Download Bibliographie | Bibliography Bateson, G. (1977), « Une théorie du

Survey
yes no Was this document useful for you?
   Thank you for your participation!

* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project

Document related concepts
no text concepts found
Transcript
Bibliographie | Bibliography
BATESON, G. (1977), « Une théorie du jeu et du fantasme », Vers une écologie de l’esprit,
t.1, [trad. F. Drosso, L. Lot & E. Simion], Paris : Seuil.
— (1955), “A Theory of Play and Fantasy,” in Gregory Bateson (2000), Steps to an Ecology of
Mind, Chicago: University of Chicago Press.
BATESON, G. & RUESCH, J. (1988), Communication et société, [trad. G. Dupuis], Paris :
Seuil.
— (1951), Communication: The Social Matrix of Psychiatry, New York: W.W.Norton &
Company.
BELL, D.A. (1968), Information Theory and its Engineering Applications, London: Sir Isaac
Pitman & Sons Ltd.
BROOKS, W. (1982), “Choice and Change in Cage’s Music,” in Gena, P. and Brent, J. (eds.),
A John Cage Reader in Celebration of his Seventieth Birthday, New York: C.F. Peters.
CAGE, J. (1948), “Defense of Satie,” in Kostelanetz R. (ed.) (1991), John Cage: An
Anthology, New York: Da Capo Press, pp. 77–83.
— (2002), Pour les oiseaux. Entretiens avec Daniel Charles, Paris : L’Herne.
— (1981), For the Birds: John Cage in Conversation with Daniel Charles, Boston: Marion Boyars.
— (2003), Silence. Conférences et écrits, [trad. V. Barras], Genève : Héros-Limite.
— (1961), Silence, Hanover (CT): Wesleyan University Press.
CAGE, J. & GENA, P. (1982), “After Antiquity: John Cage in Conversation with Peter Gena,” in
Gena P. & Brent J. (eds.), A John Cage Reader in Celebration of his Seventieth Birthday, New York:
C. F. Peters.
CHERRY, C. (1953), “Some Experiments on the Recognition of Speech, With One and With
Two Ears,” Journal of Acoustical Society of America, 25 (5), pp. 975–979.
CONWAY, F. & SIEGELMAN, J. (2005), Dark Hero of the Information Age: In Search of
Norbert Wiener, The Father of Cybernetics, New York: Basic Books.
HOLZAEPFEL, J. (1994), “David Tudor and the Performance of American Experimental
Music, 1950–1959,” Ph.D. Dissertation, City University of New York.
— (2001), “David Tudor and the Solo for Piano,” in Bernstein D. (ed.), Writings Through
John Cage's Music, Poetry, and Art, Chicago: University of Chicago Press.
— (2002), “Cage and Tudor,” in Nicholls D. (ed.), The Cambridge Companion to John
Cage, Cambridge (MA): Cambridge University Press.
KIRBY, M. & SCHECHNER, R. (1965), “An Interview with John Cage,” Tulane Drama
Review 10, n°2 (Winter), pp.50–72.
KOSTELANETZ, R. (éd.) (2000), Conversations avec John Cage, [trad. M. Dachy], Paris :
Éditions des Syrtes.
— (2003), Conversing with Cage, New York: Routledge.
LACAN, J. (1978), Le Séminaire II : Le Moi dans la théorie de Freud et dans la technique de
la psychanalyse, Paris : Seuil.
LACAN, J. & MILLER, J.-A. (eds.) (1988), The Seminars of Jacques Lacan: Book 2, The ego in Freud's
theory and in the technique of psychoanalysis, 1954-1955, [trans. by S. Tomaselli], Cambridge
(MA): Cambridge University Press.
LETTVIN, J., MATURANA, H., MCCULLOCH, W. & PITTS, W. (1959), “What the Frog's Eye Tells
the Frog's Brain,” Proceedings of the Institute of Radio Engineers 47, pp. 1940–1951.
— (1960), “Anatomy and Physiology of Vision in the Frog,” Journal of General Physiology, 43, pp. 129–175.
LIVET, A. (ed.) (1978), Contemporary Dance, New York: Abbeville Press.
MATURANA, H. & VARELA, F. (1980), Autopoiesis: The Organization of the Living, Dordrecht:
Reidel Publishing Company.
D.
RAINER, Y. (1965), “Some Retrospective Notes on a Dance for 10 People and 12 Mattresses
called Parts of Some Sextets,” in Rainer Y. (1974), Work 1961–73, Halifax (NS): Press of
the Nova Scotia College of Art and Design.
— (1966), “A Quasi Survey of Some ‘Minimalist’ Tendencies in the Quantitatively
Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A,” in Battcock G.
(ed.) (1968), Minimal Art: A Critical Anthology, New York: Dutton.
— (2008), Une femme qui… Écrits, entretiens, essais critiques, [trad. F. Senger], Dijon :
Les presses du réel.
— (1981), “Looking Myself in the Mouth,” in Yvonne Rainer (1999), A Woman Who…:
Essays, Interviews, Scripts, Baltimore & London: John Hopkins University Press.
RUSSELL, B. & WHITEHEAD, A. N. (1910), Principia Mathematica Vol. 1, London:
Cambridge University Press.
SCHECHNER, R. (1989), “PAJ Distorts the Broad Spectrum,” TDR: The Drama Review, 33, pp.
4–9.
SHANNON, C. (1948), “A mathematical theory of communication,” Bell System Technical Journal
Vol. 27, July, pp. 379–423, and October, 623–656.
— (1949), “Communication Theory of Secrecy Systems,” Bell System Technical Journal 28 (4),
pp. 656–715.
TENNEY, J. (1988), Meta-Hodos and Meta Meta-Hodos: A Phenomenology of 20th Century Musical
Materials and an Approach to the Study of Form, Santa Fe (NM): Frog Peak Music.
WEAVER, W. & SHANNON, C. (1975), Théorie mathématique de la communication, [trad. J.
Cosnier, G. Dahan et S. Economidès], Paris : CEPL.
— (1949), The Mathematical Theory of Communication, Urbana (IL): Universitu of Illinois
Press.
WIENER, N. (1948), Cybernetics: or Control and Communication in the Animal and the
Machine, New York: J. Wiley.
WOLFF, C. (1998), Cues: Writings & Conversations, Cologne: MusikTexte.