-
Notifications
You must be signed in to change notification settings - Fork 1
/
Xambo.CV.tex
1269 lines (1106 loc) · 122 KB
/
Xambo.CV.tex
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
%------------------------------------
% Dario Taraborelli
% Typesetting your academic CV in LaTeX
%
% URL: http://nitens.org/taraborelli/cvtex
% DISCLAIMER: This template is provided for free and without any guarantee
% that it will correctly compile on your system if you have a non-standard
% configuration.
% Some rights reserved: http://creativecommons.org/licenses/by-sa/3.0/
%------------------------------------
%!TEX TS-program = xelatex
%!TEX encoding = UTF-8 Unicode
\documentclass[10pt, a4paper]{article}
\usepackage{fontspec}
% DOCUMENT LAYOUT
\usepackage{geometry}
\geometry{a4paper, textwidth=5.5in, textheight=8.5in, marginparsep=8pt, marginparwidth=.7in}%original: marginparsep=7pt, marginparwidth=.6in
\setlength\parindent{0in}
% FONTS
\usepackage[usenames,dvipsnames]{xcolor}
\usepackage{xunicode}
\usepackage{xltxtra}
\defaultfontfeatures{Mapping=tex-text}
%\setromanfont [Ligatures={Common}, Numbers={OldStyle}, Variant=01]{Linux Libertine O}
%\setmonofont[Scale=0.8]{Monaco}
%%% modified by Karol Kozioł for ShareLaTeX use
\setmainfont[
Ligatures={Common}, Numbers={OldStyle}, Variant=01,
BoldFont=LinLibertine_RB.otf,
ItalicFont=LinLibertine_RI.otf,
BoldItalicFont=LinLibertine_RBI.otf
]{LinLibertine_R.otf}
\setmonofont[Scale=0.8]{DejaVuSansMono.ttf}
% ---- CUSTOM COMMANDS
\chardef\&="E050
\newcommand{\html}[1]{\href{#1}{\scriptsize\textsc{[html]}}}
\newcommand{\pdf}[1]{\href{#1}{\scriptsize\textsc{[pdf]}}}
\newcommand{\doi}[1]{\href{#1}{\scriptsize\textsc{[doi]}}}
% ---- MARGIN YEARS
\usepackage{marginnote}
\newcommand{\amper{}}{\chardef\amper="E0BD }
\newcommand{\years}[1]{\marginnote{\scriptsize #1}}
\renewcommand*{\raggedrightmarginnote}{} %\original: raggedleftmarginnote
\setlength{\marginparsep}{8pt}%original: 7pt
\reversemarginpar
% HEADINGS
\usepackage{sectsty}
\usepackage[normalem]{ulem}
\sectionfont{\mdseries\upshape\Large}
\subsectionfont{\mdseries\scshape\normalsize}
\subsubsectionfont{\mdseries\upshape\large}
% PDF SETUP
% ---- FILL IN HERE THE DOC TITLE AND AUTHOR
\usepackage[%dvipdfm,
bookmarks, colorlinks, breaklinks,
% ---- FILL IN HERE THE TITLE AND AUTHOR
pdftitle={Anna Xambó Sedó - vita},
pdfauthor={Anna Xambó Sedó},
pdfproducer={http://nitens.org/taraborelli/cvtex}
]{hyperref}
\hypersetup{linkcolor=blue,citecolor=blue,filecolor=black,urlcolor=MidnightBlue,linkcolor=MidnightBlue}
% AVOID WIDOW LINES
\usepackage[all]{nowidow}
%HEADER & FOOTER
\usepackage{lastpage}
\usepackage{fancyhdr}
\pagestyle{fancy}
\renewcommand{\headrulewidth}{0pt}
\lfoot{Anna Xambó Sedó, PhD}
\cfoot{Curriculum Vitae}%removes pagination at the center of the footer
\rfoot{\thepage\ of \pageref{LastPage}}
% CUSTOM
\usepackage{microtype}
\usepackage{eurosym}
\usepackage{xcolor}
%\hyphenpenalty 10000
%\exhyphenpenalty 1000
%\widowpenalty 10000
%\clubpenalty 10000
%\interfootnotelinepenalty 10000
%\usepackage[all]{nowidow}
\widowpenalty=1000
\clubpenalty=1000
\hyphenpenalty=1000
% DOCUMENT
\begin{document}
{\Huge Anna Xambó Sedó}\\[0.1cm]
\textsc{BA, MA, MSc, PhD}\\[0.9cm]
\emph{Senior Lecturer in Sound and Music Computing}\\
Centre for Digital Music (C4DM)\\
School of Electronic Engineering and Computer Science (EECS)\\
Queen Mary University of London (QMUL)\\
London, United Kingdom\\[.2cm]
%\textsc{phone}: \texttt{(+44) (0) 737-879-6645}\\
\textsc{email}: \href{mailto:a.xambosedo@qmul.ac.uk}{a.xambosedo@qmul.ac.uk}\\
\textsc{webpage}: \href{http://annaxambo.me/}{annaxambo.me}
%%\hrule
\section*{Current Academic Roles}
---\emph{Senior Lecturer in Sound and Music Computing}, C4DM, QMUL, UK.\\
---\emph{Principal Investigator}, AHRC Sensing the Forest.\\
---\emph{Member}, EECS Women in Higher Education (WHEN), QMUL, UK.\\
---\emph{Associate Fellow}, Higher Education Academy, United Kingdom.
