Agamben, G. (2009). What is an apparatus?: And other essays. Stanford, CA: Stanford University Press.
Agarwal, D. (2010). Team Emotional Intelligence in Design Thinking Process.
Ahmed, S. (2010). Orientations Matter. In D. Coole & S. Frost (Eds.). New Materialisms: Ontology, Agency, and Politics. Duke University Press
Ahmed, S. (2014). The Cultural Politics of Emotion (NED-New edition, 2). Edinburgh University Press.
Alm, M. (1997). The role of talk in the writing process. In E. Peck & J. Mink (Eds.). Common Ground: Feminist Collaboration in the Academy. New York: State University of New York Press.
Aszodi, J. (2017, April 19). Undisciplined Music. Retrieved from https://nmbx.newmusicusa.org/undisciplined-music/
Atanasovski, Srdjan. (2015). Consequences of the affective turn: Exploring music practices from without and within. Muzikologija. 2015. 57-75.
Auslander, P. (2006). Musical Personae. Tdr-the Drama Review-a Journal of Performance Studies. 50. 100-119.
Auslander, P. (2008). Liveness: Performance in a Mediatized Culture. Abingdon: Routledge.
Auslander, P. (2021). In Concert: Performing Musical Persona. Michigan: University of Michigan Press.
Bailey, M. M. (2016). Black Gay (Raw) Sex. In E. P. Johnson (Ed.). No Tea, No Shade: New Writings in Black Queer Studies (pp. 239–261). Duke University Press.
Barrett, M.S. (2016). Collaborative Creativity and Creative Collaboration: Troubling the Creative Imaginary. In M. Barrett (Ed.). Collaborative Creative Thought and Practice in Music. London: Taylor & Francis
Belting, H. (2005). Image, Medium, Body: A New Approach to Iconology. Critical Inquiry; Winter 2005; 31, 2.
Berne, E. (1964). Games People Play: The Psychology of Human Relationships. New York: Grove Press.
Besnier, N. (2015). Commentary: Intimacy through the Ethnographic Lens. The Cambridge Journal of Anthropology 33, no. 2 (2015): 106-10.
Bickerstaff, J. (2011). Collaborative Theatre/Creative Process. Communication and Theater Association of Minnesota Journal, 38, 42-54.
Birringer, J. (1991). Video Art/Performance: A Border Theory. Performing Arts Journal, 13(3), 54-84.
Bishop, C. (2012). Artificial hells: participatory art and the politics of spectatorship. London: Verso.
Bion, W. R. (1961). Experiences in Groups and Other Papers. London: Tavistock Publication.
Bolt, B. (2016). Artistic Research: A Performative Paradigm. Parse Journal, (No 3) eds
Born, G. (2005). On Musical Mediation: Ontology, Technology and Creativity. Twentieth-Century Music, vol. 2, (7-36)
Borregaard, A. (2020). Performing Jennifer Walshe's SELF-CARE. In J. Koslovsky & M. Schuijer (Eds.). Music Performance Encounters: Collaborations and Confrontations. Routledge: forthcoming.
Boseley, M. (2020, December 22). 'Everyone and their mum is on it': OnlyFans booms in popularity during the pandemic. Retrieved from https://www.theguardian.com/technology/2020/dec/23/everyone-and-their-mum-is-on-it-onlyfans-boomed-in-popularity-during-the-pandemic
Britannica, T. Editors of Encyclopaedia (2017, December 27). auteur theory. Encyclopedia Britannica. Retrieved from https://www.britannica.com/art/auteur-theory
Butler, J. (1990). Gender Trouble. NewYork: Routledge.
Butler, Judith. (1993). Imitation and Gender Insubordination. In H. Abevlove, M.A. Barale, & D.M. Halperin (Eds.). LESBIAN AND GAY STUDIES READER. New York: Routledge. 307-320
Buxton, A. (Host) (2020, October 25). Episode 136 [podcast]. The Adam Buxton Podcast. https://www.adam-buxton.co.uk/podcasts/7-bfk9m-4l8kp-blcga-jwabs-blbb8-b9mjx-fj3gr-j4lyp-9jlhe-a4bhm-c67yy-szhgm-m8pcd-l376z
Caferty, H., & Clausen, J. (1997). What’s Feminist about it? Reflections on Collaboration in Editing and Writing. In Peck, E., Mink, J. (Eds.). Common Ground: Feminist Collaboration in the Academy. New York: State University of New York Press.
Carfoot, G. (2003). Deleuze and music : a creative approach to the study of music [Masters by Research thesis, University of Queensland].
