Abstract
The inclusion of the presentation of music in a conference dealing with technical or cultural aspects of that same music has evolved significantly. An important aspect of music presentation is the opportunity it provides for public engagement. Conferences that have a music program often follow two different approaches, or a combination of these that includes the creation of a music committee inways similar to a scientific committee, or the invitation of curators to select the program for one or more concerts in the conference. Models of new music creation have significantly expanded to include close composer-performer collaboration which in some cases results in coauthorship. The conference-plus-festival format needs to be able to expand and refine the process of submitting a work for public presentation in order to adequately exhibit the variety of approaches to music production and dissemination.

Abstract
In this demonstration, I exemplify how a musical channel of communication can be established in computer-mediated interaction between musicians and dancers in real time. This channel of communication uses a software library implemented as a library of external objects for Max/MSP[1], that processes data from an object or library that performs frame-differencing analysis of a video stream in real time in this programming environment.

Abstract
In this study, we focus on the interaction between microtiming patterns and several musical properties: intensity, meter and spectral characteristics. The data-set of 106 musical audio excerpts is processed by means of an auditory model and then divided into several spectral regions and metric levels. The resulting segments are described in terms of their musical properties, over which patterns of peak positions and their intensities are sought. A clustering algorithm is used to systematize the process of pattern detection. The results confirm previously reported anticipations of the third and fourth semiquavers in a beat. We also argue that these patterns of microtiming deviations interact with different profiles of intensities that change according to the metrical structure and spectral characteristics. In particular, we suggest two new findings: (i) a small delay of microtiming positions at the lower end of the spectrum on the first semiquaver of each beat and (ii) systematic forms of accelerando and ritardando at a microtiming level covering two-beat and four-beat phrases. The results demonstrate the importance of multidimensional interactions with timing aspects of music. However, more research is needed in order to find proper representations for rhythm and microtiming aspects in such contexts.

Abstract
The use of Information and Communication Technologies (ICTs) has grown substantially over the past few years. However, a portion of the world's society has not been able to keep up with these technological advances. For this purpose, we present a serious game with a multi-touch interface envisioned to encourage and teach digitally excluded people on how to use the Portuguese Automated Teller Machine (ATM): a commodity much needed by society, but still avoided by some, mainly due to their fear of the digital world. An exploratory study was conducted to investigate if a serious game based on a new interaction paradigm can have a positive influence in the struggle against the Portuguese digital divide. We believe that the findings of our pilot case study can be useful to determine if a multi-touch serious game, due to its intuitiveness and ease of use, can stimulate the digitally excluded people to handle the ATM on a regular basis. The results that were obtained suggest that this approach may indeed produce a positive impact in the attempt to bridge the Portuguese digital divide.

Abstract
This paper describes methods used to construct an interactive installation using human motion to animate both a visual and aural particle system. It outlines the rotoscoping, meta-motion processing, aural and visual rendering systems. It goes into detailed explanation of the "particle flow" systems which lend form to the virtual characters. The paper finishes with a description of the tracking system and "inverse interaction", used by the installation. Copyright 2007 ACM.

Abstract
The preservation of many music works produced in the past entails their digitalization and consequent accessibility in an easy-to-manage digital format. Carrying this task manually is very time consuming and error prone. While optical music recognition systems usually perform well on printed scores, the processing of handwritten musical scores by computers remain far from ideal. One of the fundamental stages to carry out this task is the staff line detection. In this paper a new method for the automatic detection of music staff lines based on a connected path approach is presented. Lines affected by curvature, discontinuities, and inclination are robustly detected. Experimental results show that the proposed technique consistently outperforms well-established algorithms.