1 | 🇳🇿 NZST | 🇦🇺 AEST | 🇯🇵 JST | 🇫🇷 CEST | 🇬🇧 BST | 🇧🇷 BRT | 🇨🇦 EDT | 🇺🇸 PDT | Wednesday 29/6 | Thursday 30/6 | Friday 1/7 |
|---|---|---|---|---|---|---|---|---|---|---|---|
2 | GMT+12 | GMT+10 | GMT+9 | GMT+2 | GMT+1 | GMT-3 | GMT-4 | GMT-7 | |||
3 | 23:00 | 21:00 | 20:00 | 13:00 | 12:00 | 08:00 | 07:00 | 04:00 | MUSIC 3 | MUSIC 4 | |
4 | 23:15 | 21:15 | 20:15 | 13:15 | 12:15 | 08:15 | 07:15 | 04:15 | OPENING | ||
5 | 23:30 | 21:30 | 20:30 | 13:30 | 12:30 | 08:30 | 07:30 | 04:30 | Chairs: Fabio Morreale and Sasha Leitman | ||
6 | 23:45 | 21:45 | 20:45 | 13:45 | 12:45 | 08:45 | 07:45 | 04:45 | |||
7 | 00:00 | 22:00 | 21:00 | 14:00 | 13:00 | 09:00 | 08:00 | 05:00 | PAPER 1 | PAPER 5 | PAPER 9 |
8 | 00:15 | 22:15 | 21:15 | 14:15 | 13:15 | 09:15 | 08:15 | 05:15 | NIMEIng | Philosophy & musicology | Controllers & instruments |
9 | 00:30 | 22:30 | 21:30 | 14:30 | 13:30 | 09:30 | 08:30 | 05:30 | |||
10 | 00:45 | 22:45 | 21:45 | 14:45 | 13:45 | 09:45 | 08:45 | 05:45 | Chair: Marcelo Wanderley | Chair: Astrid Bin | Chair: Jack Armitage |
11 | 01:00 | 23:00 | 22:00 | 15:00 | 14:00 | 10:00 | 09:00 | 06:00 | |||
12 | 01:15 | 23:15 | 22:15 | 15:15 | 14:15 | 10:15 | 09:15 | 06:15 | PAPER 2 | MUSIC PANEL / CONCERT | PAPER 10 |
13 | 01:30 | 23:30 | 22:30 | 15:30 | 14:30 | 10:30 | 09:30 | 06:30 | Frameworks & protocols | NIMEs with a story | AI & accessibility |
14 | 01:45 | 23:45 | 22:45 | 15:45 | 14:45 | 10:45 | 09:45 | 06:45 | |||
15 | 02:00 | 00:00 | 23:00 | 16:00 | 15:00 | 11:00 | 10:00 | 07:00 | Chair: Felipe Calegario | Chair: Raul Masu | Chair: Miguel Ortiz |
16 | 02:15 | 00:15 | 23:15 | 16:15 | 15:15 | 11:15 | 10:15 | 07:15 | |||
17 | 02:30 | 00:30 | 23:30 | 16:30 | 15:30 | 11:30 | 10:30 | 07:30 | |||
18 | 02:45 | 00:45 | 23:45 | 16:45 | 15:45 | 11:45 | 10:45 | 07:45 | DEMOS 1 | DOCTORAL CONSORTIUM | KEYNOTE |
19 | 03:00 | 01:00 | 00:00 | 17:00 | 16:00 | 12:00 | 11:00 | 08:00 | Hundred Rabbits | ||
20 | 03:15 | 01:15 | 00:15 | 17:15 | 16:15 | 12:15 | 11:15 | 08:15 | Chairs: Federico Fontana and Cecile Chevalier | ||
21 | 03:30 | 01:30 | 00:30 | 17:30 | 16:30 | 12:30 | 11:30 | 08:30 | Chair: Johnny Sullivan | Chair: Fabio Morreale | |
22 | 03:45 | 01:45 | 00:45 | 17:45 | 16:45 | 12:45 | 11:45 | 08:45 | PAPER 3 | PAPER 6 | PAPER 11 |
23 | 04:00 | 02:00 | 01:00 | 18:00 | 17:00 | 13:00 | 12:00 | 09:00 | Gestures & Interaction | Live coding & web audio | Mixed & augmented Reality |
24 | 04:15 | 02:15 | 01:15 | 18:15 | 17:15 | 13:15 | 12:15 | 09:15 | |||
25 | 04:30 | 02:30 | 01:30 | 18:30 | 17:30 | 13:30 | 12:30 | 09:30 | Chair: Lia Mice | Chair: Thor Magnusson | Chair: Anil Camci |
26 | 04:45 | 02:45 | 01:45 | 18:45 | 17:45 | 13:45 | 12:45 | 09:45 | |||
27 | 05:00 | 03:00 | 02:00 | 19:00 | 18:00 | 14:00 | 13:00 | 10:00 | SOCIAL ZOOM | ||
28 | 05:15 | 03:15 | 02:15 | 19:15 | 18:15 | 14:15 | 13:15 | 10:15 | |||
29 | 05:30 | 03:30 | 02:30 | 19:30 | 18:30 | 14:30 | 13:30 | 10:30 | |||
30 | 05:45 | 03:45 | 02:45 | 19:45 | 18:45 | 14:45 | 13:45 | 10:45 | |||
31 | 06:00 | 04:00 | 03:00 | 20:00 | 19:00 | 15:00 | 14:00 | 11:00 | |||
32 | 06:15 | 04:15 | 03:15 | 20:15 | 19:15 | 15:15 | 14:15 | 11:15 | |||
33 | 06:30 | 04:30 | 03:30 | 20:30 | 19:30 | 15:30 | 14:30 | 11:30 | KEYNOTE | PAPER 7 | PAPER 12 |
34 | 06:45 | 04:45 | 03:45 | 20:45 | 19:45 | 15:45 | 14:45 | 11:45 | Khyam Allami | Augmented Instruments | Pedagogy & practice |
35 | 07:00 | 05:00 | 04:00 | 21:00 | 20:00 | 16:00 | 15:00 | 12:00 | |||
