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See also interviews.

Conference papers, book chapters and journal articles

  • McLean, Alex, & Bell, Renick. (2019). Pattern, Code and Algorithmic Drumming Circles. Proceedings of the 4th International Conference on Live Coding. http://doi.org/10.5281/zenodo.3346443
  • McLean, Alex. 2019. ‘Algorave: Dancing to Algorithms’. In The Cambridge Companion to Music in Digital Culture, edited by Nicholas Cook, Monique M. Ingalls, and DavidEditors Trippett, 175–177. Cambridge Companions to Music. Cambridge University Press. https://doi.org/10.1017/9781316676639.016.
  • McLean, Alex, Fanfani, Giovanni, & Harlizius-Klück, Ellen. (2018). Cyclic Patterns of Movement Across Weaving, Epiplokē and Live Coding. Dancecult. Journal of Electronic Music Dance Culture, 10(1), 5–30. http://doi.org/10.12801/1947-5403.2018.10.01.01
  • McLean, Alex, & Harlizius-Klück, Ellen. (2018). Fabricating Algorithmic Art. In Parsing Digital (pp. 10–21). London, UK: Austrian Cultural Forum. http://doi.org/10.5281/zenodo.2155745
  • McLean, Alex, Harlizius-Klück, Ellen, & Griffiths, David. (2018). Digital Art: A Long History. Fourth International Conference on Live Interfaces. http://doi.org/10.5281/zenodo.2556604
  • Magnusson, Thor, and Alex McLean. ‘Performing with Patterns of Time’. Oxford University Press, 2018. https://doi.org/10.5281/zenodo.1193251.
  • McLean, Alex, and Roger Dean. ‘Algorithmic Trajectories’. Oxford University Press, 2018. https://doi.org/10.5281/zenodo.1228959.
  • Co-editor of ‘The Oxford Handbook of Algorithmic Music’ with Roger Dean, February 2018. https://doi.org/10.1093/oxfordhb/9780190226992.001.0001.
  • McLean, A. (2017) Lessons from the Luddites. Furtherfield.
  • Burland, K. and McLean, A. (2016). Understanding live coding events. International Journal of Performance
    Arts and Digital Media, 12(2):139–151.
  • McLean, A. (2015). Reflections on live coding collaboration. In Proceedings of 3rd conference on Computation, Communication, Aesthetics and X (xCoAx).
  • 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.