Carson, A. (2020). 5. Putting Her in Her Place: Woman, Dirt, and Desire. In F. Zeitlin, J. Winkler & D. Halperin (Ed.). Before Sexuality: The Construction of Erotic Experience in the Ancient Greek World (pp. 135-170). Princeton: Princeton University Press.
Ciciliani, M. (2017). In M. Rebhahn & T. Schäfer (Eds.). Music in the Expanded Field - On Recent Approaches to Interdisciplinary Composition. Darmstädter Beiträge zur Neuen Musik, Band 24, Mainz: Schott Verlag.
Clayton, M., Sager, R., & Will., U. (2005). In time with the music: The concept of entrainment and its significance for ethnomusicology. European Meetings in Ethnomusicology, 11, 2–16.
Cook, N. (2014). Beyond the score: Music as performance. New York, NY: Oxford University Press.
Craenen, P. (2014). Composing under the Skin: The Music-making Body at the Composer’s Desk. (01 ed.). Leuven: Leuven University Press.
Crawley, E. (1960). Revival: The Mystic Rose. Taylor & Francis.
Creamer, E. (2004). Collaborators' Attitudes About Differences of Opinion. The Journal of Higher Education. 75. (pp.556-571).
Crispin, D. (2019). Artistic Research as a Process of Unfolding. Retrieved from https://www.researchcatalogue.net/view/503395/503396
Dedominici, R. (2013). The Redux Project. https://dedomenici.com/redux
Delanda, M. (2006). A New Philosophy of Society: Assemblage Theory and Social Complexity. London & New York: Continuum.
Deleuze. G. & Guattari, F. (2014). In B. Massumi (Trans.). A Thousand Plateaus. London: Continuum.
Deleuze, G. & Parnet, C. (1987). Dialogues. London: The Athlone Press.
D’Errico, L. (2018). Introduction. In Powers of Divergence: An Experimental Approach to Music Performance (pp. 13–32). Leuven University Press.
De Assis, P. (n.d.). The conditions of creation and the haecceity of music material: Philosophical-aesthetic convergences between Helmut Lachenmann and Gilles Deleuze. Retrieved from
Doğantan-Dack, M. (2012). The Art of Research in Live Music Performance. Music Performance Research, vol. 5
Dorado, M. (2012, January 29). Straight Actors Playing Queer Characters: This is Exhausting. Retrieved from https://medium.com/incluvie/straight-actors-playing-queer-characters-this-is-exhausting-e955b1c0a218
Doyle, J. (2013). Hold it against me: Difficulty and emotion in contemporary art. Durham: Duke University Press.
Edition S. Jeppe Ernst. Retrieved from https://edition-s.dk/composers/jeppe-ernst
Fischer-Lichte, E. (2008). The transformative power of performance: A new aesthetics. New York: Routledge.
Fitch, F., & Heyde, N. (2007). ‘Recercar’ – The Collaborative Process as Invention. Twentieth-Century Music, 4, 71 - 95.
Frisk, H., & Östersjö, S. (2006). Negotiating the Musical Work. An empirical study on the inter-relation between composition, interpretation and performance. Malmö Academy of Music & Lund University. EMS - Beijing 2006. Retrieved from http://www.henrikfrisk.com/documents/articles/NegotiateEMS/html/node2.html
Gilhooly, J. (2013). GYORGY KURTAG. Retrieved from https://royalphilharmonicsociety.org.uk/awards/gold-medal/gyorgy-kurtag
Gilson, N. (2012, August 18). Conway’s Law: the little-known principle that influences your work more than you think. Retrieved from https://www.atlassian.com/blog/teamwork/what-is-conways-law-acmi
Goulding, C. (1998). Grounded theory: the missing methodology on the interpretivist agenda. Qualitative Market Research, 1 (1)
Groth, S.K. (2016). Composers on Stage: Ambiguous authorship in contemporary music performance. Contemporary Music Review. 36, 1, pp. 686-705.
Grotowski, J. (1968). In E. Barba & P. Brook (Eds.). Towards a Poor Theatre. New York: Simon and Schuster.
Hatfield, E., Cacioppo, J. T., & Rapson, R. L. (1993). Emotional Contagion. Current Directions in Psychological Science, 2(3), 96–99.
Hayden, S., & Windsor, L. (2007). Collaboration and the composer: Case studies from the end of the twentieth century. Tempo, 240, 28–39.
Heddon, D., & Howells, A. (2011) From talking to silence: a confessional journey. PAJ: A Journal of Performance and Art, 33 (1).
