- ENTRYTYPE: inproceedings ID: nime2026_alt_1 abstract: 'The Latin American (LATAM) NIME Network was created in 2021 by a group of LATAM academics and artists. Since its creation the network has explored ways of bringing LATAM NIME practitioners together through various initiatives such as academic papers, workshops, gatherings and mentorship programmes. With this zine our aim is to share previous and upcoming works from members of the LATAM NIME community. We gathered the zine''s 13 entries through an open call in the LATAM NIME Community WhatsApp group. Contributors are artists, technologists, musicians, researchers, and educators from Argentina, Brazil, Chile, Colombia, and Mexico. The works featured range from digital musical instruments, software instruments, mobile applications and neural synthesis. These also explore decolonial perspectives, building upon ancestral rituals and Latin American narratives and traditions.' address: 'London, United Kingdom' articleno: 1 author: Juan Martinez Avila and Patricia Cadavid and Rafaele Andrade and Ximena Alarcon Diaz and Luam Clarindo and Teodoro Dannemann and Juan Duarte Regino and Moises Horta Valenzuela and Gustavo Guzman and Alvaro Lopez Duarte and Juan Ramos and Manuel Ruiz and Daniel Upegui Flórez bibtex: "@inproceedings{nime2026_alt_1,\n abstract = {The Latin American (LATAM)\ \ NIME Network was created in 2021 by a group of LATAM academics and artists.\ \ Since its creation the network has explored ways of bringing LATAM NIME practitioners\ \ together through various initiatives such as academic papers, workshops, gatherings\ \ and mentorship programmes. With this zine our aim is to share previous and upcoming\ \ works from members of the LATAM NIME community. We gathered the zine's 13 entries\ \ through an open call in the LATAM NIME Community WhatsApp group. Contributors\ \ are artists, technologists, musicians, researchers, and educators from Argentina,\ \ Brazil, Chile, Colombia, and Mexico. The works featured range from digital musical\ \ instruments, software instruments, mobile applications and neural synthesis.\ \ These also explore decolonial perspectives, building upon ancestral rituals\ \ and Latin American narratives and traditions.},\n address = {London, United\ \ Kingdom},\n articleno = {1},\n author = {Juan Martinez Avila and Patricia Cadavid\ \ and Rafaele Andrade and Ximena Alarcon Diaz and Luam Clarindo and Teodoro Dannemann\ \ and Juan Duarte Regino and Moises Horta Valenzuela and Gustavo Guzman and\ \ Alvaro Lopez Duarte and Juan Ramos and Manuel Ruiz and Daniel Upegui Flórez},\n\ \ booktitle = {Proceedings of the International Conference on New Interfaces for\ \ Musical Expression},\n doi = {10.5281/zenodo.20741928},\n editor = {Allie Texeira\ \ Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n\ \ note = {},\n numpages = {5},\n pages = {1--5},\n title = {LATAM NIME Zine 2026},\n\ \ track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_1.pdf},\n\ \ urlsuppl1 = {http://nime.org/proceedings/2026/nime2026_alt_1_file01.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741928 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 5 pages: 1--5 title: LATAM NIME Zine 2026 track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_1.pdf urlsuppl1: http://nime.org/proceedings/2026/nime2026_alt_1_file01.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_2 abstract: 'This work compiles radical interaction, a series of interviews with NIME and HCI researchers and artists. Inspired by the timely arrival of the first alt.nime at the 2026 conference, we consider an alternative method of bringing our ideas to NIME, presenting a series of eight audio interviews as a linked podcast, zine and online interactive website that plays with this year’s theme of community. We present a standard linear view of the episodes alongside a shared listening experience, where a community of listeners interact with each other through an entangled listening experience that changes depending on how many concurrent listeners are actively listening. The accompanying zine, circulated in physical form at the conference, guides listeners through the processes and ideas of the podcast, as a tool for engaging with a shared listening experience and the collision of ideas radical interaction represents.' address: 'London, United Kingdom' articleno: 2 author: Benedict Gaster and Nathan Renney and Courtney Reed and Rodrigo Constanzo and Sarah Angliss and Jasmine Butt and Patricia Hinojosa and Maisie Palmer and Tom Mitchell and Atau Tanaka bibtex: "@inproceedings{nime2026_alt_2,\n abstract = {This work compiles radical\ \ interaction, a series of interviews with NIME and HCI researchers and artists.\ \ Inspired by the timely arrival of the first alt.nime at the 2026 conference,\ \ we consider an alternative method of bringing our ideas to NIME, presenting\ \ a series of eight audio interviews as a linked podcast, zine and online interactive\ \ website that plays with this year’s theme of community. We present a standard\ \ linear view of the episodes alongside a shared listening experience, where a\ \ community of listeners interact with each other through an entangled listening\ \ experience that changes depending on how many concurrent listeners are actively\ \ listening. The accompanying zine, circulated in physical form at the conference,\ \ guides listeners through the processes and ideas of the podcast, as a tool for\ \ engaging with a shared listening experience and the collision of ideas radical\ \ interaction represents.},\n address = {London, United Kingdom},\n articleno\ \ = {2},\n author = {Benedict Gaster and Nathan Renney and Courtney Reed and Rodrigo\ \ Constanzo and Sarah Angliss and Jasmine Butt and Patricia Hinojosa and Maisie\ \ Palmer and Tom Mitchell and Atau Tanaka},\n booktitle = {Proceedings of the\ \ International Conference on New Interfaces for Musical Expression},\n doi =\ \ {10.5281/zenodo.20741934},\n editor = {Allie Texeira Riggs and Giacomo Lepri\ \ and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n note = {},\n numpages\ \ = {6},\n pages = {6--11},\n title = {Radical interaction: a podcast of interaction\ \ exchange},\n track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_2.pdf},\n\ \ urlsuppl1 = {http://nime.org/proceedings/2026/nime2026_alt_2_file01.