Digital copies of select papers also available on ResearchGate.

CONFERENCE PROCEEDINGS

• I. Bukvic, “Latency-, Sync-, and Bandwidth-Agnostic Tightly-Timed Telematic and Crowdsourced Musicking Made Possible Using L2Ork Tweeter,” New Interfaces for Musical Expression, the University of Auckland, New Zealand, 2022. [international]
• *D. Sardana, *W. Joo, I. I. Bukvic, and G. Earle, “Perception of spatial data properties in an immersive multi-layered auditory environment,” in Proceedings of the 15th International Conference on Audio Mostly, New York, NY, USA, Sep. 2020, pp. 30–37, doi: 10.1145/3411109.3411134. [international]
• *K. Tsoukalas, Joseph R. Kubalak, and I. I. Bukvic, “The impact of scaling the production of a new interface for musical expression on its design: a story of L2Orkmotes,” in Proceedings of the 15th International Conference on Audio Mostly, New York, NY, USA, Sep. 2020, pp. 138–145. doi: 10.1145/3411109.3411110 [international]
• I. Bukvic, *D. Sardana, and *W. Joo. 2020. New Interfaces for Spatial Musical Expression. Proceedings of the International Conference on New Interfaces for Musical Expression, Birmingham City University, pp. 249–254. [international]
• I. Bukvic, G. Earle, *D. Sardana, and W. Joo, “STUDIES IN SPATIAL AURAL PERCEPTION: ESTABLISHING FOUNDATIONS FOR IMMERSIVE SONIFICATION,” International Conference on Auditory Display, Newcastle upon Tyne, United Kingdom, 2019. [international]
• *D. Sardana, *W. Joo, I. I. Bukvic, and G. Earle, “Introducing Locus: a NIME for Immersive Exocentric Aural Environments,” New Interfaces for Musical Expression, Porto Alegre, Brazil, 2019, pp. 250-255. [international]
• S. Narayanan, N. Polys, and I. I. Bukvic, “Cinemacraft: exploring fidelity cues in collaborative virtual world interactions,” Virtual Reality, Apr. 2019. [international]
• I. Bukvic and A. Ogier, “COMPEL: A Crowdsourced Community-Building Repository for Reproducible Computer Music,” International Computer Music Conference, Daegu, Korea, 2018, pp. 130-133. [international]
• I. Bukvic and G. Earle, “REIMAGINING HUMAN CAPACITY FOR LOCATION-AWARE AUDIO PATTERN RECOGNITION: A CASE FOR IMMERSIVE EXOCENTRIC SONIFICATION,” International Conference on Auditory Displays, Houghton, Michigan, 2018, pp. 153-159. [international]
• *K. Tsoukalas, and I. Bukvic, “Introducing a K-12 Mechatronic NIME Kit,” New Interfaces for Musical Expression, Blacksburg, Virginia, 2018, pp. 206-209. [international]
• *K. Tsoukalas, J. *Kubalak, and I. Bukvic, “L2OrkMote: Reimagining a Low-Cost Wearable Controller for a Live Gesture-Centric Music Performance,” New Interfaces for Musical Expression, Blacksburg, Virginia, 2018, pp. 275-280. [international]
• *S. Narayanan, and I. Bukvic, “Cinemacraft: Immersive Live Machinima as an Empathetic Musical Storytelling Platform,” International Computer Music Conference, Shanghai, China, 2017, pp. 384-389. [international]
• M. Wagner, I. Bukvic, and D. Webster, “Using Immersive Digital Environments to Evaluate the Effectiveness of Multi-Sensory Responsive Surfaces,” Architectural Research Centers Consortium Conference: Architecture of Complexity, Salt Lake City, Utah, 2017, pp. 212-221. [international]
• I. Bukvic and *S. Lee, “Glasstra: Exploring the Use of an Inconspicuous Head Mounted Display in a Live Technology-Mediated Music Performance,” New Interfaces for Musical Expression, Copenhagen, Denmark, 2017, pp. 313-318. [international]
• I. Bukvic, A. Gräf, and J. Wilkes, “Meet the Cat: Pd-L2Ork and its New Cross-Platform Version ‘Purr Data’,” Linux Audio Conference, Saint-Etienne, France, 2017. [international]
• I. Bukvic, J. Wilkes, and A. Gräf, “Latest developments with Pd-L2Ork and its Development Branch Purr-Data,” PdCon, New York, New York, 2016. [international]
• I. Bukvic, “Introducing D4: an Interactive 3D Audio Rapid Prototyping and Transportable Rendering Environment Using High Density Loudspeaker Arrays,” International Computer Music Conference, Utrecht, Netherlands, 2016, pp. 496-500. [international]
• A. McPherson, E. Berdahl, A. Jensenius, M. Lyons, I. Bukvic, and A. Knudsen, “NIMEhub: Toward a Repository for Sharing and Archiving Instrument Designs,” New Interfaces for Musical Expression, Brisbane, Australia, 2016. [international]
• I. Bukvic, “3D TIME-BASED AURAL DATA REPRESENTATION USING D4 LIBRARY’S LAYER BASED AMPLITUDE PANNING ALGORITHM,” International Conference on Auditory Displays, Canberra, Australia, 2016. [international]
• I. Bukvic and *M. Matthews, “AEGIS AUDIO ENGINE: INTEGRATING A REAL-TIME ANALOG SIGNAL PROCESSING, PATTERN RECOGNITION, AND A PROCEDURAL SOUNDTRACK IN A LIVE TWELVE-PERFOMER SPECTACLE WITH CROWD PARTICIPATION,” International Conference on Auditory Displays, Graz, Austria, 2015, pp. 35-42. [international]
• N. Polys, B. Knapp, C. Lidwin, D. Webster, N. Waggoner, and I. Bukvic, “Fusality: an open framework for cross-platform mirror world installations,” New York, NY: 20th International Conference on 3D Web Technology (Web3D ’15), 2015, pp. 171-179. [international]