36 | 07:15 | 05:15 | 04:15 | 21:15 | 20:15 | 16:15 | 15:15 | 12:15 | Chair: Ico Bukvic | Chair: Laurel Pardue | Chair: Stefano Fasciani |
37 | 07:30 | 05:30 | 04:30 | 21:30 | 20:30 | 16:30 | 15:30 | 12:30 | PAPER 4 | PAPER 8 | DEMOS 2 |
38 | 07:45 | 05:45 | 04:45 | 21:45 | 20:45 | 16:45 | 15:45 | 12:45 | Collaborative & ensembles | Decolonial & critical NIME | |
39 | 08:00 | 06:00 | 05:00 | 22:00 | 21:00 | 17:00 | 16:00 | 13:00 | |||
40 | 08:15 | 06:15 | 05:15 | 22:15 | 21:15 | 17:15 | 16:15 | 13:15 | Chair: Visda Goudarzi | Chair: Akiko Hatakeyama | Chair: Diana Siwiak |
41 | 08:30 | 06:30 | 05:30 | 22:30 | 21:30 | 17:30 | 16:30 | 13:30 | |||
42 | 08:45 | 06:45 | 05:45 | 22:45 | 21:45 | 17:45 | 16:45 | 13:45 | |||
43 | 09:00 | 07:00 | 06:00 | 23:00 | 22:00 | 18:00 | 17:00 | 14:00 | MUSIC 1 | INSTALLATION PANEL | CLOSING |
44 | 09:15 | 07:15 | 06:15 | 23:15 | 22:15 | 18:15 | 17:15 | 14:15 | |||
45 | 09:30 | 07:30 | 06:30 | 23:30 | 22:30 | 18:30 | 17:30 | 14:30 | Chairs: Paul Dunham and Meg Schedel | ||
46 | 09:45 | 07:45 | 06:45 | 23:45 | 22:45 | 18:45 | 17:45 | 14:45 | |||
47 | 10:00 | 08:00 | 07:00 | 00:00 | 23:00 | 19:00 | 18:00 | 15:00 | MUSIC 2 | KEYNOTE | |
48 | 10:15 | 08:15 | 07:15 | 00:15 | 23:15 | 19:15 | 18:15 | 15:15 | NIMEs with a story | Sally Jane Norman | Chair: Alexander Jensenius |
49 | 10:30 | 08:30 | 07:30 | 00:30 | 23:30 | 19:30 | 18:30 | 15:30 | |||
50 | 10:45 | 08:45 | 07:45 | 00:45 | 23:45 | 19:45 | 18:45 | 15:45 | Chair:Sasha Leitman |
1 | # | Session title | Title | Authors & Affiliations |
|---|---|---|---|---|
2 | 1 | NIMEing | The Proto-Langspil: Launching an Icelandic NIME Research Lab with the Help of a Marginalised Instrument | Jack Armitage (Intelligent Instruments Lab); Victor Shepardson (Intelligent Instruments Lab); Halldor Ulfarsson (Intelligent Instruments Lab); Thor Magnusson (Intelligent Instruments Lab) |
3 | 1 | NIMEing | Bodily awareness through NIMEs: deautomatising music making processes | Carla Tapparo (Independent ); Victor Zappi (Northeastern University) |
4 | 1 | NIMEing | Circuit Bending and Environmental Sustainability: Current Situation and Steps Forward | Enrico Dorigatti (University of Portsmouth); Raul Masu (FCT/NOVA University of Lisbon and ITI/LARSyS) |
5 | 1 | NIMEing | Kanchay_Yupana//: Tangible rhythm sequencer inspired by ancestral Andean technologies | Laddy Patricia Cadavid Hinojosa (Interface Culture - Kunstuniversität Linz) |
6 | 1 | NIMEing | A Toolkit for the Analysis of the NIME Proceedings Archive | Stefano Fasciani (University of Oslo); Jackson Goode (University of Oslo) |
7 | 2 | Frameworks and protocols | HyperModels - A Framework for GPU Accelerated Physical Modelling Sound Synthesis | Harri L Renney (The University of the West of England); Benedict Gaster (Univeristy of West England); Tom Mitchell (University of the West of England); Silvin Willemsen (AALBORG University) |
8 | 2 | Frameworks and protocols | Towards User Interface Guidelines for Musical Grid Interfaces | Beat Rossmy (LMU Munich); Maximilian Rauh (LMU Munich); Alexander Wiethoff (LMU Munich) |
9 | 2 | Frameworks and protocols | Voice at NIME: a Taxonomy of New Interfaces for Vocal Musical Expression | Rebecca Kleinberger (MIT Media Lab); Nikhil Singh (MIT Media Lab); Xiao Xiao (MIT Media Lab); Akito van Troyer (Berklee College of Music) |
10 | 2 | Frameworks and protocols | Mapper4Live: Using Control Structures to Embed Complex Mapping Tools into Ableton Live | Brady Boettcher (McGill University); Johnty Wang (McGill University); Joseph Malloch (Dalhousie University); Marcelo Wanderley (McGill) |