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741934 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 6 pages: 6--11 title: 'Radical interaction: a podcast of interaction exchange' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_2.pdf urlsuppl1: http://nime.org/proceedings/2026/nime2026_alt_2_file01.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_3 abstract: 'Connecting with nature, spirits, histories, and the emergent and experiential dimensions of sound, we resist performativeegotism and challenge technosolutionism in music technology through séance. Spirit mediums - human vessels thatinteract with, channel, or anthropomorphise spirits - are cultural links between humans, animals, and the surroundingenvironment. In Western contexts, the medium conducts a specialist practice of discovering and performing techniquesto call upon spirits; however, it is our position that anyone has the potential to become a spirit medium, just as anyonehas creative voice. Using a collection of musical instruments, both acoustic and electronically augmented, we propose anopportunity to spiritually connect with the land and its spirits near the Loughborough University London (LUL) campus.The séance overlaps ritual practices of experimental music-making, healing of the connection between humans and land,and spiritual grounding through meditative exercises. In light of technologically-enforced severances between humansand spirits, we activate our potential as mediums, and use instruments as conduits for rebuilding connection with thesame earth that this conference stands on.' address: 'London, United Kingdom' articleno: 3 author: June Kuhn and Byuka Makodru and Courtney Reed and Adam Schmidt bibtex: "@inproceedings{nime2026_alt_3,\n abstract = {Connecting with nature, spirits,\ \ histories, and the emergent and experiential dimensions of sound, we resist\ \ performativeegotism and challenge technosolutionism in music technology through\ \ séance. Spirit mediums - human vessels thatinteract with, channel, or anthropomorphise\ \ spirits - are cultural links between humans, animals, and the surroundingenvironment.\ \ In Western contexts, the medium conducts a specialist practice of discovering\ \ and performing techniquesto call upon spirits; however, it is our position that\ \ anyone has the potential to become a spirit medium, just as anyonehas creative\ \ voice. Using a collection of musical instruments, both acoustic and electronically\ \ augmented, we propose anopportunity to spiritually connect with the land and\ \ its spirits near the Loughborough University London (LUL) campus.The séance\ \ overlaps ritual practices of experimental music-making, healing of the connection\ \ between humans and land,and spiritual grounding through meditative exercises.\ \ In light of technologically-enforced severances between humansand spirits, we\ \ activate our potential as mediums, and use instruments as conduits for rebuilding\ \ connection with thesame earth that this conference stands on.},\n address =\ \ {London, United Kingdom},\n articleno = {3},\n author = {June Kuhn and Byuka\ \ Makodru and Courtney Reed and Adam Schmidt},\n booktitle = {Proceedings of the\ \ International Conference on New Interfaces for Musical Expression},\n doi =\ \ {10.5281/zenodo.20741940},\n editor = {Allie Texeira Riggs and Giacomo Lepri\ \ and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n note = {},\n numpages\ \ = {7},\n pages = {12--18},\n presentation-video = {https://youtu.be/QDc7eEwdCbQ},\n\ \ title = {Connecting to Ground: A Séance in the Wick Woodlands},\n track = {alt.nime},\n\ \ url = {http://nime.org/proceedings/2026/nime2026_alt_3.pdf},\n urlsuppl1 = {http://nime.org/proceedings/2026/nime2026_alt_3_file01.mp4},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741940 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 7 pages: 12--18 presentation-video: https://youtu.be/QDc7eEwdCbQ title: 'Connecting to Ground: A Séance in the Wick Woodlands' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_3.pdf urlsuppl1: http://nime.org/proceedings/2026/nime2026_alt_3_file01.mp4 year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_4 abstract: 'This research brings together reflections and experiments from a community of optical sound filmmakers, bridging the worlds of NIME and experimental expanded film. Encouraged by this year’s theme, as well as the arrival of alt.NIME, we present a physical submission in the form of a spliced collage of film experiments, a 16mm screening and a risographed zine.' address: 'London, United Kingdom' articleno: 4 author: Jasmine Butt and Jennifer Wicks and Graeme Hogg and Kathy Hinde and Enrique del Castillo and Matt Davies and Melanie Clifford and Lewis Heriz bibtex: "@inproceedings{nime2026_alt_4,\n abstract = {This research brings together\ \ reflections and experiments from a community of optical sound filmmakers, bridging\ \ the worlds of NIME and experimental expanded film. Encouraged by this year’s\ \ theme, as well as the arrival of alt.NIME, we present a physical submission\ \ in the form of a spliced collage of film experiments, a 16mm screening and a\ \ risographed zine.},\n address = {London, United Kingdom},\n articleno = {4},\n\ \ author = {Jasmine Butt and Jennifer Wicks and Graeme Hogg and Kathy Hinde and\ \ Enrique del Castillo and Matt Davies and Melanie Clifford and Lewis Heriz},\n\ \ booktitle = {Proceedings of the International Conference on New Interfaces for\ \ Musical Expression},\n doi = {10.5281/zenodo.20741944},\n editor = {Allie Texeira\ \ Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n\ \ note = {},\n numpages = {3},\n pages = {19--21},\n presentation-video = {https://doi.org/10.5281/zenodo.19919449},\n\ \ title = {Sound in Silver: A 16mm film screening and zine},\n track = {alt.nime},\n\ \ url = {http://nime.org/proceedings/2026/nime2026_alt_4.pdf},\n year = {2026}\n\ }\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741944 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 3 pages: 19--21 presentation-video: https://doi.org/10.5281/zenodo.19919449 title: 'Sound in Silver: A 16mm film screening and zine' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_4.