Herrmann, M. (1930) “Das theatricalishe Raumerlebnis,” in Bericht vom 4. Kongress fuer Aesthetik und Allgemeine Kuntstwissenschaft, Berlin: Beilagenheft
Howard, P. (2019). Collaboration as a New Creative Imaginary: Teachers’ Lived Experience of Co-Creation. Indo-Pacific Journal of Phenomenology. 19. 1-12.
Ingamells, A. (2016) Stop inhaling Oxygen and exhaling Carbon Dioxide, because “we did that in the 60s” In G. Gronemeyer (Ed.). Musiktexte Zeitschrifte für Neue Musik, 149. Cologne: Verlag Musiktexte. Retrieved fromhttps://musiktexte.de/WebRoot/Store22/Shops/dc91cfee-4fdc-41fe-82da-0c2b88528c1e/MediaGallery/Ingamells.pdf
Jameson, F. (1991) Postmodernism, Or, The Cultural Logic of Late Capitalism. Durham: Duke University Press.
Jensenius, R. (2012, March 12). Disciplinarities: intra, cross, multi, inter, trans. Retrieved from https://www.arj.no/2012/03/12/disciplinarities-2/
John-Steiner, V. (2000). Creative Collaboration. Oxford: Oxford University Press.
Joseph Beuys (n.d.). Retrieved from https://walkerart.org/collections/artists/joseph-beuys
Just, T. (2014). After Opera. In J. Zorn (Ed.). Arcana VII. Retrieved from https://objectcollection.us/wp-content/uploads/2017/04/After-Opera-travis-just.pdf
Kaiser, P. (2004). On Creative Collaboration. In R. Boland & F. Collopy (Eds.). Managing as Designing. CA: Stanford University Press
Kanga, Z. (2014). Inside the Collaborative Process: Realising New Works for Piano [PhD Thesis, Royal Academy of Music, London]. Retrieved from https://static1.squarespace.com/static/56d6c3d6d51cd4de9d02d5b1/t/5e1e35136bf4cf739d06b4b7/1579038042307/Zubin+Kanga+-+PhD+thesis-compressed.pdf
Kanga, Z. (2021). Zubin Kanga. Retrieved from http://www.zubinkanga.com/
Kemp, R. (2012). Embodied acting: what neuroscience tells us about performance. London: Routledge.
Kim, J. M. (2020). Incorporating in-game sounds and actions into their compositions, Lil' Jürg Frey find a new way to play Animal Crossing: New Horizons. The Wire, no. 438, 84.
Knowles, A. (1963). Shoes of your choice [Text score]. Retrieved from https://www.aknowles.com/eventscore.html
Lehmann, H.-T., & Jürs-Munby, K. (2006). Postdramatic theatre. London: Routledge.
Levina, M. (2020). Queering Intimacy, Six Feet Apart. QED: A Journal in GLBTQ Worldmaking 7, no. 3, 195-200.
Local Government Act 1988, S. 28. (England, Scotland, Wales). S. 28 repealed: (S.) (29.3.2001). Retrieved from https://www.legislation.gov.uk/ukpga/1988/9/section/28?view=extent
Macarthur, S., In Lochhead, J. I., & In Shaw, J. R. (2016). Music's immanent future: The Deleuzian turn in music studies. Farnham: Routledge.
Machon, J. (2013). Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. Basingstoke: Palgrave.
Marsh, J. (2012, March 29). Do Mirror Neurons Give Us Empathy? Retrieved from https://greatergood.berkeley.edu/article/item/do_mirror_neurons_give_empathy
Mason, P. (2015). PostCapitalism: A guide to our future. London: Penguin.
McCutcheon, R. (2020). Catching a Feeling: A Practice-based Inquiry into Affective Contagion in Elizabeth Inchbald’s The Massacre. In F. Walshe (Ed.). Theatres of Contagion: Transmitting Early Modern to Contemporary Performance. (5, 71-86) London: Methuen Drama.
McGlotten, S. (2013). Virtual Intimacies: Media, Affect, and Queer Sociality. Albany: State University of New York Press.
Mercer, N., Dawes, L., Wegerif, R. and Sams, C. (2004). Reasoning as a scientist: ways of helping children to use language to learn science. British Educational Research Journal, 30: 359-377.
Nickel, L. (2016). OCCAM NOTIONS: COLLABORATION and the PERFORMER'S PERSPECTIVE in ÉLIANE RADIGUE'S OCCAM OCEAN. Tempo. 70, 22-35.
