All poster sessions are on the 3rd floor at the University Library.



Poster session B – Monday 30 May 13:30-14:30

Scott Smallwood.
Solar sound arts: Creating instruments and devices powered by
photovoltaic technologies
(Pages 28-31).
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Niklas Klügel, Marc René Frieß, Georg Groh, and Florian Echtler.
An approach to collaborative music composition.
(Pages 32-35).
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Nicolas Gold and Roger Dannenberg.
A reference architecture and score representation for popular music
human-computer music performance systems
(Pages 36-39).
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Mark Bokowiec.
V’oct (ritual): An interactive vocal work for bodycoder system and 8
channel spatialization
(Pages 40-43).
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Florent Berthaut, Haruhiro Katayose, Hironori Wakama, Naoyuki Totani, and
Yuichi Sato.
First person shooters as collaborative multiprocess instruments.
(Pages 44-47).
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Tilo Hähnel and Axel Berndt.
Studying interdependencies in music performance: An interactive tool.
(Pages 48-51).
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Sinan Bokesoy and Patrick Adler.
1city 1001vibrations: development of a interactive sound installation
with robotic instrument performance
(Pages 52-55).
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Tim Murray-Browne, Di Mainstone, Nick Bryan-Kinns, and Mark D. Plumbley.
The medium is the message: Composing instruments and performing
(Pages 56-59).
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Seunghun Kim, Luke Keunhyung Kim, Songhee Jeong, and Woon Seung Yeo.
Clothesline as a metaphor for a musical interface.
(Pages 60-63).
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Pietro Polotti and Maurizio Goina.
Eggs in action.
(Pages 64-67).
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Berit Janssen.
A reverberation instrument based on perceptual mapping.
(Pages 68-71).
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Lauren Hayes.
Feedback-assisted performance.
(Pages 72-75).
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Daichi Ando.
Improving user-interface of interactive ec for composition-aid by
means of shopping basket procedure
(Pages 76-79).
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Ryan Mcgee, Yuan-Yi Fan, and Reza Ali.
Biorhythm: a biologically-inspired audio-visual installation.
(Pages 80-83).
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Jon Pigott.
Vibration and volts and sonic art: A practice and theory of
electromechanical sound
(Pages 84-87).
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George Sioros and Carlos Guedes.
Automatic rhythmic performance in max/msp: the kin.rhythmicator.
(Pages 88-91).
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André Gonçalves.
Towards a voltage-controlled computer – control and interaction
beyond an embedded system
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Tae Hun Kim, Satoru Fukayama, Takuya Nishimoto, and Shigeki Sagayama.
Polyhymnia: An automatic piano performance system with statistical
modeling of polyphonic expression and musical symbol interpretation
(Pages 96-99).
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Juan Pablo Carrascal and Sergi Jorda.
Multitouch interface for audio mixing.
(Pages 100-103).
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Nate Derbinsky and Georg Essl.
Cognitive architecture in mobile music interactions.
(Pages 104-107).
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Benjamin D. Smith and Guy E. Garnett.
The self-supervising machine.
(Pages 108-111).
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Aaron Albin, Sertan Senturk, Akito Van Troyer, Brian Blosser, Oliver Jan, and
Gil Weinberg.
Beatscape and a mixed virtual-physical environment for musical
(Pages 112-115).
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Marco Fabiani, Gaà«l Dubus, and Roberto Bresin.
Moodifierlive: Interactive and collaborative expressive music
performance on mobile devices
(Pages 116-119).
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Benjamin Schroeder, Marc Ainger, and Richard Parent.
A physically based sound space for procedural agents.
(Pages 120-123).
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Francisco Garcia, Leny Vinceslas, Esteban Maestre, and Josep Tubau.
Acquisition and study of blowing pressure profiles in recorder
(Pages 124-127).
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Anders Friberg and Anna Källblad.
Experiences from video-controlled sound installations.
(Pages 128-131).
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Nicolas d’Alessandro, Roberto Calderon, and Stefanie Müller.
Room#81 – agent-based instrument for experiencing architectural and
vocal cues
(Pages 132-135).
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Poster session G – Tuesday 31 May 13:30-14:30

