(1) Steve Reich, Philip Glass, or Terry Reily, and less frequently La Monte Young or Terry Jennings
(2) Most Essentially: Sherburne, Phillip. "Digital Discipline: Minimalism in House and Techno" in Audio Culture: Readings in Modern Music. Cox, Christopher. Warner, Daniel (eds). New York: Continuum, 2004. Sherburne continues to serve as the definitive beat reporter on contemporary developments in uncluttered techno and house.
(3) Robert Hood, Daniel Bell, and Jeff Mills.
(4) Perhaps the only other contender for inclusion alongside the Concept 1 and Studio 1 records was Berlin based M series authored by Mark Ernestuts and Moritz von Oswald under the Maurizio moniker. The fact that these records were released over the course of five years, and featured at least one guest remix dilutes their value to this investigation but the influence of these records cannot be overstated.
(5) Oder auf Deutsch: Grün, Blau, Gelb, Hellbalu, Lila, Orange, Rosa, Rot, Siber, and Gold
(6) Lee, Pamela M. "Phase Piece" in Sol Lewitt: Incomplete Open Cubes. Cambridge: MIT Press, 2001. Pg. 51.
(7) Phillpot, Clive. "Books by Artists and Books as Art" in Artist/Author: Contemporary Artists Books. Lauf, Cornella. Phillpot, Clive. (eds) New York: DAP, 1999. Pg. 33
(8) Hayles, N. Katherine. Writing Machines. Cambridge: MIT Press, 2002. Pg. 19
(9) From Sol Lewitt's artists statement for Serial Project #1.
(10) Bourdon, David. "Ruscha as Publisher [Or All Booked Up]" in Artist/Author: Contemporary Artists' Books. Lauf, Cornella. Phillpot, Clive. (eds) New York: DAP, 1999. Pg. 44
(11) Brinkmann was also responsible for the infamous "female series" on his Ernst label between 1998-1999, definitely a worthy successor of the Concept 1 / Studio 1 lineage.
(12) Montreal based Marc Leclair (aka Akufen) was commissioned to remix the Concept records in 2004. His kinetic reinterpretation of the Concept 1 sound library provide an interesting counterpoint to the density of Brinkmann's layering and phasing.