NIME 2006:
Paris,
France
Norbert Schnell, Frédéric Bevilacqua, Michael J. Lyons, Atau Tanaka (Eds.):
New Interfaces for Musical Expression, NIME-06, Proceedings, Paris, June 4-8, 2006.
IRCAM - Centre Pompidou in collaboration with Sorbonne University 2006, ISBN 2-84426-314-3 BibTeX
Paper Session 1:
Mobile and Public
- Lalya Gaye, Lars Erik Holmquist, Frauke Behrendt, Atau Tanaka:
Mobile Music Technology: Report on an Emerging Community.
22-25
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- Atau Tanaka, Petra Gemeinboeck:
A Framework for Spatial Interaction in Locative Media.
26-30
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- Michael Rohs, Georg Essl, Martin Roth:
CaMus: Live Music Performance using Camera Phones and Visual Grid Tracking.
31-36
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- Greg Schiemer, Mark Havryliv:
Pocket Gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4.
37-42
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- David Birchfield, Kelly Phillips, Assegid Kidané, David Lorig:
Interactive Public Sound Art: a case study.
43-48
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Paper Session 2:
Networked and Collaborative
Paper Session 3:
Real and Virtual,
Spatial and Graphical
Paper Session 4:
Instrument Design
Paper Session 5:
Brain,
Hands,
and Expression
- Gil Weinberg, Travis Thatcher:
Interactive Sonification of Neural Activity.
246-249
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- Jacques Remus:
Non haptic control of music by video analysis of hand movements: 14 years of experience with the "Caméra Musicale".
250-253
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- Jan Borchers, Aristotelis Hadjakos, Max Mühlhäuser:
MICON: A Music Stand for Interactive Conducting.
254-259
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- Eric Lee, Ingo Grüll, Henning Kiel, Jan Borchers:
conga: A Framework for Adaptive Conducting Gesture Analysis.
260-265
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- Nicolas D'Alessandro, Christophe d'Alessandro, Sylvain Le Beux, Boris Doval:
Real-time CALM Synthesizer: New Approaches in Hands-Controlled Voice Synthesis.
266-271
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- Bob Pritchard, Sidney Fels:
GRASSP: Gesturally-Realized Audio, Speech and Song Performance.
272-271
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- Christopher Dobrian, Daniel Koppelman:
The 'E' in NIME: Musical Expression with New Computer Interfaces.
277-282
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Paper Session 6:
Special Paper Session:
Digital Interfaces for the Violin Family
- Cornelius Poepel, Dan Overholt:
Recent Developments in Violin-related Digital Musical Instruments: Where Are We and Where Are We Going?.
390-395
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- Diana Young, Patrick Nunn, Artem Vassiliev:
Composing for Hyperbow: A Collaboration Between MIT and the Royal Academy of Music.
396-401
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- Frédéric Bevilacqua, Nicolas H. Rasamimanana, Emmanuel Fléty, Serge Lemouton, Florence Baschet:
The augmented violin project: research, composition and performance report.
402-406
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- Mari Kimura, Jean-Claude Risset:
Auditory Illusion and Violin: Demonstration of a Work by Jean-Claude Risset written for Mari Kimura.
407-408
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- Adrian Freed, Frances Marie Uitti, Michael Zbyszynski, David Wessel:
Augmenting the Cello.
409-413
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Poster Session 1:
Sensors,
Interfaces,
and Mapping
- Ge Wang, Ananya Misra, Perry R. Cook:
Building Collaborative Graphical interFaces in the Audicle.
49-52
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- Pedro Rebelo, Alain Renaud:
The Frequencyliator - Distributing Structures for Networked Laptop Improvisation.
53-56
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- Martin Näf, Daniel Collicott:
A VR Interface for Collaborative 3D Audio Performance.
57-60
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- Gunter Geiger:
Using the Touch Screen as a Controller for Portable Computer Music Instruments.
61-64
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- Jukka Holm, Juha Arrasvuori, Kai Havukainen:
Using MIDI to Modify Video Game Content.
65-70
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- Takuro Mizuta Lippit:
Turntable Music in the Digital Era: Designing Alternative Tools for New Turntable Expression.
71-74
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- Spencer Kiser:
spinCycle: a Color-Tracking Turntable Sequencer.
75-76
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- Jason Lee:
The Chopping Board: Real-time Sample Editor.
77-78
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- Staas de Jong:
A Tactile Closed-Loop Device for Musical Interaction.
70-80
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- Peter Bennett:
PETECUBE: a Multimodal Feedback Interface.
