## Abstracts
### Interaction-Based Analysis of Freely Improvised Music  
[PERSON]  
This paper proposes a computational method for the analysis and visualization of structure in freely improvised musical pieces, based on source separation and interaction patterns. A minimal set of descriptive axes is used for eliciting interaction modes, regions, and transitions. To this end, a suitable unsupervised segmentation model is selected based on the author's ground truth, and is used to compute and compare event boundaries of the individual audio sources. While still at a prototypal stage of development, this method offers useful insights for evaluating a musical expression that lacksformal rules and protocols, including musical functions (e.g., accompaniment, solo, etc.) and form (e.g., verse, chorus, etc.). P1.3. Mechanical Entanglement: A Collaborative Haptic-Music Performance  
[PERSON], [PERSON], and [PERSON]  
Mechanical Entanglement is a musical composition for three performers. Three force feedback devices each containing two haptic faders are mutually coupled using virtual linear springs and dampers. During the composition, the performers feel each other's gestures and collaboratively process the music material. The interaction's physical modelling parameters are modified during the different sections of the composition. An algorithm, which process three stereo channels, is stretching in and out-of-sync three copies of the same music. The performers are controlling the stretching algorithm and an amplitude modulation effect, both applied to recognizable classical and contemporary music recordings. Each of them is substantially modifying the length and the dynamics of the music and is simultaneously affecting subtly or abruptly the gestural behavior of the other performers. At fixed points during the composition, the music becomes gradually in sync and the performers realign their gestures. This phasing game between gestures and sound creates tension and emphasizes the physicality of the performance. P1.4. State Dependency--Audiovisual Interaction through Brain States  
[PERSON], [PERSON], and [PERSON]  
Artistic installations using brain-computer interfaces (BCI) to interact with media in general, and sound specifically, have become increasingly numerous in the last years. Brain or mental states are commonly used to drive musical scores or sound generation as well as visuals. Closed loop setups can emerge here, which are comparable to the propositions of neurofeedback (NFB). The aim of our audiovisual installation, State Dependency, driven by brain states and motor imagery, was to enable the participant to engage in unbound exploration of movement through sound and space unmediated by one's corpo-reality. With the aid of an adaptive feedback loop, perception is taken to the edge. We deployed a BCI to collect motor imagery, and visual and cognitive neural activity to calculate the approximate entropy (a second order measure of neural signal activity), which was in turn used to interact with the surrounding Immersive Lab installation. The use of entropy measures on motor imagery and various sensory modalities generates a highly accessible, reactive, and immediate experience, transcending the common limitations of the BCI technology. State dependency goes beyond the common practice of abstract routing between mental or brain with external audiovisual states. It provides new territory of unrestrained kinesthetic and polymodal exploration in an immersive audiovisual environment. P1.5. Perceptual Evaluation of Modal Synthesis for Impact-Based Sounds  
[PERSON] and [PERSON]  
The use of real-time sound synthesis for sound effects can improve the sound design of interactive experiences, such as video games. However, synthesized sound effects can often be perceived as synthetic, which hampers their adoption. This paper aims to determine whether sounds synthesized using filter-based modal synthesis are perceptually comparable to sounds directly recorded.