NIME 2002: Dublin, Ireland

Session 1 - Saturday

• Robert Huott:
  An Interface for Precise Musical Control. 1-5
  
• Lisa McElligott, Edward Dixon, Michelle Dillon:
  'PegLegs in Music' - Processing the Effort Generated by Levels of Expressive Gesturing in Music. 6-10
  
• James Patten, Ben Recht, Hiroshi Ishii:
  Audiopad: A Tag-based Interface for Musical Performance. 11-16
  
• Tina Blaine, Clifton Forlines:
  JAM-O-WORLD: Evolution of the Jam-O-Drum into the Jam-O-Whirl Gaming Interface. 17-22
  

Session 2 - Saturday

• Roberto Oboe, Giovanni De Poli:
  Multi-instrument virtual keyboard - the MIKEY project. 23-28
  
• Charles Nichols:
  The vBow: Development of a Virtual Violin Bow Controller Haptic Human-Computer Interface. 29-32
  
• Bill Verplank, Michael Gurevich, Max Mathews:
  The PLANK: Designing a simple Haptic Controller. 33-36
  
• Eric Gunther, Glorianna Davenport, M. Sile O'Modhrain:
  Cutaneous Grooves: Composing for the Sense of Touch. 37-43
  

Session 3 - Saturday

• Atau Tanaka, R. Benjamin Knapp:
  Multimodal Interaction in Music Using the Electromyogram and Relative Position Sensing. 43-48
  
• Alain Baumann, Rosa Sanchez:
  Interdisciplinary Applications of New Instruments. 49-53
  
• Graeme McCaig, Sidney Fels:
  Playing on Heart-Strings: Experiences with the 2Hearts system. 54-59
  
• Florian Vogt, Graeme McCaig, Mir Adnan Ali, Sidney Fels:
  Tongue 'n' Groove. 60-64
  

Session 4 - Saturday

• Diana Young:
  The Hyperbow Controller: Real-Time Dynamics Measurement of Violin Performance. 65-70
  
• Matthew Burtner:
  Noisegate 67 for Metasaxophone: Composition and Performance Considerations of a New Computer Music Controller. 71-76
  
• Ajay Kapur, Georg Essl, Philip Davidson, Perry R. Cook:
  The Electronic Tabla Controller. 77-81
  
• Carr Wilkerson, Carmen Ng, Stefania Serafin:
  The Mutha Rubboard Contoller: Interactive Heritage. 82-85
  
• Bert Bongers, Yolanda Harris:
  A Structured Instrument Design Approach: The Video-Organ. 86-91
  

Session 5 - Sunday

• Johannes Taelman:
  A low-cost Sonar Interface for Unobtrusive Man-Machine Interfacing. 92-95
  
• Emmanuel Fléty:
  AtoMIC Pro: A Multiple Sensor Acquisition Device. 96-101
  
• Gideon D'Arcangelo:
  Creating a Context for Musical Innovation: A NIME Curriculum. 102-105
  
• Gil Weinberg, Roberto Aimi, Kevin Jennings:
  The Beatbug Network: A Rhythmic System for Interdependent Group Collaboration. 106-111
  

Session 6 - Sunday

• Tamara Smyth, Julius O. Smith:
  Creating Sustained Tones with the Cicada's Rapid Sequential Buckling Mechanism. 112-115
  
• Sidney Fels, Florian Vogt:
  Tooka: Exploration of Two Person Instruments. 116-121
  
• Leila Hasan, Nicholas Yu, Joseph A. Paradiso:
  The Termenova: A Hybrid Free-Gesture Interface. 122-127
  
• Daniel Arfib, Jacques Dudon:
  A Digital Emulator of the Photosonic Instrument. 128-131
  
• Sergi Jordà:
  Afasia: The Ultimate Homeric One-Man-Multimedia-Band. 132-137
  

Session 7 - Sunday

• Norbert Schnell, Marc Battier:
  Introducing Composed Instruments: Technical and Musicological Implications. 138-142
  
• Ashley Gadd, Sidney Fels:
  MetaMuse: Metaphors for Expressive Instruments. 143-148
  
• Andy Hunt, Marcelo M. Wanderley, Matthew Paradis:
  The Importance of Parameter Mapping in Electronic Instrument Design. 149-154
  
• Antonio Camurri, Riccardo Trocca, Gualtiero Volpe:
  Interactive Systems Design: A KANSEI based Approach. 155-162
  

Demonstrations

• Tim Hankins, David Merrill, Jocelyn Robert:
  Circular Optical Object Locator. 163-164
  
• Kieran Ferris, Liam J. Bannon:
  The Musical Box Garden. 165-167
  
• Laurel Pardue, Joseph A. Paradiso:
  Musical Navigatrics: New Musical Interactions with Passive Magnetic Tags. 168-170
  
• David Wessel, Matthew Wright, John Schott:
  Intimate Musical Control of Computers with a Variety of Controllers and Gesture Mapping Metaphors. 171-173
  
• Loïc Kessous:
  Bi-manual mapping experimentation, with angular fundamental frequency control and sound color navigation. 174-175
  
• Jean-Michel Couturier:
  A Scanned Synthesis virtual instrument. 176-178
  
• Mark T. Marshall, Matthias Rath, Breege Moynihan:
  The Virtual Bodhran - The Vodhran. 179-180
  
• Jordan Wynnychuk, Richard Porcher, Luka Brajovic, Marko Brajovic, Nacho Platas:
  Music Software Interfacing and 3D Navigation. 181-182
  
• Kia Ng:
  Interactive Gesture Music Performance Interface. 183-184
  
• IXI Software. 185
  
• Stanza: Amorphoscapes & Soundtoys. 186-187
  
• Todd Winkler:
  Fusing Movement, Sound, and Video in Falling Up, an Interactive Dance/Theatre Production. 188
  
• David Bernard:
  Experimental Controllers for Live Electronic Music Performance (vs.Copyright). 189
  
• James Mandelis:
  Adaptive Hyperinstruments: Applying Evolutionary Techniques to Sound Synthesis and Performance. 190-191
  
• Garth Paine:
  'Gestation' Installation. 192-193
  
• Niall Griffith, Ed Hammond, Sean O'Leary, M. Sile O'Modhrain, Donagh O'Shea:
  Circles and Seeds: Adapting Kpelle ideas about music performance for collaborative Digital Music performance. 194-195
  

Keynotes

• Tod Machover:
  Instruments, Interactivity, and Inevitability. 196
  
• Joel Chadabe:
  The Limitations of Mapping and a Structural Descriptive in Electronic Instruments. 197-201