This is a studio report of researches and projects in SUAC (Shizuoka University of Art and Culture). SUAC was founded in April 2000, and organized NIME04 as you know. SUAC has "Faculty of Design" and "Department of Art and Science" and all students study interactive systems and media arts. SUAC has organized Media Art Festival (MAF) from 2001 to 2005. Domestic/overseas artists participated in S...

In this paper, we argue that the design of New Interfaces for Musical Expression has much to gain from the study of interaction in ensemble laptop performance contexts using ethnographic techniques. Inspired by recent third-stream research in the field of human computer interaction, we describe a recent ethnomethodologically-informed study of the Birmingham Laptop Ensemble (BiLE), and detail ou...

Audiences of live laptop music have been known to express dismay at the opacity of performer activity and question how “live” such performances actually are. Yet motionless laptop performers endure as a musical spectacle from clubs to concert halls, suggesting that for many this is a non-issue. Understanding these perceptions might help performers better achieve their intentions, inform interfa...

This paper presents ongoing work on methods dedicated to relations between composers and performers in the context of experimental music. The computer music community has over the last decade paid a strong interest on various kinds of gestural interfaces to control sound synthesis processes. The mapping between gesture and sound parameters has specially been investigated in order to design the ...

While individuals productively use repetition to learn and develop new skills and competencies, they also engage in compulsive and counterproductive repetitions. This article makes a contribution to the literature on organizational learning and change by offering an exploration of the human proclivity for repetition and psychosocial phenomenon of the compulsion to repeat. The article links psyc...

Every new edition of NIME brings dozens of new DMIs and the feeling that only a few of them will eventually break through. Previous work tried to address this issue with a deductive approach by formulating design frameworks; we addressed this issue with a inductive approach by elaborating on successes and failures of previous DMIs. We contacted 97 DMI makers that presented a new instrument at f...

The term ‘gesture’ has represented a buzzword in the NIME community since the beginning of its conference series. But how often is it actually used, what is it used to describe, and how does its usage here differ from its usage in other fields of study? This paper presents a linguistic analysis of the motion-related terminology used in all of the papers published in the NIME conference proceedi...

To engage with questions of musicality is to invite into consideration a complex network of topics beyond the mechanics of soundful interaction with our interfaces. Drawing on the work of Born, I sketch an outline of the reach of these topics. I suggest that practice-led methods, by dint of focussing on the lived experience where many of these topics converge, may be able to serve as a useful m...

This paper examines the notion of community as commonly employed within NIME discourses. Our aim is to clarify and define the term through the community of practice framework. We argue that through its formal use and application, the notion of community becomes a significant space for the examination of emergent musical practices that could otherwise be overlooked. This paper defines community ...