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_5 abstract: 'The 15-step pyramid tala by mridangam percussionist B C Manjunath is introduced, as a frame for exploring algorithmicmusic through reciting syllables, without the use of a computer. The authors share their self-reports on learning to clap thetala while reciting patterns of syllables, and transforming them through algorithmic procedures inspired by South Indian,Carnatic rhythms. The experience of taking an embodied approach to learning algorithmic patterns is reflected on, interms of the relationship between simple rules with complex results, the value of learning to perform algorithms manually,the potential for inspiring new live coding languages, and the relationship between algorithmic musician and audience.' address: 'London, United Kingdom' articleno: 5 author: Alex McLean and Dan Stowell bibtex: "@inproceedings{nime2026_alt_5,\n abstract = {The 15-step pyramid tala by\ \ mridangam percussionist B C Manjunath is introduced, as a frame for exploring\ \ algorithmicmusic through reciting syllables, without the use of a computer.\ \ The authors share their self-reports on learning to clap thetala while reciting\ \ patterns of syllables, and transforming them through algorithmic procedures\ \ inspired by South Indian,Carnatic rhythms. The experience of taking an embodied\ \ approach to learning algorithmic patterns is reflected on, interms of the relationship\ \ between simple rules with complex results, the value of learning to perform\ \ algorithms manually,the potential for inspiring new live coding languages, and\ \ the relationship between algorithmic musician and audience.},\n address = {London,\ \ United Kingdom},\n articleno = {5},\n author = {Alex McLean and Dan Stowell},\n\ \ booktitle = {Proceedings of the International Conference on New Interfaces for\ \ Musical Expression},\n doi = {10.5281/zenodo.20741947},\n editor = {Allie Texeira\ \ Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n\ \ note = {},\n numpages = {7},\n pages = {22--28},\n presentation-video = {https://www.youtube.com/shorts/DV3RPS2-iZw},\n\ \ title = {Learning and Embodying Algorithmic Music via the Pyramid Tala},\n track\ \ = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_5.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741947 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 7 pages: 22--28 presentation-video: https://www.youtube.com/shorts/DV3RPS2-iZw title: Learning and Embodying Algorithmic Music via the Pyramid Tala track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_5.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_6 abstract: 'Transcending conventional modes of documentation in NIME, this submission presents ``No-gos, Incidents, Malfunctions and Errors: The Encyclopedia of Failed Performances'''', an ongoing zine series where stories about ``failed''''performances are shared among the community. The issues of the zine are provocatively organised in an alphabetical order akin to an encyclopedia in stark contrast with the complex and often unclassifiable nature of the subject matter. Through an open call, we bring together first-hand accounts of moments when self-built instruments misbehave, systems jam, sounds fail to emerge, or live setups resist control. By collecting these stories and creating a space for sharing, our project aims to promote reflection on what these situations potentially reveal about artistic intention, situational adaptation, and the relationship between performers and technology.' address: 'London, United Kingdom' articleno: 6 author: Iurii Kuzmin and Xinran Chen and Wenqing GU and Nicolò Merendino bibtex: "@inproceedings{nime2026_alt_6,\n abstract = {Transcending conventional\ \ modes of documentation in NIME, this submission presents ``No-gos, Incidents,\ \ Malfunctions and Errors: The Encyclopedia of Failed Performances'', an ongoing\ \ zine series where stories about ``failed''performances are shared among the\ \ community. The issues of the zine are provocatively organised in an alphabetical\ \ order akin to an encyclopedia in stark contrast with the complex and often unclassifiable\ \ nature of the subject matter. Through an open call, we bring together first-hand\ \ accounts of moments when self-built instruments misbehave, systems jam, sounds\ \ fail to emerge, or live setups resist control. By collecting these stories and\ \ creating a space for sharing, our project aims to promote reflection on what\ \ these situations potentially reveal about artistic intention, situational adaptation,\ \ and the relationship between performers and technology.},\n address = {London,\ \ United Kingdom},\n articleno = {6},\n author = {Iurii Kuzmin and Xinran Chen\ \ and Wenqing GU and Nicolò Merendino},\n booktitle = {Proceedings of the International\ \ Conference on New Interfaces for Musical Expression},\n doi = {10.5281/zenodo.20741949},\n\ \ editor = {Allie Texeira Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n\ \ month = {June},\n note = {},\n numpages = {8},\n pages = {29--36},\n title =\ \ {No-gos, Incidents, Malfunctions and Errors: The Encyclopedia of Failed Performances},\n\ \ track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_6.pdf},\n\ \ urlsuppl1 = {http://nime.org/proceedings/2026/nime2026_alt_6_file01.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741949 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 8 pages: 29--36 title: 'No-gos, Incidents, Malfunctions and Errors: The Encyclopedia of Failed Performances' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_6.pdf urlsuppl1: http://nime.org/proceedings/2026/nime2026_alt_6_file01.