Proceedings of the 2016 International Conference on Live Interfaces
Edited by Thor Magnusson, Chris Kiefer and Sam Duffy

Published by the Experimental Music Technologies (EMuTe) Lab, University of Sussex, in collaboration with REFRAME Books, Falmer, UK.

Online at:

ICLI 2016 Proceedings – High resolution PDF (205 MB)
ICLI 2016 Proceedings – Low resolution PDF (25 MB)

The proceedings of the Live Interfaces conference ( are the outcome of a five-day gathering at the University of Sussex’s Attenborough Centre for the Creative Arts in June 2016. The biennial ICLI conference is interdisciplinary and practice-based, unique in that it focuses on the role of performance interfaces across all of the performing arts. This year it became clear that ICLI has become an established platform for people operating in diverse sections of the arts to meet and discuss the embodied use of technology in live performance. With a focus on practice, the conference emphasised the role of performances, workshops and installations as well as papers and posters.

With submissions from musicians, dancers, roboticists, brain scientists, visual artists, philosophers, animators, sculpturists, and more, the proceedings illustrate the range of activities encompassed by this lively platform for knowledge exchange and new performance practices. The proceedings were peer reviewed and include long and short papers, doctoral colloquium papers, performance installation and workshop descriptions, as well as some documentation of the event itself. Much of the conference was also filmed and can be found on the YouTube channel embedded below.

ICLI Conference Videos 2016


Editorial: On the Technology of Liveness  Thor Magnusson, Chris Kiefer and Sam Duffy


Introduction  Chris Kiefer

Dark Matter: Co-Reading as a Generative Ontology  Simon Biggs

Designing Mechatronic Sound Systems Inspired by Sinusoidal Mathematics  Daniel J. Reyes & Ajay Kapur

Designing Interactive Audiovisual Systems for Improvising Ensembles  William Hsu

Hacking the Body 2.0: Flutter/Stutter  Kate Sicchio, Camille Baker, Tara Baoth Mooney & Rebecca Stewart

Interfacing the txalaparta: digitising a traditional instrument with the help of its players  Enrike Hurtado

Collaborative coding interfaces on the Web  Jakub Fiala, Matthew Yee-King & Mick Grierson

Colliding: a SuperCollider environment for synthesis-oriented live coding  Gerard Roma

Short Papers

Challenges and New Directions for Collaborative Live Coding in the Classroom  Anna Xambó, Jason Freeman, Brian Magerko & Pratik Shah

Creative Thinking:
A Brain Computer Interface of Art  Claudio Lucchiari, Raffaella Folgieri, Ludovico Dei Cas & Francesco Soave

Face to Face – Performers and Algorithms in Mutual Dependency  Jan C. Schacher & Daniel Bisig

Pod: A Multi-Sensory Sound Interface  Michael Blow

Bridging the gap between performers and the audience using networked smartphones:
 the a.bel system Alexandre Resende Clément, Filipe Ribeiro, Rui Rodrigues & Rui Penha

Postdigital Efficiency in Interaction Design  Carina Westling

Tuning the Interface for Relational Listening  Ximena Alarcón

Posters & Demonstrations

The Augmented Acousmonium as Interface  Patrick Saint-Denis

Motion Origami  Daniel Bartos

Taptop: Using the Laptop Chassis as a Musical Controller  Oliver Thompson & Christopher Harte

Towards a Live Interface for Direct Manipulation of Spatial Audio  Jamie Bullock, Tychonas Michailidis & Matthieu Poyade

Translating Graphical User Interfaces: challenges for the design and standardization of mid-air interfaces  Tobias Mulling, Derek Covill & Lyn Pemberton

Artist-aware, zero install immersive virtual environment for collaborative live performances  Nikolai Suslov

Rainforest Sound Installation  Daniel Bartos

Gestural Control for Musical Interaction using Acoustic Localisation Techniques  Dominik Schlienger

AV Zones – Tablet App for Audiovisual Performance  Nuno N. Correia

SKR1BL  Jules Rawlinson

Doctoral Colloquium

Introduction  Joe Watson

Is There A Place In Human Consciousness Where Surveillance Cannot Go? Noor: A Brain Opera  Ellen Pearlman