Smilen Dimitrov and Stefania Serafin.
Audio arduino – an alsa (advanced linux sound architecture) audio
driver for ftdi-based arduinos
(Pages 211-216).
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Seunghun Kim and Woon Seung Yeo.
Musical control of a pipe based on acoustic resonance.
(Pages 217-219).
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Anne-Marie Hansen, Hans Jørgen Andersen, and Pirkko Raudaskoski.
Play fluency in music improvisation games for novices.
(Pages 220-223).
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Izzi Ramkissoon.
The bass sleeve: A real-time multimedia gestural controller for
augmented electric bass performance
(Pages 224-227).
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Ajay Kapur, Michael Darling, James Murphy, Jordan Hochenbaum, Dimitri
Diakopoulos, and Trimpin.
The karmetik notomoton: A new breed of musical robot for teaching and
(Pages 228-231).
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Adrian Barenca and Giuseppe Torre.
The manipuller: Strings manipulation and multi-dimensional force
(Pages 232-235).
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Alain Crevoisier and Cécile Picard-Limpens.
Mapping objects with the surface editor.
(Pages 236-239).
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Jordan Hochenbaum and Ajay Kapur.
Adding z-depth and pressure expressivity to tangible tabletop
(Pages 240-243).
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Andrew Milne, Anna Xambó, Robin Laney, David B. Sharp, Anthony Prechtl, and
Simon Holland.
Hex player: A virtual musical controller.
(Pages 244-247).
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Carl Haakon Waadeland.
Rhythm performance from a spectral point of view.
(Pages 248-251).
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Josep M Comajuncosas, Enric Guaus, Alex Barrachina, and John O’Connell.
Nuvolet : 3d gesture-driven collaborative audio mosaicing.
(Pages 252-255).
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Erwin Schoonderwaldt and Alexander Refsum Jensenius.
Effective and expressive movements in a french-canadian fiddler’s
(Pages 256-259).
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Daniel Bisig, Jan Schacher, and Martin Neukom.
Flowspace: A hybrid ecosystem.
(Pages 260-263).
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Marc Sosnick and William Hsu.
Implementing a finite difference-based real-time sound synthesizer
using gpus
(Pages 264-267).
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Axel Tidemann.
An artificial intelligence architecture for musical expressiveness
that learns by imitation
(Pages 268-271).
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Luke Dahl, Jorge Herrera, and Carr Wilkerson.
Tweetdreams: Making music with the audience and the world using
real-time twitter data
(Pages 272-275).
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Lawrence Fyfe, Adam Tindale, and Sheelagh Carpendale.
Junctionbox: A toolkit for creating multi-touch sound control
(Pages 276-279).
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Andrew Johnston.
Beyond evaluation: Linking practice and theory in new musical
interface design
(Pages 280-283).
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Phillip Popp and Matthew Wright.
Intuitive real-time control of spectral model synthesis.
(Pages 284-287).
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Pablo Molina, Martin Haro, and Sergi Jordà .
Beatjockey: A new tool for enhancing dj skills.
(Pages 288-291).
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Jan Schacher and Angela Stoecklin.
Traces: Body and motion and sound.
(Pages 292-295).
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Grace Leslie and Tim Mullen.
Moodmixer: Eeg-based collaborative sonification.
(Pages 296-299).
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Ståle A. Skogstad, Kristian Nymoen, Yago De Quay, and Alexander Refsum
Osc implementation and evaluation of the xsens mvn suit.
(Pages 300-303).
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Lonce Wyse, Norikazu Mitani, and Suranga Nanayakkara.
The effect of visualizing audio targets in a musical listening and
performance task
(Pages 304-307).
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Adrian Freed, John Maccallum, and Andrew Schmeder.
Composability for musical gesture signal processing using new
osc-based object and functional programming extensions to max/msp
(Pages 308-311).
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Kristian Nymoen, Ståle A. Skogstad, and Alexander Refsum Jensenius.
Soundsaber – a motion capture instrument.
(Pages 312-315).
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Øyvind Brandtsegg, Sigurd Saue, and Thom Johansen.
A modulation matrix for complex parameter sets.
(Pages 316-319).
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Poster session M – Wednesday 1 June 13:30-14:30

