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ORCIDNIME 2018: Blacksburg, VA, USA
- 18th International Conference on New Interfaces for Musical Expression, NIME 2018, Blacksburg, VA, USA, June 3-6, 2018. nime.org 2018
- Øyvind Brandtsegg, Trond Engum, Bernt Isak Wærstad:
Working methods and instrument design for cross-adaptive sessions. 1-6 - Eran Egozy, Eun Young Lee:
*12*: Mobile Phone-Based Audience Participation in a Chamber Music Performance. 7-12 - Anders Lind:
Animated Notation in Multiple Parts for Crowd of Non-professional Performers. 13-18 - Andrew R. Brown, Matthew Horrigan, Arne Eigenfeldt, Toby Gifford
, Daniel Field, Jon McCormack:
Interacting with Musebots. 19-24 - Chris Kiefer, Cecile Chevalier:
Towards New Modes of Collective Musical Expression through Audio Augmented Reality. 25-28 - Tomoya Matsuura, Kazuhiro Jo:
Aphysical Unmodeling Instrument: Sound Installation that Re-Physicalizes a Meta-Wind-Instrument Physical Model, Whirlwind. 29-30 - Ulf A. S. Holbrook:
An approach to stochastic spatialization - A case of Hot Pocket. 31-32 - Cory Champion, Mo H. Zareei:
AM MODE: Using AM and FM Synthesis for Acoustic Drum Set Augmentation. 33-34 - Don Derek Haddad, Joe A. Paradiso:
Kinesynth: Patching, Modulating, and Mixing a Hybrid Kinesthetic Synthesizer. 35-36 - Riccardo Marogna:
CABOTO: A Graphic-Based Interactive System for Composing and Performing Electronic Music. 37-42 - Gustavo Oliveira da Silveira:
The XT Synth: A New Controller for String Players. 43-44 - S. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson:
Risky business: Disfluency as a design strategy. 45-50 - Rachel Gibson:
The Theremin Textural Expander. 51-52 - Mert Toka, Can Ince, Mehmet Aydin Baytas:
Siren: Interface for Pattern Languages. 53-58 - Spencer Salazar, Andrew Piepenbrink, Sarah Reid:
Developing a Performance Practice for Mobile Music Technology. 59-64 - Ali Momeni, Daniel McNamara, Jesse Stiles:
MOM: an Extensible Platform for Rapid Prototyping and Design of Electroacoustic Instruments. 65-71 - Ben Luca Robertson, Luke Dahl:
Harmonic Wand: An Instrument for Microtonal Control and Gestural Excitation. 72-77 - McLean J. Macionis, Ajay Kapurr:
Sansa: A Modified Sansula for Extended Compositional Techniques Using Machine Learning. 78-81 - Luca Turchet, Mathieu Barthet:
Demo of interactions between a performer playing a Smart Mandolin and audience members using Musical Haptic Wearables. 82-83 - Steven T. Kemper, Scott Barton:
Mechatronic Expression: Reconsidering Expressivity in Music for Robotic Instruments . 84-87 - Courtney Brown:
Interactive Tango Milonga: Designing DMIs for the Social Dance Context . 88-91 - Rébecca Kleinberger:
Vocal Musical Expression with a Tactile Resonating Device and its Psychophysiological Effects. 92-95 - Patrick Palsbröker, Christine Steinmeier, Dominic Becking:
A Framework for Modular VST-based NIMEs Using EDA and Dependency Injection. 96-101 - Jack Atherton, Ge Wang:
Chunity: Integrated Audiovisual Programming in Unity. 102-107 - Steffan Ianigro, Oliver Bown:
Exploring Continuous Time Recurrent Neural Networks through Novelty Search. 108-113 - John Bowers, Owen Green:
All the Noises: Hijacking Listening Machines for Performative Research. 114-119 - Rodrigo Schramm, Federico Visi, André Brasil, Marcelo O. Johann:
A polyphonic pitch tracking embedded system for rapid instrument augmentation. 120-125 - Koray Tahiroglu, Michael Gurevich, R. Benjamin Knapp:
Contextualising Idiomatic Gestures in Musical Interactions with NIMEs. 126-131 - Lamtharn Hantrakul:
GestureRNN: A neural gesture system for the Roli Lightpad Block. 132-137 - Balandino Di Donato, Jamie Bullock, Atau Tanaka:
Myo Mapper: a Myo armband to OSC mapper. 138-143 - Federico Visi, Luke Dahl:
Real-Time Motion Capture Analysis and Music Interaction with the Modosc Descriptor Library. 144-147 - Cagan Arslan, Florent Berthaut, Jean Martinet, Ioan Marius Bilasco, Laurent Grisoni:
