Acknowledgements
So begins a round of thanks to many individuals, and most especially, those we’ve inevitably forgotten to mention. The editors wish to thank all of the contributors to this book who’ve put up with our requests and editing. Without the chapter authors and the artists who have kindly provided statements, there would hardly be any book to have the honour of editing!
We also have to say a big thank you specifically to Vicki Cooper, Becky Jones, Helen Waterhouse, Jo Breeze, Michael Downes, Chloe Harries, Kate Brett, Sophie Taylor, Sharon McCann, Phil Clement, Laura Macy and all others associated with the production of the book at Cambridge University Press.
For external reviews of chapters we very much appreciate the time and effort of Robert Rowe, Chris Brown, Fredrik Olofsson, Bill Hsu, Alberto de Campo, Bob Gluck, Brian Kane, John Hawks, Michael Scroggins, Curtis Roads and Jøran Rudi. Additional proofreading and comments were provided by a number of the chapter authors.
For assistance with obtaining artists’ statements, many thanks to Terumi Narushima, Joana Seguro, Daniel Klemm, Sharen Norden, Zoe Miller, Dave Griffiths, Ryoko Akama, Falk Grieffenhagen, Isa Wolf, Matthew Werth, Brandon Sanchez, Kathinka Pasveer, and of course to the various chapter authors, friends and enemies who themselves suggested people and helped us to get in contact with them.
Karlheinz Essl wishes to thank Florian Cramer (Rotterdam) for his attendance to discuss the history of algorithmic thinking in philosophy and literature and Jennifer Walshe (Berlin/New York) for proofreading the manuscript.
Meg Schedel owes a debt of gratitude to her proofreading parents, Rita and Charles Schedel.
Julian Rohrhuber appreciates the immensely useful advice from, and acknowledges the inspirations of, his colleagues. He’d like to thank Anthony Moore, Alberto de Campo, Renate Wieser, Chris Brown, Julio d’Escriván and Nick Collins for their generous interest in his article. He’d also like to express gratitude to Kurd Alsleben, Antje Eske, Jin Hyun Kim, Hannes Hölzl, Alex McLean, Frank Wörler, Guy van Belle, Georg Hajdu, Maarten Bullynck and many others, who pointed out numerous interesting aspects of networks and network art.
Ge Wang wishes to extend hearty thanks to Perry Cook for his teaching and insights on the history of programming and music, to Ananya Misra for providing invaluable feedback from beginning to end, to Mark Ballora for his excellent online history of computer music, to Max Mathews for information and perspective, and to Rebecca Fiebrink, Spencer Salazar and Matt Hoffman for their support.
Nick Collins thanks everyone who suffered any editorial attention from him, and acknowledges with great respect and warmth his collaborators and colleagues in the field. He particularly welcomes the support and essential input of his co-editor. He also wishes to extend a special thank you to the third person.
Julio d’Escriván wishes to thank Julian Rohrhuber for his review and suggestions. Also a special thanks to his co-editor, for roping him into this wonderful project and for his invaluable constructive criticism. A warm thanks to Sue Guilmurray from the university library at ARU, Cambridge. And … very especially he wishes to acknowledge the love, patience and support of Milly, Isa, Mari, Emi and Ana throughout this project.
