Table of Contents

• Mobile Music Technology: Report on an Emerging CommunityLalya Gaye, Lars Erik Holmquist, Frauke Behrendt, Atau Tanaka. 22-25 [doi]
• A Framework for Spatial Interaction in Locative MediaAtau Tanaka, Petra Gemeinboeck. 26-30 [doi]
• CaMus: Live Music Performance using Camera Phones and Visual Grid TrackingMichael Rohs, Georg Essl, Martin Roth. 31-36 [doi]
• Pocket Gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4Greg Schiemer, Mark Havryliv. 37-42 [doi]
• Interactive Public Sound Art: a case studyDavid Birchfield, Kelly Phillips, Assegid Kidané, David Lorig. 43-48 [doi]
• Building Collaborative Graphical interFaces in the AudicleGe Wang, Ananya Misra, Perry R. Cook. 49-52 [doi]
• The Frequencyliator - Distributing Structures for Networked Laptop ImprovisationPedro Rebelo, Alain Renaud. 53-56 [doi]
• A VR Interface for Collaborative 3D Audio PerformanceMartin Näf, Daniel Collicott. 57-60 [doi]
• Using the Touch Screen as a Controller for Portable Computer Music InstrumentsGunter Geiger. 61-64 [doi]
• Using MIDI to Modify Video Game ContentJukka Holm, Juha Arrasvuori, Kai Havukainen. 65-70 [doi]
• A Tactile Closed-Loop Device for Musical InteractionStaas de Jong. 70-80 [doi]
• Turntable Music in the Digital Era: Designing Alternative Tools for New Turntable ExpressionTakuro Mizuta Lippit. 71-74 [doi]
• spinCycle: a Color-Tracking Turntable SequencerSpencer Kiser. 75-76 [doi]
• The Chopping Board: Real-time Sample EditorJason Lee. 77-78 [doi]
• PETECUBE: a Multimodal Feedback InterfacePeter Bennett. 81-84 [doi]
• The G-Spring ControllerDenis Lebel, Joseph Malloch. 85-88 [doi]
• Orbophone: a new interface for radiating sound and imageDamien Lock, Greg Schiemer. 89-92 [doi]
• the gluion, advantages of an FPGA-based sensor interfaceSukandar Kartadinata. 93-96 [doi]
• Beyond 0-5V: Expanding Sensor Integration ArchitecturesAdrian Freed, Rimas Avizienis, Matthew Wright. 97-100 [doi]
• Timbre interfaces using adjectives and adverbsColin G. Johnson, Alex Gounaropoulos. 101-102 [doi]
• SonicJumper composerD. Andrew Stewart. 103-105 [doi]
• Towards a catalog and software library of mapping methodsHans-Christoph Steiner. 106-109 [doi]
• LINE: Interactive Sound and Light InstallationDaisuke Kobori, Kojiro Kagawa, Makoto Iida, Chuichi Arakawa. 110-113 [doi]
• Decay in Collaborative Music MakingNick Bryan-Kinns, Patrick G. T. Healey. 114-117 [doi]
• JamSpace: Designing A Collaborative Networked Music Space for NovicesMichael Gurevich. 118-123 [doi]
• Creating a Network of Integral Music Controllers.R. Benjamin Knapp, Perry R. Cook. 124-128 [doi]
• Perturbation Techniques for Multi-Performer or Multi-Agent Interactive Musical InterfacesMatthew Burtner. 129-133 [doi]
• Sensemble: A Wireless, Compact, Multi-User Sensor System for Interactive DanceRyan Aylward, Joseph A. Paradiso. 134-139 [doi]
• The ZKM KlangdomChandrasekhar Ramakrishnan, Joachim Gossmann, Ludger Brümmer. 140-143 [doi]
• A framework for immersive spatial audio performanceMichael Wozniewski, Zack Settel, Jeremy R. Cooperstock. 144-149 [doi]
• An Architectural Framework for Interactive Music SystemsAlexandre R. J. François, Elaine Chew. 150-155 [doi]
• Transmodal Feedback as a New Perspective for Audio-visual EffectsChristian Jacquemin, Serge De Laubier. 156-161 [doi]
• Screen-Based Musical Interfaces as Semiotic MachinesThor Magnusson. 162-167 [doi]