William Hsu.
On movement and structure and abstraction in generative audiovisual
(Pages 417-420).
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Claudia Robles Angel.
Creating interactive multimedia works with bio-data.
(Pages 421-424).
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Paula Ustarroz.
Tresnanet: musical generation based on network protocols.
(Pages 425-428).
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Matti Luhtala, Tiina Kymäläinen, and Johan Plomp.
Designing a music performance space for persons with intellectual
learning disabilities
(Pages 429-432).
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Tom Ahola, Teemu Ahmaniemi, Koray Tahiroglu, Fabio Belloni, and Ville Ranki.
Raja – a multidisciplinary artistic performance.
(Pages 433-436).
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Emmanuelle Gallin and Marc Sirguy.
Eobody3: A ready-to-use pre-mapped amp; multi-protocol sensor
(Pages 437-440).
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Rasmus Bååth, Thomas Strandberg, and Christian Balkenius.
Eye tapping: How to beat out an accurate rhythm using eye movements.
(Pages 441-444).
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Eric Rosenbaum.
Melodymorph: A reconfigurable musical instrument.
(Pages 445-447).
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Karmen Franinovic.
Flo)(ps: Between habitual and explorative action-sound relationships.
(Pages 448-452).
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Margaret Schedel, Rebecca Fiebrink, and Phoenix Perry.
Wekinating 000000swan: Using machine learning to create and control
complex artistic systems
(Pages 453-456).
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Carles F. Julià, Daniel Gallardo, and Sergi Jordà.
Mtcf: A framework for designing and coding musical tabletop
applications directly in pure data
(Pages 457-460).
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David Pirrò and Gerhard Eckel.
Physical modelling enabling enaction: an example.
(Pages 461-464).
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Thomas Mitchell and Imogen Heap.
Soundgrasp: A gestural interface for the performance of live music.
(Pages 465-468).
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Tim Mullen, Richard Warp, and Adam Jansch.
Minding the (transatlantic) gap: An internet-enabled acoustic
brain-computer music interface
(Pages 469-472).
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Stefano Papetti, Marco Civolani, and Federico Fontana.
Rhythm’n'shoes: a wearable foot tapping interface with audio-tactile
(Pages 473-476).
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Cumhur Erkut, Antti Jylhä, and Reha Disçioğlu.
A structured design and evaluation model with application to rhythmic
interaction displays
(Pages 477-480).
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Marco Marchini, Panos Papiotis, Alfonso Pérez, and Esteban Maestre.
A hair ribbon deflection model for low-intrusiveness measurement of
bow force in violin performance
(Pages 481-486).
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Jonathan Forsyth, Aron Glennon, and Juan Bello.
Random access remixing on the ipad.
(Pages 487-490).
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Erika Donald, Ben Duinker, and Eliot Britton.
Designing the ep trio: Instrument identities and control and
performance practice in an electronic chamber music ensemble
(Pages 491-494).
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A. Cavan Fyans and Michael Gurevich.
Perceptions of skill in performances with acoustic and electronic
(Pages 495-498).
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Hiroki Nishino.
Cognitive issues in computer music programming.
(Pages 499-502).
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Roland Lamb and Andrew Robertson.
Seaboard: a new piano keyboard-related interface combining discrete
and continuous control
(Pages 503-506).
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Gilbert Beyer and Max Meier.
Music interfaces for novice users: Composing music on a public
display with hand gestures
(Pages 507-510).
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Birgitta Cappelen and Anders-Petter Andersson.
Expanding the role of the instrument.
(Pages 511-514).
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Todor Todoroff.
Wireless digital/analog sensors for music and dance performances.
(Pages 515-518).
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Trond Engum.
Real-time control and creative convolution – exchanging techniques
between distinct genres
(Pages 519-522).
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Andreas Bergsland.
The six fantasies machine: an instrument modelling phrases from paul
lansky’s six fantasies
(Pages 523-526).
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Information for poster presenters

You will have to prepare and print the poster yourself, before the conference.

Posters should (ideally) be size A0 (83.0 x 115.4 cm – 32.7 x 45.4 inches) and should be printed in portrait mode (i.e. standing). There is no template for posters, feel free to design it the way you prefer. Please remember that the poster needs to be efficient in describing what you have done. People will be able to find the details in your paper, so it is better to use graphical elements in the poster to explain your main points.

If you prefer to print the poster in Oslo, we recommend Allkopi Parkveien or  Allkopi Nedre slottsgate, both in the city centre. Usually they print posters quickly, but you should get in touch with them to check their availability and how quickly they can do it.

Posters will be mounted on poster walls, with a table in front of the wall. We will provide the necessary equipment (double-sided tape, scissors, etc.) for mounting your poster.

There will be approx. 10-15 posters in each room, so we will strongly advise that you use headphones for your presentation, or plan to keep the sound level down.

If you have any questions, please contact the poster and demo coordinators ().