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ORCIDNIME 2014: London, United Kingdom
- Baptiste Caramiaux, Koray Tahiroglu, Rebecca Fiebrink, Atau Tanaka:
14th International Conference on New Interfaces for Musical Expression, NIME 2014, London, United Kingdom, June 30 - July 4, 2014. nime.org 2014 - Owen Green:
NIME, Musicality and Practice-led Methods. 1-6 - John Bowers, Annika Haas
:
Hybrid Resonant Assemblages: Rethinking Instruments, Touch and Performance in New Interfaces for Musical Expression. 7-12 - Oliver Bown, Renick Bell, Adam Parkinson:
Examining the Perception of Liveness and Activity in Laptop Music: Listeners' Inference about what the Performer is Doing from the Audio Alone. 13-18 - Thor Magnusson:
Improvising with the Threnoscope: Integrating Code, Hardware, GUI, Network, and Graphic Scores. 19-22 - Evan Morgan, Hatice Gunes, Nick Bryan-Kinns:
Instrumenting the Interaction: Affective and Psychophysiological Features of Live Collaborative Musical Improvisation. 23-28 - Dario Mazzanti, Victor Zappi, Darwin G. Caldwell, Andrea Brogni:
Augmented Stage for Participatory Performances. 29-34 - Stu Favilla, Sonja Pedell:
Touch Screen Collaborative Music: Designing NIME for Older People with Dementia. 35-39 - Anna Xambó, Gerard Roma, Robin C. Laney, Chris Dobbyn, Sergi Jordà:
SoundXY4: Supporting Tabletop Collaboration and Awareness with Ambisonics Spatialisation. 40-45 - Bastiaan van Hout, Luca Giacolini, Bart Hengeveld, Mathias Funk, Joep W. Frens:
Experio: a Design for Novel Audience Participation in Club Settings. 46-49 - Niklas Klügel, Gerhard Hagerer, Georg Groh:
TreeQuencer: Collaborative Rhythm Sequencing A Comparative Study. 50-53 - Laurel Pardue, Dongjuan Nian, Christopher Harte, Andrew P. McPherson:
Low-Latency Audio Pitch Tracking: A Multi-Modal Sensor-Assisted Approach. 54-59 - Jeppe V. Larsen, Dan Overholt, Thomas B. Moeslund:
The Actuated guitar: Implementation and user test on children with Hemiplegia. 60-65 - Florian Heller, Jan O. Borchers:
Visualizing Song Structure on Timecode Vinyls. 66-69 - Janis Sokolovskis, Andrew P. McPherson:
Optical Measurement of Acoustic Drum Strike Locations. 70-73 - Colin Honigman, Jordan Hochenbaum, Ajay Kapur:
Techniques in Swept Frequency Capacitive Sensing: An Open Source Approach. 74-77 - Carlos Domínguez:
16-CdS: A Surface Controller for the Simultaneous Manipulation of Multiple Analog Components. 78-79 - Yoshihito Nakanishi, Seiichiro Matsumura, Chuichi Arakawa:
B.O.M.B. - Beat Of Magic Box -: Stand-Alone Synthesizer Using Wireless Synchronization System For Musical Session and Performance. 80-81 - Timothy Polashek, Brad Meyer:
Engravings for Prepared Snare Drum, iPad, and Computer. 82-83 - Daniel Gábana Arellano, Andrew P. McPherson:
Radear: A Tangible Spinning Music Sequencer. 84-85 - Lionel Feugère, Christophe d'Alessandro:
Rule-Based Performative Synthesis of Sung Syllables. 86-87 - Luisa Pereira Hors:
The Well-Sequenced Synthesizer. 88-89 - Sangwon Suh, Jeong-Seob Lee, Woon Seung Yeo:
A Gesture Detection with Guitar Pickup and Earphones. 90-93 - Yehiel Amo, Gil Zissu, Shaltiel Eloul, Eran Shlomi, Dima Schukin, Almog Kalifa:
A Max/MSP Approach for Incorporating Digital Music via Laptops in Live Performances of Music Bands. 94-97 - Simon Lui:
A Real Time Common Chord Progression Guide on the Smartphone for Jamming Pop Song on the Music Keyboard. 98-101 - Kirsty Keatch:
An Exploration of Peg Solitaire as a Compositional Tool. 102-105 - Spencer Salazar, Ge Wang:
Auraglyph: Handwritten Computer Music Composition and Design. 106-109 - Mary Mainsbridge, Kirsty A. Beilharz:
Body As Instrument: Performing with Gestural Interfaces. 110-113 - Palle Dahlstedt:
Circle Squared and Circle Keys Performing on and with an Unstable Live Algorithm for the Disklavier. 114-117 - Akito van Troyer:
Composing Embodied Sonic Play Experiences: Towards Acoustic Feedback Ecology. 118-121 - Dan Overholt, Steven Gelineck:
Design & Evaluation of an Accessible Hybrid Violin Platform. 122-125 - Tom Mudd, Simon Holland, Paul Mulholland, Nick Sheep Dalton:
Dynamical Interactions with Electronic Instruments. 126-129 - Chet Udell, James Paul Sain:
eMersion | Sensor-controlled Electronic Music Modules & Digital Data Workstation. 130-133 - Gershon Dublon, Joseph A. Paradiso:
FingerSynth: Wearable Transducers for Exploring the Environment and Playing Music Everywhere. 134-135 - Jarrod Ratcliffe:
Hand and Finger Motion-Controlled Audio Mixing Interface. 136-139 - Edgar Berdahl:
How to Make Embedded Acoustic Instruments. 140-143 - Rob Canning:
Interactive Parallax Scrolling Score Interface for Composed Networked Improvisation. 144-146 - Jeff Snyder, Avneesh Sarwate:
Mobile Device Percussion Parade. 147-150 - Joachim Goßmann, Max Neupert:
Musical Interface to Audiovisual Corpora of Arbitrary Instruments. 151-154 - Timothy J. Barraclough, Jim W. Murphy, Ajay Kapur:
New Open-Source Interfaces for Group Based Participatory Performance of Live Electronic Music. 155-158 - Sebastian Trump, Jamie Bullock:
Orphion: A Gestural Multi-Touch Instrument for the iPad. 159-162 - Ivica Ico Bukvic:
Pd-L2Ork Raspberry Pi Toolkit as a Comprehensive Arduino Alternative in K-12 and Production Scenarios. 163-166 - Alejandro Van Zandt-Escobar, Baptiste Caramiaux, Atau Tanaka:
PiaF: A Tool for Augmented Piano Performance Using Gesture Variation Following. 167-170 - Bradley Strylowski, Jesse T. Allison, Jesse Guessford:
Pitch Canvas: Touchscreen Based Mobile Music Instrument. 171-174 - John Bowers, Tim Shaw:
Reappropriating Museum Collections: Performing Geology Specimens and Meterology Data as New Instruments for Musical Expression. 175-178 - Ozan Sarier:
Rub Synth : A Study of Implementing Intentional Physical Difficulty Into Touch Screen Music Controllers. 179-182 - Adam M. Stark:
Sound Analyser: A Plug-In for Real-Time Audio Analysis in Live Performances and Installations. 183-186 - Paul Mathews, Ness Morris, Jim W. Murphy, Ajay Kapur, Dale A. Carnegie:
Tangle: a Flexible Framework for Performance with Advanced Robotic Musical Instruments. 187-190 - Shelly Knotts, Nick Collins:
The Politics of Laptop Ensembles: A Survey of 160 Laptop Ensembles and their Organisational Structures. 191-194 - Álvaro Sarasúa, Enric Guaus:
Dynamics in Music Conducting: A Computational Comparative Study Among Subjects. 195-200 - Luke Dahl:
