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ORCIDNIME 2009: Pittsburgh, PA, USA
- 9th International Conference on New Interfaces for Musical Expression, NIME 2009, Pittsburgh, PA, USA, June 4-6, 2009. nime.org 2009
- Mike Collicutt, Carmine Casciato, Marcelo M. Wanderley:
From Real to Virtual: A Comparison of Input Devices for Percussion Tasks. 1-6 - Aristotelis Hadjakos, Erwin Aitenbichler, Max Mühlhäuser:
Probabilistic Model of Pianists' Arm Touch Movements. 7-12 - Steven Gelineck, Stefania Serafin:
A Quantitative Evaluation of the Differences between Knobs and Sliders. 13-18 - Ricardo Pedrosa, Karon E. MacLean:
Evaluation of 3D Haptic Target Rendering to Support Timing in Music Tasks. 19-24 - William T. Hsu, Marc H. Sosnick:
Evaluating Interactive Music Systems: An HCI Approach. 25-28 - Neal Spowage:
The Ghetto Bastard: A Portable Noise Instrument. 29-30 - Eric Humphrey, Colby Leider:
The Navi Activity Monitor: Toward Using Kinematic Data to Humanize Computer Music. 31-32 - Alexander Müller, Georg Essl:
Utilizing Tactile Feedback to Guide Movements Between Sounds. 33-34 - Sam Ferguson, Kirsty A. Beilharz:
An Interface for Live Interactive Sonification. 35-36 - Alexander Reben, Mathew Laibowitz, Joseph A. Paradiso:
Responsive Music Interfaces for Performance. 37-38 - Chi-Hsia Lai:
Hands On Stage: A Sound and Image Performance Interface. 39-40 - Kyle McDonald, Dane Kouttron, Curtis Bahn, Jonas Braasch, Pauline Oliveros:
The Vibrobyte: A Haptic Interface for Co-Located Performance. 41-42 - Meason Wiley, Ajay Kapur:
Multi-Laser Gestural Interface - Solutions for Cost-Effective and Open Source Controllers. 43-44 - Ryo Kanda, Mitsuyo Hashida, Haruhiro Katayose:
Mims: Interactive Multimedia Live Performance System. 45-47 - Suguru Goto, Rob Powell:
netBody - "Augmented Body and Virtual Body II" with the System, BodySuit, Powered Suit and Second Life - Its Introduction of an Application of the System. 48-49 - Keisuke Ogawa, Yasuo Kuhara:
Life Game Orchestra as an Interactive Music Composition System Translating Cellular Patterns of Automata into Musical Scales. 50-51 - John Toenjes:
Natural Materials on Stage: Custom Controllers for Aesthetic Effect. 52-53 - Sarah Keith:
Controlling Live Generative Electronic Music with Deviate. 54-55 - Andy Dolphin:
SpiralSet: A Sound Toy Utilizing Game Engine Technologies. 56-57 - Mingfei Gao, Craig Hanson:
LUMI: Live Performance Paradigms Utilizing Software Integrated Touch Screen and Pressure Sensitive Button Matrix. 58-59 - Nicholas Gillian, Benjamin Knapp, Sile O'Modhrain:
The SARC EyesWeb Catalog: A Pattern Recognition Toolbox for Musician-Computer Interaction. 60-61 - Hiroki Nishino:
A 2D Fiducial Tracking Method based on Topological Region Adjacency and Angle Information. 62-63 - Jorge Solis, Takeshi Ninomiya, Klaus Petersen, Masaki Takeuchi, Atsuo Takanishi:
Anthropomorphic Musical Performance Robots at Waseda University: Increasing Understanding of the Nature of Human Musical Interaction Abstract. 64-69 - Gil Weinberg, Brian Blosser, Trishul Mallikarjuna, Aparna Raman:
The Creation of a Multi-Human, Multi-Robot Interactive Jam Session. 70-73 - Nan-Wei Gong, Mathew Laibowitz, Joseph A. Paradiso:
MusicGrip: A Writing Instrument for Music Control. 74-77 - Grant Partridge, Pourang Irani, Gordon Fitzell:
Let Loose with WallBalls, a Collaborative Tabletop Instrument for Tomorrow. 78-81 - Hye Ki Min:
SORISU: Sound with Numbers. 82-85 - Yotam Mann, Jeff Lubow, Adrian Freed:
The Tactus: a Tangible , Rhythmic Grid Interface Using Found-Objects. 86-89 - Jason Hockman, Marcelo M. Wanderley, Ichiro Fujinaga:
Real-Time Phase Vocoder Manipulation by Runner's Pace. 90-93 - Kristian Nymoen, Alexander Refsum Jensenius:
A Discussion of Multidimensional Mapping in Nymophone2. 94-97 - Daniel Schlessinger, Julius O. Smith III:
The Kalichord: A Physically Modeled Electro-Acoustic Plucked String Instrument. 98-101 - Otso Lähdeoja:
Augmenting Chordophones with Hybrid Percussive Sound Possibilities. 102-105 - Mark Kahrs, David Skulina, Stefan Bilbao, Murray Campbell:
An Electroacoustically Controlled Vibrating Plate. 106-109 - Scott Smallwood, Perry R. Cook, Dan Trueman, Lawrence McIntyre:
Don't Forget the Loudspeaker - A History of Hemispherical Speakers at Princeton, Plus a DIY Guide. 110-115 - Adrian Freed, Andrew Schmeder:
Features and Future of Open Sound Control version 1.1 for NIME. 116-120 - Andrew Schmeder, Adrian Freed:
A Low-level Embedded Service Architecture for Rapid DIY Design of Real-time Musical Instruments. 121-124 - Hans-Christoph Steiner:
Firmata: Towards Making Microcontrollers Act Like Extensions of the Computer. 125-130 - Marije A. J. Baalman, Harry Smoak, Christopher L. Salter, Joseph W. Malloch
, Marcelo M. Wanderley:
Sharing Data in Collaborative, Interactive Performances: the SenseWorld DataNetwork. 131-134 - Nicolas Bouillot, Jeremy R. Cooperstock:
Challenges and Performance of High-Fidelity Audio Streaming for Interactive Performances. 135-140 - Todor Todoroff, Frédéric Bettens, Loïc Reboursière, Wen-Yang Chu:
"Extension du Corps Sonore" - Dancing Viola. 141-146 - Colby Leider, Doug Mann, Daniel Plazas, Michael Battaglia, Reid Draper:
The elBo and footPad: Toward Personalized Hardware for Audio Manipulation. 147-148 - Langdon Crawford, William D. Fastenow:
The Midi-AirGuitar , A serious Musical Controller with a Funny Name Music Technology Program. 149-150 - Niels Böttcher, Smilen Dimitrov:
An Early Prototype of the Augmented PsychoPhone. 151-152 - Diana Siwiak, Jonathan Berger, Yao Yang:
Catch Your Breath - Musical Biofeedback for Breathing Regulation. 153-154 - Lijuan Peng, David Gerhard:
A Wii-Based Gestural Interface for Computer Conducting Systems. 155-156 - Dale E. Parson:
Chess-Based Composition and Improvisation for Non-Musicians. 157-158 - Andy Dolphin:
MagNular: Symbolic Control of an External Sound Engine Using an Animated Interface. 159-160 - Noah Feehan:
Audio Orienteering - Navigating an Invisible Terrain. 161-162 - Staas de Jong:
Developing the Cyclotactor. 163-164 - Sébastien Schiesser:
midOSC: a Gumstix-Based MIDI-to-OSC Converter. 165-168 - Yoichi Nagashima:
Parallel Processing System Design with "Propeller" Processor. 169-170 - A. Cavan Fyans, Michael Gurevich, Paul Stapleton:
Where Did It All Go Wrong ? A Model of Error From the Spectator's Perspective. 171-172 - Nicolas D'Alessandro, Thierry Dutoit:
Advanced Techniques for Vertical Tablet Playing A Overview of Two Years of Practicing the HandSketch 1.x. 173-174 - Andreas Höfer, Aristotelis Hadjakos, Max Mühlhäuser:
Gyroscope-Based Conducting Gesture Recognition. 175-176 - Edgar Berdahl, Günter Niemeyer, Julius O. Smith III:
Using Haptics to Assist Performers in Making Gestures to a Musical Instrument. 177-182 - Edgar Berdahl, Günter Niemeyer, Julius O. Smith III:
Using Haptic Devices to Interface Directly with Digital Waveguide-Based Musical Instruments. 183-186 - Mark Havryliv, Fazel Naghdy, Greg Schiemer, Timothy Hurd:
Haptic Carillon - Analysis & Design of the Carillon Mechanism. 187-192 - Hans Leeuw:
The Electrumpet , a Hybrid Electro-Acoustic Instrument. 193-198 - Emmanuelle Gallin, Marc Sirguy:
Sensor Technology and the Remaking of Instruments from the Past. 199-202 - Sarah Nicolls:
Twenty-First Century Piano. 203-206 - Andrew Johnston, Linda Candy, Ernest A. Edmonds:
Designing for Conversational Interaction. 207-212 - Michael Gurevich, Paul Stapleton, Peter D. Bennett:
Designing for Style in New Musical Interactions. 213-217 - Perry R. Cook:
Re-Designing Principles for Computer Music Controllers: a Case Study of SqueezeVox Maggie. 218-221 - Jaroslaw Kapuscinski, Javier Sánchez:
Interfacing Graphic and Musical Elements in Counterlines. 222-225 - Richard Polfreman:
FrameWorks 3D: Composition in the Third Dimension. 226-229 - Adrian Freed:
Novel and Forgotten Current-steering Techniques for Resistive Multitouch, Duotouch, and Polytouch Position Sensing with Pressure. 230-235 - Randy Jones, Peter F. Driessen, W. Andrew Schloss, George Tzanetakis:
A Force-Sensitive Surface for Intimate Control. 236-241 - Greg Kellum, Alain Crevoisier:
A Flexible Mapping Editor for Multi-touch Musical Instruments. 242-245 - Chris Kiefer, Nick Collins, Geraldine Fitzpatrick:
Phalanger: Controlling Music Software With Hand Movement Using A Computer Vision and Machine Learning Approach. 246-249 - Teresa Marrin Nakra, Yuri Ivanov, Paris Smaragdis, Christopher Ault:
The UBS Virtual Maestro: an Interactive Conducting System. 250-255 - Elena Naomi Jessop:
The Vocal Augmentation and Manipulation Prosthesis (VAMP): A Conducting-Based Gestural Controller for Vocal Performance. 256-259 - Tomás Henriques:
Double Slide Controller. 260-261 - Edgar Berdahl, Günter Niemeyer, Julius O. Smith III:
HSP: A Simple and Effective Open-Source Platform for Implementing Haptic Musical Instruments. 262-263 - Tarik Barri:
Versum: Audiovisual Composing in 3d. 264-265 - Jamie Bullock, Lamberto Coccioli:
Towards a Humane Graphical User Interface for Live Electronic Music. 266-267 - Tomas Laurenzo, Ernesto Rodríguez, Juan Fabrizio Castro:
YARMI: an Augmented Reality Musical Instrument. 268-269 - Georg Essl:
SpeedDial: Rapid and On-The-Fly Mapping of Mobile Phone Instruments. 270-273 - Sidney S. Fels, Bob Pritchard, Allison Lenters:
ForTouch: A Wearable Digital Ventriloquized Actor. 274-275 - Alex McLean, Geraint A. Wiggins:
Words , Movement and Timbre. 276-279 - Rebecca Fiebrink, Dan Trueman, Perry R. Cook:
A Meta-Instrument for Interactive, On-the-Fly Machine Learning. 280-285 - Jan C. Schacher:
Action and Perception in Interactive Sound Installations: An Ecological Approach. 286-289 - Jonathon Kirk, Lee Weisert:
The Argus Project: Underwater Soundscape Composition with Laser- Controlled Modulation. 290-292 - Michael St. Clair, Sasha Leitman:
PlaySoundGround: An Interactive Musical Playground. 293-296 - Daniel Jones, Tim Hodgson, Jane Grant, John Matthias, Nicholas Outram, Nick Ryan:
The Fragmented Orchestra. 297-302 - Ge Wang:
Designing Smule's Ocarina: The iPhone's Magic Flute. 303-307 - Nicholas Gillian, Sile O'Modhrain, Georg Essl:
Scratch-Off: A Gesture Based Mobile Music Game with Tactile Feedback. 308-311 - Gil Weinberg, Andrew Beck, Mark Godfrey:
ZooZBeat: a Gesture-based Mobile Music Studio. 312-315 - Andrea Bianchi, Woon Seung Yeo:
The Drummer: a Collaborative Musical Interface with Mobility. 316-319 - Robert Wechsler:
The Oklo Phenomenon. 320 - David Lieberman:
Anigraphical Etude 9. 321 - Min Eui Hong:
Cosmic Strings II. 322 - Troy Rogers, Steven T. Kemper, Scott Barton:
Study no. 1 for PAM and MADI. 323 - Garth Paine, Michael Atherton:
Fue Sho - Electrofusion. 324 - Tarik Barri:
Versum - Fluor. 325 - Chikashi Miyama:
Angry Sparrow. 326 - Eric D. Lyon, Benjamin Knapp, Gascia Ouzounian:
Biomuse Trio. 327 - Suguru Goto:
BodyJack. 328 - Marije A. J. Baalman:
Code LiveCode Live, or livecode Embodied. 329 - Giuseppe Torre, Robert Sazdov, Dorota Konczewska:
MOLITVA - Composition for Voice, Live Electronics, Pointing-At Glove Device and 3-D Setup of Speakers. 330 - Ben Neill, Eric Singer:
Ben Neill and LEMUR. 331 - David Hindman, Evan Drummond:
Performance: Modal Kombat Plays PONG. 332 - Colby Leider:
Afflux/Reflux. 333 - Ge Wang, Rebecca Fiebrink:
PLOrk Beat Science 2.0. 334 - David Wessel:
Hands On - A New Work from SLABS Controller and Generative Algorithms. 335 - Roger Luke DuBois, Lesley Flanigan:
Bioluminescence. 336 - Ivica Bukvic, Eric Standley:
Elemental & Cyrene Reefs. 337 - Scot Gresham-Lancaster, Steve Bull:
Cellphonia: 4'33". 338 - Dan Overholt, Byron Lahey, Anne-Marie Skriver Hansen, Winslow Burleson, Camilla Nørgaard Jensen:
Pendaphonics. 339 - Scott Smallwood:
Sound Lanterns. 340 - Phillip Stearns:
AANN: Artificial Analog Neural Network. 341
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