11 | 2 | Frameworks and protocols | Syntex: parametric audio texture datasets for conditional training of instrumental interfaces | Lonce Wyse (National University of Singapore); T.R. Prashanth (National University of Singapore) |
12 | 3 | Gestures and interaction | Squeeze, Twist, Stretch: Exploring Deformable Digital Musical Interface Design Through Non-Functional Prototypes | Jianing Zheng (Queen Mary University of London); Nick Bryan-Kinns (Queen Mary University of London) |
13 | 3 | Gestures and interaction | A virtual instrument for physics-based musical gesture: CHON | Rodney J DuPlessis (UCSB) |
14 | 3 | Gestures and interaction | ForceHost: an open-source toolchain for generating firmware embedding the authoring and rendering of audio and force-feedback haptics | Christian Frisson (McGill University & Société des Arts Technologiques [SAT]); Mathias S Kirkegaard (McGill University); Thomas Pietrzak (); Marcelo Wanderley (McGill) |
15 | 3 | Gestures and interaction | Feeling the Effort of Classical Musicians - A Pipeline from Electromyography to Smartphone Vibration for Live Music Performance | Felipe Verdugo (McGill University); Amedeo Ceglia (Université de Montréal); Christian Frisson (McGill University & Société des Arts Technologiques [SAT]); Alexandre Burton (Studio Artificiel); Mickaël Begon (Université de Montréal); Sylvie Gibet (Université Bretagne Sud); Marcelo Wanderley (McGill) |
16 | 3 | Gestures and interaction | Buttons, Sliders, and Keys – A Survey on Musical Grid Interface Standards | Beat Rossmy (LMU Munich) |
17 | 4 | Collaborative and ensembles | The Effect of Visualisation Level and Situational Visibility in Co-located Digital Musical Ensembles | Florent Berthaut (Université de Lille); Luke Dahl (University of Virginia) |
18 | 4 | Collaborative and ensembles | Latency-, Sync-, and Bandwidth-Agnostic Tightly-Timed Telematic and Crowdsourced Musicking Made Possible Using L2Ork Tweeter | Ivica Ico Bukvic (Virginia Tech) |
19 | 4 | Collaborative and ensembles | CAVI: A Coadaptive Audiovisual Instrument–Composition | Çağrı Erdem (University of Oslo); Benedikte Wallace (University of Oslo); Alexander Refsum Jensenius (University of Oslo) |
20 | 4 | Collaborative and ensembles | Approaching the Norns Shield as a Laptop Alternative for Democratizing Music Technology Ensembles | Anthony T Marasco (University of Texas Rio Grande Valley) |
21 | 4 | Collaborative and ensembles | Introducing the t-Tree: Using Multiple t-Sticks for Performance and Installation | Linnea Kirby (McGill University); Paul Buser (McGill University); Marcelo Wanderley (McGill) |
22 | 5 | Philosophy and musicology | The 10,000 Instruments Workshop - (Im)practical Research for Critical Speculation | Giacomo Lepri (Queen Mary University of London); John M Bowers (Newcastle University); Samantha Topley (De Montfort University); Paul Stapleton (Sonic Arts Research Centre, Queen's University Belfast); Peter Bennett (University of Bristol); Kristina Andersen (Eindhoven University); Andrew McPherson (QMUL) |
23 | 5 | Philosophy and musicology | Exploring Experiences with New Musical Instruments through Micro-phenomenology | Courtney N. Reed (Queen Mary, University of London); Charlotte Nordmoen (Queen Mary University London); Andrea Martelloni (Queen Mary University of London); Giacomo Lepri (Queen Mary University of London); Nicole Robson (Queen Mary University of London); Luis Zayas-Garin (QMUL); Kelsey I Cotton (Kungliga Tekniskahögskolan); Lia Mice (QMUL); Andrew McPherson (QMUL) |