Nickel, L. (2020). SCORES IN BLOOM: SOME RECENT ORALLY TRANSMITTED EXPERIMENTAL MUSIC. Tempo. 74, 54-69.
Paskvan, D. (2017). The New Discipline and its Artificial Hells. Accessed 23/3/2021. Retrieved from http://www.danikapaskvan.com/essays/2017/7/12/the-new-discipline-and-its-artificial-hells-on-art-pain-and-responsibility
Patch. J. (2017). Representational Bind: Why Campaign Music Often Fails. American Music 35, no. 4 (2017): 418-27.
Perel, E. [Psychotherapy Networker]. (2015, December 11). Esther Perel - Boomers, Millennials, and the New Intimacy [Video]. Youtube. https://www.youtube.com/watch?v=TWWRK7VXXJ0
Perel, E. (2021). Meet Esther. Retrieved from https://www.estherperel.com/about
Pollard, D. (2005, March 25). Will That Be Coordination, Cooperation, or Collaboration? Retrieved from https://howtosavetheworld.ca/2005/03/25/will-that-be-coordination-cooperation-or-collaboration/
Ravel, M. (1913). O ‘Parizhskoi’ redaktsii ‘Khovanshchiny’. Muzyka, 129, 338–42.
Read, A. (1993). Theatre in Everyday Life. London and New York: Routledge.
Ridout, N. (2006). Stage Fright, Animals, and Other Theatrical Problems. Cambridge: Cambridge University Press.
Roche, H. (2011). Dialogue and Collaboration in the Creation of New Works for Clarinet [Doctoral thesis, University of Huddersfield].
Rodenburg, P. (2009). Presence: How to Use Positive Energy for Success in Every Situation. London: Penguin Adult.
Roe, Paul (2007). A phenomenology of collaboration in contemporary composition and performance [Doctoral thesis, University of York].
Rogoff, B. (1990). Apprenticeships in thinking: Cognitive development in social context. New York, NY: Oxford University Press.
Rowley, C., & Spear, J. (2021). Schedule Meeting: Keeping it live in Bastard Assignments' lockdown jams. Journal of Music, Health, and Wellbeing: Music in the Wake of COVID-19: Challenges, Adaptations, and New Practices. Forthcoming.
Sawyer, K. (2015). Group Flow and Group Genius. The NAMTA Journal, 40(3) 29-52
Sawyer, K. (2016). Musical Performance as Collaborative Practice. In M.S. Barrett (Ed.). Collaborative Creative Thought and Practice in Music. (18). London: Taylor & Francis. Retrieved from https://bookshelf.vitalsource.com/reader/books/9781317164432/epubcfi/6/68[%3Bvnd.vst.idref%3Dch18]!/4
Sawyer, K., John-Steiner, V., Moran, S., Sternberg, R.J., Feldman, D.H., Nakamura, J., & Csikszentmihalyi, M. (2003). Creativity and development. Oxford: Oxford University Press.
Sawyer, K., & DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81–92.
Schechner, R. (1988). Performance Studies: The Broad Spectrum Approach. TDR (1988-), 32(3), 4–6. https://doi.org/10.2307/1145899
Schechner, R. (1999) Jerzy Grotowski: 1933-1999. TDR/The Drama Review 1999; 43: 2 (162), 5–9. Massachusetts: The MIT Press.
Sdraulig, C. (2021) About. Retrieved from https://www.charliesdraulig.com/about
Sehlikoglu, S., & Zengin, A. (2015). Introduction: Why Revisit Intimacy? The Cambridge Journal of Anthropology, 33(2), 20–25.
Sennett, R. (2012). Together: The rituals, pleasures and politics of cooperation. New Haven, CT: Yale University Press.
Segal, N. (2020). Touching and Not Touching: The Indirections of Desire. In C. Nirta, D. Mandic, A. Pavoni & A. Philippopoulos-Mihalopoulos (Eds.). TOUCH (pp. 29–87). London: University of Westminster Press.
Shlomowitz, M. (2016). The Automaton Approach. In G. Gronemeyer (Ed.). Musiktexte Zeitschrifte für Neue Musik, 149. Cologne: Verlag Musiktexte. Retrieved from https://musiktexte.de/WebRoot/Store22/Shops/dc91cfee-4fdc-41fe-82da-0c2b88528c1e/MediaGallery/Shlomowitz.pdf
Shmurak, S. (2006). Demystifying Emotion: Introducing the Affect Theory of Silvan Tomkins to Objectivists. The Journal of Ayn Rand Studies, 8(1).
