery, 2000), Londres, Hayward Gallery Publishing, 2000.

Steven Connor, Dumbstruck: A Cultural History of Ventriloquism, Oxford, Oxford University Press, 2000.

Alberro, Alexander. “Inside the White Box: Aspen 5+6.” Artforum (September 2001): pp. 171-4.

Williams Ben « Black Secret Technologv: Detroit Techno and the Information Age », in Alondra Nelson, Thuy Linh N. Tu, Alicia Headlam Hines (ed.), Technicolor: Race,Technology. and Everyday Life, New York. NYU Press, 2001

Enrico Pedrini, Jusqu'au, exposition dans les jardins du Chateau, 31 Octobre 2001

Le Monde, Max Neuhaus, sculpter de sons et de sirènes, Mandelieu-La-Napoule, 30.07.2001

Le Monde, mardi 31 Juillet 2001

Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press, 2001.

Trockimezyk, Maja. “From Circles to Nets: On the Signification of Spatial Sound Imagery in New Music.” Computer Music Journal 25, no. 4 (Winter 2001): 39-56.

Timothy D. Taylor, Strange Sounds: Music, Technology, and Culture, Londres, Routledge, 2001.

Sara Danius, The Senses of Modernism: Technology, Perception, and Aesthetics, Ithaca, Cornell University Press, 2001.

Whitesell, Lloyd. “White Noise: Race and Erasure in the Cultural Avant-Garde.” American Music 19/2 (Summer 2001): 168–189.

Violanti, Anthony. “Simmering ‘60s Fueled Creativity of Siemering.” Buffalo News, May 9, 2001

Lea Vergine, L'arte in trincea, Lessico delle tendence artistiche, 1960-1990, Skira editore, 2001

Le tribù dell'arte, Catalogo della mostra presso la galleria di arte moderna e contemporanea di Roma, a cura di Achille Bonito Oliva, Skira editore, 2001

Max Neuhaus at Christine Burgin and P.S.1, Art In America, April. 2001

Le Monde, Max Neuhaus, sculpteur de son s et de sirènes, by Harry Bellet, Maedi 7 Aout 2001

Wenman, Neil Robert. “Listening to the Void.” Art & Architecture Journal, Issue 58, (June 3, 2002): 52-55.

Zuckerman, Alicia. “Max Neuhaus: Times Square.” Arts Electric. (May 30, 2002).

Charles Daniel, Gloses sur John Cage, Paris, Desclée de Brouwer, 2002, p 22.

Nancy Jean-Luc, A lécoute, Paris. Galilée. 2002.

Kohler Robert E. Landscapes and Labscapes: Exploring the lab-Field Border in Biology, Chicago, University of Chicago Press, 2002

Miller Simon, Visible Deeds of Music: Art and Music from Wagner to Cage, New Haven, Yale University Press, 2002.

Emmanuel Grandjean, La promenade du Pin a des oreilles. CULTURE TRIBUNE DE GENÊVE SAMEDI-DIMANCHE 9-10 NOVEMBRE 2002

Johnson, Steven, ed. The New York Schools of Music and Visual Arts. New York: Routledge, 2002

Dans Pour les oiseaux. Entretiens avec Daniel Charles [1976], Paris, L’Herne, 2002, p 148, Cage parle de Neuhaus comme d’un batteur « extraordinaire ». Les deux hommes ont toujours eu des relations très amicales.

Shadows of the Infinite, Max Neuhaus, Sound Work, The London Institute, CERN, 22/10/02, Page 22

Miwon Kwon, One Place After Another: site specific art and locational identity, Cambridge Mass.: MIT Press, 2002).

Joseph, Branden W. "My Mind Split Open': Andy Warhol’s Exploding Plastic Inevitable." Grey Room 8 (Summer 2002) 80-107.

Rockwell, John. “That Rumbling Underfoot? It’s Not a Subway, It’s Art.” The New York Times. Wednesday May 22, 2002.

Shaw-Miller, Simon. Visible Deeds of Music: Art and Music from Wagner to Cage. New Haven: Yale University Press, 2002.

Davies Hugh, Sound Heard, Chelmsford, Soundworld, 2002

Schaeffer, (1966) 2002 : Pierre Schaeffer, Traité des objets musicaux. Essais interdisciplines (1966), Paris, Le Seuil, 2002.

David Toop « Frame of Freedom. Improvisation, Otherness and Limits of Spontaneity », in Rob Young (ed), Undercurrents.The Hidden Wiring of Modern Music, New York/Londres, Continuum/Wire, 2002 Continuum/Wire, 2002.

Christine Van Assche (dir.), Sonic Process. Une nouvelle géographie des sons, cat. exp. (Paris, Centre Pompidou, 16 oct. 2002 – 6 janv. 2003), Paris, Centre Pompidou, 2002.

Zuckerman, Alicia. “Max Neuhaus: Times Square”, EMF – Arts Electric, 2002

Max Hollein, Jesper N. Jørgensen (dir.), Frequenzen [Hz]: Audiovisuelle Räume/Frequencies [Hz]: Audio-Visual Spaces, cat. exp. (Francfort-sur-le-Main, Schirn Kunsthalle, 2002), Ostfildern, Hatje Cantz, 2002.

Laura U. Marks, Touch: Sensuous Theory and Multisensory Media, Minneapolis, University of Minnesota Press, 2002.

Philippe Mathonnet, Genève s'offre une sculpture sonore d'origine américaine, BEAUX-ARTS • Avec l'appui du London Institute et du CERN, l'installation était inaugurée hier, Culture, 38 • LE TEMPS • MERCREDI 13 NOVEMBRE 2002

MNE-PRESS: REVUE DE PRESSE FNAC, Promenade du Pin, 2002

Riismandel, Paul. “Radio by and for the Public: The Death and Resurrection of Low-Power Radio.” In Radio Reader: Essays in the Cultural History of Radio, edited by M. Hilmes and J. Loviglio, 423–450. New York: Routledge, 2002.

Ong, Walter. Orality and Literacy: The Technologizing of the Word, 2nd ed. New York: Routledge, 2002.

Jean Jaques Nattiez, 'Il timbro, in Il sapere musicale, vol. II Enciclopedia della musica. Giulio Einaudi editore, 2002, p.105

Daniel Charles, Gloses sur John Cage, Paris, Desclée de Brouwer, 2002, p 22.

Lawrence Weiner, "Statements," Sol LeWitt, "Paragraphs on Conceptual Art," and Joseph Kosuth, "Art After Philosophy," in Art in Theory, 1900-2000: An Anthology of Changing Ideas, ed. Charles Harrison and Paul Wood (Malden, Mass.: Blackwell, 2003), pp. 846-49, 852-61, 893-94.

Joshua Garcia, Ekphrasis Highlight: Max Neuhaus, Time Pieces. Samek Art Museum, Bucknell University’s Stadler Center for Poetry and Literary Arts. 2003

Die Press, (KunstGraz) 27.08.2003

What is Sound Art? Sound Art as a Term. Rolf Julius, 2003

Fünf Minuten vor Zwölf, Kunsthaus, Die Presse, 27.08.03

Eine Klanginstallation von Max Neuhaus soll das Grazer Kunsthaus hörbar machen: Moderne Variante der Kirchturmuhr, Kultur, Mittwoch, 27. August 2003

Elisabeth Rath, Eine Tonskulptur von Max Neuhaus für das neue Grazer Kunsthaus, Graz, 27 Aug 2003

Walter Titz, Ein Klangfeld Für das Kunsthaus, Kultur Mittwoch, August 2003

Manuela Denogent, Flujo y tensiones del arte público, LAPIZ 190/191 Revista Internacional de Arte España. Février-Mars 2003

Álvaro Barbosa, Displaced Soundscapes: A Survey of Network Systems for Music and Sonic Art Creation. Leonardo Music Journal, Vol. 13. 2003

Joseph, Branden W. Random Order: Robert Rauschenberg and the Neo-Avant-Garde. Cambridge: The MIT Press, 2003.

