Introducing composed instruments, technical and musicological implications
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
The importance of parameter mapping in electronic instrument design
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
The limitations of mapping as a structural descriptive in electronic instruments
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
Digital instruments and players: part I --- efficiency and apprenticeship
NIME '04 Proceedings of the 2004 conference on New interfaces for musical expression
Rethinking the Computer Music Language: SuperCollider
Computer Music Journal
Building collaborative graphical interfaces in the audicle
NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression
Screen-based musical interfaces as semiotic machines
NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression
Different strokes: a prototype software system for laptop performance and improvisation
NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression
Affordances and constraints in screen-based musical instruments
Proceedings of the 4th Nordic conference on Human-computer interaction: changing roles
Sensillum: an improvisational approach to composition
NIME '07 Proceedings of the 7th international conference on New interfaces for musical expression
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This paper describes the audio human computer interface experiments of ixi in the past and outlines the current platform for future research. ixi software [5] was founded by Thor Magnusson and Enrike Hurtado Mendieta in year 2000 and since then we've been working on building prototypes in the form of screen-based graphical user interfaces for musical performance, researching human computer interaction in the field of music and creating environments which other people can use to do similar work and for us to use in our workshops. Our initial starting point was that computer music software and the way their interfaces are built need not necessarily be limited to copying the acoustic musical instruments and studio technology that we already have, but additionally we can create unique languages and work processes for the virtual world. The computer is a vast creative space with specific qualities that can and should be explored.