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2020 – today
- 2022
[c15]Giacomo Lepri, John Bowers, Samantha Topley, Paul Stapleton, Peter Bennett, Kristina Andersen, Andrew McPherson:
The 10, 000 Instruments Workshop - (Im)practical Research for Critical Speculation. NIME 2022- 2020
- [c14]Fabio Morreale, S. M. Astrid Bin, Andrew P. McPherson, Paul Stapleton, Marcelo M. Wanderley:
A NIME Of The Times: Developing an Outward-Looking Political Agenda For This Community. NIME 2020: 160-165 - [c13]Matthew Rodger, Paul Stapleton, Maarten van Walstijn, Miguel Ortiz, Laurel Pardue:
What Makes a Good Musical Instrument? A Matter of Processes, Ecologies and Specificities . NIME 2020: 405-410 - [c12]Laurel Pardue, Miguel Ortiz, Maarten van Walstijn, Paul Stapleton, Matthew Rodger:
Vodhrán: collaborative design for evolving a physical model and interface into a proto-instrument. NIME 2020: 523-524
2010 – 2019
- 2018
- [c11]Paul Stapleton, Maarten van Walstijn, Sandor Mehes:
Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationships. NIME 2018: 311-314 - 2017
- [c10]Sandor Mehes, Maarten van Walstijn, Paul Stapleton:
Virtual-acoustic instrument design: exploring the parameter space of a string-plate model. NIME 2017: 399-403 - 2015
- [c9]Adnan Marquez-Borbon, Paul Stapleton:
Fourteen years of nime: the value and meaning of 'community' in interactive music research. NIME 2015: 307-312 - 2013
- [c8]Roddy Cowie
, Martin Sawey, Cian Doherty, Javier Jaimovich, A. Cavan Fyans, Paul Stapleton:
Gtrace: General Trace Program Compatible with EmotionML. ACII 2013: 709-710 - 2012
- [j5]Michael Gurevich, Adnan Marquez-Borbon, Paul Stapleton:
Playing with Constraints: Stylistic Variation with a Simple Electronic Instrument. Comput. Music. J. 36(1): 23-41 (2012) - [c7]A. Cavan Fyans, Adnan Marquez-Borbon, Paul Stapleton, Michael Gurevich:
Ecological considerations for participatory design of DMIs. NIME 2012 - 2011
- [c6]Adnan Marquez-Borbon, Michael Gurevich, A. Cavan Fyans, Paul Stapleton:
Designing Digital Musical Interactions in Experimental Contexts. NIME 2011: 373-376 - 2010
- [c5]Michael Gurevich, Paul Stapleton, Adnan Marquez-Borbon:
Style and Constraint in Electronic Musical Instruments. NIME 2010: 106-111 - [c4]A. Cavan Fyans, Michael Gurevich, Paul Stapleton:
Examining the Spectator Experience. NIME 2010: 451-454
2000 – 2009
- 2009
- [j4]Pavlina Radia, Paul Stapleton:
Unconventional sources as a new convention: The shifting paradigm of undergraduate writing. Internet High. Educ. 12(Issues): 156-164 (2009) - [c3]A. Cavan Fyans, Michael Gurevich, Paul Stapleton:
Spectator understanding of error in performance. CHI Extended Abstracts 2009: 3955-3960 - [c2]A. Cavan Fyans, Michael Gurevich, Paul Stapleton:
Where Did It All Go Wrong ? A Model of Error From the Spectator's Perspective. NIME 2009: 171-172 - [c1]Michael Gurevich, Paul Stapleton, Peter D. Bennett:
Designing for Style in New Musical Interactions. NIME 2009: 213-217 - 2008
- [j3]Pavlina Radia, Paul Stapleton:
Unconventional Internet genres and their impact on second language undergraduate students' writing process. Internet High. Educ. 11(1): 9-17 (2008) - 2007
- [j2]Rena Helms-Park, Pavlina Radia, Paul Stapleton:
A preliminary assessment of Google Scholar as a source of EAP students' research materials. Internet High. Educ. 10(1): 65-76 (2007) - 2006
- [j1]Paul Stapleton, Rena Helms-Park, Pavlina Radia:
The Web as a source of unconventional research materials in second language academic writing. Internet High. Educ. 9(1): 63-75 (2006)
Coauthor Index
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