Triggering Sounds from Discrete Air Gestures: What Movement Feature Has the Best Timing? 201-206 - Daniel Tormoen, Florian Thalmann, Guerino Mazzola:
The Composing Hand: Musical Creation with Leap Motion and the BigBang Rubette. 207-212 - Tim Murray Browne, Mark D. Plumbley:
Harmonic Motion: A Toolkit for Processing Gestural Data for Interactive Sound. 213-216 - Alexander Refsum Jensenius:
To gesture or Not? An Analysis of Terminology in NIME Proceedings 2001-2013. 217-220 - Chris Nash:
Manhattan: End-User Programming for Music. 221-226 - Robert Tubb, Simon Dixon:
The Divergent Interface: Supporting Creative Exploration of Parameter Spaces. 227-232 - Sergi Jordà, Sebastián Mealla C.:
A Methodological Framework for Teaching, Evaluating and Informing NIME Design with a Focus on Mapping and Expressiveness. 233-238 - Charlie Roberts, Matthew Wright, JoAnn Kuchera-Morin, Tobias Höllerer:
Rapid Creation and Publication of Digital Musical Instruments. 239-242 - Udit Roy, Tejaswinee Kelkar, Bipin Indurkhya:
TrAP: An Interactive System to Generate Valid Raga Phrases from Sound-Tracings. 243-246 - Diemo Schwarz, Pierre Alexandre Tremblay, Alexander Harker:
Rich Contacts: Corpus-Based Convolution of Contact Interaction Sound for Enhanced Musical Expression. 247-250 - Thomas Mitchell, Sebastian Madgwick, Simon Rankine, Geoffrey S. Hilton, Adrian Freed, Andrew R. Nix:
Making the Most of Wi-Fi: Optimisations for Robust Wireless Live Music Performance. 251-256 - Benjamin Taylor, Jesse T. Allison, William Conlin, Yemin Oh, Daniel Holmes:
Simplified Expressive Mobile Development with NexusUI, NexusUp, and NexusDrop. 257-262 - Sang Won Lee, Georg Essl:
Communication, Control, and State Sharing in Collaborative Live Coding. 263-268 - Thomas Resch, Matthias Krebs:
A Simple Architecture for Server-based (Indoor) Audio Walks. 269-272 - Hyung-Suk Kim, Jorge Herrera, Ge Wang:
Ping-Pong: Musically Discovering Locations. 273-276 - Abram Hindle:
CloudOrch: A Portable SoundCard in the Cloud. 277-280 - Ohad Fried, Zeyu Jin, Reid Oda, Adam Finkelstein:
AudioQuilt: 2D Arrangements of Audio Samples using Metric Learning and Kernelized Sorting. 281-286 - Jules Françoise, Norbert Schnell, Riccardo Borghesi, Frédéric Bevilacqua:
Probabilistic Models for Designing Motion and Sound Relationships. 287-292 - Chris Kiefer:
Musical Instrument Mapping Design with Echo State Networks. 293-298 - Kristian Nymoen, Sichao Song, Yngve Hafting, Jim Tørresen:
Funky Sole Music: Gait Recognition and Adaptive Mapping. 299-302 - Michael Krzyzaniak, Julie Akerly, Matthew Mosher, Muharrem Yildirim, Garth Paine:
Separation: Short Range Repulsion. Implementation of an Automated Aesthetic Synchronization System for a Dance Performance. 303-306 - Tim Murray Browne, Dom Aversano, Susanna Garcia, Wallace Hobbes, Daniel Lopez, Tadeo Sendon, Panagiotis Tigas, Kacper Ziemianin, Duncan Chapman:
The Cave of Sounds: An Interactive Installation Exploring How We Create Music Together. 307-310 - Ilias Bergstrom, Joan Llobera:
OSC-Namespace and OSC-State: Schemata for Describing the Namespace and State of OSC-Enabled Systems. 311-314 - Mason Bretan, Gil Weinberg:
Chronicles of a Robotic Musical Companion. 315-318 - Otso Lähdeoja:
Structure-Borne Sound and Aurally Active Spaces. 319-322 - Axel Berndt, Nadia Al-Kassab, Raimund Dachselt:
TouchNoise: A Particle-based Multitouch Noise Modulation Interface. 323-326 - Niklas Klügel, Timo Becker, Georg Groh:
Designing Sound Collaboratively Perceptually Motivated Audio Synthesis. 327-330 - Adriana Sa:
Repurposing Video Game Software for Musical Expression: A Perceptual Approach. 331-334 - Bridget Johnson, Michael Norris, Ajay Kapur:
The Development Of Physical Spatial Controllers. 335-338 - Alon Ilsar, Mark Havryliv, Andrew Johnston:
Evaluating the Performance of a New Gestural Instrument Within an Ensemble. 339-342 - Lawrence Fyfe, Adam R. Tindale, Sheelagh Carpendale:
Extending the Nexus Data Exchange Format (NDEF) Specification. 343-346 - Fumito Hashimoto, Motoki Miura:
Operating Sound Parameters Using Markov Model and Bayesian Filters in Automated Music Performance. 347-350 - Liam Donovan, Andrew P. McPherson:
The Talking Guitar: Headstock Tracking and Mapping Strategies. 351-354 - Nick Collins, Alex McLean:
Algorave: A Survey of the History, Aesthetics and Technology of Live Performance of Algorithmic Electronic Dance Music. 355-358 - Cornelius Poepel, Jochen Feitsch, Marco Strobel, Christian Geiger:
Design and Evaluation of a Gesture Controlled Singing Voice Installation. 359-362 - Mark Cartwright, Bryan Pardo:
SynthAssist: Querying an Audio Synthesizer by Vocal Imitation. 363-366 - Jimin Jeon, Gunho Chae, Edward Jangwon Lee, Woon Seung Yeo:
TAPIR Sound Tag: An Enhanced Sonic Communication Framework for Audience Participatory Performance. 367-370 - Jihyun Han, Nicolas Gold:
Lessons Learned in Exploring the Leap Motion(TM) Sensor for Gesture-based Instrument Design. 371-374 - Karl Yerkes, Matthew Wright:
Twkyr: a Multitouch Waveform Looper. 375-378 - Chad McKinney:
Quick Live Coding Collaboration In The Web Browser. 379-382 - Jiffer Harriman, Michael Theodore, Nikolaus Correll, Hunter Ewen:
endo/exo Making Art and Music with Distributed Computing. 383-386 - Navid Navab, Doug Van Nort, Sha Xin Wei:
A Material Computation Perspective on Audio Mosaicing and Gestural Conditioning. 387-390 - Regina Collecchia, Dan Somen, Kevin McElroy:
The Siren Organ. 391-394 - David Rector, Spencer S. Topel:
Internally Actuated Drums for Expressive Performance. 395-398 - Adam Place, Liam Lacey, Thomas Mitchell:
AlphaSphere from Prototype to Product. 399-402 - Palle Dahlstedt, Patrik Karlsson, Katarina Widell, Tony Blomdahl:
YouHero Making an Expressive Concert Instrument from the GuitarHero Controller. 403-406 - Jun-qi Deng, Francis Chi-Moon Lau, Ho-Cheung Ng, Yu-Kwong Kwok, Hung-Kwan Chen, Yuheng Liu:
WIJAM: A Mobile Collaborative Improvisation Platform under Master-players Paradigm. 407-410 - Adrian Hazzard, Steve Benford, Gary E. Burnett:
You'll Never Walk Alone: Composing Location-Based Soundtracks. 411-414 - Justin Mathew, Stéphane Huot, Alan Blum:
A Morphological Analysis of Audio-Objects and their Control Methods for 3D Audio. 415-420 - Augoustinos Tsiros:
Evaluating the Perceived Similarity Between Audio-Visual Features Using Corpus-Based Concatenative Synthesis. 421-426 - Chet Gnegy:
CollideFx: A Physics-Based Audio Effects Processor. 427-430 - Charles Holbrow, Elena Naomi Jessop, Rébecca Kleinberger:
Vocal Vibrations: A Multisensory Experience of the Voice. 431-434 - Duncan Williams, Peter Randall-Page, Eduardo Reck Miranda:
Timbre morphing: near real-time hybrid synthesis in a musical installation. 435-438 - Dominik Schlienger, Sakari Tervo:
Acoustic Localisation as an Alternative to Positioning Principles in Applications presented at NIME 2001-2013. 439-442 - Ian Hattwick, Joseph Malloch, Marcelo M. Wanderley:
Forming Shapes to Bodies: Design for Manufacturing in the Prosthetic Instruments. 443-448 - Nicholas Ward, Giuseppe Torre:
Constraining Movement as a Basis for DMI Design and Performance. 449-454 - Victor Zappi, Andrew P. McPherson:
Dimensionality and Appropriation in Digital Musical Instrument Design. 455-460 - Anthony J. Hornof:
The Prospects For Eye-Controlled Musical Performance. 461-466 - Fabio Morreale, Antonella De Angeli, Sile O'Modhrain:
Musical Interface Design: An Experience-oriented Framework. 467-472 - Mo H. Zareei, Ajay Kapur, Dale A. Carnegie:
Rasper: a Mechatronic Noise-Intoner. 473-478 - Jason Long:
The Robotic Taishogoto: A New Plug 'n Play Desktop Performance Instrument. 479-482 - Özgür Izmirli, Jake Faris:
Imitation Framework for Percussion. 483-486 - Michael Gurevich:
Distributed Control in a Mechatronic Musical Instrument. 487-490 - Christian Faubel:
Rhythm Apparatus on Overhead. 491-494 - Alain Renaud, Caecilia Charbonnier, Sylvain Chagué:
3DinMotion A Mocap Based Interface for Real Time Visualisation and Sonification of Multi-User Interactions. 495-496 - Charles Hutchins, Holger Ballweg, Shelly Knotts, Jonas Hummel, Antonio Roberts:
Soundbeam: A Platform for Sonyfing Web Tracking. 497-498 - Florent Berthaut, Jarrod Knibbe:
Wubbles: A Collaborative Ephemeral Musical Instrument. 499-500 - Hanspeter Portner:
CHIMAERA The Poly-Magneto-Phonic Theremin An Expressive Touch-Less Hall-Effect Sensor Array. 501-504 - Graham Wakefield, Charlie Roberts, Matthew Wright, Timothy Wood, Karl Yerkes:
Collaborative Live-Coding with an Immersive Instrument. 505-508 - Clayton Mamedes, Mailis G. Rodrigues, Marcelo M. Wanderley, Jônatas Manzolli, Denise H. L. Garcia, Paulo Ferreira-Lopes:
Composing for DMIs Entoa, a Dedicate Piece for Intonaspacio. 509-512 - Josep M. Comajuncosas, Enric Guaus:
Conducting Collective Instruments : A Case Study. 513-516 - Emily Robertson, Enrico Bertelli:
Conductive Music: Teaching Innovative Interface Design and Composition Techniques with Open-Source Hardware. 517-520 - Stefania Serafin, Stefano Trento, Francesco Grani, Hannah Perner-Wilson, Sebastian Madgwick, Thomas Mitchell:
Controlling Physically Based Virtual Musical Instruments Using The Gloves. 521-524 - Martin Marier:
Designing Mappings for the Sponge: Towards Spongistic Music. 525-528 - Anders-Petter Andersson, Birgitta Cappelen, Fredrik Olofsson:
Designing Sound for Recreation and Well-Being. 529-532 - Sang Won Lee, Georg Essl, Zhuoqing Morley Mao:
Distributing Mobile Music Applications for Audience Participation Using Mobile Ad-hoc Network (MANET). 533-536 - Shawn Trail, Duncan MacConnell, Leonardo Jenkins, Jeff Snyder, George Tzanetakis, Peter F. Driessen:
El-Lamellophone A Low-cost, DIY, Open Framework for Acoustic Lemellophone Based Hyperinstruments. 537-540 - Matthew E. P. Davies, Adam M. Stark, Fabien Gouyon, Masataka Goto:
Improvasher: A Real-Time Mashup System for Live Musical Input. 541-544 - Adinda Rosa van't Klooster, Nick Collins:
In A State: Live Emotion Detection and Visualisation for Music Performance. 545-548 - Valtteri Wikström:
Musical Composition by Regressional Mapping of Physiological Responses to Acoustic Features. 549-552 - Tom Mays, Francis Faber:
A Notation System for the Karlax Controller. 553-556 - Blake Johnston, Henry Dengate Thrush, Ajay Kapur, Jim W. Murphy, Tane Moleta:
Polus: The Design and Development of a New, Mechanically Bowed String Instrument Ensemble. 557-560 - Anders Tveit, Hans Wilmers, Notto J. W. Thelle, Magnus Bugge, Thom Johansen, Eskil Muan Sæther:
Reunion2012: A Novel Interface for Sound Producing Actions Through the Game of Chess. 561-564 - Jim W. Murphy, Paul Mathews, Ajay Kapur, Dale A. Carnegie:
Robot: Tune Yourself! Automatic Tuning for Musical Robotics. 565-568 - Haojing Diao, Yanchao Zhou, Christopher Andrew Harte, Nick Bryan-Kinns:
Sketch-Based Musical Composition and Performance. 569-572 - Yang Kyu Lim, Woon Seung Yeo:
Smartphone-based Music Conducting. 573-576 - Reinhard Gupfinger, Martin Kaltenbrunner:
SOUND TOSSING Audio Devices in the Context of Street Art. 577-580 - Ricky Graham, Brian Bridges:
Gesture and Embodied Metaphor in Spatial Music Performance Systems Design. 581-584 - Jeff Snyder, Danny Ryan:
The Birl: An Electronic Wind Instrument Based on an Artificial Neural Network Parameter Mapping Structure. 585-588 - Adrián Barenca, Milos Corak:
The Manipuller II: Strings within a Force Sensing Ring. 589-592 - Joel Eaton, Weiwei Jin, Eduardo Reck Miranda:
The Space Between Us. A Live Performance with Musical Score Generated via Emotional Levels Measured in EEG of One Performer and an Audience Member. 593-596 - Ian Hattwick, Preston Beebe, Zachary Hale, Marcelo M. Wanderley, Philippe Leroux, Fabrice Marandola:
Unsounding Objects: Audio Feature Extraction for the Control of Sound Synthesis. 597-600 - Federico Visi, Rodrigo Schramm, Eduardo Reck Miranda:
Use of Body Motion to Enhance Traditional Musical Instruments. 601-604 - Olivier Perrotin, Christophe d'Alessandro:
Visualizing Gestures in the Control of a Digital Musical Instrument. 605-608 - Enrique Tomás, Martin Kaltenbrunner:
Tangible Scores: Shaping the Inherent Instrument Score. 609-614 - Piers Titus van der Torren:
Striso, a Compact Expressive Instrument Based on a New Isomorphic Note Layout. 615-620 - Thomas Webster, Guillaume LeNost, Martin Klang:
The OWL programmable stage effects pedal: Revising the concept of the on-stage computer for live music performance. 621-624 - Aristotelis Hadjakos, Simon Waloschek:
SPINE: A TUI Toolkit and Physical Computing Hybrid. 625-628 - Xiao Xiao, Basheer Tome, Hiroshi Ishii:
Andante: Walking Figures on the Piano Keyboard to Visualize Musical Motion. 629-632
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