24 | 5 | Philosophy and musicology | Reflexions upon Feedback: A Study of Feedback Musicianship Terminology | Thor Magnusson (Intelligent Instruments Lab); Halldor Ulfarsson (Intelligent Instruments Lab); Chris Kiefer (University of Sussex) |
25 | 5 | Philosophy and musicology | The M in NIME: Motivic analysis and the case for a musicology of NIME performances | Lia Mice (QMUL); Andrew McPherson (QMUL) |
26 | 6 | Live coding and web audio | Rethinking networked collaboration in the live coding environment Gibber | Charlie Roberts (Worcester Polytechnic Institute) |
27 | 6 | Live coding and web audio | User-Friendly MIDI in the Web Browser | Jean-Philippe Côté (Cégep Édouard-Montpetit) |
28 | 6 | Live coding and web audio | Bottom-up live coding: Analysis of continuous interactions towards predicting programming behaviours | Georgios Diapoulis (Chalmers University of Technology / University of Gothenburg); Iannis Zannos (Ionian University); Kıvanç Tatar (Chalmers University of Technology); Palle Dahlstedt (University of Gothenburg) |
29 | 6 | Live coding and web audio | Exploring Musical Form: Digital Scores to Support Live Coding Practice | Francesco Dal Rì (Conservatory F. A. Bonporti); Raul Masu (FCT/NOVA University of Lisbon and ITI/LARSyS) |
30 | 6 | Live coding and web audio | The Mobile Audience as a Digital Musical Persona in Telematic Performance | Anna Xambó (De Montfort University); Visda Goudarzi (Columbia College Chicago, Audio Arts and Acoustics) |
31 | 7 | Augmented Instruments | Quantitative evaluation of aspects of embodiment in new digital musical instruments | Andrea Guidi (Queen Mary University of London); Andrew McPherson (QMUL) |
32 | 7 | Augmented Instruments | Augmented Touch: A Mounting Adapter for Oculus Touch Controllers that enables New Hyperreal Instruments | Anıl Çamcı (University of Michigan); John Granzow (University of Michigan School of Music, Theater, and Dance) |
33 | 7 | Augmented Instruments | Early prototypes and artistic practice with the mubone | Travis J West (McGill University); Kalun Leung (mubone) |
34 | 7 | Augmented Instruments | Post-digital sax - a digitally controlled acoustic single-reed woodwind instrument | Krzysztof Cybulski (panGenerator) |
35 | 8 | Decolonial and critical NIME | Being (A)part of NIME: Embracing Latin American Perspectives | Juan P Martinez Avila (University of Nottingham); João Tragtenberg (Universidade Federal de Pernambuco); Filipe Calegario (Mustic, Centro de Informática, UFPE); Juan M Ramos (Universidad Nacional de Quilmes); Martin Matus Lerner (Universidad Nacional de Quilmes); Isabela Corintha (UA); Javier Jaimovich (Universidad de Chile); Teodoro Dannemann (Queen Mary University of London); Laddy Patricia Cadavid Hinojosa (Interface Culture - Kunstuniversität Linz); Ximena Alarcón (Independent Artist/Researcher); Adnan Marquez-Borbon (Universidad Autonoma de Baja California); Hugo Solis Garcia (Universidad Autónoma Metropolitana); Miguel Ortiz (Sonic Arts Research Centre, Queen's University Belfast) |
36 | 8 | Decolonial and critical NIME | The Other Hegemony: Effects of software development culture on music software, and what we can do about it | Laurel S Pardue (Ableton); S. M. Astrid Bin (Ableton AG, DE) |
37 | 8 | Decolonial and critical NIME | Decolonizing the Violin with Active Shoulder Rests (ASRs) | Seth D Thorn (Arizona State University); Byron Lahey (Arizona State University) |