Christoph Cox, « Return to Form: Christoph Cox on Neo-Modernist Sound Art », Artforum, vol. 42, no 3, nov. 2003, p. 67.

Marguerite Menz, Gent: ‹Promenade du Pin› von Max Neuhaus, Kunst - Bulletin Janvier - Féurier 2003

Cox, Christoph. “Treble.” Artforum (September 2004): 262.

Band 6: Organized Sound. Klang und Wahrnehmung in der Musik des 20. und 21. Jahrhunderts | Sound and Perception in Twentieth- and Twenty-First-Century Music, edited by Christian Utz, 2013

Matthews, Kaffe, “Kaffe Matthews and Anthony Huberman.” Bomb, No. 89 (Fall 2004): 62-67.

Ryan, David. “Max Neuhaus.” Art Monthly, no. 275 (April 2004): 42.

Diana De Conti, Commistioni tra arte e suono: la Sound Art, Tesi di Laurea, Università Cà Foscari Venezia, 2004

Manning, Peter. Electronic and Computer Music. Oxford: Oxford University Press, 2004.

Max Neuhaus, in conversation with Colin Fournier at the Bartlett School of Architecture, London, February 24, 2004.

Gould, Glenn. “The Prospects of Recording,” [1966] in Audio Culture: Readings in Modern Music, eds., Christoph Cox and Daniel Warner, 115-126. New York: Continuum, 2004. p. 178

Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: The MIT Press, 2004.

Robinson, Julia. “The Sculpture of Indeterminacy: Alison Knowles's Beans and Variations.” Art Journal (2004): 96-115.

Norman, Katherine. Sounding Art: Eight Literary Excursions through Electronic Music. Burlington, Vermont: Ashgate Publishing Company, 2004.

Sophie Duplaix, Marcella Lista (dir.), Sons et Lumières. Une histoire du son dans l’art du xxe siècle, cat. exp. (Paris, Centre Pompidou, 2004-2005), Paris, Centre Pompidou, 2004.

Golo Föllmer, Max Neuhaus, Neue Zeitschrift für Musik (1991-), Vol. 165, No. 5, NETZMUSIK (September Oktober 2004) pp. 22-23

Toop, David. Liner Notes. Maritime Rites. New World Records, 80625-2. 2004.

Sun, Cecilia J.-X. “Experiments in Musical Performance: Historiography, Politics, and the Post-Cagian Avant-garde.” Ph.D. dissertation, University of California, Los Angeles, 2004.

Scherzinger, Martin. “‘Art’ Music in a Cross-Cultural Context: The Case of Africa.” In The Cambridge History of Twentieth-Century Music, edited by Nicholas Cook and Anthony Pople, 584–613. New York: Cambridge University Press, 2004.

Oliveros, Pauline. “Harmonic Anatomy: Women in Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, edited by Daniel Fischlin and Ajay Heble, 50–70. Middletown, CT: Wesleyan University Press, 2004.

M. Lee in Chronophobia: On Time in the Art of the 1960s (Cambridge, Mass.: MIT Press, 2004), pp. 36-81.

Text by Theatre of Eternal Music member Tony Conrad, "Duration" (October 2004)

Michel Bull, in L'orchestra suona su quattro ruote, in un articolo di Alias: Suoni della città anno 7 n. 33, supplemanto del Manifesto 21/08/04

Daniela Cascella, Scultori del suono, percorsi nella sperimentazione musicale contemporanea, Tuttle edizioni, 2004

Phil Burk, Adaptive high-level classification of vocal gestures within a networked sound instrument, published 2004

Binkiewicz, Donna M. Federalizing the Muse: United States Arts Policy and the National Endowment for the Arts, 1964-1980, Chapel Hill, NC: University of North Carolina Press, 2004.

Treble, by Christopher Cox, curated by Regine Basha, Apr 22, 2004

Domus 876, Max Neuhaus, Aural Garden (Text by Yehuda Safran translated by Pier Luigi Tazzi​) December, 2004

Page, Tim. “Where Is the Ms. in Maestro?; Major Orchestras Still Shy Away From Female Conductors.” The Washington Post, July 19, 2005, C01.

Daniela Cascella. “Max Neuhaus.” Contemporary, no. 75 (2005)

Huberman, Anthony. “The Sound of Space.” Art Review (May 2005)

James Christine « Sonar Technology and Shifts ir Environmental Ethies » dans Essays in Philosophy; A Biannual Journal 6/1, 2005.

Clark, Eric. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford University Press, 2005.

Max Neuhaus, 1960 / 1970 Arquitectura como paradigma da escultura. Museu de Serralves, anARQUITECTURA de Andre a Zittel, editado por Ulrich Loock, 2005

Voir les écrits et entretiens de Fred Sandback, « Notes », p 90, « Pedestrian sculptures », p 101, « Remarks on my sculpture 1966-86», p 120 et « Lines of inquiry : interview by Joan Simon », p 142 in Fred Sandback, Friedemann Malsch et Christiane Meyer-Stoll (dir.), Vaduz/Edimbourg/Graz/Bordeaux, Hatje Cantz, 2005.

La Republica, Quelli che inventano il suono, by Paolo Crespi, 11 Giugno, 2005

David Toop, Sounds passing through circumstances, Francis Alÿs, Seven Walks (2005)

Fuller, Matthew. Media Ecologies: Materialist Energies in Art and Technoculture. Cambridge: MIT Press, 2005.

Uroskie, Andrew V. "La Jetée en Spirale: Robert Smithson's Stratigraphic Cinema." Grey Room, no. 19 (Spring 2005): 54-79.

Steven Connor, « Ears Have Walls: On Hearing Art », dans Kelly, 2011, p. 129-138 [éd. orig. : FO(A)RM, no 4 : Topography, 2005, p. 48-57].

Georgina Kleege, « Blindness and Visual Culture: An Eyewitness Account », The Journal of Visual Culture, vol. 4, no 2, 2005, p. 179-190

Warner, Michael. Publics and Counterpublics. New York: Zone Books, 2005.

Warburton, Dan. “Contemporary.” Paris Transatlantic Magazine: Global Coverage of New Music, January 2005.

Martin Scherzinger, “Curious Intersections, Uncommon Magic: Steve Reich’s It's Gonna Rain,” Current Musicology 79 & 80 (2005): 207–44.

The Birth of Tragedy. For a reading of The Birth of Tragedy along these lines, see my "Nietzsche, Dionysus, and the Ontology of Music," in A Companion to Nietzsche, ed. Keith Ansell Pearson (Malden, Mass. Blackwell, 2005), pp.495-513.

Henri Bergson, Duration and Simultaneity, in Key Writings, 2002 p. 205.

