Publikationen
Vorstellung einer Methode zur Analyse von Aufführungspraktiken in der elektronischen Musik.
In
,
10 Years Anniversary of Master Multimedia Composition, HfMT Hamburg
HfMT Hamburg,
Hamburg (Deutschland),
2015.
Token of Enunciation in Multimedia Performance.
(
).
Korean Electroacoustic Music Society's Annual Conference (Korean Electroacoustic Music Society's Annual Conference)
.
2017.
Token of Enunciation in Multimedia Performance.
(
).
International Computer Music Conference Proceedings (International Computer Music Conference)
.
2017.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
Emille. the Journal of the Korean Electro-Acoustic Music Society,
02
2018.
Gamified Audiovisual Works – Composiiton, Percepiton, Performance.
(
).
Korean Electroacoustic Music Society's Annual Conference (Korean Electroacoustic Music Society's Annual Conference)
.
2017.
A Method for Subjective Analysis of Audiovisual Works.
Poster at International Computer Music Conference in Shanghai (China),
Shanghai Conservatory (China),
Shanghai Conservatory (China),
2017.
Designing Audience-Work Relationships.
In
,
Sound Works
Leiden University Press,
Orpheus Institute (Belgien),
2020.
Evaluating a method for the analysis of performance practices in electronic music.
(
).
International Conference on Live Interfaces Proceedings (International Conference on Live Interfaces)
.
2015.
Anna & Marie - Two Project Reports.
In
,
Ludified
The Green Box,
Berlin (Deutschland),
2020.
A Method for Subjective Analysis of Audiovisual Works.
(
).
International Computer Music Conference Proceedings (International Computer Music Conference)
.
2017.
Stop challenging technology! Towards content-based audio production.
(
).
Proceedings of the 2017 ICSA (International Conference on Spatial Audio 2017)
.
2017.
utruchirp: an impulse response measurement and auralisation tool developed for artistic practice.
(
).
Proceedings of the 15th International Conference on Audio Mostly (Audio Mostly 2020 - a conference on interaction with sound)
.
2020.
Konzertsaal.
In
,
Künstlerische Forschung – Ein Handbuch
(pp. 307-310).
Diaphanes,
Zürich (Schweiz),
2015.
Acoustic modelling as a strategy for composing site-specific music.
(
).
Proceedings of the 15th International Conference on Audio Mostly (Audio Mostly 2020 - a conference on interaction with sound)
.
2020.
DA TA.
MER. Paper Kunsthalle,
Gent (Belgien),
2017.
Neurons: An Interactive Composition Using a Neural Network for Recognition of Playing Techniques.
(
).
Proceedings of the 6th International Workshop on Musical Metacreation (MUME 2018)
.
2018.
Imitation Game: Real-Time Decision-making in an Interactive Composition for Human and Robotic Percussionist..
(
).
Proceedings of the 2019 International Computer Music Conference
.
2019.
Collaborative Design Methods towards Evaluation of a Tangible Interface.
(
).
Proceedings of ICLI 2018
.
2018.
Exploring Participatory Sound Art..
(
).
Proceedings of the 2019 International Computer Music Conference
.
2019.
From Artificial to Extended Intelligence in Music Composition.
Organised Sound,
07
2020.
From live to interactive electronics. Symbiosis: a study on sonic human-computer synergy..
(
).
EAW2015: technology as a tool for creating music: proceedings
.
2015.
ENGAGEMENT AND INTERACTION IN PARTICIPATORY SOUND ART.
(
).
Proceedings of the Sound and Music Computing Conference 2016
.
2016.
Die Begegnung mit dem Neuen suchen - 50 Jahre IEM.
In
,
Musikprotokoll
ORF,
Wien (Österreich),
2015.
How the perception of moving sound beams is influenced by masking and reflector setup.
(
).
Tonmeistertagung 2018
.
2018.
Fb1 - An interface for single sample feedback and feedforwardin SuperCollider.
In
,
Proceedings of the 17thSound and Music Computing Conference
(pp. 200-203).
Axea sas/SMC Network,
Torino (Italien),
2020.
Publikationsjahr
Editor
Publikationsart
Themenfeld
Computermusik (52)
Embodiment (2)
Interaction Design (12)
Klang und Raum (7)
Live-Elektronik (11)
Psychoakustik (3)
Sonifikation (4)
Spatial Audio (9)
Schlagwort
climatology (2)
computer music (2)
sonification (2)
POINT (1)
Pure Data (1)
audience (1)
code (1)
live coding (1)
perception (1)
readability (1)