Shulman, L. S. (2004). Just in case: Reflections on learning from experience. In L.S. Shulman, The wisdom of practice: Essays on teaching, learning and learning to teach (pp. 462–82). San Francisco, CA: Jossey-Bass.
Small, C. (1999). Musicking — the meanings of performing and listening. A lecture Music Education Research, 1:1, 9-22, DOI: 10.1080/1461380990010102
Smart Museum of Art. (2012, February 14). Alison Knowles: Fluxus Event Scores [Video]. Vimeo. https://vimeo.com/36770983
Snell, M. (2020). Lipsynching. London: Bloomsbury Academic
Spinoza, B. de (1994). In E. Curley (Ed. and trans.). A Spinoza Reader: The Ethics and Other Works. Princeton, NJ: Princeton University Press.
Staiger, J. (1992). FILM, RECEPTION, AND CULTURAL STUDIES. The Centennial Review 36, no. 1 (1992): 89-104.
Steiner, T. (1992). Composition: Interaction and Collaboration [Doctoral thesis, City University, London].
Stene, H. (2016). This is Not a Drum. Towards a Post-Instrumental Practice [PhD Critical Reflection, Norwegian Academy of Music] Retrieved from http://hdl.handle.net/11250/2379520
Takasugi, S. (2016). Why Theater? or A Series of Uninvited Guests. In G. Gronemeyer (Ed.). Musiktexte Zeitschrifte für Neue Musik, 149. Cologne: Verlag Musiktexte. Retrieved from
Taylor, A. (2016). ‘Collaboration’ in Contemporary Music: A Theoretical View, Contemporary Music Review, 35:6, 562-578
ThingNY. (2020). Subtracttttttttt. Retrieved from http://www.thingny.com/subtracttttttttt.html
Thompson M. & Biddle, I. (2013). Introduction: Somewhere between the signifying and the sublime. In: Sound, music, affect: theorizing sonic experience. London: Bloomsbury, pp. 1-23.
Torrence, J. (2018). Rethinking the Performer: Towards a Devising Performance Practice. VIS – Nordic Journal for Artistic Research, 0. Retrieved from https://www.researchcatalogue.net/view/391025/391476/25/26
Torrence, J. (2019). Percussion Theatre: a body in between [PhD Critical Reflection, Norwegian Academy of Music]. Retrieved from https://www.researchcatalogue.net/view/533313/533314/0/0
Ultimate Guide to Onlyfans (n.d.). Retrieved from https://influencermarketinghub.com/glossary/onlyfans/#:~:text=In%202019%2C%20OnlyFans%20reportedly%20had%20about%2060%2C000%20content%20creators.,OnlyFans%20had%20700%2C000%20content%20creators
Vassenden, E. (2013). What is critical reflection? A question concerning artistic research, genre and the exercise of making narratives about one’s own work. For the Norwegian Artistic Research Programme. Retrieved from http://artistic-research.no/wp-content/uploads/2012/09/What-is-critical-reflection.pdf
Vella, R. (1990). Music/theatre as a theatre of ideas. NMA 8 Magazine. Retrieved from https://www.rainerlinz.net/NMA/repr/Music_theatre.html
Vilaça, A. (2015). Do Animists Become Naturalists when Converting to Christianity?: Discussing an Ontological Turn. The Cambridge Journal of Anthropology, 33(2), 3–19.
Voithofer, M. (2018). “That it’s not too late for us to have bodies” Notes on Extended Performance Practices in Contemporary Music. Volumes 5-7. Special 3-volume Edition, 2019-2020: Performance Studies Network Conference, Oslo. (July 2018). Retrieved from https://www.musicandpractice.org/volume-6/notes-on-extended-performance-practices-in-contemporary-music/#Endnotes
Walsh, F. (2014). Touching, Flirting, Whispering: Performing Intimacy in Public. TDR (1988-), 58(4), 56-67.
Walsh, F. (2020). Theatres of Contagion: Transmitting Early Modern to Contemporary Performance. London: Methuen Drama.
Walshe, J. (2016, January). Retrieved from http://milker.org/the-new-discipline
Walshe, J. (2017). SELF-CARE [Accordion Score].
Wanderley, M. M. (2002). Quantitative Analysis of Non-obvious Performer Gestures. In I. Wachsmuth & T. Sowa (Eds.) Gesture and Sign Language in Human-Computer Interaction. Springer-verlag. Berlin Heidelberg.
Yarrow, R. (2002). In F. Chamberlain (Eds.). Jacques Lecoq and the British Theatre. London: Routledge Print.