• I. Bukvic, *C. Cahoon, A. Wyatt, T. Cowden, and K. Dredger, “OPERAcraft: Blurring the Lines between Real and Virtual,” International Computer Music Conference, Athens, Greece, 2014, pp. 228-235. [international]
• I. Bukvic, “Pd-L2Ork Raspberry Pi Toolkit as a Comprehensive Arduino Alternative in K-12 and Production Scenarios,” New Interfaces for Musical Expression. London, United Kingdom, 2014, pp. 163-166. [international]
• B. Bortz, A. Ishida, I. Bukvic, and B. Knapp, “Lantern Field: Exploring Participatory Design of a Communal, Spatially Responsive Installation,” New Interfaces for Music Expression. Seoul, Korea: NIME, 2013, pp. 73-38. [international]
• B. Sawyer, J. Forsyth, *T. O’Connor, B. Bortz, T. Finn, L. Baum, I. Bukvic, B. Knapp, and D. Webster, “Form, function and performances in a musical instrument Makers camp,” ACM Special Interest Group on Computer Science Education, Denver, Colorado: ACM, 2013, pp. 669-674. [international]
• I. Bukvic, L. Baum, *B. Layman, and *W. Kendall, “Granular Learning Objects for Instrument Design and Collaborative Performance in K-12 Education,” New Interfaces for Musical Expression, Ann Arbor, Michigan: NIME, 2012, pp. 344-346. [international]
• I. Bukvic, “A Behind-the-Scenes Peek at World’s First Linux-Based Laptop Orchestra – The Design of L2Ork Infrastructure and Lessons Learned,” Linux Audio Conference, Stanford, California, 2012, pp. 55-60. [international]
• I. Bukvic and M. Komelski, “Strategies for Structured *Ork Performance Choreography: Integrating Taiji Martial Arts into L2Ork Repertoire,” Symposium for Laptop Ensembles and Orchestras, Baton Rouge, Louisiana, 2012. [international]
• I. Bukvic and S. Betz, “USING GAMING ENGINE FOR VIRTUAL PROTOTYPING AND IMPACT ASSESSMENT OF COMPLEX INTERACTIVE ART INSTALLATIONS,” International Computer Music Conference, Huddersfield, England: International Computer Music Association, 2011, pp. 527-531. [international]
• I. Bukvic, T. Martin, and *Michael Matthews. “Moving Beyond Academia Through Open Source Solutions–Introducing L2Ork, Virginia Tech’s Linux Laptop Orchestra.” Society for Electro-Acoustic Music in the United States conference, Miami, Florida, 2011.
• I. Bukvic, T. Martin, E. Standley, and *M. Matthews, “Introducing L2Ork: Linux Laptop Orchestra,” New Interfaces for Musical Expression, Sydney, Australia: NIME, 2010, pp. 170-173. [international]
• I. Bukvic and *J. Kim, “PERCEPTION AND INTERPRETATION OF CONCURRENT AURAL SHAPES USING DREAM INTERFACE,” International Computer Music Conference, Stony Brook, New York: International Computer Music Association, 2010, pp. 542-545. [international]
• I. Bukvic, I. and *J. Kim, “µ MAX-UNITY3D INTEROPERABILITY TOOLKIT. International Computer Music Conference”, Montreal, Canada: International Computer Music Association, 2009, pp. 375-378. [international]
• *K. Hussein, E. Tilevich, I. Bukvic and *S. Kim, “Sonification design guidelines to enhance program comprehension,” IEEE’s International Conference on Program Comprehension, Vancouver, Canada: IEEE, 2009, pp. 120-129. [international]
• I. Bukvic, D. Gracanin, and F. Quek, “Investigating artistic potential of the DREAM interface: The Aural Painting,” International Computer Music Conference, Belfast, United Kingdom: International Computer Music Association, 2008, pp. 475-482. [international]
• I. Bukvic, *J. Kim, D. Trueman, and T. Grill, “munger1~: TOWARDS A CROSS-PLATFORM SWISS-ARMY KNIFE OF REAL-TIME GRANULAR SYNTHESIS,” International Computer Music Conference, Copenhagen, Denmark: International Computer Music Association, 2007, pp. 349-354. [international]
• I. Bukvic, “Made in Linux — The Next Step,” Linux Audio Conference proceedings, Karlsruhe, Germany, 2005.
• I. Bukvic, “The 0th Sound,” published in proceedings for the SPARK festival, Minnesota, 2005.
• I. Bukvic, “Linux as a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time,” Proceedings of the International Computer Music Conference, Miami, Florida, 2004.
• M. Helmuth, I. Bukvic, M. Schedel, and J. Bernard. “University of Cincinnati, College-Conservatory of Music Center for Computer Music – (CCM)2 in 2004,” International Computer Music Conference, Miami, Florida, 2004.
• I. Bukvic, “RTMix – towards a standardized interactive electroacoustic art performance interface.” Organised Sound Vol.7 No.3 (December 2002), pp. 275-286.
• I. Bukvic, “Making Interactive Electroacoustic Music with Computer through the Use of RTMix – a Real-Time Interactive Electroacoustic Music Performance, Composition, and Coaching Interface,” WSEAS International Conference on Electronics, Control & Signal Processing, Singapore, 2002.
• I. Bukvic, “RTMix: a Real-Time Interactive Electroacoustic Music Performance, Composition, and Coaching Interface.” Proceedings of the International Computer Music Conference, 2002, pp. 79-82.

