Teenagers and their virtual possessions: design opportunities and issues

http://www.willodom.com/publications/inpress_odom_CHI2011.pdf

Using Rhythmic Patterns as an input method

http://hal.archives-ouvertes.fr/docs/00/66/39/73/PDF/CHI12-ewe-halv1.pdf

Touché: Enhancing Touch Interaction

http://www.youtube.com/watch?v=E4tYpXVTjxA

Kinetic Typography

http://www.cs.cmu.edu/~johnny/kt/

Brompton

Andrew Ritchie, el creador de la Brompton
http://www.flickr.com/photos/marcbel/393381907/

No self service

Flex Wall

http://digitally-augmented-spaces.wikispaces.com/Project+01+-+Ada+Juwah

Hele-shaw ferrohydrodynamics for rotating and axial magnetic fields

3D Multimodal Interaction in Augmented and Virtual Reality

Project Homepage, Publication

Highway of Dreams

at amazon.com

SECE — Sense Everything, Control Everything

https://wiki.cs.columbia.edu:8443/display/res/Sense+Everything,+Control+Everything+(SECE)
https://wiki.cs.columbia.edu:8443/download/attachments/10977409/sece-gloserv-v1.0.pdf
http://lagrange.cs.columbia.edu/

Digital Dante

http://dante.ilt.columbia.edu/new/comedy/index.html

Der Zermesser

"Der Zermesser" is an autonomous, room-filing object whose end in itself is to feel its way around and to articulate the connection between its own form and its surroundings. The basic shape is a regular tetrahedron, capable of changing its propagation in the room by means of attached motors. It can also move freely by tilting and therefore capture space.

http://www.leo.ok.ag/index.php/der-zermesser.html

Chiplotle: an HPGL (Hewlett-Packard Graphics Language) Python API

http://music.columbia.edu/cmc/chiplotle/

Composing With Hyperscore: An Intuitive Interface For Visualizing Musical Structure

http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.120.6536&rep=rep1&type=pdf

Music - original and synthetic

around_the_world-atc-midi.wav

One `holy grail' of automatic sound analysis is music transcription, which could be defined as trying to convert a real recording of music into an equivalent MIDI representation.

Notes on sources

The track selection and MIDI file processing was done by Rob Turetsky. The manual transcriptions were created by Angel Umpierre during an internship in Summer 2003. Thanks to them both.

Acknowledgment

This material is based in part upon work supported by the National Science Foundation under Grant No. IIS-0238301. Any opinions, findings and conclusions or recomendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation (NSF).

http://www.ee.columbia.edu/~dpwe/sounds/music/

A Regression Approach to Music Emotion Recognition

http://mpac.ee.ntu.edu.tw/~yihsuan/pub/TASLP08.pdf

Music and Computers (A Theoretical and Historical Approach)

Phil Burk, SoftSynth.com

Larry Polansky, Department of Music, Dartmouth College

Douglas Repetto, Computer Music Center, Columbia University

Mary Roberts

Dan Rockmore, Department of Mathematics, Dartmouth College

Contents

Preface to the Archival Version (Spring, 2011)
Preface and Acknowledgments
How to Use the Web Site
The Vision of Mathematics Across the Curriculum
Scanned copy of the Teaching Guide (8.4MB pdf file)
Introduction
Chapter 1		The Digital Representation of Sound, Part One: Sound and Timbre
1.1		What is Sound?
1.2		Amplitude
1.3		Frequency, Pitch and Intervals
1.4		Timbre
Chapter 2		The Digital Representation of Sound, Part Two: Playing by the Numbers
2.1		The Digital Representation of Sound
2.2		Analog v. Digital
2.3		Sampling Theory
2.4		Binary Numbers
2.5		Bit Width
2.6		Digital Copying
2.7		Storage Concerns
2.8		Compression
Chapter 3		The Frequency Domain
3.1		The Frequency Domain
3.2		Phasors
3.3		Fourier and the Sum of Sines
3.4		The DFT, FFT and IFFT
3.5		Problems with the FFT/IFFT
3.6		Some Alternatives to the FFT
Chapter 4		The Synthesis of Sound by Computer
4.1		Introduction to Synthesis
4.2		Additive Synthesis
4.3		Filters
4.4		Formant Synthesis
4.5		Introduction to Modulation
4.6		Waveshaping
4.7		Frequency Modulation
4.8		Granular Synthesis
4.9		Physical Modeling
Chapter 5		The Transformation of Sound by Computer
5.1		Sampling
5.2		Reverb
5.3		Localization/Spatialization
5.4		The Phase Vocoder
5.5		Convolution
5.6		Morphing
5.7		Graphical Manipulation

source: http://music.columbia.edu/cmc/MusicAndComputers/

Computer Music Center

Studio 317, one of four composition studios at the C-PEMC, circa 1970. Clockwise from the center front, Vladimir Ussachevsky (seated), Milton Babbitt, Bülent Arel, Pril Smiley, Mario Davidovsky, Alice Shields, Otto Luening.


http://music.columbia.edu/cmc/about/

Lifting operators for 0-1 integer programming (Daniel Bienstock)

This research extends the work of Lovasz and Schrijver, Sherali-Adams, and Lasserre, on the idea of lifting an n-dimensional polyhedron to a space whose coordinates are indexed by members of a subset-lattice of an n-element set. 

Instead, in work to appear in the PhD dissertation of Mark Zuckerberg, we have devised operators that lift to a space whose coordinates are indexed by the much larger subset algebra of an n-element set. 

This leads to provably stronger operators. As an example of our results, we have obtained a polynomial-time algorithm that solves a relaxation of set-covering problems that is stronger than that provided by the set of all valid inequalities with coefficients 0,1,2, ..., k (for any fixed k). 

Our current research centers on extending these operators with the goal of making them computationally practicable. 

http://www.corc.ieor.columbia.edu/projects/algebra/algebra.html