Poster and Demo Schedule

Demos and Posters at NIME 2016 will be presented over two sessions in the Basil Jones Orchestral Hall. The schedule for presentations is as follows (including table assignments). A floor-plan of the hall is also below so you can track down your table!

Poster Session 1 (Tuesday July 12, 1:30pm)


  • Towards a Perceptual Framework for Interface Design in Digital Environments for Timbre Manipulation (Sean Soraghan, Alain Renaud, Ben Supper) Table 3
  • Augmenting the iPad: The BladeAxe (Romain Michon, Julius Orion III Smith, Matthew Wright, Chris Chafe) Table 4
  • Towards a Mappable Database of Emergent Gestural Meaning (Doug Van Nort, Ian Jarvis, Michael Palumbo) Table 5
  • An Analogue Interface for Musical Robots (Jason Long, Ajay Kapur, Dale Carnegie) Table 6
  • The ‘Virtualmonium’: an instrument for classical sound diffusion over a virtual loudspeaker orchestra.(Natasha Barrett, Alexander Refsum Jensenius) Table 7
  • The Smartphone Ensemble. Exploring mobile computer mediation in collaborative musical performance(Julian Jaramillo Arango, Daniel Melán Giraldo) Table 8
  • Development of Fibre Polymer Sensor Reeds for Saxophone and Clarinet (Alex Hofmann, Vasileios Chatziioannou, Alexander Mayer, Harry Hartmann) Table 9
  • PdMIs: Embedded Acoustic DMIs Expressed through 3D Printing (Oliver Hancock, Todd Cochcrane) Table 10
  • Transforming 8-Bit Video Games into Musical Interfaces via Reverse Engineering and Augmentation(Benjamin Olson) Table 11
  • Musician and Mega-Machine: Compositions Driven by Real-Time Particle Collision Data from the ATLAS Detector (Juliana Cherston, Ewan Hill, Steven Goldfarb, Joseph Paradiso) Table 12
  • Mapping Everyday Objects to Digital Materiality in The Wheel Quintet: Polytempic Music and Participatory Art (Anders Lind, Daniel Nylén) Table 13
  • Haptic Music Player – Synthetic audio-tactile stimuli generation based on the notes´ pitch and instruments´ envelope mapping (Alfonso Balandra, Hironori Mitake, Shoichi Hasegawa) Table 14
  • Notation for 3D Motion Tracking Controllers: A Gametrak Case Study (Madeline Huberth, Chryssie Nanou) Table 15
  • Embodiment on a 3D tabletop musical instrument (Edgar Hemery, Sotiris Manitsaris, Fabien Moutarde) Table 16
  • Networked Virtual Environments as Collaborative Music Spaces (Cem Çakmak, Anıl Çamcı, Angus Forbes) Table 19
  • Drum-Dance-Music-Machine: Construction of a Technical Toolset for Low-Threshold Access to Collaborative Musical Performance (Christine Steinmeier, Dominic Becking, Philipp Kroos) Table 20
  • The Laptop Accordian (Aidan Meacham, Sanjay Kannan, Ge Wang) Table 21
  • Music Maker: 3d Printing and Acoustics Curriculum (Sasha Leitman, John Granzow) Table 22
  • The Hexenkessel: A Hybrid Musical Instrument for Multimedia Performances (Jacob Sello) Table 23
  • Snare Drum Performance Motion Analysis (Robert Van Rooyen, Andrew Schloss, George Tzanetakis) Table 24
  • Active Acoustic Instruments for Electronic Chamber Music (Otso Lähdeoja) Table 29
  • SensorChimes: Musical Mapping for Sensor Networks (Evan Lynch, Joseph Paradiso) Table 30
  • NAKANISYNTH: An Intuitive Freehand Drawing Waveform Synthesiser Application for iOS Devices (Paul Haimes, Kyosuke Nakanishi, Tetsuaki Baba, Kumiko Kushiyama) Table 31
  • StrumBot – An Overview of a Strumming Guitar Robot (Richard Vindriis, Dale Carnegie) Table 32
  • Unfoldings: Multiple Explorations of Sound and Space (Tim Shaw, Simon Bowen, John Bowers) Table 33
  • BlockyTalky: A Physical and Distributed Computer Music Toolkit for Kids (Benjamin Shapiro, Rebecca Fiebrink, Matthew Ahrens, Annie Kelly) Table 34
  • XronoMorph: Algorithmic Generation of Perfectly Balanced and Well-Formed Rhythms (Andrew J. Milne, Steffen A. Herff, David Bulger, William A. Sethares, Roger T. Dean) Table 35
  • Focal : An Eye-Tracking Musical Expression Controller (Stewart Greenhill, Cathie Travers) Table 36