Miya Yoshida, New Communications Technology in the Context of Interactive Sound Art: An Empirical Analysis, 2005

Wendy Suiter, Text manipulation: voice with audio or acoustic augmentation. 2005

Dzuverovic, Lina. “The Politics of Sound / The Culture of Exchange.” Online panel discussion (January 31-March 23 2005) with Douglas Kahn, Kenneth Goldsmith and John Oswald

Freeman, Jason. “Auracle: A Voice-Controlled, Networked Sound Instrument.” Organized Sound: An International Journal of Music Technology 10, no. 3 (Dec 2005): 221–231.

Roberts, Sam. “Something Fresh Wafting Up from a Times Square Grate: Art,” New York Times (March 26, 2006).

Saxer Marion. « En passant. Autmerksamkeitsstrategien der Klangkunst im öffentli- chen Raum », in De LaMotte-Haber. Helga et Osterwold, Matthias (ed.), Sonambiente, Klangkunst, Sound Art, cat. expo., Berlin, Akademie der Künste (1er juin - 16 Juillet 2006), Heidelberg, Kehrer. 2006.

Lee Ronaldo, Review od Sounds of the Junk Yard by Michael Siegel, 1964. (October 31, 2006)

Augoyard, Jean-Francois, Henri Torgue, and Andra McCartney, ed. Sonic Experience: A Guide to Everyday Sounds. McGill-Queen’s University Press, 2006.

Holmes, Thom, ed. The Routledge Guide to Music Technology. New York: Routledge, 2006.

Gann, Kyle. “Introduction: The Importance of Being Downtown.” In Music Downtown: Writings from the Village Voice, 1-15. Berkeley: University of California Press, 2006.

Miller, Leta E. “Henry Cowell and John Cage: Intersections and Influences, 1933-1941.” Journal of the American Musicological Society 59, no. 1 (2006): 47-112.

Schick, Steven. The Percussionist's Art: Same B Different Dreams, Rochester: University of Rochester Press, 2006.

Rogalsky, Matthew. Idea and Community: The Growth of David Tudor’s Rainforest, 1965-2006. Dissertation. Music. City University London, (2006).

David Birchfield, Kelly Phillips, Assegid Kidané, David Lorig, "Interactive Public Sound Art: a case study" by Assegid Kidane, International Conference on New Interfaces for Musical Expression (NIME06), Paris, France Proceedings of the 2006 Arts, Media and Engineering, Arizona State University, Published 2006

Maurice Benhamou, Le Visible et l’Imprévisible, Paris, L’Harmattan, 2006.

Caroline A. Jones (dir.), Sensorium: Embodied Experience, Technology, and Contemporary Art, cat. exp. (Cambridge, MIT List Visual Arts Center, 2006-2007), Cambridge, The MIT Press, 2006.

Douglas Kahn, « Sound Art, art, musique », Tacet. Sound in the Arts, no 3 : From Sound Space/De l’espace sonore, 2014, p. 328-344 [éd. orig. : « Sound Art, Art, Music », The Iowa Review Web, vol. 8, no 1, févr.-mars 2006].

Max Neuhaus, Times Square, Nutida Musik, 4:1 / 2006:07

Siegle, Robert. “Writing Downtown.” In The Downtown Book: The New York Art Scene, 1974– 1984, edited by Marvin J. Taylor, 131–153. Princeton: Princeton University Press, 2006.

Phillips, Lisa A. Public Radio: Behind the Voices: Profiles of Public Radio’s Most Treasured Personalities. New York: CDS Books, 2006.

O’Meara, Caroline Polk. New York Noise: Music in the Post-Industrial City, 1978–1985. Ph.D. diss., University of California Los Angeles, 2006.

Miya Yoshida, The Invisible Landscapes -The Construction of New Subjectivities in the Era of the Mobile Telephone, Published 2006

Cécile Regnault, Concepteurs sonores et concepteurs lumière : sociographies comparées, le rôle des coopérations interprofessionnelles dans l'expertise et la conception des ambiances architecturales et urbaines, Published 2006

Feldman, Hannah. “Sound Tracks: The Art of Allora and Calzadilla,” Artforum (May 2007).

Emmerson Simon, Living Electronic Music, Aldershot, Ashgate, 2007

Elke Bockhorst, d9 - das Schaufenster für moderne Kunst, Frankfurter Rundschau Kassel 2007

“Kelley Walker’s Continuum: Consuming and Recycling as Aesthetic Tactics” in Suzanne Cotter, ed., Seth Price/Kelley Walker: Continuous Project. Oxford, UK: Modern Art Oxford, 2007.Text © Robert Hobbs, 2007

Cox, Christoph. “About Time: On Sound Art.” Artforum (November 2007).

Wiedergeburt des Klangs, Das documenta-Kunst von Max Neuhaus im AOK-Gebäude ist in Stand gesetzt, Kassel, May 7, 2007

Max Neuhaus AOK-HAUS, Treppe darf weiter klingen, Kassel, 2007

Peter Szendy, Sur écoute. Esthétique de l’espionnage, Paris, Minuit, 2007, p 48.

Artforum, SOUND TRACKS: THE ART OF ALLORA AND CALZADILLA, by Hannah Feldman MAY 2007

Von Maria Machnik, Der Ton erklingt, wenn er verstummt, Kölner Stand-Anzeiger - Nr,188. Mittwoch, 15. August 2007

Cox Christoph « The Jerrybuilt Future. The Sonic Arts Union, Once Group and MEV's Live Electronics », in Rob Young (ed.), Undercurrents. The Hidden Wiring of Modern Music, New York/Londres, Continuum/ Wire, 2007.

Davila, Thierry. “Max Neuhaus, Times Square.” Art Press 2, no. 5 (June 2007)

Hepfer, Jonathan. “Jan Williams: The Evolution of New Music.” Percussive Notes (February 8, 2007).

Joseph, Branden. “The Tower and the Line: Toward a Genealogy of Minimalism.” Grey Room, No. 27 (Spring 2007): 58-81.

Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International Publications, 2007.

Kotz, Liz. Words to be Looked at: Language in 1960s Art. Cambridge: The MIT Press, 2007

Sexton, Jamie. Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh: Edinburgh University Press, 2007.

Migone, Christof. Sonic Somatic: Performances of the Unsound Body. Dissertation. Department of Performance Studies. New York University, 2007.

Barry Blesser, Linda-Ruth Salter, Spaces Speak, Are You Listening ? Experiencing Aural Architecture, Cambridge, The MIT Press, 2007.

Jane Blocker, « The Viewer as Blind Man in Installation Art », Art Journal, vol. 66, no 4, hiver 2007, p. 6-21

“Writing the Music of Ruth Crawford into Mainstream Music History. In Ruth Crawford Seeger’s Worlds: Tradition and Innovation in Twentieth-Century American Music, edited by Ray Allen and Ellie M. Hisama, 11–32. Rochester: University of Rochester Press, 2007.

SFMOMA, The Art of Participation: 1950 to Now. Published in conjunctlon with an exhibition of the same name, curated by Rudolf Frieling and opening in November 2008.

Thompson Emily « Introduction to Sound Studies » syllabus, 2008.

David Toop, Ocean of Sound: ambient music. mondes imaginaires et voix de l'ether, trad. de ran-glais par Arnaud Reveillon, Paris. Kargo L'éclat, 2008.