38 | 8 | Decolonial and critical NIME | Today and Yesterday: Two Case Studies of China's NIME Community | Jiayue Cecilia Wu (University of Colorado) |
39 | 8 | Decolonial and critical NIME | Technology is Land: Strategies towards decolonisation of technology in artmaking | Zak Argabrite (Victoria University of Wellington) |
40 | 9 | Controllers and instruments | Ghost Play - A Violin-Playing Robot using Electromagnetic Linear Actuators | Takahiro Kamatani (Fairy Devices Inc.); Yoshinao Sato (Fairy Devices Inc.); Masato Fujino (Fairy Devices Inc.) |
41 | 9 | Controllers and instruments | AirSticks 2.0: Instrument Design for Expressive Gestural Interaction | Sam Trolland (Monash); Alon A Ilsar (SensiLab, Monash University); Ciaran Frame (Monash University); Elliott Wilson (SensiLab, Monash University); Jon McCormack (Monash University) |
42 | 9 | Controllers and instruments | Cubing Sound: Designing a NIME for Head-mounted Augmented Reality | Yichen Wang (Australian National University); Charles Patrick Martin (Australian National University) |
43 | 9 | Controllers and instruments | The Concentric Sampler: A musical instrument from a repurposed floppy disk drive | Timothy Tate (Griffith University) |
44 | 9 | Controllers and instruments | On Board Call: A Gestural Wildlife Imitation Machine | Andrew Brown (Griffith University) |
45 | 10 | AI and accessibility | Dialogic Design of Accessible Digital Musical Instruments: Investigating Performer Experience | Eevee Zayas-Garin (QMUL); Andrew McPherson (QMUL) |
46 | 10 | AI and accessibility | Pitch Fingering Systems and the Search for Perfection | Travis J West (McGill University) |
47 | 10 | AI and accessibility | Touch, Listen, (Re)Act: Co-designing Vibrotactile Wearable Instruments for Deaf and Hard of Hearing | Doga Cavdir (Center for Computer Research in Music and Acoustics, Stanford University) |
48 | 10 | AI and accessibility | Bandoneon 2.0: an interdisciplinary project for research and development of electronic bandoneons in Argentina | Juan M Ramos (Universidad Nacional de Quilmes); Esteban R Calcagno (UNQ); Ramiro Vergara (Universidad Nacional de Quilmes); Pablo Riera (LIAA); Joaquin Rizza (Universidad Nacional de Quilmes) |
49 | 10 | AI and accessibility | Latent Drummer: A New Abstraction for Modular Sequencers | Nick R Warren (University of Michigan); Anıl Çamcı (University of Michigan) |
50 | 11 | Mixed and augmented reality | A Framework for the Design and Analysis of Mixed Reality Musical Instruments | Karitta Christina Zellerbach (Worcester Polytechnic Institute); Charlie Roberts (Worcester Polytechnic Institute) |
51 | 11 | Mixed and augmented reality | Vibrating shapes : Design and evolution of a spatial augmented reality interface for actuated instruments | Cagan Arslan (Université de Lille); Florent Berthaut (Université de Lille); Anthony Beuchey (Université de Lille); Paul Cambourian (JUNIA); Arthur Paté (IEMN) |
52 | 11 | Mixed and augmented reality | Mixed Reality Musical Interface: Exploring Ergonomics and Adaptive Hand Pose Recognition for Gestural Control | Max Graf (Queen Mary, University of London); Mathieu Barthet (QMUL) |
53 | 11 | Mixed and augmented reality | Evaluating polaris~ - An Audiovisual Augmented Reality Experience Built on Open-Source Hardware and Software | Sam Bilbow (Experimental Music Technologies Lab, University of Sussex) |
