| Mobile Music Technology: Report on an Emerging Community | | BIB | PDF | 22-25 | |
| Lalya Gaye; Lars Erik Holmquist; Frauke Behrendt; Atau Tanaka | |||
| A Framework for Spatial Interaction in Locative Media | | BIB | PDF | 26-30 | |
| Atau Tanaka; Petra Gemeinboeck | |||
| CaMus: Live Music Performance using Camera Phones and Visual Grid Tracking | | BIB | PDF | 31-36 | |
| Michael Rohs; Georg Essl; Martin Roth | |||
| Pocket Gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4 | | BIB | PDF | 37-42 | |
| Greg Schiemer; Mark Havryliv | |||
| Interactive Public Sound Art: a case study | | BIB | PDF | 43-48 | |
| David Birchfield; Kelly Phillips; Assegid Kidané; David Lorig | |||
| Decay in Collaborative Music Making | | BIB | PDF | 114-117 | |
| Nick Bryan-Kinns; Patrick G. T. Healey | |||
| JamSpace: Designing A Collaborative Networked Music Space for Novices | | BIB | PDF | 118-123 | |
| Michael Gurevich | |||
| Creating a Network of Integral Music Controllers | | BIB | PDF | 124-128 | |
| R. Benjamin Knapp; Perry R. Cook | |||
| Perturbation Techniques for Multi-Performer or Multi-Agent Interactive Musical Interfaces | | BIB | PDF | 129-133 | |
| Matthew Burtner | |||
| Sensemble: A Wireless, Compact, Multi-User Sensor System for Interactive Dance | | BIB | PDF | 134-139 | |
| Ryan Aylward; Joseph A. Paradiso | |||
| The ZKM Klangdom | | BIB | PDF | 140-143 | |
| Chandrasekhar Ramakrishnan; Joachim Gossmann; Ludger Brümmer | |||
| A framework for immersive spatial audio performance | | BIB | PDF | 144-149 | |
| Michael Wozniewski; Zack Settel; Jeremy R. Cooperstock | |||
| An Architectural Framework for Interactive Music Systems | | BIB | PDF | 150-155 | |
| Alexandre R. J. François; Elaine Chew | |||
| Transmodal Feedback as a New Perspective for Audio-visual Effects | | BIB | PDF | 156-161 | |
| Christian Jacquemin; Serge de Laubier | |||
| Screen-Based Musical Interfaces as Semiotic Machines | | BIB | PDF | 162-167 | |
| Thor Magnusson | |||
| Different Strokes: a Prototype Software System for Laptop Performance and Improvisation | | BIB | PDF | 168-171 | |
| Mark Zadel; Gary P. Scavone | |||
| Tenori-on | | BIB | PDF | 172-175 | |
| Yu Nishibori; Toshio Iwai | |||
| Towards a Coherent Terminology and Model of Instrument Description and Design | | BIB | PDF | 220-225 | |
| Tellef Kvifte; Alexander Refsum Jensenius | |||
| Vibrotactile Feedback in Digital Musical Instruments | | BIB | PDF | 226-229 | |
| Mark T. Marshall; Marcelo M. Wanderley | |||
| Paper FSRs and Latex/Fabric Traction Sensors: Methods for the Development of Home-Made Touch Sensors | | BIB | PDF | 230-233 | |
| Rodolphe Koehly; Marcelo M. Wanderley; Denis Curtil | |||
| Creating Ad Hoc Instruments with Pin&Play&Perform | | BIB | PDF | 234-239 | |
| John Bowers; Nicolas Villar | |||
| Synthesis and control of everyday sound reconstructing Russolo's Intonarumori | | BIB | PDF | 240-245 | |
| Stefania Serafin; Amalia de Götzen; Niels Böttcher; Steven Gelineck | |||
| Interactive Sonification of Neural Activity | | BIB | PDF | 246-249 | |
| Gil Weinberg; Travis Thatcher | |||
| Non haptic control of music by video analysis of hand movements: 14 years of experience with the "Caméra Musicale" | | BIB | PDF | 250-253 | |
| Jacques Remus | |||
| MICON: A Music Stand for Interactive Conducting | | BIB | PDF | 254-259 | |
| Jan Borchers; Aristotelis Hadjakos; Max Mühlhäuser | |||
| conga: A Framework for Adaptive Conducting Gesture Analysis | | BIB | PDF | 260-265 | |
| Eric Lee; Ingo Grüll; Henning Kiel; Jan Borchers | |||
| Real-time CALM Synthesizer: New Approaches in Hands-Controlled Voice Synthesis | | BIB | PDF | 266-271 | |
| Nicolas D'Alessandro; Christophe d'Alessandro; Sylvain Le Beux; Boris Doval | |||
| GRASSP: Gesturally-Realized Audio, Speech and Song Performance | | BIB | PDF | 272-276 | |
| Bob Pritchard; Sidney Fels | |||
| The 'E' in NIME: Musical Expression with New Computer Interfaces | | BIB | PDF | 277-282 | |
| Christopher Dobrian; Daniel Koppelman | |||