Dieter Daniels, « Inventing and Re-Inventing Radio », in Heidi Grundmann, Elisabeth Zimmermann, Reinhard Braun, Dieter Daniels, Andreas Hirsch, Anne Thurmann- Jajes, ed. Re-Inventing Radio. Aspects of Radio as Art, Frankfurt am Main, Revolver, 2008

Volker Straebel, Zur frühen Geschichte und Typologie der Klanginstallation, 2008

Composing with Computers. course entitled, 21M.361 Peter Whincop's listening notes for this piece. MIT OpenCourseWare, 2008

McKee, Yates. “The Public Sensoriums of Pulsa: Cybernetic Abstraction and the Biopolitics of Urban Survival.” Art Journal 67, no. 3 (Fall 2008): 46-67.

Max Neuhaus: Circumscription Drawings" and A New Sound Installetion, Archive La Menil Foundation, May 4, 2008

Robinson, Julia. “Maciunas as Producer: Performative Design in the Art of the 1960s.” Grey Room 33 (Fall 2008): 58

Interview with Andrea Grover. ...Might be good. “We Live Uneasily Prettiness,” Issue #102 (June 27, 2008

Kim, Rebecca. In No Uncertain Musical Terms: The Cultural Politics of John Cage’s Indeterminacy. PhD Dissertation. Graduate School of Arts and Sciences. New York: Columbia University, 2008.

Ouzounian, Gascia. Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958. Dissertation. Music. University of California, San Diego, 2008. 315

Carter, Kabir. “Houston; New York; and Beacon, New York.” Modern Painters 20, no. 6 (July– August 2008): 82–83.

Crimp, Douglas. “Merce Cunningham: Dancers, Artworks, and People in the Galleries,” Artforum (October 2008).

Bullettin, Spring/Summer, Menil Foundation. Inc. Volume 7, Number 1, 2008

Piekut, Benjamin, Testing, Testing...: New York Experimentalism 1964. Ph.D. diss., Columbia University, 2008.

Tond Lossius, Jamoma Workshop, 8 th International Conference on New Interfaces for Musical Expression NIME08, 2008

Álvaro Barbosa, Artech 2008. Proceedings of the 4th International Conference on Digital Arts, 2008

Smuts, Lyn, The visualization of sound : an investigation into the interplay of the senses in artmaking, Thesis-2008

Christoph Cox, Sound Art and the Sonic Unconscious. 2009, Organised Sound, Publisher: Cambridge University Press Volume 14 - Issue 1 - April 2009

Sandrine Baranski, Thèse : La musique en réseau, une musique de la complexité? Published 2009

María Andueza, Site-Specific Sound Installations in the Urban Environment, Universidad Complutense de Madrid 2009

News Desk, PERFORMA ANNOUNCES ARTISTS AND COMMISSIONS FOR 2009 EDITION, Artforum, September 17, 2009

Alan Licht, Organised Sound, Sound Art: Origins, development and ambiguities , volume 14 / Issue 01 / April 2009, pp 3-10.

Masaya Nakahara-Jay Sanders, Artforum, September 2009

Judy Dunaway, Sound Commitments: Avant-Garde Music and the Sixties, 2009

Mallory Scott Cusenbery, Fugitive Impressions: Design and the Ephemeral, 2009

Branden W. Joseph -- A talk between Peter Pakesch and Ulrich Loock about Max Neuhaus's Time Pieces -- Max Neuhaus : sound into space / Liz Kotz. 2009

Drever, John Levack. “Sidewalking: Aural Excursions into the Everyday.” In The Ashgate Research Companion to Experimental Music, ed, James Saunders, 163–192. Burlington, VT: Ashgate, 2009.

Ryan, David. “’We have Eyes as well as Ears…’: Experimental Music and the Visual Arts.” In The Ashgate Research Companion to Experimental Music, edited by James Saunders, 193–220. Burlington, VT: Ashgate, 2009.

Cox, Christoph and Daniel Warner, ed. Audio Culture: Readings in Modern Music. New York: The Continuum International Publishing Group Inc., 2009.

Britt, Douglas. “Sound, Sculpture Define Space at Menil.” circumscription" drawings Houston Chronicle. Posted by Douglas Britt -february 12, 2009

Shroth, Kevin Whiteyes. Bakhtinian Aesthetics and Authorship in the Journalism of National Public Radio. Ph.D. diss., University of Iowa, 2009.

Sanders, Jay. “Masaya Nakahara,” Artforum (September 2009).

Daniel Caux, Le Silence, les couleurs du prisme et la mécanique du temps qui passe, Paris, Éditions de l’éclat, 2009.

Kim-Cohen Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art, New York/Londres, Continuum, 2009.

Kim-Boyle, David. “Network Musics: Play, Engagement and the Democratization of Performance.” Contemporary Music Review, 28, no. 4-5 (August 2009), 363–375.

Piekut, Benjamin. “Demolish Serious Cultures! Henry Flynt and Workers World Party.” In Sound Commitments: Avant-Garde Music and the Sixties, ed., Robert Adlington, 37-55. Oxford: University Press, 2009.

Robinson, Julia. “John Cage and Investiture: Unmanning the System.” In Julia Robinson, ed., The Anarchy of Silence: John Cage and Experimental Art. Barcelona: Museu d’Art Contemporani Barcelona, 2009.

Stockhausen, Karlheinz. “Electronic and Instrumental Music.” [1958] In Audio Culture: Readings in Modern Music, ed., Christoph Cox and Daniel Warner, 370-380. New York: The Continuum International Publishing Group Inc., 2009.

Labelle Brandon, Acoustic Territories, Sound Culture and Everyday Life, New York/ Londres, Continuum, 2010.

Peter Kiefer, « Klangräume - Denkräume », in Peter Kiefer, ed. Klangräume der Kunst, Heidelberg, Kehrer, 2010

Kirsi Peltomäki, Situation Aesthetics: The Work of Michael Asher, Londres/Cambridge, The MIT Press, 2010.

Mixed Use, Manhattan, Photography and Related Practices, 1970s to the Present. Edited by Lynne Cooke and Douglas Crimp, with Kristin Poor, The MIT Press, 2010

Giacomo Albert. 'Sound sculptures' e 'sound installations', Fondazione Giorgio Cini, Venezia Università Ca’ Foscari, Venezia 2010

Cahiers, supplément au numéro 370 d’art press. Directeur de la publication Jean-Pierre de Kerraoul, Cnap, 2010 p. 39

Farnell, Andy. Designing Sound. OpenCourseWare, Massachusetts Institute of Technology, MIT Press, 2010.

Max Neuhaus 'Sound Sculpture' - Glories of Clinton High - NYTimes.com, 2/23/2010

Ross Graham Cole, Illusion / Anti Illusion: the Music of Steve Reich in contecst 1965 - 1968. The University of York, 2010 (Master)

Ikegami, Hiroko. The Great Migrator: Robert Rauschenberg and the Global Rise of American Art. Cambridge, MA: The MIT Press, 2010.

Jagoda, Patrick. “Terror Networks and the Aesthetics of Interconnection,” Social Text 28, no. 4 (2010): 65–90.

David Toop . Sinister Resonance: The Mediumship of the Listener. London and New York: Continuum, 2010.

Packer, Renee Levine. This Life of Sounds: Evenings for New Music in Buffalo. New York: Oxford University Press, 2010.

Roberts, Sam. “Art Form’s Pioneer; Achievers’ Incubator,” New York Times (February 19, 2010).

Rodenbeck, Judith. “Artpark 1974-1984,” Artforum (September 2010).

Roberts, Sam. “Bookshelf – Art Form’s Pioneer; Achievers’ Incubator,” New York Times (Feb21, 2010): MB9.

