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).

Read here.

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.

Read here.

Lemmon, Eric. “The Politics of Aesthetic Preference in Participatory Music.” Organised Sound, 2022, 1–11. doi:10.1017/S1355771822000012.

Read here.

Current research projects:

“Dissensus, Refusal and Participatory Music: Negation and Rupture in Crowd in C”

This paper, that is currently being revised for an edited volume is being developed to think through some of the problems I could not address in my Organised Sound paper, which theorized a consensus-based politics within audiences as they interact with participatory works from a Western concert music tradition. It draws on Rancièrian notions of politics and analyzes Sang Won Lee’s “Crowd in C” for audience members’ behavior during the micro-political space of a performance.

“The Territory of Telematic and Networked Music: Dreams of the Singularity and Insurmountable Space”

I presented at the NowNet Arts conference in 2021 on some further critical reflections on telematic and network music. In this presentation, I focused in on how networked music and telematics music—as artistic practices—actually push back on and resist the temporal and spatial singularities imposed upon society by our hyper-connected and -globalized networks.