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Collective Loops: Multimodal Interactions Through Co-located Mobile Devices and Synchronized Audiovisual Rendering Based on Web Standards.

, , , , , , , , and . Tangible and Embedded Interaction, page 217-224. ACM, (2017)

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ESCHER-modeling and performing composed instruments in real-time., , and . SMC, page 1080-1084. IEEE, (1998)MaD., , , and . Interactions, 22 (3): 14-15 (2015)Towards a Gesture-Sound Cross-Modal Analysis., , and . Gesture Workshop, volume 5934 of Lecture Notes in Computer Science, page 158-170. Springer, (2009)The Role of Sound Source Perception in Gestural Sound Description., , , , , and . ACM Trans. Appl. Percept., 11 (1): 1:1-1:19 (2014)jMax: An Environment for Real-Time Musical Applications., , , , , and . Computer Music Journal, 23 (3): 50-58 (1999)SIG NIME: music, technology, and human-computer interaction., , , , , and . CHI Extended Abstracts, page 2529-2532. ACM, (2013)Innovative Computerbasierte Musikinterfaces (ICMI)., , , , , and . MuC (Workshopband), Gesellschaft für Informatik e.V., (2019)Collective Sound Checks: Exploring Intertwined Sonic and Social Affordances of Mobile Web Applications., , , and . TEI, page 685-690. ACM, (2015)What Next? Continuation in Real-Time Corpus-Based concatenative synthesis., , and . ICMC, Michigan Publishing, (2008)Latest Evolutions of the jMax Real-time Engine: Typing, Scoping, Threading, Compiling., , , , , and . ICMC, Michigan Publishing, (1998)