Gillies, Sam. 2020. “Screen Grammar for Mobile Frame Media: The audiovisual language of Cinematic Virtual Reality, case studies and analysis.” In Sound and Image: Aesthetics and Practices, edited by Andrew Knight-Hill, 206-218. London: Focal Press, Routledge.
Peer-Reviewed Articles
Gillies, Sam. “The Prisoner: The lost history of England’s first work of music concrète.” Organised Sound 27 (3). Cambridge University Press: In Print.
Vickery, Lindsay, Terren, Michael, Gillies, Sam, & Myburgh, Josten. 2016. “Between the Real and the Imaginary: Ecostructural Approaches to Composing with Field Recordings and Acoustic Instruments.” In Proceedings of the 2016 Sonic Ecology: Australasian Computer Music Conference, edited by Lindsay Vickery, 81-89. Australia: The Australasian Computer Music Association.
Gillies, Sam, & McDonald, Skot. 2016. “NOIZEMASCHIN!! : A new model of live performance in Perth, Western Australia from 2011 to the present day.” In Sound Scripts: Proceedings of the 2015 Totally Huge New Music Festival Conference, edited by Cat Hope, Adam Trainer and Susan Studham, 53-62. NSW, Australia: Australian Music Centre, Ltd.
Gillies, Sam, & Vickery, Lindsay. 2012. “Reflections on the construction of meaning through immanent visual association.” In Sound Scripts: Proceedings of the 2011 Totally Huge New Musical Festival Conference, edited by Cat Hope and Kylie J. Stevenson, 71-77. NSW, Australia: Australian Music Centre, Ltd.
Gillies, Sam, & Hope, Cat. 2011. “Manifesting meaning from a performance of cruelty: Parallels in the Music Experimentalism of Antonin Artaud and Sub Ordnance.” In Sound Scripts : Proceedings of the 2009 Totally Huge New Music Festival, edited by Cat Hope, 31-36. NSW, Australia: Australian Music Centre, Ltd.
Reviews
Gillies, Sam. 2021. “[Review of] Wang Lu - Wang Lu, An Atlas of Time. Boston Modern Orchestra. Muncy, Lippel, Momenta Quartet, Cuckson. New Focus Recordings, fcr277.” Tempo 75(297). Cambridge University Press: 95-96.
Thesis
Gillies, Sam. 2020. "Composing with Frames and Spaces: Cinematic Virtual Reality as an Audiovisual Compositional Practice." PhD Thesis, University of Huddersfield.
Conference Presentations
Gillies, Sam. 2022. “The Prisoner (1954): A missing link in England's history of electronic music.” Presented at RMA Annual Conference, Durham, UK, 8-10 September, 2022.
Gillies, Sam. 2021. “Composing with Frames and Spaces: Cinematic Virtual Reality as an Audiovisual Compositional Practice.” Presented at BARN Virtual Colloquia, Leeds, UK, 18 February, 2021.
Gillies, Sam. 2020. Organiser of Capitalist Realism: 10 Years On. Hosted by University of Huddersfield, Huddersfield, UK, 15-16 February, 2020.
Gillies, Sam. 2018 “Building Sound Relationships for 360˚ Video.” Presented at Sound/Image Colloquium, Greenwich University, London, United Kingdom, 11 November, 2018.
Gillies, Sam. 2015. “Emanations: Developing a noise-orientated system of interactive musical phrase matching.” Presented at Goldsmiths Music Research Seminar, London, United Kingdom, 23 May, 2015.
Gillies, Sam. 2014. “The Expressive Potential of Wave Terrain Synthesis as Explored in Snowden (Social Network).” Presented at IRCAM Forum, Paris, France, 20 November, 2014.
Gillies, Sam. 2012. “Exploring the potential of interactivity between music and moving images.” Presented at Australian Computer Music Conference, Brisbane, Australia, 14 August, 2012.
Gillies, Sam. 2011. “Reflections on the construction of meaning through immanent visual association.” Presented at Totally Huge New Music Festival Conference, Perth, Australia, 15-25 September, 2011.
Gillies, Sam. 2009. Manifesting meaning from a performance of cruelty: Parallels in the Music Experimentalism of Antonin Artaud and Sub Ordnance.” Presented at Totally Huge New Music Festival Conference, Perth, Australia, 30-31 October, 2009.