Gann, Kyle. No Such Thing as Silence. New Haven & London: Yale University Press, 2010. 271

Greenlight for Midtown Evaluation Report. New York: New York City Department of Transportation, 2010.

Salomé Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art, New York/Londres, Continuum Books, 2010.

Immediacy and Simultaneity: Utopia of Sound, ed. Diedrich Diederichsen and Constanze Ruhm (Vienna: Academy of Fine Arts, Vienna/Schlebrügge, 2010)

Siemering, William. “A Short History of Threads in Transitions.” AIRblast, December 2010.

Adam Jansch, The voice and the vehicle Integrating live broadcast radio into automated live electronic works, University of Huddersfield United Kingdom, 2-4 June 2010

Liesbeth HUYBRECHTS, Risky objects in an Internet of Things. Published 2010

Judith Rodenbeck, Artpark 1974-1984, Curated by Sandra Q. Firmin, Artforum, Sept 1, 2010

Lauren O’Neill-Butler, Wonder Women, Artforum, Apr 6, 2010

Anette Vandsø, "Listening to the world. Sound, Media and Intermediality in Contemporary Sound Art" In: Soundeffects, Aarhus University, Denmark 2011.

Guy Harries, The electroacoustic and its double : duality and dramaturgy in live performance, PhD Thesis, Electroacoustic Music City University, School of Arts London, 2011

Sara Haefeli, John Cage's HPSCHD, Published 2011

Thomas Brett, On Max Neuhaus: The Sound Installation In Times Square, July 5, 2011

David Toop, Sinister Resonance: The Mediumship of the Listener (Bloomsbury, 2011)

It’s For You, Conceptual Art and the Telephone Curated by Terri C Smith, Housatonic Museum Of Art, Bridgeport, Febrary 24, 2011- March 25, 2011

Hegarty Paul, « Expérience des bruits Bruits d'experience POLI, 11, Politiques sonores, sous la direction de Maxime Boidy, Pali Meursault, et Fred Pailler. octobre 2011.

Schwartz Hillel, Making Noise: From Babel to the Big Bang and Beyond, New York, Zone Books, 2011.

Stefan Helmreich, The Oxford Handbook of Sound Studies. Chapter: “Underwater Music: Tuning Composition to the Sounds of Science” (ed.). Oftord, Oxford University Press, 2011.

Simon Reynolds, Blissed Out: The Raptures of Rock (Rock’s Backpages, 2011).

New Music: Sounds and Voices from the Avant-Garde New York 1971. Footage by Hans G. Helms. New York: New York: Michael Blackwood Productions, Inc., 2011.

The Source Book: Music of the Avant Garde, 1966–1973 LARRY AUSTIN and DOUGLAS KAHN, EDITOR Nilendra Gurusinghe. Published by: University of California Press, 2011

"It's for you", Conceptual Art and the Telephone, Housatonix Museum of Art, Bridgeport, Feb.24, 2011 - March 25, 2011. Curated by Terri C Smith

Housatonic Museum Of Art, Bridgeport, It's for You, Cured by Terri C. Smith, 24-2-2011-

Black Square Cloudcast. BS048 back to Avant-Garde VII, 2011-05-24

John Cage, October Files 12, ed., Julia Robinson. Cambridge, MA: The MIT Press, 2011.

Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage. New York: Zone Books, 2011.

Kaizen, William. “Steps to an Ecology of Communication.” In October Files: Dan Graham, ed., Alex Kitnick, 97-116. Cambridge: The MIT Press, 2011.

Percussion Deconstruction™, Re-imagine Yourself - Part 2 March 26, 2011

Ouzounian, Gascia. “The Uncertainty of Experience: On George Brecht’s Event Scores.” In Journal of Visual Culture 10:2 (2011): 198-211.

Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and its Limits. Berkley, CA: University of California Press, 2011.

Leszek Brogowski, « L’ardeur de l’art même », Pratiques, no 21 : L’Ardeur de l’art même. Pratiques discrètes et leurs non-lieux, automne 2010 (2011), p. 2-18.

La Republica, Maratea ricorda Max Neuhaus, 07-06-2011

Simpson, Kim. Early ‘70s Radio: The American Format Revolution. New York: Continuum Publishing, 2011.

Soundscape, Crossing Listening Paths, Fall / Winter 2011

Karen O'Rourke, Walking and Mapping: Artists as Cartographer, The MITT Press, 2011

Michelle Adrianna Puetz, Variable Aria: Hearing and Seeing Sound in Structural Cinema, 1966–1978, Chigago, Illinois June 2012

Michael Goddard, Benjamin Halligan, and Paul Hegarty, ed Reverberations: The Philosophy, Aesthetics, and Politics of Noise (Bloomsbury Academic, 2012), 3.

Joseph, Branden W. “Wish You Were Here: The Buffalo Avant-Garde in the 1970s,” cureted by Heather Pesanti Artforum (January 2012).

Pinch, Bijsterveld, 2012 : Trevor Pinch, Karin Bijsterveld (dir.), The Oxford Handbook of Sound Studies, Oxford, Oxford University Press, 2012.

Rozalia Jovanovic, Hear, Here: Exploring the Max Neuhaus Installation at Dia: Beacon, 08/14/12

Artforum, “Wish You Were Here: The Buffalo Avant-garde in the 1970s”, curated by Heather Pesanti January 2012

Dieter Daniels, Sounds Like Silence, HMKV, Inke Arns (eds.), 2012

ROSADORAS KUNSTGARTEN, Max Neuhaus: „Three to One“, AOK-Gebäude, DOCUMENTA IX, 1992- Posted: on 23.04.2012 by Rosadora

Sounds Like Silence, Cage/4'33" / Stille 1912 -1952 - 2012, HMKV, Max Neuhaus, Silent Alarm Clock, exhibit 2012

Sounds: Evenings for New Music in Buffalo. Oxford: Oxford University Press, 2012.

Sterne, Jonathan. MP3: The Meaning of a Format. Durham and London: Duke University Press, 2012.

Bradley, Simon. History to Go: Oral History, Audiowalks and Mobile Media,” Oral History 40, No. 1, Journeys (Spring 2012): 99-110.

Heimbecker Haefeli, Sarah, “Review: This Life of Sounds: Evenings for New Music in Buffalo,” American Music 30, No. 1 (Spring 2012): 105-107.

Kletschke, Irene, “Landschaftskompositionen,” Archiv fuer Musicwissenschaft, 69. Jahrg.., H. 3 (2012): 196-206.

Belgrad, Daniel. “Democracy, Decentralization, and Feedback.” In American Literature and Culture in an Age of Cold War: A Critical Reassessment, eds., Steven Belletto and Daniel Grausam, 59-68. Iowa City: University of Iowa Press, 2012.

Woods, Nicole. “Object/Poems: Alison Knowles’s Feminist Archite(x)ture,” Xtra 15, No. 1 (Fall 2012): 7-25.

Jonathan Sterne (dir.), The Sound Studies Reader, Londres, Routledge, 2012.

Peter Weibel (dir.), Sound Art: Sound as a Medium of Art, cat. exp. 2012

Elena Biserna, Sons & Musique, MCD #68, Sept-Oct-Nov 2012

Peter Batchelor, Lowercase Strategies in Public Sound Art: Celebrating the Transient Audience, Music, Technology & Innovation, De Montfort University, Leicester, UK. 2012?

