w—r——i——ti——n—gs— h
o
m
e J. MacCallum, T. Naccarato. The Impossibility of Control: Real-time Negotiations with the Heart. In Proceedings of the Electronic Visualization in the Arts Conference, 2015. A. Freed, F-M. Uitti, S. Mansfield, J. MacCallum. "Old" is the new "New": a Fingerboard Case Study in Recrudescence as a NIME Development Strategy. In Proceedings of the New Interfaces for Musical Expression Conference, 2013. J. MacCallum and A. Einbond. Timbre as a psychoacoustic parameter for harmonic analysis and composition. In Proceedings of the International Computer Music Conference, 2005. P. Kirk, T. Naccarato, J. MacCallum. Intimate Listening. Performance Research. Volume 22. 2017. J. Bresson, D. Bouche, J. Garcia, T. Carpentier, F. Jacquemard, J. MacCallum, D. Schwarz. Projet Efficace: développements et perspectives en composition assistée par ordinateur. In Proceedings of the Journées d'Informatique Musicale, 2015. A. Freed, D. DeFilippo, R. Gottfried, J. MacCallum, J. Lubow, D. Razo, D. Wessel. o.io: a Unified Communications Framework for Intermedia and Cloud Interaction. In Proceedings of the International Computer Music Conference, 2014. J. MacCallum, T. Naccarato, L. Boudou, S. Pelinka. Peripheral Encounters. Leonardo. Volume 50, No. 3. 2017. J. MacCallum and A. Schmeder. Timewarp: A graphical tool for the control of polyphonic smoothly varying tempos. In Proceedings of the International Computer Music Conference, 2010. J. MacCallum and A. Einbond. Real-time analysis of sensory dissonance. In Computer Music Modeling and Retrieval: Sense of Sounds, 2008. T. Naccarato, J. MacCallum. From Representation to Relationality: Bodies, Biosensors, and Mediated Environments. Journal of Dance and Somatic Practices: 8.1, Embodiment, Interactivity, and Digital Performance. 2016. J. MacCallum, M. Goodheart, A. Freed. Antony: A Reimagining. In Proceedings of the International Computer Music Conference, 2015. A. Freed, J. MacCallum, A. Schmeder. Dynamic, instance-based, object-oriented programming in Max/MSP using open sound control message delegation. In Proceedings of the International Computer Music Conference, 2011. J. MacCallum, A. Freed, D. Wessel. Agile interface development using OSC expressions and process migration. In Proceedings of the New Interfaces for Musical Expression Conference, 2013. J. MacCallum, R. Gottfried, I. Rostovtsev, J. Bresson, A. Freed. Dynamic Message-Oriented Middleware with Open Sound Control and Odot. In Proceedings of the International Computer Music Conference, 2015. T. Naccarato, J. MacCallum. Critical Appropriations of Biosensors in Artistic Practice. MOCO. London, UK. 2017. J. MacCallum, A. Freed, D. Wessel. New Tools for Aspect-Oriented Programming in Music and Media Programming Environments. In Proceedings of the International Computer Music Conference, 2014. J. MacCallum, A. Schmeder, and D. Wessel. Timbral migration: Stochastic processes for the control of smooth spectral transformation. In Proceedings of the International Computer Music Conference, 2009. T. Naccarato, J. MacCallum. The Touch Of The Stethoscope: Shaping Context In Intimate Performance. Tempo. Volume 73, Issue 287. 2018. J. Bresson, J. MacCallum, A. Freed. o.OM: Structured-Functional Communication between Computer Music Systems Using OSC and Odot.Proceedings of the ACM SIGPLAN International Workshop on Functional Art, Music, Modelling and Design (FARM). Nara, Japan. 2016. A. Freed, J. MacCallum, A. Schmeder, and D. Wessel. Visualizations and interaction strategies for hybridization interfaces. In Proceedings of the New Interfaces for Musical Expression Conference, 2010. J. MacCallum, T. Naccarato. Collaboration as Differentiation: Rethinking interaction intra-actively. Performance Philosophy. Volume 4, No. 2. 2019. A. Freed, J. MacCallum, A. Schmeder. Composability for musical gesture signal processing using new OSC-based object and functional programming extensions to Max/MSP. In Proceedings of the New Interfaces for Musical Expression Conference, 2011. J. Bresson, J. MacCallum. Tempo Curving as a Framework for Interactive Computer-Aided Composition. In Proceedings of the Sound and Music Computing Conference, 2015.