NIME 06
IRCAM - Centre Pompidou, Paris, France
June 4-8, 2006
Paper and Poster Selection
(ordered by submission ID)
| 15 | Transmodal Feedback as a New Perspective for Audio-visual Effects | Christian Jacquemin, Serge de Laubier |
| 16 | Decay in Collaborative Music Making | Nick Bryan-Kinns, Patrick Healey |
| 23 | JamSpace: Designing A Collaborative Networked Music Space for Novices | Michael Gurevich |
| 24 | Towards a Coherent Terminology and Model of Instrument Description and Design | Tellef Kvifte, Alexander R. Jensenius |
| 25 | Timbre interfaces using adjectives and adverbs | Colin Johnson, Alex Gounaropoulos |
| 30 | Meta-Instrument 3: a look over 17 years of practice | Serge De Laubier, Vincent Goudard |
| 31 | Students' projects of interactive media-installations in SUAC | Yoichi Nagashima |
| 32 | TENORI-ON | Yu Nishibori, Toshio Iwai |
| 33 | Hyper-shaku (Border-crossing): Towards the Multi-modal Gesture-controlled Hyper-Instrument | Kirsty Beilharz, Joanne Jakovich, Sam Ferguson |
| 34 | Perturbation Techniques for Multi-Performer or Multi-Agent Interactive Musical Interfaces | Matthew Burtner |
| 37 | The Case Study of An Application of The System, “BodySuit” and “RoboticMusic” - Its Introduction and Aesthetics | Suguru Goto |
| 42 | The Chopping Board: Real-time Sample Editor | Jason Lee |
| 48 | OMEGA : acoustic, haptic apparatus and method for the generation, modulation and diffusion of sound | Thomas Kitazawa |
| 50 | Using MIDI to Modify Video Game Content | Jukka Holm, Juha Arrasvuori, Kai Havukainen |
| 51 | CaMus: Live Music Performance using Camera Phones and Visual Grid Tracking | Michael Rohs, Georg Essl, Martin Roth |
| 53 | Adapting the trombone: a suite of electro-acoustic interventions for the piece Rouse | Neal Farwell |
| 55 | Real-time CALM Synthesizer: New Approaches in Hands-Controlled Voice Synthesis | Nicolas D'Alessandro, Christophe d'Alessandro, Sylvain Le Beux, Boris Doval |
| 57 | Creating a Network of Integral Music Controllers | Benjamin Knapp, Perry Cook |
| 58 | Towards a Gesture Description Interchange Format | Alexander Jensenius, Tellef Kvifte, Rolf Inge Godøy |
| 62 | Modal Kombat: Competition and Choreography in Synesthetic Musical Performance | David Hindman |
| 65 | Interactive Sonification of Neural Activity | Gil Weinberg, Travis Thatcher |
| 66 | Turntable Music in the Digital Era: Designing Alternative Tools for New Turntable Expression | Takuro Lippit |
| 69 | SonicJumper composer | D. Andrew Stewart |
| 70 | Integrated Interactive Music Performance Environment | Keith Hamel |
| 78 | conga: A Framework for Adaptive Conducting Gesture Analysis | Eric Lee, Ingo Gruell, Henning Kiel, Jan Borchers |
| 79 | Synthesis and control of everyday sound reconstructing Russolo's Intonarumori | Stefania Serafin, Amalia De Goetzen, Niels Böttcher, Steven Gelineck |
| 80 | Mobile Music Technology: Report on an Emerging Community | Lalya Gaye, Lars Erik Holmquist, Frauke Behrendt, Atau Tanaka |
| 81 | GAINER: A reconfigurable I/O module and software libraries for education | Shigeru Kobayashi, Takanori Endo, Katsuhiko Harada, Shosei Oishi |
| 84 | Using the augmented trombone in "I will not kiss your f.ing flag" | Serge Lemouton, Marco Stroppa, Benny Sluchin |
| 85 | A simple practical approach to a wireless data acquisition board | Smilen Dimitrov, Stefania Serafin |
| 87 | Children of Grainger: Leather Instruments for Free Music | Stuart Favilla, Joanne Cannon |
| 90 | 'GXtar', an interface using guitar techniques | Loic Kessous, Julien Castet, Daniel Arfib |
| 93 | The Frequencyliator – Distributing Structures for Networked Laptop Improvisation | Pedro Rebelo, Alain Renaud |
| 95 | Mapping with planning agents in the Max/MSP environment: the GO/Max language | Paolo Bottoni, Stefano Faralli, Anna Labella, Mario Pierro |
| 96 | Orbophone: a new interface for radiating sound and image | Damien Lock, Greg Schiemer |
| 97 | the gluion, advantages of an FPGA-based sensor interface | Sukandar Kartadinata |
| 99 | An Acousmatic Composition Environment | Morten Breinbjerg, Ole Caprani, Rasmus Lunding, Line Kramhoeft |
| 100 | Reflective Optical Pickup For Violin | Nicolas Leroy, Emmanuel Flety, Frederic Bevilacqua |
| 101 | LINE: Interactive Sound and Light Installation | Daisuke Kobori, Kojiro Kagawa, Makoto Iida, Chuichi Arakawa |
| 107 | MICON A Music Stand for Interactive Conducting | Jan Borchers, Aristotelis Hadjakos, Max Mühlhäuser |
| 108 | Recent Developments in Violin-related Digital Musical Instruments: Where Are We and Where Are We Going? | Cornelius Poepel, Dan Overholt |
| 111 | spinCycle: a Color-Tracking Turntable Sequencer | Spencer Kiser |
| 113 | A VR Interface for Collaborative 3D Audio Performance | Martin Naef, Daniel Collicott |
| 117 | PETECUBE: a Multimodal Feedback Interface | Peter Bennett |
