Abstract is missing.
- Embodied design of full bodied interaction with virtual humansMarco Gillies, Harry Brenton, Andrea Kleinsmith. 1-8 [doi]
- Embodied flow in experiential media systems: a study of the dancer's lived experience in a responsive audio systemJulie Akerly. 9-16 [doi]
- Interactive Tango Milonga: designing internal experienceCourtney Brown, Garth Paine. 17-20 [doi]
- A review of computable expressive descriptors of human motionCaroline Larboulette, Sylvie Gibet. 21-28 [doi]
- Movement sequence analysis using hidden Markov models: a case study in Tai Chi performanceJules Françoise, Agnès Roby-Brami, Natasha Riboud, Frédéric Bevilacqua. 29-36 [doi]
- Multitask learning for Laban movement analysisBernstein Ran, Shafir Tal, Tsachor Rachelle, Studd Karen, Schuster Assaf. 37-44 [doi]
- Kinesonic approaches to mapping movement and music with the remote electroacoustic kinesthetic sensing (RAKS) systemAurie Y. Hsu, Steven T. Kemper. 45-47 [doi]
- Designing the techno-somaticGarth Paine. 48-51 [doi]
- Performer-machine scores for choreographing bodies, interaction and kinetic materialsLian Loke, Dagmar Reinhardt, Jodie McNeilly. 52-59 [doi]
- Conceptualising interaction in live performance: reflections on 'encoded'Andrew Johnston. 60-67 [doi]
- Sketching movement: designing creativity tools for in-situ, whole-body authorshipKristin Carlson, Herbert H. Tsang, Jordon Phillips, Thecla Schiphorst, Tom Calvert. 68-75 [doi]
- Adaptive/responsive movement approach: dance making as interactive system designMegan Pitcher. 76-79 [doi]
- Kinetic dialogues: enhancing creativity in danceAlexander Berman, Valencia James. 80-83 [doi]
- How do experts observe movement?Sarah Fdili Alaoui, Kristin Carlson, Shannon Cuykendall, Karen Bradley, Karen Studd, Thecla Schiphorst. 84-91 [doi]
- Extending computational models of abstract motion with movement qualitiesMatt Lockyer, Lyn Bartram, Thecla Schiphorst, Karen Studd. 92-99 [doi]
- Influence of movement expertise on a virtual point-to-origin taskAlexandra Kitson, Bernhard E. Riecke, Ekaterina R. Stepanova. 100-103 [doi]
- Sketches vs skeletons: video annotation can capture what motion capture cannotMarco Gillies, Harry Brenton, Matthew Yee-King, Andreu Grimalt-Reynes, Mark d'Inverno. 104-111 [doi]
- Defining accuracy in the use of Kinect v2 for exercise monitoringKirk Woolford. 112-119 [doi]
- Towards realtime measurement of connectedness in human movementMichael Krzyzaniak, Rushil Anirudh, Vinay Venkataraman, Pavan K. Turaga, Sha Xin Wei. 120-123 [doi]
- [radical] signals from life: from muscle sensing to embodied machine listening/learning within a large-scale performance pieceDoug Van Nort. 124-127 [doi]
- Experimenting with noise in markerless motion captureA. Bill Miller. 128-131 [doi]
- Music means movement: musings on methods for movement analysis in musicJan C. Schacher. 132-139 [doi]
- Hearing movement: how taiko can inform automatic recognition of expressive movement qualitiesShannon Cuykendall, Michael J. Junokas, Mohammad Amanzadeh, David K. Tcheng, Yawen Wang, Thecla Schiphorst, Guy Garnett, Philippe Pasquier. 140-147 [doi]
- An analysis of basic expressive qualities in instrumental conductingKyungho Lee, Michael J. Junokas, Mohammad Amanzadeh, Guy E. Garnett. 148-155 [doi]
- Sound space and spatial samplerGregory Beller. 156-159 [doi]
- Indirection between movement and sound in an interactive sound installationJonas Fehr, Cumhur Erkut. 160-163 [doi]