81-84
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- Denis Lebel, Joseph Malloch:
The G-Spring Controller.
85-88
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- Damien Lock, Greg Schiemer:
Orbophone: a new interface for radiating sound and image.
89-92
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- Sukandar Kartadinata:
the gluion, advantages of an FPGA-based sensor interface.
93-96
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- Adrian Freed, Rimas Avizienis, Matthew Wright:
Beyond 0-5V: Expanding Sensor Integration Architectures.
97-100
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- Colin G. Johnson, Alex Gounaropoulos:
Timbre interfaces using adjectives and adverbs.
101-102
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- D. Andrew Stewart:
SonicJumper composer.
103-105
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- Hans-Christoph Steiner:
Towards a catalog and software library of mapping methods.
106-109
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- Daisuke Kobori, Kojiro Kagawa, Makoto Iida, Chuichi Arakawa:
LINE: Interactive Sound and Light Installation.
110-113
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Poster Session 2:
Gesture Controlled Audio Systems
- Alexander Refsum Jensenius, Tellef Kvifte, Rolf Inge Godøy:
Towards a Gesture Description Interchange Format.
176-179
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- Marcelo M. Wanderley, David Birnbaum, Joseph Malloch, Elliot Sinyor, Julien Boissinot:
SensorWiki.org: A Collaborative Resource for Researchers and Interface Designers.
180-183
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- Smilen Dimitrov, Stefania Serafin:
A simple practical approach to a wireless data acquisition board.
184-187
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- Kjetil Falkenberg Hansen, Roberto Bresin:
Mapping strategies in DJ scratching.
188-191
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- Loïc Kessous, Julien Castet, Daniel Arfib:
'GXtar', an interface using guitar techniques.
192-195
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- Anne-Marie Burns, Marcelo M. Wanderley:
Visual Methods for the Retrieval of Guitarist Fingering.
196-199
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- Erwin Schoonderwaldt, Nicolas H. Rasamimanana, Frédéric Bevilacqua:
Combining accelerometer and video camera: Reconstruction of bow velocity profiles.
200-203
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- Nicolas Leroy, Emmanuel Fléty, Frédéric Bevilacqua:
Reflective Optical Pickup For Violin.
204-207
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Poster Session 3:
Tables and Screens
Poster Session 4:
Instruments,
Performances,
and Installations
- John Richards:
32kg: Performance Systems for a Post-Digital Age.
283-287
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- Serge De Laubier, Vincent Goudard:
Meta-Instrument 3: a look over 17 years of practice.
288-291
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- Suguru Goto:
The Case Study of An Application of The System, "BodySuit" and "RoboticMusic" - Its Introduction and Aesthetics.
292-295
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- David Hindman:
Modal Kombat: Competition and Choreography in Synesthetic Musical Performance.
296-299
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- Paul D. Lehrman, Eric Singer:
A "Ballet mécanique" for the 21st Century: Performing George Antheil's Dadaist Masterpiece with Robots.
300-303
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- Serge Lemouton, Marco Stroppa, Benny Sluchin:
Using the augmented trombone in "I will not kiss your f.ing flag".
304-307
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- Sébastien Schiesser, Caroline Traube:
On making and playing an electronically-augmented saxophone.
308-313
Electronic Edition (link) BibTeX
- Tamara Smyth:
Handheld Acoustic Filter Bank for Musical Control.
314-317
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- J. J. Nixdorf, David Gerhard:
Real-Time Sound Source Spatialization as used in Challenging Bodies: Implementation and Performance.
318-321
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- Paolo Bottoni, Stefano Faralli, Anna Labella, Mario Pierro:
Mapping with planning agents in the Max/MSP environment: the GO/Max language.
322-325
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- Alain Bonardi, Isis Truck, Herman Akdag:
Towards a Virtual Assistant for Performers and Stage Directors.
326-329
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- Yoichi Nagashima:
Students' projects of interactive media-installations in SUAC.
330-333
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- Morten Breinbjerg, Ole Caprani, Rasmus Lunding, Line Kramhoeft:
An Acousmatic Composition Environment.
334-337
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- Robert Hamilton:
Bioinformatic Feedback: performer bio-data as a driver for real-time composition.
338-341
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- Jonathan Pak:
The Light Matrix: An Interface for musical expression and performance.
342-345
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- Shigeru Kobayashi, Takanori Endo, Katsuhiko Harada, Shosei Oishi:
GAINER: A reconfigurable I/O module and software libraries for education.
346-351
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Keynotes and Panel Discussion
Copyright © Sat May 16 23:31:23 2009
by Michael Ley (ley@uni-trier.de)