  • The Haptic Capstans: Rotational Force Feedback for Music using a FireFader Derivative Device (Eric Sheffield, Edgar Berdahl, Andrew Pfalz) Table 1–2
  • Electromagnetically Actuated Acoustic Amplitude Modulation Synthesis (Herbert H.C. Chang, Spencel Topel) Table 17–18
  • Dooremi: a Doorway to Music (Rebecca Kleinberger, Akito Van Troyer) Table 25–26
  • A Multi-Point 2D Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound Synthesis(Stuart James) Table 27–28
  • Multi Rubbing Tactile Instrument (Yoichi Nagashima) Room 1.21
  • The Extended Clarinet (Carl Jörgen Normark, Robert Ek, Peter Parnes, Harald Andersson) Room 1.39
  • SpectraScore VR: Networkable virtual reality software tools for real-time composition and performance(Benedict Carey) Room 3.66

Poster Session 2 (Wednesday July 13, 1:30pm)


  • MalletOTon and the Modulets: Modular and Extensible Musical Robots (Ajay Kapur, Jim Murphy, Michael Darling, Eric Heep, Bruce Lott, Ness Morris) Table 3
  • speaker.motion: A Mechatronic Loudspeaker System for Live Spatialisation (Bridget Johnson, Michael Norris, Ajay Kapur) Table 4
  • Transdisciplinary Methodology: from Theory to the Stage, Creation for the SICMAP (Barah Héon-Morissette) Table 5
  • Kinéphone: Exploring the Musical Potential of an Actuated Pin-Based Shape Display (Xiao Xiao, Donald Derek Haddad, Thomas Sanchez, Akito van Troyer, Rébecca Kleinberger, Penny Webb, Joe Paradiso, Tod Machover, Hiroshi Ishii) Table 6
  • Church Belles: An Interactive System and Composition Using Real-World Metaphors (Si Waite) Table 7
  • residUUm: user mapping and performance strategies for multilayered live audiovisual generation (Ireti Olowe, Giulio Moro, Mathieu Barthet) Table 8
  • Pendula: An Interactive Swing Installation and Performance Environment (Kiran Bhumber, Nancy Lee, Brian Topp) Table 9
  • Hitmachine: Collective Musical Expressivity for Novices (Kasper Buhl Jakobsen, Marianne Graves Petersen, Majken Kirkegaard Rasmussen, Jens Emil Groenbaek, Jakob Winge, Jeppe Stougaard) Table 10
  • Rhizomatic Approaches to Screen-Based Notation (Lindsay Vickery) Table 11
  • 3D Modelling and Printing of Microtonal Flutes (Matthew Dabin, Kraig Grady, Terumi Narushima, Stephen Beirne, Christian Ritz) Table 12
  • Csound Instruments On Stage (Alex Hofmann, Bernt Waerstad, Kristoffer Koch) Table 13
  • Controlling Complex Virtual Instruments – A Setup with note~ for Max and Prepared Piano Sound Synthesis(Thomas Resch, Stefan Bilbao) Table 14
  • Emovere: Designing Sound Interactions for Biosignals and Dancers (Javier Jaimovich) Table 15
  • Designing a Flexible Workflow for Complex Real-Time Interactive Performances (Esteban Gómez, Javier Jaimovich) Table 16
  • Driftwood: Redefining Sound Sculpture Controllers (Alexandra Rieger, Spencer Topel) Table 19
  • Leimu: Gloveless Music Interaction Using a Wrist Mounted Leap Motion (Dom Brown, Nathan Renney, Adam Stark, Chris Nash, Tom Mitchell) Table 20
  • Music Aid – Towards a Collaborative Experience for Deaf and Hearing People in Creating Music (Ene Alicia Søderberg, Rasmus Emil Odgaard, Sarah Bitsch, Oliver Høeg-Jensen, Nikolaj Schildt Christensen, Søren Dahl Poulsen, Steven Gelineck) Table 21
  • The Prospects of Musical Instruments For People with Physical Disabilities (Jeppe Larsen, Dan Overholt, Thomas B. Moeslund) Table 22
  • SoundMorpheus: A Myoelectric-Sensor Based Interface for Sound Spatialization and Shaping (Christopher Benson, Bill Manaris, Seth Stoudenmier, Timothy Ward) Table 23
  • PORTAL: An Audiovisual Laser Performance System (Gorkem Ozdemir, Anil Camci, Angus Forbes) Table 24
  • Materiality for Musical Expressions: an Approach to Interdisciplinary Syllabus Development for NIME (Rikard Lindell, Koray Tahiroglu, Morten Riis, Jennie Schaeffer) Table 29
  • Frontiers: Expanding Musical Imagination With Audience Participation (Marcelo Gimenes, Pierre-Emmanuel Largeron, Eduardo Miranda) Table 30
  • PourOver: A Sensor-Driven Generative Music Platform (Kevin Schlei, Chris Burns, Aidan Menuge) Table 31
  • Hacking NIMEs (Abram Hindle) Table 32
  • Drumming with style: From user needs to a working prototype (Sergi Jordá, Daniel Gómez-Marín, Ángel Faraldo, Perfecto Herrera) Table 33
  • Understanding Cloud Service in the Audience Participation Music Performance of Crowd in C[loud] (Sang Won Lee, Antonio Deusany de Carvalho Junior, Georg Essl) Table 34
  • An Interactive Software Instrument for Real-time Rhythmic Concatenative Synthesis (Cárthach Ó Nuanáin, Sergi Jordà, Perfecto Herrera) Table 35


