Bioluminescence is a two-person improvised performance to be considered for either concert or club performance. The performance is improvised and of variable length, and consists of a vocalist (Lesley Flanigan) and a laptop performer (R. Luke DuBois). All the material generated from the laptop is taken from the vocalist during that performance (no pre-sampling or synthesis) and the laptop perfo...

This paper provides a rationale for choosing acoustic localisation techniques as an alternative to other principles to provide spatial positions in interactive locative audio applications (ILAA). By comparing positioning technology in existing ILAAs to the expected performance of acoustic positioning systems (APS), we can evaluate if APS would perform equivalently in a particular application. I...

The ideation, conception and implementation of new musical interfaces and instruments provide more than the mere construction of digital objects. As physical and digital assemblages, interfaces also act as traces of the authoring entities that created them. Their intentions, likes, dislikes, and ultimate determinations of what is creatively useful all get embedded into the available choices of ...

Composing drum patterns and musically developing them through repetition and variation is a typical task in electronic music production. We propose a system that, given an input pattern, automatically creates related patterns using a genetic algorithm. Two distance measures (the Hamming distance and directed-swap distance) that relate to rhythmic similarity are shown to derive usable fitness fu...

1 Yonezawa is also a graduate student of Keio University, Graduate School of Media and Governance. ABSTRACT In this paper, we introduce our research challenges for creating new musical instruments using everyday-life media with intimate interfaces, such as the self-body, clothes, water and stuffed toys. Various sensor technologies including image processing and general touch sensitive devices a...

In this paper the authors describe the VESBALL, which is a ballshaped musical interface designed for group music therapy. Therapy sessions take the form of “musical ensembles” comprised of individuals with Autism Spectrum Disorder (ASD), typically led by one or more certified music therapists. VESBALL had been developed in close consultation with therapists, clients, and other stakeholders, and...

This paper describes a long term, collaborative project Sound Spaces. Within this project we creatively investigated various environments and built a collection of artworks in response to material gathered through a number of practical field visits. Our responses were presented in numerous, idiosyncratic ways and took shape through a number of concerted making activities. The work was conducted...

This paper presents new touch-screen collaborative music interaction for people with dementia. The authors argue that dementia technology has yet to focus on collaborative multiuser group musical interactions. The project aims to contribute to dementia care while addressing a significant gap in current literature. Two trials explore contrasting musical scenarios: the performance of abstract ele...

The Revo:oveR installation is a collection of six co-located installations exploring multimodal interaction, self-evolving aural and visual fabric, integration of architectural space, and the notion of communal art. The interactive aural communal soundscape Elemental and one of the two physical sculptures titled Cyrene Reefs exhibited at NIME 2009 can be seen as the core aural components of the...

In this paper we discuss the concept of style, focusing in particular on methods of designing new instruments that facilitate the cultivation and recognition of style. We distinguish between style and structure of an interaction and discuss the significance of this formulation within the context of NIME. Two workshops that were conducted to explore style in interaction design are described, fro...