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_7 abstract: 'The default assumption in Western musical culture is that an instrument is an object that a player uses to make music: one person, one instrument, one set of expressive possibilities. This paper questions this from the perspective of a practitioner working outside academia.Drawing on five years of practice with RiTA, a browser-based shared soundboard built for Brighton & Hove Music for Connection(BHMC), I describe something that was not designed as an instrument, but was recognised as one by the community’s workshopfacilitators. RiTA has no single player, no clear boundary, and no existence independent of the community it serves. It was built to helplearning disabled musicians, older people, and refugees make music together during a pandemic, and it has since travelled to contextsincluding the British Library’s Unlocking Our Sound Heritage programme and the National Trust’s Changing Chalk project. UsingRiTA as a case study, we argue that instruments are better understood as entanglements of people, sounds, spaces, and organisationalstructures than as objects. Applying Conway’s Law, I suggest that different organisational structures naturally produce different kinds ofinstrument, and that widening the conversation about what instruments can be may require welcoming the organisations that produce them.' address: 'London, United Kingdom' articleno: 7 author: Stephen Wolff bibtex: "@inproceedings{nime2026_alt_7,\n abstract = {The default assumption in\ \ Western musical culture is that an instrument is an object that a player uses\ \ to make music: one person, one instrument, one set of expressive possibilities.\ \ This paper questions this from the perspective of a practitioner working outside\ \ academia.Drawing on five years of practice with RiTA, a browser-based shared\ \ soundboard built for Brighton & Hove Music for Connection(BHMC), I describe\ \ something that was not designed as an instrument, but was recognised as one\ \ by the community’s workshopfacilitators. RiTA has no single player, no clear\ \ boundary, and no existence independent of the community it serves. It was built\ \ to helplearning disabled musicians, older people, and refugees make music together\ \ during a pandemic, and it has since travelled to contextsincluding the British\ \ Library’s Unlocking Our Sound Heritage programme and the National Trust’s Changing\ \ Chalk project. UsingRiTA as a case study, we argue that instruments are better\ \ understood as entanglements of people, sounds, spaces, and organisationalstructures\ \ than as objects. Applying Conway’s Law, I suggest that different organisational\ \ structures naturally produce different kinds ofinstrument, and that widening\ \ the conversation about what instruments can be may require welcoming the organisations\ \ that produce them.},\n address = {London, United Kingdom},\n articleno = {7},\n\ \ author = {Stephen Wolff},\n booktitle = {Proceedings of the International Conference\ \ on New Interfaces for Musical Expression},\n doi = {10.5281/zenodo.20741954},\n\ \ editor = {Allie Texeira Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n\ \ month = {June},\n note = {},\n numpages = {5},\n pages = {37--41},\n title =\ \ {RiTA Is Not An Instrument},\n track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_7.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741954 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 5 pages: 37--41 title: RiTA Is Not An Instrument track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_7.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_8 abstract: 'Emergent Resonance is a politically situated sonic intervention responding to the simultaneous violence of U.S. military bombing in Iran and the killing of Iranian protesters by the Iranian regime. Composed during a moment of profound personal and political discomfort, the work emerges from my position as an American-Iranian music technologist. In this moment, composing feels less like an artistic endeavor and more like a moral obligation.The piece constructs a sonic language of fragmentation, resonance, and decay through algorithmic and live-coded processes. Vocal-like textures and melodic gestures are broken into granular debris, echoes, and spectral residues that resemble sonic ash—unstable remnants of voices that persist even as they are suppressed. Rather than referencing a specific source, the work evokes the collective presence of silenced voices through processes of erosion, distortion, and transformation. Glitches, instability, and loss of coherence function as metaphors for censorship, violence, and collective mourning.Within the context of the alt.nime track at the International Conference on New Interfaces for Musical Expression, this piece is not presented simply as music, but as a provocation. It questions the neutrality often assumed in music technology research and asks what responsibility artists and technologists carry when their tools exist within systems of geopolitical power.What does it mean to design sonic systems while bombs fall and protesters are shot? Can music technologies serve as forms of witnessing, or do they risk turning tragedy into aesthetic material? By foregrounding discomfort, contradiction, and diasporic responsibility, the work invites the NIME community to confront the political entanglements of its own technological practices.' address: 'London, United Kingdom' articleno: 8 author: Visda Goudarzi bibtex: "@inproceedings{nime2026_alt_8,\n abstract = {Emergent Resonance is a politically\ \ situated sonic intervention responding to the simultaneous violence of U.S.\ \ military bombing in Iran and the killing of Iranian protesters by the Iranian\ \ regime. Composed during a moment of profound personal and political discomfort,\ \ the work emerges from my position as an American-Iranian music technologist.