Kathrine Sandys, I Thought I Grew An Ear in My Stomach:The Phenomenological Experience of the Art Eventas Sublime Encounter, Goldsmiths, University of London Submitted for the degree of PhD Music: Sonic Arts, October 2012

Samantha Horseman, Dynamic relationships between the sonic artist, the sonic artwork and its audience : an investigation through theoretically informed creative practice, Published 2012

Per Sjösten, The Sound Labyrinth Project: Catalyst For Creative Activity, Published 2012

PRESERVING AND EXHIBITING MEDIA ART, Challenges and Perspectives, Julia Noordegraaf, Cosetta g. saba,barbara le Maître, aNd ViNzeNz Hediger (eds.), AMSTERDAM UNIVERSITY PRESS, 2013, pp. 9/56/311/371/372/374/384/386/387/388/426.

Jordan Lacey, Conceptual overlays for urban soundscape design emerging from a transversal analysis of Lefebvre, Deleuze and Guattari, and Arendt, SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience, 2013

Julia Noordegraaf, Preserving and Exhibiting Media Art, Publisher: Amsterdam University Press, 2013

Seth Cluett, Loud speaker: Towards a component theory of media sound, Published 2013

Chandrasekhar Ramakrishnan, Akademie Schloss Solitude, Published 2013

Maria Portmann, José Luis Crespo Fajardo (COORD.), Published 2013

HEAR & Now, artists interviews. Book of the exhibition Parisonic. Bilingual French-English. Published By Pure Presence 2013

Gascia Ouzounian, “Sound installation art: from spatial poetics to politics, aesthetics to ethics,” from Music, Sound, and Space: Transformations of Public and Private Experience, Georgina Born, ed., (Cambridge, 2013), 73-89.

David Novak, 'Japanoise' (Duke University Press, 2013), 300.

Klaus Hübner, Neue Zeitschrift für Musik (1991-), Vol. 174, No. 1, Review: EMPFEHLUNG WAGNER (2013), p. 83

Sarah Cook, CHAPTER 10. On Curating New Media Art: Challenges and Perspectives December 2013

Georgina Born, Part I - The design of mediated music and sound, Publisher: Cambridge University Press, 2013

Kahn, Douglas. Earth Sound Earth Signal. Oakland, CA: University of California Press, 2013.

Munster, Anna. Aesthesia of Networks. Cambridge, MA: The MIT Press, 2013.

Piekut, Benjamin. “Chance and Certainty: John Cage’s Politics of Nature.” Cultural Critique 84 (2013): 134-163.

David Allen. Collaboration, Presence and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976. Dissertation. Music. Washington University in St. Louis, 2013: 31

“Plus or Minus 1961 – A Chronology 1959-1963,” in Julia Robinson and Christian Xatrec, eds., ± 1961: Founding the Expanded Arts. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2013: pp. 246-267.

Solomos, 2013 : Makis Solomos, De la musique au son. L’émergence du son dans la musique des xxe-xxie siècles, Rennes, Presses universitaires de Rennes, 2013.

Daniele Balit, « From Ear to Site: On Discreet Sound », Leonardo Music Journal, vol. 23, 2013, p. 59-63

Georgina Born (dir.), Music, Sound and Space: Transformations of Public and Private Experience, Cambridge/New York, Cambridge University Press, 2013.

Carlotta Darò, Avant-Gardes sonores en architecture, Dijon, Les presses du réel, 2013.

Douglas Kahn, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts, Berkeley/Los Angeles/Londres, University of California Press, 2013.

Morat Daniel « Die Sinfonie der Grossstadt, Berlin und New York », in Paul, Gerhard et Schock, Ralph (ed.), Sound der Zeit. Geräusche. Töne. Stimmen - 1889 bis heute, Göttingen, Wallstein, 2014

Löffler Petra ,Verteilte Aufmerksamkeit, Eine Mediengeschichte der Zerstreuung, Zurich, Diaphanes, 2014.

Kane Brian Sound Unseen. Acousmatic Sound in Theory and Practice. Oxtord, Oxtord Universitv Press. 2014.

Alexander Rehding, “Of Sirens Old and New,” Handbook of Mobile Music Studies Volumne 2, ed. Sumanth Gopinath and Jason Stanyek, (Oxford University Press, 2014).

Belgiojoso, Ricciarda. Constructing Urban Space with Sounds and Music. Routledge, 2014.

Victoria Meyers, Shape of Sound: Chapter 4: Sound Urbanism, 2014

shut up and listen! TIME, AND AGAIN Thursday, November 27, 2014

Kirsten Reese, Augmenting Urban Sounds, Article October 2014.

Citton Yves, Pour une écologie de l'attention. Paris, Seuil, 2014.

Finklepearl, Tom. What We Made: Conversations on Art and Social Cooperation. Durham and London: Duke University Press, 2013.

Grubbs, David. Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Durham: Duke University Press, 2014.

Joseph Byrd. NYC 1960 - 1963, American Contemporary Music Ensemble Clarice Jensen, Artistic Director and Alan Zimmerman, percussion. (audio Water Music), 2013

Otte, Allen. "Letter to a Young Percussionist." In The Modern Percussion Revolution: Journeys of the Progressive Artist, eds., Kevin Lewis and Gustavo Aguilar, 284-292. New York: Routledge, 2014.

Piekut, Benjamin, ed., Tomorrow is the Question: New Directions in Experimental Music Studies. Ann Arbor: University of Michigan Press, 2014.

Graham, James, “Musique en fer forge: Erik Satie, Le Corbusier and the Problem of Aural Architecture,” AA Files, No. 68 (2014): 3-15.

Salomé Voegelin, Sonic Possible Worlds: Hearing the Continuum of Sound, New York, Bloomsbury Academic, 2014.

Yvan Etienne, Bertrand Gauguet, Matthieu Saladin (dir.), Tacet. Sound in the Arts, no 3 : From Sound Space/De l’espace sonore, 2014.

Guillaume Faburel, Claire Guiu et al. (dir.), Soundspaces. Espaces, expériences et politiques du sonore, Rennes, Presses universitaires de Rennes, 2014.

Rian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice, Oxford, Oxford University Press, 2014.

Gilles Malatray. EXPÉRIENCES SENSIBLES ET DÉAMBULANTES Relevés de balades sonores – carnets de notes Expériences d'écoutes en marches, Avril 2014

Elisa Cuciniello, Acoustic spaces : la dimensione sonora della fonosfera contemporanea tra città, media e performing arts, Università degli Studi Roma 3, 2014-2015

María Andueza. SPATIALITY AND PUBLIC ART Thoughts on Sound and Urban Space, En: Tacet. De l’espace sonore. Vol.3 (2014) pp.186-227. Le Presses du Réel.