JOURNALS

• A. Wyatt, T. Cowden, I. Bukvic, K. and Dredger, “OPERAcraft: Opera outreach for the 21st Century,” National Opera Association Opera Journal. 2018. [national]
• E. Lyon, T. Caulkins, D. Blount, I. Bukvic, C. Nichols, M. Roan, and T. Upthegrove, “Genesis of the Cube: The Design and Deployment of an HDLA-Based Performance and Research Facility,” Computer Music Journal, Winter 2016, Vol. 40, no. 4, pp. 62-78. [international]
• D. Webster, and I. Bukvic, “Small Data, Big Impact,” IEEE Multimedia, vol. 23, no. 1, pp. 6-9, 2016. [international]

BOOK CHAPTERS

• I. Bukvic, “Introduction to Sonification,” in Foundations in Sound Design for Embedded Media, M. Filimowicz, Ed. Routledge, 2019.
• K. Dredger, A. Wyatt, T. Cowden, I. Bukvic, and K. Parkes, “Minecraft opera: Intersections of creative narrative, music, and video games,” In Writing in the Performing and Visual Arts: Creating, Performing, and Teaching, S. Corbett, T. Decker, and B. Cooper, Eds., Across the Disciplines (ATD publishers), 2018.

OTHER

• M. Wagner, I. Bukvic, and D. Webster, “Using Immersive Digital Environments to Design a Responsive Surface for Educational Multi-Use Spaces,” The International Journal of the Constructed Environment Special Issue: Urban Regeneration in Contemporary Crisis, 2017.
• M. Wagner, I. Bukvic, and D. Webster, “Immersive Data Visualization Informs the Design of a Responsive Surface,” Between Data and Senses: Architecture, Neuroscience and the Digital Worlds, 2017.
• M. Wagner, I. Bukvic, and D. Webster, “Using Immersive Digital Environments to Design a Responsive Surface for Educational Multi-Use Spaces,”Seventh International Conference on the Constructed Environment, Krakow, Poland, 2017.