\ \ In this moment, composing feels less like an artistic endeavor and more like\ \ a moral obligation.The piece constructs a sonic language of fragmentation, resonance,\ \ and decay through algorithmic and live-coded processes. Vocal-like textures\ \ and melodic gestures are broken into granular debris, echoes, and spectral residues\ \ that resemble sonic ash—unstable remnants of voices that persist even as they\ \ are suppressed. Rather than referencing a specific source, the work evokes the\ \ collective presence of silenced voices through processes of erosion, distortion,\ \ and transformation. Glitches, instability, and loss of coherence function as\ \ metaphors for censorship, violence, and collective mourning.Within the context\ \ of the alt.nime track at the International Conference on New Interfaces for\ \ Musical Expression, this piece is not presented simply as music, but as a provocation.\ \ It questions the neutrality often assumed in music technology research and asks\ \ what responsibility artists and technologists carry when their tools exist within\ \ systems of geopolitical power.What does it mean to design sonic systems while\ \ bombs fall and protesters are shot? Can music technologies serve as forms of\ \ witnessing, or do they risk turning tragedy into aesthetic material? By foregrounding\ \ discomfort, contradiction, and diasporic responsibility, the work invites the\ \ NIME community to confront the political entanglements of its own technological\ \ practices.},\n address = {London, United Kingdom},\n articleno = {8},\n author\ \ = {Visda Goudarzi},\n booktitle = {Proceedings of the International Conference\ \ on New Interfaces for Musical Expression},\n doi = {10.5281/zenodo.20741958},\n\ \ editor = {Allie Texeira Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n\ \ month = {June},\n note = {},\n numpages = {1},\n pages = {42--42},\n title =\ \ {Emergent Resonance},\n track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_8.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741958 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 1 pages: 42--42 title: Emergent Resonance track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_8.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_9 abstract: 'The alt.NIME submission for Outlandish Lullaby presents the work as an interactive sound art piece that seeks to establish a new discourse within NIME, redirecting focus from control-based interaction to the politics of listening. The conceptual foundation of the piece draws from two related experiences: listening to Buddhist scripture chanting during childhood, where the sounds were known yet the words continued incomprehensible, and engaging with multilingual conversations in New York, where the language was only partially understood but held substantial emotional meaning.The piece is structured as a listening environment in which the incomprehensibility of the voices is not regarded as a limitation. Instead, it creates a sense of comfort, co-presence, and spatial distance with the voices. While the user cannot comprehend the language, they are able to manipulate the metric density, the multilingual voices, and the perceived proximity of the voices. I characterize this as a counter-listening device, serving as an interface for engaging with incomprehensibility rather than striving for comprehensibility.' address: 'London, United Kingdom' articleno: 9 author: Jiyou Park bibtex: "@inproceedings{nime2026_alt_9,\n abstract = {The alt.NIME submission for\ \ Outlandish Lullaby presents the work as an interactive sound art piece that\ \ seeks to establish a new discourse within NIME, redirecting focus from control-based\ \ interaction to the politics of listening. The conceptual foundation of the piece\ \ draws from two related experiences: listening to Buddhist scripture chanting\ \ during childhood, where the sounds were known yet the words continued incomprehensible,\ \ and engaging with multilingual conversations in New York, where the language\ \ was only partially understood but held substantial emotional meaning.The piece\ \ is structured as a listening environment in which the incomprehensibility of\ \ the voices is not regarded as a limitation. Instead, it creates a sense of comfort,\ \ co-presence, and spatial distance with the voices. While the user cannot comprehend\ \ the language, they are able to manipulate the metric density, the multilingual\ \ voices, and the perceived proximity of the voices. I characterize this as a\ \ counter-listening device, serving as an interface for engaging with incomprehensibility\ \ rather than striving for comprehensibility.},\n address = {London, United Kingdom},\n\ \ articleno = {9},\n author = {Jiyou Park},\n booktitle = {Proceedings of the\ \ International Conference on New Interfaces for Musical Expression},\n doi =\ \ {10.5281/zenodo.20741964},\n editor = {Allie Texeira Riggs and Giacomo Lepri\ \ and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n note = {},\n numpages\ \ = {3},\n pages = {43--45},\n presentation-video = {https://www.youtube.com/watch?v=pWx3eO4B_Mk},\n\ \ title = {Outlandish Lullaby as a Counter-Listening Device: Rest, Untranslatability,\ \ and Intimate Estrangement in NIME},\n track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_9.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741964 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 3 pages: 43--45 presentation-video: https://www.youtube.com/watch?v=pWx3eO4B_Mk title: 'Outlandish Lullaby as a Counter-Listening Device: Rest, Untranslatability, and Intimate Estrangement in NIME' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_9.