'scientia potestas est''

'An Auto-Ethnographic Approach to Creating the Emotional Content of Horror Game Soundtracking.' in Emotion in Video Game Soundtracking, eds. Williams, D. and Newton, L. Springer, 2018.

'Blurring boundaries, trends and implications in audio production software developments.' in Oxford Handbook of Interactive Audio, eds. Collins C, Kapralos B, and Tessler H. Oxford University Press 2014.

'Dynamic Convolution Modeling, A Hybrid Synthesis Strategy'. Computer Music Journal, 37:1 due Spring 2013.

'Ophidian and the Uncanny Valley' Proceedings of the ICMC 2011.

‘An Examination of the Role Of Music in Cool Boarders, Alien Trilogy and Medievil’ in Krzywinska, T. and King, G. ed. 

ScreenPlay Cinema/ Computer Games/Interfaces, Wallflower Press, London.

The Instrumental Remodeling of Elements of Musical Electronics in Moon Veiled by Clouds.’ Computer Music Journal, Vol. 29(1), p 21- 33.

Book Review: Kusek D. and Leonhard G. 'The Future of Music - Manifesto for the Digital Music Revolution' Convergence.2006; 12: p103-104.

'Formant synthesis, Granular synthesis and waveshaping in Halo, Bells and Voice.' Perspectives of New Music, Perspectives of New Music, Volume 45 no. 1, 2007

Conference paper DHRA 2006, 'Composing the instrument, the digital dilemma posed by Physical Modelling' (Sept 3rd to 6th 2006 Dartington College)

Symposium paper. Determining Creative Practice [1] University of Bedfordshire.
The mathematics of Chaos and the role of irrational creative strategies in ‘Labyrinth Lit by Fire’ (2 December 2009)

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Broadhurst, S. and J. Machon eds. 'Performance and Technology: Practices of Virtual Embodiment and Interactivity', Palgrave MacMillan, London 2006. (chapter 11 includes a commentary on 'Blue Blood Flowers' a performance piece by Sue Broadhurst using live dancer and real time computer generated avatar with music by Dave Bessell.)