54 | 12 | Pedagogy and practice | Slapbox: Redesign of a Digital Musical Instrument Towards Reliable Long-Term Practice | Brady Boettcher (McGill University); John Sullivan (McGill University); Marcelo Wanderley (McGill) |
55 | 12 | Pedagogy and practice | Entangling Practice with Artistic and Educational Aims: Interviews on Technology-based Movement-Sound Interactions | Victor Paredes (STMS IRCAM-CNRS-Sorbonne Université); Jules Françoise (LISN, CNRS, Université Paris-Saclay); Frederic Bevilacqua (STMS IRCAM-CNRS-Sorbonne Université) |
56 | 12 | Pedagogy and practice | A Computer-aided Multimodal Music Learning System with Curriculum: A Pilot Study | Daniel Chin (NYU Shanghai); Gus Xia (New York University Shanghai) |
57 | 12 | Pedagogy and practice | Being With The Waves: An Ultrasonic Art Installation Enabling Rich Interaction Without Sensors | Nicole Robson (Queen Mary University of London); Andrew McPherson (QMUL); Nick Bryan-Kinns (Queen Mary University of London) |
1 | Day | 🇳🇿 NZST | 🇦🇺 AEST | 🇯🇵 JST | 🇫🇷 CEST | 🇬🇧 BST | 🇧🇷 BRT | 🇨🇦 EDT | 🇺🇸 PDT | |||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
2 | GMT+12 | GMT+10 | GMT+9 | GMT+2 | GMT+1 | GMT-3 | GMT-4 | GMT-7 | ||||
3 | Tue 28/6 | 23:00 | 21:00 | 20:00 | 13:00 | 12:00 | 08:00 | 07:00 | 04:00 | Embedded AI for NIME | NIME Archiving | Making a paper record |
4 | 23:30 | 21:30 | 20:30 | 13:30 | 12:30 | 08:30 | 07:30 | 04:30 | ||||
5 | Wed 29/6 | 00:00 | 22:00 | 21:00 | 14:00 | 13:00 | 09:00 | 08:00 | 05:00 | Scorecraft | ||
6 | 00:30 | 22:30 | 21:30 | 14:30 | 13:30 | 09:30 | 08:30 | 05:30 | ||||
7 | 01:00 | 23:00 | 22:00 | 15:00 | 14:00 | 10:00 | 09:00 | 06:00 | ||||
8 | 01:30 | 23:30 | 22:30 | 15:30 | 14:30 | 10:30 | 09:30 | 06:30 | ||||
9 | 02:00 | 00:00 | 23:00 | 16:00 | 15:00 | 11:00 | 10:00 | 07:00 | Discussing Performance Ecologies | |||
10 | 02:30 | 00:30 | 23:30 | 16:30 | 15:30 | 11:30 | 10:30 | 07:30 | ||||
11 | 03:00 | 01:00 | 00:00 | 17:00 | 16:00 | 12:00 | 11:00 | 08:00 | Liberating Methods for Music Interaction | |||
12 | 03:30 | 01:30 | 00:30 | 17:30 | 16:30 | 12:30 | 11:30 | 08:30 | ||||
13 | 04:00 | 02:00 | 01:00 | 18:00 | 17:00 | 13:00 | 12:00 | 09:00 | ||||
14 | 04:30 | 02:30 | 01:30 | 18:30 | 17:30 | 13:30 | 12:30 | 09:30 | ||||
15 | 05:00 | 03:00 | 02:00 | 19:00 | 18:00 | 14:00 | 13:00 | 10:00 | ||||
16 | 05:30 | 03:30 | 02:30 | 19:30 | 18:30 | 14:30 | 13:30 | 10:30 | ||||
17 | 06:00 | 04:00 | 03:00 | 20:00 | 19:00 | 15:00 | 14:00 | 11:00 | Embedded AI for NIME | |||
18 | 06:30 | 04:30 | 03:30 | 20:30 | 19:30 | 15:30 | 14:30 | 11:30 | ||||
19 | 07:00 | 05:00 | 04:00 | 21:00 | 20:00 | 16:00 | 15:00 | 12:00 | Tools for musical creativity with neural audio synthesis | |||
20 | 07:30 | 05:30 | 04:30 | 21:30 | 20:30 | 16:30 | 15:30 | 12:30 | ||||
21 | 08:00 | 06:00 | 05:00 | 22:00 | 21:00 | 17:00 | 16:00 | 13:00 | NIME Archiving | |||
22 | 08:30 | 06:30 | 05:30 | 22:30 | 21:30 | 17:30 | 16:30 | 13:30 | ||||
23 | 09:00 | 07:00 | 06:00 | 23:00 | 22:00 | 18:00 | 17:00 | 14:00 | Discussing Performance Ecologies | |||
24 | 09:30 | 07:30 | 06:30 | 23:30 | 22:30 | 18:30 | 17:30 | 14:30 | ||||
25 | 10:00 | 08:00 | 07:00 | 00:00 | 23:00 | 19:00 | 18:00 | 15:00 | ||||
26 | 10:30 | 08:30 | 07:30 | 00:30 | 23:30 | 19:30 | 18:30 | 15:30 | ||||
27 | 11:00 | 09:00 | 08:00 | 01:00 | 00:00 | 20:00 | 19:00 | 16:00 | ||||
28 | 11:30 | 09:30 | 08:30 | 01:30 | 00:30 | 20:30 | 19:30 | 16:30 | ||||
29 | 12:00 | 10:00 | 09:00 | 02:00 | 01:00 | 21:00 | 20:00 | 17:00 | Scorecraft | |||