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_10 abstract: 'This paper presents “Pop Music,” a semi-edible gastroacoustic installation that would be presented at alt.NIME in a hybrid installation/paper presentation. This paper documents the creation of the installation, considers popcorn and corn-related art and music, the uses of corn in NIMEs, and the potential scarceness of that space being addressed by this installation and paper. The mechanics of the installation are presented, along with a discussion of theoretical background and commentary. Users were fed, and user feedback was evaluated. The paper concludes by connecting this seemingly "trivial" installation to the interrelation of play and research, conversations on NIME self-seriousness and aesthetic conformity, the value of interactive installations, the interactivity of valuable installations,questions of edibility and ethical implications in installations, universality of moral codes, government structures and syntacticalrelations, astronomical quasar deduction, and the profound unseriousness of this work.' address: 'London, United Kingdom' articleno: 10 author: Walker Smith and Nicholas Shaheed and Michael Mulshine bibtex: "@inproceedings{nime2026_alt_10,\n abstract = {This paper presents “Pop\ \ Music,” a semi-edible gastroacoustic installation that would be presented at\ \ alt.NIME in a hybrid installation/paper presentation. This paper documents the\ \ creation of the installation, considers popcorn and corn-related art and music,\ \ the uses of corn in NIMEs, and the potential scarceness of that space being\ \ addressed by this installation and paper. The mechanics of the installation\ \ are presented, along with a discussion of theoretical background and commentary.\ \ Users were fed, and user feedback was evaluated. The paper concludes by connecting\ \ this seemingly \"trivial\" installation to the interrelation of play and research,\ \ conversations on NIME self-seriousness and aesthetic conformity, the value of\ \ interactive installations, the interactivity of valuable installations,questions\ \ of edibility and ethical implications in installations, universality of moral\ \ codes, government structures and syntacticalrelations, astronomical quasar deduction,\ \ and the profound unseriousness of this work.},\n address = {London, United Kingdom},\n\ \ articleno = {10},\n author = {Walker Smith and Nicholas Shaheed and Michael\ \ Mulshine},\n booktitle = {Proceedings of the International Conference on New\ \ Interfaces for Musical Expression},\n doi = {10.5281/zenodo.20741966},\n editor\ \ = {Allie Texeira Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n\ \ month = {June},\n note = {},\n numpages = {13},\n pages = {46--58},\n title\ \ = {Pop Music},\n track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_10.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741966 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 13 pages: 46--58 title: Pop Music track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_10.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_11 abstract: 'AI and the culture of speed it accelerates has significantly influenced music consumption, resulting in an economy characterised by excess, and raises important questions around consent, data provenance, and accessibility. We introduce Slow Samples, a web-based platform built on ethical principles, designed for the responsible sharing, exploration, and documentation of audio sample collections, with consent embedded from the start and accessibility beyond academic contexts as core commitments. Initial artist interviews informed the design, highlighting ongoing concerns regarding provenance, cultural appropriation, and the ethical implications of AI in music. Rooted in slow consumption, intentional friction, slow AI, and design by refusal, the platform opposes infrastructures that prioritise efficiency over context and scale over community, which is realised through extensive required metadata, timed microboundaries, provenance tracking, and constrained AI tooling. We argue that design can be a site of resistance, and that small acts of refusal in infrastructure lay the foundation for alternative practice.' address: 'London, United Kingdom' articleno: 11 author: Trisha Khallaghi and Pete Bennett and Atau Tanaka bibtex: "@inproceedings{nime2026_alt_11,\n abstract = {AI and the culture of speed\ \ it accelerates has significantly influenced music consumption, resulting in\ \ an economy characterised by excess, and raises important questions around consent,\ \ data provenance, and accessibility. We introduce Slow Samples, a web-based platform\ \ built on ethical principles, designed for the responsible sharing, exploration,\ \ and documentation of audio sample collections, with consent embedded from the\ \ start and accessibility beyond academic contexts as core commitments. Initial\ \ artist interviews informed the design, highlighting ongoing concerns regarding\ \ provenance, cultural appropriation, and the ethical implications of AI in music.\ \ Rooted in slow consumption, intentional friction, slow AI, and design by refusal,\ \ the platform opposes infrastructures that prioritise efficiency over context\ \ and scale over community, which is realised through extensive required metadata,\ \ timed microboundaries, provenance tracking, and constrained AI tooling. We argue\ \ that design can be a site of resistance, and that small acts of refusal in infrastructure\ \ lay the foundation for alternative practice.},\n address = {London, United Kingdom},\n\ \ articleno = {11},\n author = {Trisha Khallaghi and Pete Bennett and Atau Tanaka},\n\ \ booktitle = {Proceedings of the International Conference on New Interfaces for\ \ Musical Expression},\n doi = {10.5281/zenodo.20741970},\n editor = {Allie Texeira\ \ Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n\ \ note = {},\n numpages = {14},\n pages = {59--72},\n title = {Speed Makes Us\ \ Oblivious: A Slow and Responsible Approach to Engaging with Audio Sample Archives},\n\ \ track = {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_11.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741970 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 14 pages: 59--72 title: 'Speed Makes Us Oblivious: A Slow and Responsible Approach to Engaging with Audio Sample Archives' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_11.