The Phone with the Flow: Combining Touch + Optical Flow in Mobile Instruments. 148-151 - Lars Engeln, Dietrich Kammer, Leon Brandt, Rainer Groh:
Multi-Touch Enhanced Visual Audio-Morphing. 152-155 - Anil Çamci:
GrainTrain: A Hand-drawn Multi-touch Interface for Granular Synthesis. 156-161 - Gus Xia, Roger B. Dannenberg:
ShIFT: A Semi-haptic Interface for Flute Tutoring. 162-167 - Fabio Morreale, Andrew P. McPherson, Marcelo M. Wanderley:
NIME Identity from the Performer's Perspective. 168-173 - Anna Xambó:
Who Are the Women Authors in NIME?-Improving Gender Balance in NIME Research. 174-177 - Sarah Reid, Sara Sithi-Amnuai, Ajay Kapur:
Women Who Build Things: Gestural Controllers, Augmented Instruments, and Musical Mechatronics. 178-183 - Robert H. Jack, Jacob Harrison, Fabio Morreale, Andrew P. McPherson:
Democratising DMIs: the relationship of expertise and control intimacy. 184-189 - Adnan Marquez-Borbon, Juan Pablo Martinez-Avila:
The Problem of DMI Adoption and Longevity: Envisioning a NIME Performance Pedagogy. 190-195 - Charles P. Martin, Alexander Refsum Jensenius, Jim Tørresen:
Composing an Ensemble Standstill Work for Myo and Bela. 196-197 - Alex Nieva, Johnty Wang, Joseph Malloch, Marcelo M. Wanderley:
The T-Stick: Maintaining a 12 year-old Digital Musical Instrument. 198-199 - Christopher Dewey, Jonathan P. Wakefield:
MIDI Keyboard Defined DJ Performance System. 200-201 - Trond Engum, Otto Jonassen Wittner:
Democratizing Interactive Music Production over the Internet. 202-203 - Jean-François Charles, Carlos Cotallo Solares, Carlos Toro-Tobón, Andrew Willette:
Using the Axoloti Embedded Sound Processing Platform to Foster Experimentation and Creativity. 204-205 - Kyriakos D. Tsoukalas, Ivica Ico Bukvic:
Introducing a K-12 Mechatronic NIME Kit. 206-209 - Daniel Bennett, Peter Bennett, Anne Roudaut:
Neurythmic: A Rhythm Creation Tool Based on Central Pattern Generators. 210-215 - James Granger, Mateo Aviles, Joshua Kirby, Austin Griffin, Johnny Yoon, Raniero Lara-Garduno, Tracy Hammond:
Evaluating LED-based interface for Lumanote composition creation tool. 216-221 - Eduardo Meneses, Sérgio Freire, Marcelo M. Wanderley:
GuitarAMI and GuiaRT: two independent yet complementary projects on augmented nylon guitars. 222-227 - Ariane de Souza Stolfi, Miguel Ceriani, Luca Turchet, Mathieu Barthet:
Playsound.space: Inclusive Free Music Improvisations Using Audio Commons. 228-233 - John Harding, Richard Graham, Edwin Park:
CTRL: A Flexible, Precision Interface for Analog Synthesis. 234-237 - Peter Beyls:
Motivated Learning in Human-Machine Improvisation. 238-243 - Deepak Chandran, Ge Wang:
InterFACE: new faces for musical expression. 244-248 - Richard Polfreman:
Hand Posture Recognition: IR, IMU and sEMG. 249-254 - Joseph Malloch, Marlon Schumacher, Stephen Sinclair, Marcelo M. Wanderley:
The Digital Orchestra Toolbox for Max. 255-258 - Bill Z. Manaris, Pangur Brougham-Cook, Dana Hughes, Andrew R. Brown:
JythonMusic: An Environment for Developing Interactive Music Systems. 259-262 - Steven Leib, Anil Çamci:
Triplexer: An Expression Pedal with New Degrees of Freedom. 263-268 - Halldór Úlfarsson:
The halldorophone: The ongoing innovation of a cello-like drone instrument. 269-274 - Kyriakos D. Tsoukalas, Joseph Kubalak, Ivica Ico Bukvic:
L2OrkMote: Reimagining a Low-Cost Wearable Controller for a Live Gesture-Centric Music Performance. 275-280 - Jack Armitage, Andrew P. McPherson:
Crafting Digital Musical Instruments: An Exploratory Workshop Study. 281-286 - Ammar Kalo, Georg Essl:
Individual Fabrication of Cymbals using Incremental Robotic Sheet Forming. 287-292 - John McDowell:
Haptic-Listening and the Classical Guitar. 293-298 - Jacob Harrison, Robert H. Jack, Fabio Morreale, Andrew P. McPherson:
When is a Guitar not a Guitar? Cultural Form, Input Modality and Expertise. 299-304 - Jeppe V. Larsen, Hendrik Knoche, Dan Overholt:
A Longitudinal Field Trial with a Hemiplegic Guitarist Using The Actuated Guitar. 305-310 - Paul Stapleton, Maarten van Walstijn, Sandor Mehes:
Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships. 311-314 - Sands A. Fish II, Nicole L'Huillier:
Telemetron: A Musical Instrument for Performance in Zero Gravity. 315-317 - Dan Wilcox:
robotcowboy: 10 Years of Wearable Computer Rock. 318-323 - Victor Evaristo González Sánchez, Charles P. Martin, Agata Zelechowska, Kari Anne Vadstensvik Bjerkestrand, Victoria Johnson, Alexander Refsum Jensenius:
Bela-Based Augmented Acoustic Guitars for Sonic Microinteraction. 324-327 - Giacomo Lepri, Andrew P. McPherson:
Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technology. 328-333 - Seth Dominicus Thorn:
Alto.Glove: New Techniques for Augmented Violin. 334-339 - Thanos Polymeneas Liontiris:
Low Frequency Feedback Drones: A non-invasive augmentation of the double bass. 340-341 - Daniel Formo:
The Orchestra of Speech: a speech-based instrument system. 342-343 - Anna Weisling, Anna Xambó, Ireti Olowe, Mathieu Barthet:
Surveying the Compositional and Performance Practices of Audiovisual Practitioners. 344-345 - Anthony T. Marasco:
Sound Opinions: Creating a Virtual Tool for Sound Art Installations through Sentiment Analysis of Critical Reviews. 346-347 - Kosmas Kritsis, Aggelos Gkiokas, Carlos Árpád Acosta, Quentin Lamerand, Robert Piéchaud, Maximos Kaliakatsos-Papakostas, Vassilis Katsouros:
A web-based 3D environment for gestural interaction with virtual music instruments as a STEAM education tool. 348-349 - Maria Mannone, Eri Kitamura, Jiawei Huang, Ryo Sugawara, Yoshifumi Kitamura:
CubeHarmonic: A New Interface from a Magnetic 3D Motion Tracking System to Music Performance. 350-351 - Martin M. Kristoffersen, Trond Engum:
The Whammy Bar as a Digital Effect Controller. 352-355 - Robert Pond, Alexander Klassen, Kirk McNally:
Timbre Tuning: Variation in Cello Sprectrum Across Pitches and Instruments. 356-359 - Matthew Mosher, Danielle Wood, Tony Obr:
Tributaries of Our Lost Palpability. 360-361 - Andrew Piepenbrink:
Embedded Digital Shakers: Handheld Physical Modeling Synthesizers. 362-363 - Anna Xambó, Gerard Roma, Alexander Lerch, Mathieu Barthet, György Fazekas:
Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases. 364-369 - Avneesh Sarwate, Ryan Taylor Rose, Jason Freeman, Jack Armitage:
Performance Systems for Live Coders and Non Coders. 370-373 - Jeff Snyder, Mike Mulshine, Rajeev Erramilli:
The Feedback Trombone: Controlling Feedback in Brass Instruments. 374-379 - Eric Sheffield:
Mechanoise: Mechatronic Sound and Interaction in Embedded Acoustic Instruments. 380-381 - Jon Pigrem, Andrew P. McPherson:
Do We Speak Sensor? Cultural Constraints of Embodied Interaction . 382-385 - Spencer Salazar, Jack Armitage:
Re-engaging the Body and Gesture in Musical Live Coding. 386-389 - Edgar Berdahl, Eric Sheffield, Andrew Pfalz, Anthony T. Marasco:
Widening the Razor-Thin Edge of Chaos Into a Musical Highway: Connecting Chaotic Maps to Digital Waveguides. 390-393 - Jeff Snyder, Aatish Bhatia, Mike Mulshine:
Neuron-modeled Audio Synthesis: Nonlinear Sound and Control. 394-397 - Rodrigo F. Cádiz, Marie Carmen González Inostroza:
Fuzzy Logic Control Toolkit 2.0: composing and synthesis by fuzzyfication. 398-402 - Sang-won Leigh, Pattie Maes:
Guitar Machine: Robotic Fretting Augmentation for Hybrid Human-Machine Guitar Play. 403-408 - Scott Barton, Karl Sundberg, Andrew Walter, Linda Sara Baker, Tanuj Sane, Alexander O'Brien:
Robotic Percussive Aerophone. 409-412 - Nathan Villicaña-Shaw, Spencer Salazar, Ajay Kapur:
Mechatronic Performance in Computer Music Compositions. 413-418
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last updated on 2025-11-28 12:43 CET by the dblp team
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