30 | 12:30 | 10:30 | 09:30 | 02:30 | 01:30 | 21:30 | 20:30 | 17:30 | Making a paper record | |||
31 | 13:00 | 11:00 | 10:00 | 03:00 | 02:00 | 22:00 | 21:00 | 18:00 | ||||
32 | 13:30 | 11:30 | 10:30 | 03:30 | 02:30 | 22:30 | 21:30 | 18:30 | ||||
33 | 14:00 | 12:00 | 11:00 | 04:00 | 03:00 | 23:00 | 22:00 | 19:00 | ||||
34 | 14:30 | 12:30 | 11:30 | 04:30 | 03:30 | 23:30 | 22:30 | 19:30 | ||||
35 | 15:00 | 13:00 | 12:00 | 05:00 | 04:00 | 00:00 | 23:00 | 20:00 | ||||
36 | 15:30 | 13:30 | 12:30 | 05:30 | 04:30 | 00:30 | 23:30 | 20:30 | ||||
37 | 16:00 | 14:00 | 13:00 | 06:00 | 05:00 | 01:00 | 00:00 | 21:00 | ||||
38 | 16:30 | 14:30 | 13:30 | 06:30 | 05:30 | 01:30 | 00:30 | 21:30 | ||||
39 | 17:00 | 15:00 | 14:00 | 07:00 | 06:00 | 02:00 | 01:00 | 22:00 | ||||
40 | 17:30 | 15:30 | 14:30 | 07:30 | 06:30 | 02:30 | 01:30 | 22:30 | ||||
41 | 18:00 | 16:00 | 15:00 | 08:00 | 07:00 | 03:00 | 02:00 | 23:00 | ||||
42 | 18:30 | 16:30 | 15:30 | 08:30 | 07:30 | 03:30 | 02:30 | 23:30 | ||||
43 | 19:00 | 17:00 | 16:00 | 09:00 | 08:00 | 04:00 | 03:00 | 00:00 | Tools for musical creativity with neural audio synthesis | |||
44 | 19:30 | 17:30 | 16:30 | 09:30 | 08:30 | 04:30 | 03:30 | 00:30 | ||||
45 | 20:00 | 18:00 | 17:00 | 10:00 | 09:00 | 05:00 | 04:00 | 01:00 | Liberating Methods for Music Interaction | |||
46 | 20:30 | 18:30 | 17:30 | 10:30 | 09:30 | 05:30 | 04:30 | 01:30 | ||||
47 | 21:00 | 19:00 | 18:00 | 11:00 | 10:00 | 06:00 | 05:00 | 02:00 | ||||
48 | 21:30 | 19:30 | 18:30 | 11:30 | 10:30 | 06:30 | 05:30 | 02:30 | ||||
49 | 22:00 | 20:00 | 19:00 | 12:00 | 11:00 | 07:00 | 06:00 | 03:00 | ||||
50 | 22:30 | 20:30 | 19:30 | 12:30 | 11:30 | 07:30 | 06:30 | 03:30 | ||||
51 | 23:00 | 21:00 | 20:00 | 13:00 | 12:00 | 08:00 | 07:00 | 04:00 | ||||
52 | 23:30 | 21:30 | 20:30 | 13:30 | 12:30 | 08:30 | 07:30 | 04:30 | ||||
1 | Session | Title | Authors & Affiliation |
|---|---|---|---|
2 | 1 | Handmate: An Accessible Browser-based Controller for Web Audio and Midi using AI Hand-Tracking | Monica M Lim (University of Melbourne); Natalia Kotsani (National Technical University of Athens) |
3 | 1 | PAUL: An Algorithmic Composer for Classical Piano Music Supporting Multiple Complexity Levels | Felix Schön (Technische Universität Wien); Hans Tompits (Technische Universität Wien) |
4 | 1 | Spatial Vibrations | Jesse Austin-Stewart (Massey University) |
5 | 1 | Capacitive-Proximity Drone with Machine Learning | Stefan J L Elmes (Birmingham City University) |
6 | 1 | COVID-19 Genomic Navigator | Ka Hei Cheng (Louisiana State University) |
7 | 1 | HEDJAM -A generative Virtual Band | Nicky Hall (Nicky System) |
8 | 1 | Crescente: a new musical instrument for live performance | Henrique Ferreira (FEUP); Filipe Cunha Lopes (CIPEM/INET-md) |
9 | 1 | The Interactive Musical Score: An Electronic Score To Hear The Notes From A Paper Score | Adrien Lefevre (De Vinci Innovation Center); Xiao Xiao (Léonard de Vinci Pôle Universitaire, Research Center); Clément Duhart (Devinci Innovation Center) |
10 | 1 | Cosmusica: a Digital Musical Instrument for Interacting with the Universe | Zhaorui Liu (China Conservatory of Music); Chuyi Cui (Chuyi Cui); Yiyun Qiu (Tsinghua University); Danqing Shi (Tsinghua University); Zijin Li (China Conservatory of Music) |
11 | 1 | glitchcraft | Jessica Robinson (University of Auckland) |
12 | 1 | Gestural Sound Toolkit: Reflections on an Interactive Design Project | Baptiste Caramiaux (CNRS, Sorbonne Université, ISIR); Alessandro Altavilla (University of York); Jules Françoise (LISN, CNRS, Université Paris-Saclay); Frederic Bevilacqua (STMS IRCAM-CNRS-Sorbonne Université) |