Manuel Rocha Iturbide, The expansion of sound sculpture and sound installation in art, from Accademia, file 2014

Tansy Spinks, Associating Places: Strategies for Live, Site Specific, Sound Art Performance, University of the Arts, London 2014

José Alberto Ribeiro de Campos Martins Pinto, Plasticidades sonoras e corpo intermedia: contributo(s) à afirmação de um corpo experimental sonoro, p 38

William Moran Hutson, Sonic Affects: Experimental Electronic Music in Sound Art, Cinema, and Performance, UCLA Electronic Theses and Dissertations, 2015

Лещенко Ольга Ярославна, К проблеме феноменологии звука, ARTICULT, 2015

Rate This, Max Neuhaus, SONS, ESPACES, TEMPS, 13 FÉVRIER 2015

Max Neuhaus – Walks and Listen, Desartsonnants – Sonos//Faire – La création sonore à portée d'oreille, 18.2.2015

Tom Kohut, “Noise Pollution and the Eco-Politics of Sound: Toxicity, Nature and Culture in the Contemporary Soundscape,” Leonardo Music Journal, Issue 25 (December 2015)

Sterne Jonathan Une histoire de la modernité sonore (2003). trad. par Maxime Body, Paris, La Découverte/Cité de la musique, 2015

Max Neuhaus, Patrick Javault reçoit Daniele Balit et Sylvie Mokhtari, Tuesday, December 15, 2015

Max Neuhaus, lo scultore del suono, Il Mattino di Napoli, Giovedi' 15 gennaio, 2015

Jean-Philippe Velu (dir.), Espace – Sons – Sociétés, Sampzon, Delatour France, 2015.

Mark Grimshaw, Tom Garner, Sonic Virtuality: Sound as Emergent Perception, Oxford/New York, Oxford University Press, 2015.

Diaz, Eva. The Experimenters: Chance and Design at Black Mountain College. Chicago: The University of Chicago Press, 2015.

Lavender, James Huitson. The Call for Sonic Thinking: Gilles Deleuze and the Object of Sound Studies. Dissertation. Cultural Studies/Sound Studies. The University of Leeds, 2015.

Patterson, Zabet. Peripheral Vision: Bell Labs, the S-C 4020, and the Origins of Computer Art. Cambridge: The MIT Press, 2015.

Sterne, Jonathan. "The Stereophonic Spaces of Soundscape." In Living Stereo: Histories and Cultures of Multichannel Sound, ed., Paul Theberge, Kyle Devine and Tom Everrett, 65- 84. New York: Bloomsbury, 2015.

Cheng, Will. Just Vibrations: The Purpose of Sounding Good. University of Michigan Press, 2016.

Mark Paterson, Seeing With the Hands: Blindness, Vision and Touch After Descartes, Édimbourg, Edinburgh University Press, 2016.

Hyperallergic, A Hidden Times Square Sound Installation Returns to Full Hum, by Allison Meier May 19, 2016

Hyperallergic, A Silent Soundwalk, Noisy with Abstract Compositions by Christine Sun Kim, 2016

Mayke Haringhuizen, Creating Places through Listening. The sociological possibilities of sound art in shared public spaces, 2016

Claire Voon A Silent Soundwalk, Noisy with Abstract Compositions revisits Max Neuhaus’s “LISTEN” 50 years later, sound walk (LISTEN) by Christine Sun Kim , 2016 (Exhibition) Hiperallergic, November 4, 2016

Durand, Adrien. "Max Neuhaus a fait exploser les carcans de la musique expérimentale," The Drone (July 12, 2016).

Groth, Sanne Krogh. “The Fylkingen Concert Society, 1950-1975.” In A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975, eds., Tania Orum and Jesper Olsson. Leiden: Brill Rodopi, 2016.

Joseph, Branden W. Experimentations: John Cage in Music, Art and Architecture. New York: Bloomsbury, 2016.

Bill Berkson, Spoleto 65' (Spoleto Festival of Two Worlds, June 26 through July 2, 1965), 15 Sept 2016

Proctor, Jacob. “A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s- 1980s," Artforum (May 2016).

Voon, Claire. “A Silent Soundwalk, Noisy with Abstract Compositions,” Hyperallergic. (November 4, 2016).

Gross, Jason. “Interview with David Behrman.” Furious. 1997.

Matthieu Saladin (dir.), Tacet. Sound in the Arts, no 4 : Sounds of Utopia/Sonorités de l’utopie, 2016.

Michael Bull, Les Back (dir.), The Auditory Culture Reader, Londres, Bloomsbury Academic, 2016.

Noam Milgrom Elcott, Artificial Darkness: An Obscure History of Modern Art and Media, Chicago/Londres, University of Chicago Press, 2016.

Caroline A. Jones, David Mather, Rebecca Uchill (dir.), Experience: Culture, Cognition, and the Common Sense, Londres/Cambridge, The MIT Press, 2016.

Christine Sun Kim, A Silent Soundwalk, Noisy with Abstract Compositions, revisits Max Neuhaus’s “LISTEN” 50 years later, sound walk (LISTEN), 2016

Ethan Cayko, Rhythmic Topologies and the Manifold Nature of Network Music Performance, (Master's thesis, University of Calgary, Calgary, Canada) 2016

Thomas Voyce, Do I Get a Say in This? Environmental Sound Composition, the Phonograph and Intentionality, A thesis submitted to the Victoria University of Wellington, 2016

Reich, Megan A, Soundscape Composition as Environmental Activism and Awareness: An Ecomusicological Approach, University of Puget Sound, 2016

Diana A. Chester, Creative Response-A New Look at Archiving:The Role Artists Play in Developing Creative Response from Field Recordings of Ethnographic Research. in Digital Media – Faculty of Engineering, University of Porto, 2016

Ainsley Klug, The Sonic Quality of Art: When Does Sound Art Create Effective Experiences in Space, 2016

Seth Alexander Ferris, Soundscape of the Factory Floor, UC San Diego Electronic Theses and Dissertations, 2017

Katerina Antonaki, A hybrid way to navigate the city: visual and aural cartography of the city of Athens, International Journal of Arts and Technology, 2017

Rachel Holmes, Listening differently: A pedagogy for expanded listening, British Educational Research Journal, 2017

Marie Thompson, Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism (Bloomsbury Publishing, 2017).

Cheng Will, “Sound Cannons Versus Black Lives,” Huffington Post, December 6, 2017

Steven Friedson, “The Music Box: Songs of Futility in a Time of Torture,” The Research Centre for the Study of Music, Media and Place (Memorial University of Newfoundland), Lecture on February 20, 2017

Steven Friedson, “ 461 See: Paulo Freire, Pedagogy of the Oppressed (Bloomsbury Academic Press, 1968/2000), Myra Bergman Ramos, trans. The Music Box: Songs of Futility in a Time of Torture,” Music and Culture Lecture Series. March 1, 2017.

Charles Eppley, Times Square: Strategies and Contingencies of Preserving Sonic Art, Leonardo Music Journal, Vol. 27, History & Memory (December 2017)

Doppiozero, Neuhaus' Time, 25 September 2017

T E X T—Selected text-based works from the collection of Petur Arason and Ragna Robertsdottir National Gallery of Iceland, 15. Sep 14. May 2017

Aruna Devi Bhaugeerutty, Sound Art: Discourses of Definition in the Contemporary Artworld, Doctor of Philosophy School of Arts and Cultures, Newcastle University August 2017

Riccardo Wanke, « The Emergence of an Ecstatic-materialist Perspective as a Cross-genre Tendency in Experimental Music », Organised Sound, vol. 22, no 3, 2017, p. 428-436.

Caroline A. Jones, « The Blindman; or, How to Visit a World Exhibition », dans The Global Work of Art: World’s Fairs, Biennials, and the Aesthetics of Experience, Chicago, The University of Chicago Press, 2017, p. 1-34.

Jonathan Sterne, La musique programmée des centres Commerciaux: une architecture sonore, 2018

Stuart Mugridge, -becoming-#langscape-[fold here] intra-rupting landscape, language, and the creative act Birmingham School of Art, July 2018

La musique programmée des centres commerciaux: une architecture sonore. 2018

Scripted Culture – Digitalization and the Cultural Public Sphere, published in April 2018, English edition

Anne Zeitz, « Please (Don’t) Pay Attention Please. Écoute, attention et distraction chez Max Neuhaus », dans Balit, 2018, p. 75-79.

