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Conference papers, book chapters and journal articles

• Cox, G. and McLean, A. (2014). Not just for fun. In Goriunova, O., editor, Fun and Software: Exploring Pleasure, Paradox and Pain in Computing, pages 157-173. Bloomsbury.
• McLean, A. (2014). Textility of live code. In Torque#1. Mind, Language and Technology, pages 141-144. Link Editions.
• Parkinson, A. and McLean, A. (2014). Interfacing with the night. In Proceedings of the 2nd International Conference on Live Interfaces.
• McLean, A. (2014). Making programming languages to dance to: Live coding with Tidal. In proceedings of the 2nd ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design.
• McLean, A., & Sicchio, K. (2014). Sound choreography <> body code. In Proceedings of the 2nd conference on Computation, Communication, Aesthetics and X (xCoAx), (pp. 355-362).
• Collins, N., & McLean, A. (2014). Algorave: A survey of the history, aesthetics and technology of live performance of algorithmic electronic dance music. In Proceedings of the International Conference on New Interfaces for Musical Expression.
• Hession, P., & McLean, A. (2014). Extending instruments with live algorithms in a percussion / code duo. In Proceedings of the 50th Anniversary Convention of the AISB: Live Algorithms.
• McLean, A., Rohrhuber, J., & Collins, N. (2014). Special issue on live coding: Editor’s notes. Computer Music Journal, 38 (1).
• Blackwell, A., McLean, A., Noble, J., & Rohrhuber, J. (2014). Collaboration and learning through live coding (Dagstuhl Seminar 13382). Dagstuhl Reports, 3 (9), 130-168.
• Padilla, V., Marsden, A., McLean, A., and Ng, K. (2014). Improving OMR for digital music libraries with multiple recognisers and multiple sources. In Proceedings of the ACM/IEEE International Digital Libraries for Musicology workshop.
• Ng, K., McLean, A., and Marsden, A. (2014). Big data optical music recognition with multi images and multi recognisers. In Proceedings of Electronic Visualisation and the Arts.
• Ng, K., Armitage, J., and McLean, A. (2014). The colour of music: Real-time music visualisation with synaesthetic sound-colour mapping. In Proceedings of Electronic Visualisation and the Arts.
• McLean, A., Shin, E., and Ng, K. (2013). The paralinguistic microphone. In Proceedings of 13th International Conference on New Interfaces for Musical Expression.
• McLean, A. (2013). The Textural X. In Proceedings of xCoAx2013: Computation Communication Aesthetics and X.
• Stowell, D. and McLean, A. (2012). Live Music-Making: a rich open task requires a rich open interface. In Holland, S., Wilkie, K., Mulholland, P., and Seago, A., editors, Music and Human-Computer Interaction. Springer.
• McLean, A. and Reeve, H. (2012). Live notation: Acoustic resonance? In Proceedings of International Computer Music Conference.
• Cox, G. and McLean, A. (2012). Speaking Code: Coding as Aesthetic and Political Expression. MIT Press.
• McLean, A. and Wiggins, G. (2012). Computer programming in the creative arts. In McCormack, J. and d’Inverno, M., editors, Computers and Creativity. Springer.
• McLean, A. (2011). Artist-Programmers and Programming Languages for the Arts. PhD thesis, Department of Computing, Goldsmiths, University of London.
• McLean, A. and Wiggins, G. (2011). Texture: Visual notation for the live coding of pattern. In Proceedings of the International Computer Music Conference 2011.
• Stowell, D. and McLean, A. (2011). Live music-making: a rich open task requires a rich open interface. In Proceedings of BCS HCI 2011 Workshop – When Words Fail: What can Music Interaction tell us about HCI?
• Cox, G., McLean, A., and Ward, A. (2011). Praxis de la programmation : reconsidérer l’esthétique do code généneratif. In Lartigaud, D.-O., editor, Art++, pages 77-87. HYX Editions.
• McLean, A., Griffiths, D., Collins, N., and Wiggins, G. (2010). Visualisation of Live Code. In Electronic Visualisation and the Arts London 2010.
• Gingras, B. and McLean, A. (2010). Book review: Embodied Music Cognition and Mediation Technology. Psychology of Music, 38(1):119-124.
• McLean, A. and Wiggins, G. (2010). Bricolage Programming in the Creative Arts. In Proceedings of 22nd Psychology of Programming Interest Group.
• McLean, A. and Wiggins, G. (2010). Tidal – Pattern Language for the Live Coding of Music. In Proceedings of the 7th Sound and Music Computing conference.
• Forth, J., Wiggins, G., and McLean, A. (2010). Unifying Conceptual Spaces: Concept Formation in Musical Creative Systems. Minds and Machines, 20(4):503-532.
• McLean, A. and Wiggins, G. (2010). Live Coding Towards Computational Creativity. In proceedings of ICCC-X. [preprint]
• McLean, A. and Wiggins, G. (2010). Petrol: Reactive Pattern Language for Improvised Music. In Proceedings of the International Computer Music Conference.
• McLean, A. and Wiggins, G. (2009). Patterns of movement in live languages. In Proceedings of the Computers and the History of Art (CHArt) conference 2009.
• McLean, A. and Wiggins, G. (2009). Words, Movement and Timbre. In Proceedings of NIME 2009. [preprint]
• Forth, J., McLean, A., and Wiggins, G. (2008). Musical Creativity on the Conceptual Level. In Proceedings of IJWCC 2008.
• McLean, A. and Wiggins, G. (2008). Vocable Synthesis. In Proceedings of International Computer Music Conference 2008.
• McLean, A., Leymarie, F. F., and Wiggins, G. (2007). Apollonius diagrams and the Representation of Sounds and Music. In Proceedings of the 4th International Symposium on Voronoi Diagrams in Science and Engineering.
• Ward, A., Rohrhuber, J., Olofsson, F., McLean, A., Griffiths, D., Collins, N., and Alexander, A. (2004). Live Algorithm Programming and a Temporary Organisation for its Promotion. In Goriunova, O. and Shulgin, A., editors, read_me – Software Art and Cultures.
• Cox, G., McLean, A., and Ward, A. (2004). Coding praxis: Reconsidering the aesthetics of code. In Goriunova, O. and Shulgin, A., editors, read_me Software Art and Cultures, pages 161-174.
• Collins, N., McLean, A., Rohrhuber, J., and Ward, A. (2003). Live coding in laptop performance. Organised Sound, 8(03):321-330. [preprint]
• McLean, A. (2001). Hacking Sound in Context. In Landy, L., editor, Proceedings of Music without walls.
• Cox, G., McLean, A., and Ward, A. (2000). The Aesthetics of Generative Code. In International Conference on Generative Art.

Other publications and interviews

List of interviews etc now here.