Demo Data from SIGIR 2026 / reviewers in the wild / expert
Adrian Gierakowski
dblp:129/1984
· DBLP profile ↗
1ranked-venue papers
0as first author
0since 2021 · last 2013
—ORCID · none
Domains — the database's venue-derived domains; a paper can count in several
Human-computer interaction and ubiquitous computing · 1
Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.
| Human-computer interaction and pervasive computing
1 paper |
Interaction techniques and input · 100% | |
| Computer graphics and multimedia
1 paper |
Audio and music processing · 100% |
Topics — the 3 heaviest of 4, each with the papers that count most for it
| Topic | Weight | Papers | Last | Evidence papers |
|---|---|---|---|---|
Interaction techniques and input › input sensing › touch sensing
capacitive touch sensing |
0.2 | 1 | 2013 | The space between the notes: adding expressive pitch control to the piano keyboard · CHI 2013 |
Interaction techniques and input
musical interface |
0.2 | 1 | 2013 | The space between the notes: adding expressive pitch control to the piano keyboard · CHI 2013 |
Audio and music processing › music technology
digital musical instruments |
0.0 | 1 | 2013 | The space between the notes: adding expressive pitch control to the piano keyboard · CHI 2013 |
Methods — techniques the papers use, named apart from their topics
user study · 0.3capacitive touch sensing · 0.3
| Year | Publication | Venue | Position |
|---|---|---|---|
| 2013 | The space between the notes: adding expressive pitch control to the piano keyboardabstractThis paper addresses the question of how to extend the capabilities of a well-established interface in a way that respects users' existing expertise. The piano-style keyboard is among the most widely used and versatile of digital musical interfaces. However, it lacks the ability to alter the pitch of a note after it has been played, a limitation which prevents the performer from executing common expressive techniques including vibrato and pitch bending. We present a system for controlling pitch from the keyboard surface using capacitive touch sensors to measure the locations of the player's fingers on the keys. The large community of trained pianists makes the keyboard a compelling target for augmentation, but it also poses a challenge: how can a musical interface be extended while making use of the existing techniques performers have spent thousands of hours learning? In this paper, user studies with conservatory pianists explore the constraints of traditional keyboard technique and evaluate the usability of the continuous pitch control system. The paper also discusses implications for the extension of other established interfaces in musical and non-musical contexts. Andrew P. McPherson, Adrian Gierakowski, Adam M. Stark |
CHI | 2 |