Entoptic Phenomena in Audio: Categories of Psychedelic Electroacoustic Composition

References

• Cunningham, S. (2014). LSD no. 1 (1:10) [fixed stereo electroacoustic composition]. Performed in concert of electroacoustic miniatures, Mexican Centre for Music and Sonic Arts (CMMAS), Morelia, Mexico, June 21, 2014.
   Google Scholar
• Emmerson, S. (1986). The relation of language to materials. In S. Emmerson (Ed.), The language of electroacoustic music (pp.17–39) Basingstoke: Macmillan.
   Google Scholar
• Gibson, W. (1995). Neuromancer. London: Voyager.
   Google Scholar
• Gottfried, H. (Producer), & Russell, K. (1980). Altered states [ Motion picture]. Hollywood, CA: Warner Bros.
   Google Scholar
• Hendrix, J. (1968).  …  And the Gods Made Love [Performed by The Jimi Hendirx Experience]. On Electric Ladyland [2xLP]. 613008/9. London: Track Record.
   Google Scholar
• Hobson, A. J. (2002). Consciousness and brain science. In The dream drugstore: Chemically altered states of consciousness (pp. 3–27) Cambridge: MIT Press.
   Google Scholar
• Huxley, A. (1994). The doors of perception/Heaven and hell. London: Flamingo.
   Google Scholar
• Kendall, G. (2010). Spatial perception and cognition in multichannel audio for electroacoustic music. Organised Sound, 15(3), 228–238. Cambridge University Press. doi: 10.1017/S1355771810000336
   Web of Science ®Google Scholar
• Klüver, H. (1971). Mescal and mechanisms of hallucinations. Chicago: University of Chicago Press.
   Google Scholar
• Leary, T. (1994). Chaos and cyberculture. Berkeley, CA: Ronin Publishing.
   Google Scholar
• Leary, T. (1998). The seven tongues of god. In T. Leary, T. Robbins, & R. U. Sirius (Eds.), The politics of ecstasy, (4th ed, pp. 13–63). Oakland, CA: Ronin Publishing.
   Google Scholar
• Leary, T. (2003). The psychedelic experience: A manual based on the Tibetan book of the dead. London: Penguin Classics.
   Google Scholar
• Lennon, J., & McCartney, P. (1966). Tomorrow never knows [Performed by The Beatles]. On Revolver [LP]. PCS 7009. UK: Parlophone.
   Google Scholar
• Lewis-Williams, J. D. (2004). The mind in the cave: Consciousness and the origins of art. London: Thames & Hudson.
   Google Scholar
• Lewis-Williams, J. D., & Dowson, T. A. (1988). The signs of all times: Entoptic phenomena in upper paleolithic art. Current Anthropology, 29 (2), 201–245. doi: 10.1086/203629
   Web of Science ®Google Scholar
• Lilly, J. (1972). The centre of the cyclone: Looking into inner space. Oakland, CA: Ronin Publishing.
   Google Scholar
• Lloyd, J. U. (1992). Etidorhpa: Or the end of the earth – the strange history of a mysterious being and the account of a remarkable journey. (Rev. ed.). Whitefish, MT: Kessinger Publishing Co.
   Google Scholar
• Ludwig, A. M. (1969). Altered states of consciousness. In C. Tart (Ed.), Altered states of consciousness: A book of readings (pp. 9–22). New York: Wiley.
   Google Scholar
• Nugent, T., & Farmer, S. (1998). Journey to the center of the mind [Performed by Amboy Dukes]. On Nuggets – Original artyfacts from the first psychedelic era 1965–1968 [4xCD]. Burbank, CA: Rhino Entertainment.
   Google Scholar
• Slick, G. (1967). White rabbit [Performed by Jefferson Airplane]. On Surrealistic pillow. New York: RCA Victor.
   Google Scholar
• Stewart, G., & Kaye, L. ( Compilation Producers). (1998). Nuggets: Original artyfacts from the first psychedelic era, 1965–1968 [Performed by various artists]. Burbank, CA: Rhino.
   Google Scholar
• Strassman, R. (2001). DMT: The spirit molecule: A doctor's revolutionary research into the biology of near-death and mystical experiences. Rochester, VT: Park Street.
   Google Scholar
• Tart, C. (1969). Altered states of consciousness: A book of readings. New York: Wiley.
   Google Scholar
• Toolbox Records. (2014). Hardcore jewellery 01 [Record store listing]. Retrieved from http://www.toolboxrecords.com/en/product/21377/unformated-breakz/hardcore-jewellery-01/
   Google Scholar
• Truax, B. (2009a). Chalice well [Electroacoustic composition]. Performed at Keele University, 2009.
   Google Scholar
• Truax, B. (2009b). The shaman ascending [Electroacoustic composition]. Performed at Keele University, 2009.
   Google Scholar
• Tucker, A., & Mantz, N. (1998). I had too much to dream (last night) [Performed by the Electric Prunes]. On Nuggets – Original artyfacts from the first psychedelic era 1965–1968 [4xCD]. Burbank, CA: Rhino Entertainment.
   Google Scholar
• Weinel, J. (2007). Flashcore: Earth atomizer, let’s go. Spannered. Retrieved from http://www.spannered.org/music/1181/
   Google Scholar
• Weinel, J. (2010). Entoptic phenomena in audio [Electroacoustic laptop performance]. Performed at the Analogous interactions concert, ISSUE Project Room, Brooklyn, NYC, May 31, 2010. Part of the International Computer Music Conference.
   Google Scholar
• Weinel, J. (2013). Nausea: An approach to sonic arts composition based on ASC. In R. Picking, S. Cunningham, N. Houlden, D. Oram, V. Grout, & J. Mayers (Eds.), Proceedings of the fifth international conference on internet technologies & applications (pp. 169–176). Wales: Glyndŵr University.
   Google Scholar
• Weinel, J. (2014). Entoptic phenomena in audio [LP]. JEWEL-001. Hardcore Jewellery. Streaming audio clips of the full compositions are retrieved from http://www.hardcorejewellery.co.uk/releases.html
   Google Scholar
• Weinel, J., Cunningham, S., & Griffiths, D. (2014). Sound through the rabbit hole: Sound design based on reports of auditory hallucination. In M. Grimshaw and M. Walther-Hansen (Eds.), Proceedings of the 9th audio mostly: A conference on interaction with sound (AM ‘14). Aalborg: Aalborg University. doi:10.1145/2636879.2636883
   Google Scholar