• Different Strokes: a Prototype Software System for Laptop Performance and ImprovisationMark Zadel, Gary P. Scavone. 168-171 [doi]
• Tenori-onYu Nishibori, Toshio Iwai. 172-175 [doi]
• Towards a Gesture Description Interchange FormatAlexander Refsum Jensenius, Tellef Kvifte, Rolf Inge Godøy. 176-179 [doi]
• SensorWiki.org: A Collaborative Resource for Researchers and Interface DesignersMarcelo M. Wanderley, David Birnbaum, Joseph Malloch, Elliot Sinyor, Julien Boissinot. 180-183 [doi]
• A simple practical approach to a wireless data acquisition boardSmilen Dimitrov, Stefania Serafin. 184-187 [doi]
• Mapping strategies in DJ scratchingKjetil Falkenberg Hansen, Roberto Bresin. 188-191 [doi]
• GXtar , an interface using guitar techniquesLoïc Kessous, Julien Castet, Daniel Arfib. 192-195 [doi]
• Visual Methods for the Retrieval of Guitarist FingeringAnne-Marie Burns, Marcelo M. Wanderley. 196-199 [doi]
• Combining accelerometer and video camera: Reconstruction of bow velocity profilesErwin Schoonderwaldt, Nicolas H. Rasamimanana, Frédéric Bevilacqua. 200-203 [doi]
• Reflective Optical Pickup For ViolinNicolas Leroy, Emmanuel Fléty, Frédéric Bevilacqua. 204-207 [doi]
• Mary had a little scoreTable* or the reacTable* goes melodicSergi Jordà, Marcos Alonso. 208-211 [doi]
• Sound Rose: Creating Music and Images with a Touch TableAlain Crevoisier, Cédric Bornand, Arnaud Guichard, Seiichiro Matsumura, Chuichi Arakawa. 212-215 [doi]
• Synthesis and Control on Large Scale Multi-Touch Sensing DisplaysPhilip Davidson, Jefferson Han. 216-219 [doi]
• Towards a Coherent Terminology and Model of Instrument Description and DesignTellef Kvifte, Alexander Refsum Jensenius. 220-225 [doi]
• Vibrotactile Feedback in Digital Musical InstrumentsMark T. Marshall, Marcelo M. Wanderley. 226-229 [doi]
• Paper FSRs and Latex/Fabric Traction Sensors: Methods for the Development of Home-Made Touch SensorsRodolphe Koehly, Marcelo M. Wanderley, Denis Curtil. 230-233 [doi]
• Creating Ad Hoc Instruments with Pin&Play&PerformJohn Bowers, Nicolas Villar. 234-239 [doi]
• Synthesis and control of everyday sound reconstructing Russolo s IntonarumoriStefania Serafin, Amalia de Götzen, Niels Böttcher, Steven Gelineck. 240 [doi]
• Interactive Sonification of Neural ActivityGil Weinberg, Travis Thatcher. 246-249 [doi]
• Non haptic control of music by video analysis of hand movements: 14 years of experience with the Caméra Musicale Jacques Remus. 250-253 [doi]
• MICON: A Music Stand for Interactive ConductingJan Borchers, Aristotelis Hadjakos, Max Mühlhäuser. 254-259 [doi]
• conga: A Framework for Adaptive Conducting Gesture AnalysisEric Lee, Ingo Grüll, Henning Kiel, Jan Borchers. 260-265 [doi]
• Real-time CALM Synthesizer: New Approaches in Hands-Controlled Voice SynthesisNicolas D Alessandro, Christophe d Alessandro, Sylvain Le Beux, Boris Doval. 266-271 [doi]
• GRASSP: Gesturally-Realized Audio, Speech and Song PerformanceBob Pritchard, Sidney Fels. 272-271 [doi]
• The E in NIME: Musical Expression with New Computer InterfacesChristopher Dobrian, Daniel Koppelman. 277-282 [doi]
• 32kg: Performance Systems for a Post-Digital AgeJohn Richards. 283-287 [doi]
• Meta-Instrument 3: a look over 17 years of practiceSerge De Laubier, Vincent Goudard. 288-291 [doi]
• The Case Study of An Application of The System, BodySuit and RoboticMusic - Its Introduction and AestheticsSuguru Goto. 292-295 [doi]