Georgina Kleege, More Than Meets the Eye: What Blindness Brings to Art, Oxford, Oxford University Press, 2018.

Christoph Cox, Sonic Flux: Sound, Art, and Metaphysics, University of Chicago Press, 2018

Julien Ottavi, Les nouvelles formes de pratique sonore en réseau : pratique collaborative, création partagée, Internet comme non-espace, écoute prolongée et installation permanente, Published 2018

Simon Holland, TMAP Design Cards for Technology-Mediated Audience Participation in Live Music, Publisher: Springer Nature, 2019

John L Drever, Soundscape Composition: Listening to Context and Contingency, Published 2019

Eleanor Peters, The Use and Abuse of Music: Criminal Records. Publication 2019

Cristiano Raimondi, Floriane Spinetta et al. (dir.), Lars Fredrikson, cat. exp. (Nice, musée d’Art moderne et d’art contemporain, 2019-2020), Monaco/Milan, Nouveau Musée national de Monaco/Mousse Publishing, 2019.

Kelly Kivland and Alexis Lowry, Artforum May 17, 2019

Revue & Corrigée n° 120. paru en juillet 2019 édition française

James A. Steintrager, Rey Chow (dir.), Sound Objects, Durham/Londres, Duke University Press, 2019.

Neuhaus, (1997) Max Neuhaus, « Le son comme médium », dans Neuhaus, 2019, p. 226-227,

Christopher Cox, Sound Art in America: Cage and Beyond. "Sound Art?" Publisher: MIT Press, 2020

David Chesworth, Modalities of the Sonic Frame, Sensory, Unlikely, 2020

Roven #15 – Special Drawing & Sound issue, published in May 2020 French edition

Chris Wahl, Between Art History and Media History: A Brief Introduction to Media Art, Amsterdam University Press is collaborating with JSTOR to digitize. 2020

Clément Canonne, Annelies Fryberger, « But if It’s Not Music, What Is It? Defining Interstitial Artistic Practices », Circuit, vol. 30, no 1, 2020, p. 41-52

Christophe Kihm, « Art sonore ou art d’écouter ? », Circuit, vol. 30, no 1, 2020, p. 25-39

Evgenia A. Grant, On the Fluidity of Honey and Fugitivity of Sound in Trauma, Ecstasy, and Black Radical Tradition, Sotheby's Institute of Art, 2020

Cécile Regnault, Experiential teaching of acoustics in french architecture school, in french architecture school. e-Forum Acusticum 2020, Dec 2020, Lyon, France.

Daniele Balit, Quiet Discomfort: On Silence as Aural Discrimination, Published 2020

Ming-Yuen S. Ma, There is no soundtrack. Rethinking art, media, and the audio-visual contract. (Accademia Online Publication Date: 24 Jun 2020)

Elena Biserna, SUONO Aix Marseille Univ, CNRS, PRISM, Marseille, France TEAMeD, Université Paris 8, 2020

Sigrid Grulke, SOUND ON DISPLAY, Klangartefakte in Ausstellungen, Erschienen 2023 bei: Büchner-Verlag eG, Marburg. Univ. Diss., Humboldt-Universität zu Berlin 2021

John L Drever, Listening as Methodological Tool: Sounding Soundwalking Methods. The Bloomsbury Handbook of Sonic Methodologies, 2021

Gascia Ouzounian, Stereophonica: Sound and Space in Science, Technology and the Arts, Cambridge, The MIT Press, 2021.

Christoph Cox, Sound Art and Time, The Oxford Handbook of Sound Art, Oct 2021

Nicole Robson, Andrew McPherson, Nick Bryan-Kinns, Being With The Waves: An Ultrasonic Art Installation Enabling Rich Interaction Without Sensors, International Conference on New Interfaces for Musical Expression •Published on: Jun 16, 2022

Bernhard Rietbrock, Alvin Lucier's Reflexive Experimental Aesthetics, Published 2022

Léa Dreyer, “We are between matter and light”: Sound and Plastic Space (“espace plastique”) in the Work of Lars Fredrikson (1926–1997, Snow lit rev, 2022

Veronica Budini, 'Teatro e arte in Italia 1959-1969. Dieci anni di storia, azioni, immagini', Galleria a cura di Veronica Budini, Donatella Orecchia, Carlotta Sylos Calò in «Arabeschi. Rivista internazionale di studi su letteratura e visualità», n.19, gennaio-giugno 2022

Anthony Yung, The Zen Master Who Wears Carhartt1: Samson Young, Flash Art (online) 27 October 2022

Chanelle Lalonde, Strained listening: sensing underwater noise pollution in Calder Harben’s ‘Bodies of Water’, June 2022

Francisca Santos Silva Rocha Gonçalves, Acoustic ecology in artistic creation: re-discovering underwater soundscapes, UP FEUP Porto 2022

Sound Studies and Sonic Arts Reader. edited by Julia H. Schröder and Volker Straebel, Berlin University of the Arts. 2022

Léa Dreyer, L’écoute « en aveugle » dans les pratiques plastiques du son de Lars Fredrikson et Max Neuhaus, PERSPECTIVE, 2023

Bana Bissat, Art or Sound: Max Neuhaus’ Love for Serendipity and Anonymity, Sound of Life, 16 Jul 2023

Rossilynne Skena Culgan, You’ve probably stepped on this secret artwork in Times Square, TimeOut New York, Thursday March 9 2023 (Article)

Eva Carlsdöttir Petersen, The Space Between and Beyond Notes: Practice-led Exploration of Graphic Notation as Compositional Method for Song, Music Performance, and Recordings, Liverpool John Moores University, 2023.

Léa Dreyer, « “Le son est le matériau que j’utilise pour transformer un espace en un lieu.” Pratiques de la “sculpture sonore” en milieu architectural (1967-1993) », Sculptures, no 9, 2023.

Hatice Özdoğan Türkyılmaz, René Block’un Türkiye Sanat Ortamıyla Tanışması: Türkiye’yi Seviyorum Türkiye de Beni Seviyor, Tykhe, 8(14), 2023

José Luis Carles Arribas, The Soundscape and Listening as an Approach to Sensuous Urbanism: The Case of Puerta del Sol (Madrid), Publisher: Cogitatio, 2023

Sam Ridout, The Musical Text: Theorizing Openness after Structuralism, Twentieth-Century Music, 2023

Melike Ceylan, Voice Station: A Portfolio of Four Works Exploring Radio Art and Its Mediated Voices, Published 2023

Sabine Breitsameter, from hoerspiel to interactive radio art in the digital networks, audiohyperspace, 2024

Yehuda Safran, The Sound of Pine Needles Falling: The Art of Max Neuhaus. Edited by Rolf J. Goebel, Cambridge University Press: 21 February 2024

Listen Up!: Radio Art in the USA, transcript Verlag, Talk (2025) (pp. 299-303)

Il suono di Max Neuhaus torna a vibrare a Times Square: il video della Dia Art Foundation, Exhibart, 10 Gennaio 2025

Judy Dunaway, The Forgotten 1979 MoMA Sound Art Exhibition, 27 September 2025

Azadeh Nilchiani, The practice of listening to the city in Max Neuhaus’s approach. 2025