| 118 | A “Ballet mécanique” for the 21st Century: Performing George Antheil’s Dadaist Masterpiece with Robots | Paul Lehrman, Eric Singer |
| 123 | The G-Spring Controller | Denis Lebel, Joseph Malloch |
| 124 | The ZKM Klangdom | Chandrasekhar Ramakrishnan, Joachim Gossmann, Ludger Brümmer |
| 125 | 32kg: Performance Systems for a Post-Digital Age | John Richards |
| 127 | The ‘E’ in NIME: Musical Expression with New Computer Interfaces | Christopher Dobrian, Daniel Koppelman |
| 129 | Screen-Based Musical Interfaces as Semiotic Machines | Thor Magnusson |
| 131 | Visual Methods for the Retrieval of Guitarist Fingering | Anne-Marie Burns, Marcelo Wanderley |
| 132 | Vibrotactile Feedback in Digital Musical Instruments | Mark Marshall, Marcelo Wanderley |
| 133 | Bioinformatic Feedback: performer bio-data as a driver for real-time composition | Robert Hamilton |
| 135 | The Augmented Djembe Drum – Sculpting Rhythms | Teemu Mäki-Patola, Perttu Hämäläinen, Aki Kanerva |
| 142 | Towards a Virtual Assistant for Performers and Stage Directors | Alain Bonardi, Isis Truck, Herman Akdag |
| 145 | Paper FSRs and Latex/Fabric Traction Sensors: Methods for the Development of Home-Made Touch Sensors | Rodolphe Koehly, Denis Curtil, Marcelo Wanderley |
| 146 | Real-Time Sound Source Spatialization as used in Challenging Bodies : Implementation and Performance | JJ Nixdorf, David Gerhard |
| 147 | The augmented violin project: research, composition and performance report | Frederic Bevilacqua, Nicolas Rasamimanana, Emmanuel Flety, Serge Lemouton, Florence Baschet |
| 149 | Sound Rose: Creating Music and Images with a Touch Table | Alain Crevoisier, Cédric Bornand, Arnaud Guichard, Seiichiro Matsumura, Chuichi Arakawa |
| 152 | On making and playing an electronically-augmented saxophone | Sébastien Schiesser, Caroline Traube |
| 153 | Managing Gesture and Timbre for Analysis and Instrument Control in an Interactive Environment | William Hsu |
| 154 | Auditory Illusion and Violin: Demonstration of a Work by Jean-Claude Risset Written for Mari Kimura | Mari Kimura, Jean-Claude Risset |
| 155 | Different Strokes: a Prototype Software System for Laptop Performance and Improvisation | Mark Zadel, Gary Scavone |
| 156 | Creating Ad Hoc Instruments with Pin&Play&Perform | John Bowers, Nicolas Villar |
| 157 | Augmenting the Cello | Adrian Freed, Frances Marie Uitti, Michael Zbyszynski, David Wessel |
| 159 | A Framework for Spatial Interaction in Locative Media | Atau Tanaka, Petra Gemeinboeck |
| 160 | SensorWiki.org: A Collaborative Resource for Researchers and Interface Designers | Marcelo Wanderley, David Birnbaum, Joseph Malloch, Elliot Sinyor, Julien Boissinot |
| 169 | Sensemble: A Wireless, Compact, Multi-User Sensor System for Interactive Dance | Ryan Aylward, Joseph Paradiso |
| 171 | Learning Musical Instrument Skills Through Interactive Sonification | Sam Ferguson |
| 175 | Handheld Acoustic Filter Bank for Musical Control | Tamara Smyth |
| 179 | Interactive Public Sound Art: a case study | David Birchfield, Kelly Phillips, Assegid Kidane, David Lorig |
| 181 | Composing for Hyperbow: A Collaboration Between MIT and the Royal Academy of Music | Diana Young, Patrick Nunn, Artem Vassiliev |
| 182 | An Architectural Framework for Interactive Music Systems | Alexandre Francois, Elaine Chew |
| 183 | A framework for immersive spatial audio performance | Mike Wozniewski, Zack Settel, Jeremy Cooperstock |
| 186 | Pocket Gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4 | Greg Schiemer, Mark Havryliv |
| 187 | Beyond 0-5V: Expanding Sensor Integration Architectures | Adrian Freed, Rimas Avizienis, Matt Wright |
| 191 | Synthesis and Control on Large Scale Multi-Touch Sensing Displays | Philip Davidson, Jefferson Han |
| 194 | Building Collaborative Graphical interFaces in the Audicle | Ge Wang, Ananya Misra, Perry Cook |
| 199 | Towards a catalog and software library of mapping methods | Hans-Christoph Steiner |
| 200 | Combining accelerometer and video camera: Reconstruction of bow velocity profiles | Erwin Schoonderwaldt, Nicolas Rasamimanana, Frédéric Bevilacqua |
| 201 | Non haptic control of music by video analysis of hand movements : 14 years of experience with the «Caméra Musicale» | Jacques Rémus |
| 205 | Mapping strategies in DJ scratching | Kjetil Falkenberg Hansen, Roberto Bresin |
| 210 | The Light Matrix: An Interface for musical expression and performance | Jonathan Pak |
| 212 | Using the Touch Screen as a Controller for Portable Computer Music Instruments | Günter Geiger |
| 213 | Mary had a little scoreTable* or the reacTable* goes melodic | Sergi Jorda, Marcos Alonso |
| 214 | GRASSP: Gesturally-Realized Audio, Speech and Song Performance | Bob Pritchard, Sidney Fels |
| 215 | A Tactile Closed-Loop Device for Musical Interaction | Staas de Jong |