Refereed Journal and Conference Publications
Lemmon, Eric C. “Telematic Music vs. Networked Music: Distinguishing Between Cybernetic Aspirations and Technological Music-Making.” Journal of Network Music and Arts 1, 1 (2019).
Lemmon, Eric. “The Impact of Institutional Support on Artistic Research and Creation: The Columbia- Princeton Electronic Music Center and the RCA Mark-II”, Paper published in the proceedings of the International Computer Music Conference, 2019. New York City, New York.
Lemmon, Eric. “The Politics of Aesthetic Preference in Participatory Music.” Organised Sound, 2022, 1–11. doi:10.1017/S1355771822000012.
Lemmon, Eric, George Aumoithe, Margaret Schedel, Inderjeet Bilkhu, Haotong Zhu, and Litzy Escobar. 2022. “Mapping in the Emergency: Designing a Sonified Map of the Social Experience of Covid-19 in Suffolk County, New York.” Paper presented at 7th International workshop on Interactive Sonification, Universität Bremen. Proceedings of the 2022 Interactive Sonification Workshop.
Read here.
Lemmon, Eric. 2025. “Dissensus, Refusal, Participatory Music: Negation and Rupture in Crowd in C.” In Postpolitics and the Aesthetic Imagination, 1st ed, edited by Juan Meneses. University of Minnesota Press.
Read here.
Lemmon, Eric. 2022. “Politics I.” Paper presented at Web Audio Conference, Cannes, France. The Proceedings of the 2022 Web Audio Conference, June 28.
Current research projects:
“The Territory of Telematic and Networked Music: Dreams of the Singularity and Insurmountable Space”
Theorists working on mass media and networked society have argued that a hyper-connected world has reduced a disparate globe with variegated temporalities into a space that is the size of a “village,” that has a singular “time system” where everything occurs all at once. These cultural and social critiques often emphasize the negative effects that these changes in distance and temporality bring to bear on contemporary society. Being that both telematic and networked music are embedded within networked modes of production and their cultures, these critical reflections on space and temporality offer a useful framework through which to consider telematic and networked music, especially for the politics and/or political aspirations that lace each musical practice. However, through a closer examination of human auditory faculties, the physical reality of latency, and the methods and modes of production that practitioners have grappled with to ameliorate the unavoidable effects of making music in latency-rich environments, I will argue that networked music and telematics music—as artistic practices—push back on and resist the temporal and spatial singularities imposed upon society by our hyper-connected and -globalized networks.
“Pedagogy and the Podcast: Synthesizing Historical Thinking and Technical Know-How in Through “Talking Abolition at Knox” in Introductory Digital Audio Courses”
It is a common axiom within present day media production that “content is king,” and audio narratives, whether they be musical or discursive in nature are no exception. However, the specificity of the technical skills required to produce polished products and the need for contemporary artists and producers to generate new and compelling sonic narratives poses a significant challenge to pedagogues training students to do both. Often, in an attempt to address these challenges, introductory courses on audio production focus on tools for creating, editing, and mixing audio via digital audio workstations, with a further emphasis on musical creation. This traditional focus on musical creation can pose a multi-valent challenge to students who have had different levels of experience in digital audio workstations, structured musical training, or the productive processes of creation more generally. Through the creation of podcasts that feature original historical research or interviews with experts in the field, I argue, students can better engage the fundamentals of digital audio production, editing, and mixing while also considering the broader context of their society—technical skills necessary for producers, and critical humanistic skills integral to any artist.