- Live Interfaces
We are proud to introduce this collection of short articles exploring diverse takes on the theme of “Live Interfaces,” from the first International Conference on Live Interfaces (ICLI), 7–8 September 2012, hosted by the Interdisciplinary Centre for Scientific Research in Music at the University of Leeds, U.K., funded by Vitae Yorkshire. These papers are the result of discussions at the conference and a further peer review process. The authors explore live, technology-mediated interaction in the performing arts.
ICLI 2012 attracted over 80 delegates, including those traveling from 11 countries outside Great Britain. Over two days we enjoyed 50 contributions, presented as papers, posters and performances. Perhaps part of the forward-looking excitement felt during the event was due to the organizing committee being made up exclusively of young researchers, a collaboration from across Yorkshire and the Humber.
Regrettably, we can only represent a fraction of the papers here, and, even worse, none of the performances will jump from the page. However, we hope that the following selection is enriching and gives some flavor of what went on.
The second edition of ICLI took place in Lisbon in November 2014. For more information about this and future events, please visit <http://icli.lurk.org/>.
—A lexM cL ean, University of Leeds
—M ariaC hatzichristodoulou, University of Hull
—K iaN g, University of Leeds
|A drianaS a: Exploring Disparities Between Acoustic and Digital Sound Outputs||280|
|R obertT ubb: Controlling Rhythm in the Frequency Domain||282|
|S habinaA slam andE leanorD are: Skype, Code and Shouting: A Digitally Mediated Drama between Egypt and Scotland||284|
|D avidS trang: Sensitive Chaos||286|
|J uanA. R omero, G eorgH obmeier andD. L orrain: Errors, Glitches and Other Mistakes in the Life of an Unredeemed Technology Lover||288|
|K erryF rancksen: E merging: Live-Digital Gestures in Action||290|
|N ancyM auro-F lude: Paraphernalia: A Design Approach for Electronic-Performance Tools||292|
|N icholasG illian andS arahN icolls: Kinect-ed Piano||294|
|A ndrewJ ohnston: Conversational Interaction in Interactive Dance Works||296|
|A tauT anaka: Intention, Effort, and Restraint: The EMG in Musical Performance||298|
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