The Application of Established Gestural Languages in the Control Mappings of Free-hand Gestural Musical Instruments  Dom Brown

A Theatre Wind Machine as Interactive Sounding Object  Fiona Keenan

Live Coding with Python and SuperCollider  Ryan Kirkbride

Interfacing with questions:
The unpredictability of live queries in the work of ‘Thousand Questions’  Winnie Soon

Music-making for the Deaf: Exploring new ways of enhancing musical experience with visual and haptic feedback systems  Richard Burn

Augmented Space in Artistic Production:
The Relationship Between Moving Image and Physical Environments  Ivo Teixeira, Pedro Tudela & Miguel Carvalhais

Sonic Ghosting: developing an interface between space/place/memory and sound/music/noise  Danny Bright

Brain affordances: an approach to design for performers with locked-in syndrome  Andrés Aparicio

‘Vivisecting’ tempo-spatial semantics in immersive environments and hybrid events:
few methodologies for ’3D VJs’ and ’VR conductors’  Jānis Garančs

Algorithmic Interfaces for Collaborative Improvisation  Shelly Knotts

Installations & Interventions

Introduction  Cecile Chevalier

Signal to Noise: A Live Interface based on Analog Radio Interference  Tincuta Heinzel & Lasse Scherffig

A Sound and Puppet Archaeology of Vehicular Emissions and Other Excited Rotations: 
A Holiday Snap  Paul Rogers & Matt Smith

Brighton Community Choir Does… Without You  Daniel Alexander Hignell

DOT, a videogame with no winner  Henrique Roscoe

Synaestheatre: Sonification of Coloured Objects in Space  Giles Hamilton-Fletcher, Michele Mengucci & Francisco Medeiros

Lichen Beacons  Tom Hall, Drew Milne & Barry Byford

Limits To Growth  Martin Parker & Owen Green

[CUE]APORIA: a Philosophy Game  Aaron Finbloom & Sara Zaltash

Faux Pas  Lee Nutbean


Introduction  Alice Eldridge

A performance-game for the augmented drum-kit  Christos Michalakos

Circles  John Robert Ferguson

Linguistic Margins/Visual Atolls 16: An Audiovisual Performance Suite  William Hsu

xynaaxmue pulse one  Eleonora Oreggia & Alex McLean

The Modified Cello  Dan Gibson

Evolver: An audiovisual live coding performance  Alo Allik

Tuned Constraint  Federico Visi

Owego System Trade Routes: Round Trip  Shawn Lawson, Ryan Ross Smith & Frank Appio

Babil-on V2  Greg Beller

Synap.sys  Henrique Roscoe

An Algorave with FoxDot  Ryan Kirkbride

Hacking the Body 2.0 Performance: Flutter/Stutter  Kate Sicchio, Camille Baker, Tara Baoth Mooney & Rebecca Stewart

s.laag (2016) – for game-audio with 3D body-scanned performer, composer and instrument  Ricardo Climent, Manusamo & Bzika

Owl Project – Rock Music  Simon Blakmore, Antony Hall & Steve Symons

DRIPPIGMENT  Ivo Teixeira, Rodrigo Carvalho, Tiago Gama Rocha & Francisca Rocha Gonçalves

Half-closed Loop — an improvisation environment for covered string and performer  Till Bovermann

Union  Shelly Knotts

Do the Buzzer Shake  Gerard Roma, Anna Xambó & and Jason Freeman

Interactive Tango Milonga: Fragments  Courtney Brown

Horizontal  Ben Neill


Introduction  Paul McConnell

Sound and Space: Performing Music for Organ and Electronics  Dr Lauren Redhead & Dr Alistair Zaldua

Distributed Agency in Performance  Paul Stapleton, Simon Waters, Nicholas Ward & Owen Green

A Practical and Theoretical Introduction to Chaotic Musical Systems  Tristan Clutterbuck, Tom Mudd & Dario Sanfilippo

Interfacing the Txalaparta Workshop  Enrike Hurtado

Making High-Performance Embedded Instruments with Bela and Pure Data  Giulio Moro, Astrid Bin, Robert H. Jack, Christian Heinrichs & Andrew P. McPherson

Modular  Meet

Introduction  Andrew Duff