| Hyper-shaku (Border-crossing): Towards the Multi-modal Gesture-controlled Hyper-Instrument | | BIB | PDF | 352-357 | |
| Kirsty A. Beilharz; Joanne Jakovich; Sam Ferguson | |||
| Adapting the trombone: A suite of electro-acoustic interventions for the piece Rouse | | BIB | PDF | 358-363 | |
| Neal Farwell | |||
| The Augmented Djembe Drum -- Sculpting Rhythms | | BIB | PDF | 364-369 | |
| Teemu Mäki-Patola; Perttu Hämäläinen; Aki Kanerva | |||
| Children of Grainger: Leather Instruments for Free Music | | BIB | PDF | 370-375 | |
| Stuart Favilla; Joanne Cannon | |||
| Managing Gesture and Timbre for Analysis and Instrument Control in an Interactive Environment | | BIB | PDF | 376-379 | |
| William Hsu | |||
| Integrated Interactive Music Performance Environment | | BIB | PDF | 380-383 | |
| Keith Hamel | |||
| Learning Musical Instrument Skills Through Interactive Sonification | | BIB | PDF | 384-389 | |
| Sam Ferguson | |||
| Recent Developments in Violin-related Digital Musical Instruments: Where Are We and Where Are We Going? | | BIB | PDF | 390-395 | |
| Cornelius Poepel; Dan Overholt | |||
| Composing for Hyperbow: A Collaboration Between MIT and the Royal Academy of Music | | BIB | PDF | 396-401 | |
| Diana Young; Patrick Nunn; Artem Vassiliev | |||
| The augmented violin project: research, composition and performance report | | BIB | PDF | 402-406 | |
| Frédéric Bevilacqua; Nicolas H. Rasamimanana; Emmanuel Fléty; Serge Lemouton; Florence Baschet | |||
| Auditory Illusion and Violin: Demonstration of a Work by Jean-Claude Risset written for Mari Kimura | | BIB | PDF | 407-408 | |
| Mari Kimura; Jean-Claude Risset | |||
| Augmenting the Cello | | BIB | PDF | 409-413 | |
| Adrian Freed; Frances Marie Uitti; Michael Zbyszynski; David Wessel | |||
| Building Collaborative Graphical interFaces in the Audicle | | BIB | PDF | 49-52 | |
| Ge Wang; Ananya Misra; Perry R. Cook | |||
| The Frequencyliator -- Distributing Structures for Networked Laptop Improvisation | | BIB | PDF | 53-56 | |
| Pedro Rebelo; Alain Renaud | |||
| A VR Interface for Collaborative 3D Audio Performance | | BIB | PDF | 57-60 | |
| Martin Näf; Daniel Collicott | |||
| Using the Touch Screen as a Controller for Portable Computer Music Instruments | | BIB | PDF | 61-64 | |
| Gunter Geiger | |||
| Using MIDI to Modify Video Game Content | | BIB | PDF | 65-70 | |
| Jukka Holm; Juha Arrasvuori; Kai Havukainen | |||
| Turntable Music in the Digital Era: Designing Alternative Tools for New Turntable Expression | | BIB | PDF | 71-74 | |
| Takuro Mizuta Lippit | |||
| spinCycle: a Color-Tracking Turntable Sequencer | | BIB | PDF | 75-76 | |
| Spencer Kiser | |||
| The Chopping Board: Real-time Sample Editor | | BIB | PDF | 77-78 | |
| Jason Lee | |||
| A Tactile Closed-Loop Device for Musical Interaction | | BIB | PDF | 70-80 | |
| Staas de Jong | |||
| PETECUBE: a Multimodal Feedback Interface | | BIB | PDF | 81-84 | |
| Peter Bennett | |||
| The G-Spring Controller | | BIB | PDF | 85-88 | |
| Denis Lebel; Joseph Malloch | |||
| Orbophone: a new interface for radiating sound and image | | BIB | PDF | 89-92 | |
| Damien Lock; Greg Schiemer | |||
| the gluion, advantages of an FPGA-based sensor interface | | BIB | PDF | 93-96 | |
| Sukandar Kartadinata | |||
| Beyond 0-5V: Expanding Sensor Integration Architectures | | BIB | PDF | 97-100 | |
| Adrian Freed; Rimas Avizienis; Matthew Wright | |||
| Timbre interfaces using adjectives and adverbs | | BIB | PDF | 101-102 | |
| Colin G. Johnson; Alex Gounaropoulos | |||
| SonicJumper composer | | BIB | PDF | 103-105 | |
| D. Andrew Stewart | |||
| Towards a catalog and software library of mapping methods | | BIB | PDF | 106-109 | |
| Hans-Christoph Steiner | |||
| LINE: Interactive Sound and Light Installation | | BIB | PDF | 110-113 | |
| Daisuke Kobori; Kojiro Kagawa; Makoto Iida; Chuichi Arakawa | |||
| Towards a Gesture Description Interchange Format | | BIB | PDF | 176-179 | |
| Alexander Refsum Jensenius; Tellef Kvifte; Rolf Inge Godøy | |||