13 | 2 | Scalable and Easy-to-Use NIME Networking | Roger Dannenberg (School of Computer Science, Carnegie Mellon University) |
14 | 2 | Augmented Malay Rebab (Auger) for Multimodal Gesture Tracking and Aesthetic Sonification: Balancing Tradition with Transformation | Ainolnaim Bin Azizol (University of Bristol); Ainolnaim Azizol (UiTM) |
15 | 2 | Sensing the Breath: A Multimodal Singing Tutoring Interface with Breath Guidance | Ziyue Piao (New York University Shanghai); Gus Xia (New York University Shanghai) |
16 | 2 | Elicitation of 2D expressive gestures through interactive sonification | Antoine Loriette (ircam); Diemo Schwarz (Ircam - CNRS STMS) |
17 | 2 | MIAMI: A Mixed Reality Interface for AI-based Music Improvisation | Ryogo Ishino (Keio University); Nao Tokui (Keio University) |
18 | 2 | A Virtual Reality Volumetric Music Video: Featuring New Pagans | Gareth W. Young (Trinity College Dublin); Néill O'Dwyer (Trinity College Dublin); Aljosa Smolic (Hochschule Luzern, HSLU) |
19 | 2 | Natyam Simulator | Deepali D Y Mistry (Birmingham City University) |
20 | 2 | Epitaph of the Earth - Rock player for listening to the earth’s history - | Shinnosuke Komiya (New York University) |
21 | 2 | The EV: A New Digital/Acoustic Hybrid Stringed Synthesizer | Brian Lindgren (Brian Lindgren) |
1 | Session | Title | Artists |
|---|---|---|---|
2 | 1 | SYNTAX | John C.S. Keston, Mike Hodnick |
3 | 1 | terracotta | Julia Set, Lewis Wolstanholme, Francis Devine |
4 | 1 | Chaos Bells | Lia Mice |
5 | 1 | intuitive access | Andreas Weixler, Se-Lien Chuang |
6 | 1 | Membrana Neopermeable | Chris J Rhodes |
7 | 1 | The Fragile Value of Nothing – Developing from Storytelling Through Sonification | George M Edmondson |
8 | 1 | Spherical tendency of wrist movement | Julian Scordato |
9 | 2 | Regreso a la tierra (Return to the land) | Laddy Patricia Cadavid Hinojosa |
10 | 2 | The Furies: A Laptopera - "Don't Sh Stop Please" | Anne K Hege, Elena Georgieva, Ge Wang |
11 | 2 | Ear to Waipapa Taumata Rau | Visda Goudarzi Anna Xambó |
12 | 2 | squareFuck | Magno Caliman |
13 | 2 | (Un)real-time | Alon A Ilsar Ciaran Frame |
14 | 3 | Etu{d,b}e | Vincent Cusson Tommy Davis |
15 | 3 | くぼみ — kubomi | Akiko Hatakeyama |
16 | 3 | Tselem | Alexander Cohen |
17 | 3 | Weather Music | Yoshihiro Hokari |
18 | 3 | Dörner/Hein | Nicola L. Hein |
19 | 4 | ScoreCraft @ NIME 2022 [performance] | Goni Peles, Yuval Adler |
20 | 4 | Garcia (2021) for Mubone | Kalun Leung |
21 | 4 | Proof Of Identity | Mo Zareei |
22 | 4 | Embodied Transductions | Noura Howell |
23 | 4 | Me & My Musical AI "Toddler" | Çağrı Erdem, Alexander Refsum Jensenius |
24 | PANEL | Inside These Waters | Anne K Hege |
25 | PANEL | Music for HASGS | Henrique Portovedo |
26 | PANEL | Hadrosaur Variations | Courtney D Brown |
27 | PANEL | Chaconne (2020) for Violin | Seth D Thorn |
28 | PANEL | _-=◢▍ ▋░░▒ ▃▅▇░ (pronounced as “4th beat”) | Ivica Ico Bukvic |
29 | PANEL | Impressions of the Pagodas | Chi Wang |
1 | Title | Artists |
|---|---|---|
2 | Interface Design | Erin M Demastes |
3 | blink moment | Jingyin (Jon) He |
4 | Sonifyd:Colormatics | Woohun Joo |
5 | Spectra | Blake Johnston |
6 | Installation displaying a soundmap of the Iguazu River | Jaime Rojas Vargas |
7 | Sounding Microcosmos | Serkan Sevilgen; Ipek Oskay |
8 | Seis8s | Luis Navarro; David Ogborn |