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_12 abstract: 'At this point, a philosophical question arises as to which implementation more authentically embodies the spirit of John Cage’s 4’33". The one-line version (Implementation B) could be considered the most minimal version possible—perhaps the “Platonic ideal” of 4’33" as expressed in the strongly-timed syntax and semantics of the ChucK programming language, in so far as the above program is the passage of a specific duration of time “in silence”; the absence of unit generators implies a zero-amplitude audio output. The computer musician writing/running this code draws parallels to the pianist sitting in front of a piano, which is not only capable of making sound but also carries strong cultural expectations to make sound, and yet the pianist chooses, in this case, to proactively not make sound. This implementation, therefore, could be an embodiment of 4’33" from the point of view of the performer(s) onstage. On the other hand, Implementation A, which contains not only Implementation B in its entirety, but also goes to lengths to connect the live audio input (adc) to the audio output (dac), foregrounding not the sound made by the software program, but rather the incidental sounds of the room. This is fitting of 4’33" in a different sense. In Cage’s original work, the incidental sounds of the room that accompanies the absence of instrumental sounds onstage, are an essential part of the piece itself, inviting audiences to contemplate the nature of musical performances as well as what may constitute a performance in the first place. Under this interpretation, Implementation A nods to the acoustic, social, and cultural contexts in which the piece is performed.' address: 'London, United Kingdom' articleno: 12 author: Nicholas Shaheed and Primrose Ohling and Ge Wang bibtex: "@inproceedings{nime2026_alt_12,\n abstract = {At this point, a philosophical\ \ question arises as to which implementation more authentically embodies the spirit\ \ of John Cage’s 4’33\". The one-line version (Implementation B) could be considered\ \ the most minimal version possible—perhaps the “Platonic ideal” of 4’33\" as\ \ expressed in the strongly-timed syntax and semantics of the ChucK programming\ \ language, in so far as the above program is the passage of a specific duration\ \ of time “in silence”; the absence of unit generators implies a zero-amplitude\ \ audio output. The computer musician writing/running this code draws parallels\ \ to the pianist sitting in front of a piano, which is not only capable of making\ \ sound but also carries strong cultural expectations to make sound, and yet the\ \ pianist chooses, in this case, to proactively not make sound. This implementation,\ \ therefore, could be an embodiment of 4’33\" from the point of view of the performer(s)\ \ onstage. On the other hand, Implementation A, which contains not only Implementation\ \ B in its entirety, but also goes to lengths to connect the live audio input\ \ (adc) to the audio output (dac), foregrounding not the sound made by the software\ \ program, but rather the incidental sounds of the room. This is fitting of 4’33\"\ \ in a different sense. In Cage’s original work, the incidental sounds of the\ \ room that accompanies the absence of instrumental sounds onstage, are an essential\ \ part of the piece itself, inviting audiences to contemplate the nature of musical\ \ performances as well as what may constitute a performance in the first place.\ \ Under this interpretation, Implementation A nods to the acoustic, social, and\ \ cultural contexts in which the piece is performed.},\n address = {London, United\ \ Kingdom},\n articleno = {12},\n author = {Nicholas Shaheed and Primrose Ohling\ \ and Ge Wang},\n booktitle = {Proceedings of the International Conference on\ \ New Interfaces for Musical Expression},\n doi = {10.5281/zenodo.20741974},\n\ \ editor = {Allie Texeira Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n\ \ month = {June},\n note = {},\n numpages = {2},\n pages = {73--74},\n title =\ \ {Cage Off: Two Implementations of 4’33” in ChucK},\n track = {alt.nime},\n url\ \ = {http://nime.org/proceedings/2026/nime2026_alt_12.pdf},\n year = {2026}\n\ }\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741974 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 2 pages: 73--74 title: 'Cage Off: Two Implementations of 4’33” in ChucK' track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_12.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_13 abstract: 'As artificial intelligence continues to become embedded in musical instrument design, this Alt.NIME paper proposes examining how data is used in any such system. It extends the concept of small data beyond dataset size alone, proposing a framework that emphasises limited, self-curated, marginalised, and situated datasets. To explore current practices, we conduct an exploratory audit of submissions to the NIME 2026 proceedings that employ artificial intelligence or data-driven techniques. The audit investigates how datasets aredescribed, whether their sources are documented and accessible, and the extent to which smaller or situated datasets are used. Through this investigation, we aim to highlight the visibility (or absence) of dataset transparency within NIME research.' address: 'London, United Kingdom' articleno: 13 author: Elizabeth Wilson bibtex: "@inproceedings{nime2026_alt_13,\n abstract = {As artificial intelligence\ \ continues to become embedded in musical instrument design, this Alt.NIME paper\ \ proposes examining how data is used in any such system. It extends the concept\ \ of small data beyond dataset size alone, proposing a framework that emphasises\ \ limited, self-curated, marginalised, and situated datasets. To explore current\ \ practices, we conduct an exploratory audit of submissions to the NIME 2026 proceedings\ \ that employ artificial intelligence or data-driven techniques. The audit investigates\ \ how datasets aredescribed, whether their sources are documented and accessible,\ \ and the extent to which smaller or situated datasets are used. Through this\ \ investigation, we aim to highlight the visibility (or absence) of dataset transparency\ \ within NIME research.