| SensorWiki.org: A Collaborative Resource for Researchers and Interface Designers | | BIB | PDF | 180-183 | |
| Marcelo M. Wanderley; David Birnbaum; Joseph Malloch; Elliot Sinyor; Julien Boissinot | |||
| A simple practical approach to a wireless data acquisition board | | BIB | PDF | 184-187 | |
| Smilen Dimitrov; Stefania Serafin | |||
| Mapping strategies in DJ scratching | | BIB | PDF | 188-191 | |
| Kjetil Falkenberg Hansen; Roberto Bresin | |||
| 'GXtar', an interface using guitar techniques | | BIB | PDF | 192-195 | |
| Loïc Kessous; Julien Castet; Daniel Arfib | |||
| Visual Methods for the Retrieval of Guitarist Fingering | | BIB | PDF | 196-199 | |
| Anne-Marie Burns; Marcelo M. Wanderley | |||
| Combining accelerometer and video camera: Reconstruction of bow velocity profiles | | BIB | PDF | 200-203 | |
| Erwin Schoonderwaldt; Nicolas H. Rasamimanana; Frédéric Bevilacqua | |||
| Reflective Optical Pickup For Violin | | BIB | PDF | 204-207 | |
| Nicolas Leroy; Emmanuel Fléty; Frédéric Bevilacqua | |||
| Mary had a little scoreTable* or the reacTable* goes melodic | | BIB | PDF | 208-211 | |
| Sergi Jordà; Marcos Alonso | |||
| Sound Rose: Creating Music and Images with a Touch Table | | BIB | PDF | 212-215 | |
| Alain Crevoisier; Cédric Bornand; Arnaud Guichard; Seiichiro Matsumura; Chuichi Arakawa | |||
| Synthesis and Control on Large Scale Multi-Touch Sensing Displays | | BIB | PDF | 216-219 | |
| Philip L. Davidson; Jefferson Y. Han | |||
| 32kg: Performance Systems for a Post-Digital Age | | BIB | PDF | 283-287 | |
| John Richards | |||
| Meta-Instrument 3: a look over 17 years of practice | | BIB | PDF | 288-291 | |
| Serge De Laubier; Vincent Goudard | |||
| The Case Study of An Application of The System, "BodySuit" and "RoboticMusic" -- Its Introduction and Aesthetics | | BIB | PDF | 292-295 | |
| Suguru Goto | |||
| Modal Kombat: Competition and Choreography in Synesthetic Musical Performance | | BIB | PDF | 296-299 | |
| David Hindman | |||
| A "Ballet mécanique" for the 21st Century: Performing George Antheil's Dadaist Masterpiece with Robots | | BIB | PDF | 300-303 | |
| Paul D. Lehrman; Eric Singer | |||
| Using the augmented trombone in "I will not kiss your f.ing flag" | | BIB | PDF | 304-307 | |
| Serge Lemouton; Marco Stroppa; Benny Sluchin | |||
| On making and playing an electronically-augmented saxophone | | BIB | PDF | 308-313 | |
| Sébastien Schiesser; Caroline Traube | |||
| Handheld Acoustic Filter Bank for Musical Control | | BIB | PDF | 314-317 | |
| Tamara Smyth | |||
| Real-Time Sound Source Spatialization as used in Challenging Bodies: Implementation and Performance | | BIB | PDF | 318-321 | |
| J. J. Nixdorf; David Gerhard | |||
| Mapping with planning agents in the Max/MSP environment: the GO/Max language | | BIB | PDF | 322-325 | |
| Paolo Bottoni; Stefano Faralli; Anna Labella; Mario Pierro | |||
| Towards a Virtual Assistant for Performers and Stage Directors | | BIB | PDF | 326-329 | |
| Alain Bonardi; Isis Truck; Herman Akdag | |||
| Students' projects of interactive media-installations in SUAC | | BIB | PDF | 330-333 | |
| Yoichi Nagashima | |||
| An Acousmatic Composition Environment | | BIB | PDF | 334-337 | |
| Morten Breinbjerg; Ole Caprani; Rasmus B. Lunding; Line Kramhoeft | |||
| Bioinformatic Feedback: performer bio-data as a driver for real-time composition | | BIB | PDF | 338-341 | |
| Robert Hamilton | |||
| The Light Matrix: An Interface for musical expression and performance | | BIB | PDF | 342-345 | |
| Jonathan Pak | |||
| GAINER: A reconfigurable I/O module and software libraries for education | | BIB | PDF | 346-351 | |
| Shigeru Kobayashi; Takanori Endo; Katsuhiko Harada; Shosei Oishi | |||
| Living with Creative Machines: A Composer Reflects | | BIB | PDF | 414 | |
| George Lewis | |||
| Listening to the World: Information and Aesthetics | | BIB | PDF | 414 | |
| William W. Gaver | |||
| Manager or Musician? -- About virtuosity in live electronic music | | BIB | PDF | 415 | |
| Michel Waisvisz | |||