• Modal Kombat: Competition and Choreography in Synesthetic Musical PerformanceDavid Hindman. 296-299 [doi]
• A Ballet mécanique for the 21st Century: Performing George Antheil s Dadaist Masterpiece with RobotsPaul D. Lehrman, Eric Singer. 300-303 [doi]
• Using the augmented trombone in I will not kiss your f.ing flag Serge Lemouton, Marco Stroppa, Benny Sluchin. 304-307 [doi]
• On making and playing an electronically-augmented saxophoneSébastien Schiesser, Caroline Traube. 308-313 [doi]
• Handheld Acoustic Filter Bank for Musical ControlTamara Smyth. 314-317 [doi]
• Real-Time Sound Source Spatialization as used in Challenging Bodies: Implementation and PerformanceJ. J. Nixdorf, David Gerhard. 318-321 [doi]
• Mapping with planning agents in the Max/MSP environment: the GO/Max languagePaolo Bottoni, Stefano Faralli, Anna Labella, Mario Pierro. 322-325 [doi]
• Towards a Virtual Assistant for Performers and Stage DirectorsAlain Bonardi, Isis Truck, Herman Akdag. 326-329 [doi]
• Students projects of interactive media-installations in SUACYoichi Nagashima. 330-333 [doi]
• An Acousmatic Composition EnvironmentMorten Breinbjerg, Ole Caprani, Rasmus Lunding, Line Kramhoeft. 334-337 [doi]
• Bioinformatic Feedback: performer bio-data as a driver for real-time compositionRobert Hamilton. 338-341 [doi]
• The Light Matrix: An Interface for musical expression and performanceJonathan Pak. 342-345 [doi]
• GAINER: A reconfigurable I/O module and software libraries for educationShigeru Kobayashi, Takanori Endo, Katsuhiko Harada, Shosei Oishi. 346-351 [doi]
• Hyper-shaku (Border-crossing): Towards the Multi-modal Gesture-controlled Hyper-InstrumentKirsty A. Beilharz, Joanne Jakovich, Sam Ferguson. 352-357 [doi]
• Adapting the trombone: A suite of electro-acoustic interventions for the piece RouseNeal Farwell. 358-363 [doi]
• The Augmented Djembe Drum - Sculpting RhythmsTeemu Mäki-Patola, Perttu Hämäläinen, Aki Kanerva. 364-369 [doi]
• Children of Grainger: Leather Instruments for Free MusicStuart Favilla, Joanne Cannon. 370-375 [doi]
• Managing Gesture and Timbre for Analysis and Instrument Control in an Interactive EnvironmentWilliam Hsu. 376-379 [doi]
• Integrated Interactive Music Performance EnvironmentKeith Hamel. 380-383 [doi]
• Learning Musical Instrument Skills Through Interactive SonificationSam Ferguson. 384-389 [doi]
• Recent Developments in Violin-related Digital Musical Instruments: Where Are We and Where Are We Going?Cornelius Poepel, Dan Overholt. 390-395 [doi]
• Composing for Hyperbow: A Collaboration Between MIT and the Royal Academy of MusicDiana Young, Patrick Nunn, Artem Vassiliev. 396-401 [doi]
• The augmented violin project: research, composition and performance reportFrédéric Bevilacqua, Nicolas H. Rasamimanana, Emmanuel Fléty, Serge Lemouton, Florence Baschet. 402-406 [doi]
• Auditory Illusion and Violin: Demonstration of a Work by Jean-Claude Risset written for Mari KimuraMari Kimura, Jean-Claude Risset. 407-408 [doi]
• Augmenting the CelloAdrian Freed, Frances Marie Uitti, Michael Zbyszynski, David Wessel. 409-413 [doi]
• Listening to the World: Information and AestheticsWilliam W. Gaver. 414 [doi]
• Living with Creative Machines: A Composer ReflectsGeorge Lewis. 414 [doi]
• Manager or Musician? - About virtuosity in live electronic musicMichel Waisvisz. 415 [doi]