},\n address = {London, United Kingdom},\n articleno =\ \ {13},\n author = {Elizabeth Wilson},\n booktitle = {Proceedings of the International\ \ Conference on New Interfaces for Musical Expression},\n doi = {10.5281/zenodo.20741976},\n\ \ editor = {Allie Texeira Riggs and Giacomo Lepri and Yann Seznec},\n issn = {2220-4806},\n\ \ month = {June},\n note = {},\n numpages = {4},\n pages = {75--78},\n title =\ \ {Rethinking Data Practices for ‘Intelligent’ Musical Interfaces},\n track =\ \ {alt.nime},\n url = {http://nime.org/proceedings/2026/nime2026_alt_13.pdf},\n\ \ year = {2026}\n}\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741976 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 4 pages: 75--78 title: Rethinking Data Practices for ‘Intelligent’ Musical Interfaces track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_13.pdf year: 2026 - ENTRYTYPE: inproceedings ID: nime2026_alt_14 abstract: 'Across cultures and historical periods, collective sound practices have structured ritual life. Circles of bodies and voices and repeated gestures have long served as interfaces for binding communities together, mediating relationships between individuals and forces perceived as larger than themselves. Anthropological accounts of ritual, from liturgy and chant to shamanic invocation and communal song, reveal a shared grammar: repetition, cyclical time, call-and-response structures, and the transformation of individual voices into a collective sonic body.Within such contexts, sound does not merely communicate meaning; it produces social and symbolic order. The voice, in particular, occupies a privileged position. When amplified through choral repetition or ritual mediation, it becomes detached from singular authorship and re-emerges as something collective, authoritative, or transcendent. Technological cultures have not abandoned these structures. Rather, they frequently reproduce them in new forms. Gatherings centered around electronic instruments, speaker arrays, and computational systems often replicate ritualistic patterns of congregation. In these contexts, machines and interfaces may function as focal objects around which collective sonic experience is organized.Within this perspective, we ask: what are the intellectual, spiritual, and aesthetic boundaries of NIME? If musical interfaces mediate collective sonic practices, can they also participate in ritual structures? Can technological systems become objects of symbolic focus, or even forms of contemporary idolization? Rather than offering answers, the work proposes a speculative anthropological lens through which the culture of musical interface research might be reconsidered: as a space where technology and musical expression intersect with human rituals of gathering, invocation, and shared sonic experience. ' address: 'London, United Kingdom' articleno: 14 author: Nicholas Shaheed and Héloïse Garry bibtex: "@inproceedings{nime2026_alt_14,\n abstract = {Across cultures and historical\ \ periods, collective sound practices have structured ritual life. Circles of\ \ bodies and voices and repeated gestures have long served as interfaces for binding\ \ communities together, mediating relationships between individuals and forces\ \ perceived as larger than themselves. Anthropological accounts of ritual, from\ \ liturgy and chant to shamanic invocation and communal song, reveal a shared\ \ grammar: repetition, cyclical time, call-and-response structures, and the transformation\ \ of individual voices into a collective sonic body.Within such contexts, sound\ \ does not merely communicate meaning; it produces social and symbolic order.\ \ The voice, in particular, occupies a privileged position. When amplified through\ \ choral repetition or ritual mediation, it becomes detached from singular authorship\ \ and re-emerges as something collective, authoritative, or transcendent. Technological\ \ cultures have not abandoned these structures. Rather, they frequently reproduce\ \ them in new forms. Gatherings centered around electronic instruments, speaker\ \ arrays, and computational systems often replicate ritualistic patterns of congregation.\ \ In these contexts, machines and interfaces may function as focal objects around\ \ which collective sonic experience is organized.Within this perspective, we ask:\ \ what are the intellectual, spiritual, and aesthetic boundaries of NIME? If musical\ \ interfaces mediate collective sonic practices, can they also participate in\ \ ritual structures? Can technological systems become objects of symbolic focus,\ \ or even forms of contemporary idolization? Rather than offering answers, the\ \ work proposes a speculative anthropological lens through which the culture of\ \ musical interface research might be reconsidered: as a space where technology\ \ and musical expression intersect with human rituals of gathering, invocation,\ \ and shared sonic experience. },\n address = {London, United Kingdom},\n articleno\ \ = {14},\n author = {Nicholas Shaheed and Héloïse Garry},\n booktitle = {Proceedings\ \ of the International Conference on New Interfaces for Musical Expression},\n\ \ doi = {10.5281/zenodo.20741980},\n editor = {Allie Texeira Riggs and Giacomo\ \ Lepri and Yann Seznec},\n issn = {2220-4806},\n month = {June},\n note = {},\n\ \ numpages = {3},\n pages = {79--81},\n presentation-video = {https://www.youtube.com/watch?v=Iy2pM-R1-6k},\n\ \ title = {ritus wired sacerdos - Ritualistic NIME},\n track = {alt.nime},\n url\ \ = {http://nime.org/proceedings/2026/nime2026_alt_14.pdf},\n year = {2026}\n\ }\n" booktitle: Proceedings of the International Conference on New Interfaces for Musical Expression doi: 10.5281/zenodo.20741980 editor: Allie Texeira Riggs and Giacomo Lepri and Yann Seznec issn: 2220-4806 month: June note: "" numpages: 3 pages: 79--81 presentation-video: https://www.youtube.com/watch?v=Iy2pM-R1-6k title: ritus wired sacerdos - Ritualistic NIME track: alt.nime url: http://nime.org/proceedings/2026/nime2026_alt_14.pdf year: 2026