  • Wireless Vibrotactile Tokens for Audio-Haptic Interaction with Touchscreen Interfaces (Edgar Berdahl, Danny Holmes, Eric Sheffield) Table 1–2
  • Very Slack Strings: A Physical Model and Its Use in the Composition “Quartet for Strings” (Edgar Berdahl, Andrew Pfalz, Stephen David Beck) Table 17–18
  • A Musical Game of Bowls Using the DIADs (Sam Ferguson, Oliver Bown) Table 25–26
  • x2Gesture: how machines could learn expressive gesture variations of expert musicians (Christina Volioti, Sotiris Manitsaris, Eleni Katsouli, Athanasios Manitsaris) Table 27–28
  • Headline grabs for music: The development of the iPad score generator for “Loaded (NSFW)” (Cat Hope, Stuart James, Aaron Wyatt) Room 1.21
  • How to Stop Sound: Creating a light instrument and ‘Interruption’ a piece for the Mimerlaven, Norberg Festival 2015. (Ben Eyes, Laurits Esben Jongejan) Room 1.39
  • Tango: Software for Computer-Human Improvisation (Henning Berg) Room 3.66

Demo and Poster Floorplan

All demo and poster presenters will be provided with table space, poster boards, and power points. We suggest that poster presenters setup their NIME, or bring a laptop to show off what you’ve made!

·         Posters are required to be up to A0 size. You can organise to have your poster printed locally prior to your arrival in Brisbane by ordering online. We suggest Snap South Brisbane for its proximity to the Queensland Conservatorium (a few minutes’ walk away; A0 poster is $55), or Officeworks Brisbane (this is about a 20 minute walk from the conference venue but only $35 for an A0 poster). Please be careful to select the correct store location for pick-up.

·         Poster presenters are provided with 750 x 750 mm table space, 1.1m wide display space and a single power socket.

·         Demo presenters are provided with 1300 x 750 mm table space, 2.2m wide display space and 3-4 power socketsThose who presented a specific rider via the demo track submission will receive a separate confirmation email with specifics.