%%\hrule
\section*{Areas of Interest}
%Design of Digital Musical Instruments (DMIs) • Real-time Interactive Systems for Music Performance • Human-Computer Interaction • Interaction Design • Tangible, Physical \& Social Computing • Computer-Supported Collaborative, Participatory \& Improvisation Music • Live Coding • Real-time Music Information Retrieval and Machine Learning • Multichannel Spatialization • Generative \& Algorithmic Music • Immersive Sound Experiences • Women in Music Tech • Arts \& Social Sciences Research Methods • STEAM Education • Data Visualization • Creative Programming
Sound and Music Computing • New Interfaces for Musical Expression • Human-Computer Interaction • Tangible Interaction • Computer-Supported Collaborative Music • Live Coding • Music Information Retrieval • Machine Learning • Generative \& Algorithmic Music • Spatial Audio • Women in Music Tech • STEAM Education • Data Visualization • Data Science • Creative Computing • Network Music • Web Audio • Audio Electronics • Audio DSP • Creative AI • Sonic Arts
%\hrule
\section*{Education}
\noindent
\years{2015}\textsc{PhD}, The Open University (OU), UK \& \textsc{Dra.}, Universitat Pompeu Fabra (UPF), Spain.\\
Major: Music computing \& HCI.\\
Dissertation: \emph{Tabletop Tangible Interfaces for Music Performance: Design and Evaluation}.\\
\years{2008}\textsc{MSc} in Information, Communication and Audiovisual Media Technologies, UPF, Spain.\\
Major: Music computing \& HCI.\\
Dissertation: \emph{Interfaces for Sketching Musical Compositions}.\\
\years{1999}\textsc{Master} in Video, Animation and Multimedia Design, Media Art Institute Fak d'Art, Spain.\\
\years{1996}\textsc{BA, MA} in Social and Cultural Anthropology, Universitat de Barcelona (UB), Spain.
%\hrule
\section*{Dissertation}
\noindent
\years{Title}\textbf{Xambó, A.} (2015). \emph{Tabletop Tangible Interfaces for Music Performance: Design and Evaluation}.\\
\years{Advisors}Dr Robin Laney, Mr Chris Dobbyn and Prof Sergi Jordà.\\
\years{Examiners}Prof Eduardo Reck Miranda and Dr Janet van der Linden.\\
\years{Website}\href{http://oro.open.ac.uk/42473/}{http://oro.open.ac.uk/42473/}
%\hrule
\section*{Music Education}
%\noindent
\subsection*{Classical Training}
\years{1983--1987}\textsc{Piano}, Conservatori Superior de Música del Liceu, Barcelona.\\
\years{1982--1988}\textsc{Music Theory \& Solfege}, Conservatori Superior de Música del Liceu, Barcelona.
\noindent
\subsection*{Workshops}
\years{2018}\textsc{Spatial Audio Workshop} by Eric Lyon. Virginia Tech, Blacksburg, Virginia, USA.\\
\years{2014}\textsc{Taller composición acusmática} (Acousmatic Composition Workshop) by Beatriz Ferreyra. Barcelona.\\
\years{2012}\textsc{Síntesi no estàndard: tècniques, estètiques, extensions} (Non-Standard Synthesis: Techniques, Aesthetics, Extensions) by Luc Döbereiner. Barcelona.\\
\years{2009}\textsc{Taller construeix el teu propi sintetitzador} (Build Your Own Synthesizer Workshop) by Tom Bugs. Barcelona.\\
\years{2008}\textsc{SMC Summer School} by Xavier Serra, Marc Leman, Benjamin Knapp, and the Casa Paganini - InfoMus Lab. Genoa, Italy.\\
\years{2006}\textsc{El món com a instrument} (The world as an instrument) by Francisco López. Barcelona.\\
\years{1998}\textsc{Improvització mètode Cobra} (Cobra Improvisation Method) by Orquestra del Caos. Barcelona.
%\hrule
\section*{Teaching Education}
\noindent
\years{2020}\textsc{Research Supervision}. Instructors: Sally Ruane (module 1), Deborah Cartmell (module 2), Meera Warrier (module 3). DMU. Leicester, UK.\\
\years{2018--2019}\textsc{Learning and Teaching in Higher Education} (with certificate). Instructors: Emma Kennedy (module 1), Alison Gilmour (module 2), Maren Thom (module 2). QMUL. London.\\
\years{2018}\textsc{Women into Leadership}. Instructor: Lorraine Smith. QMUL. London.\\
\years{2017}\textsc{Communication Skills for Teaching for International Faculty, Postdocs, and Visiting Scholars} (with certificate). Instructor: Katherine Samford. Georgia Institute of Technology (Georgia Tech). Atlanta, GA, USA.
%%\hrule
\section*{Employment}
\noindent
\years{01/2024--present}\textsc{Senior Lecturer in Sound and Music Computing}. C4DM, School of Electronic Engineering and Computer Science, QMUL. \\
\years{01/2020--12/2023}\textsc{Senior Lecturer in Music and Audio Technology}. Leicester Media School, Faculty of Computing, Engineering and Media, DMU. \\
\years{08/2018--12/2019}\textsc{Associate Professor in Music Technology}. Department of Music, Norwegian University of Science and Technology (NTNU). \\
\years{08/2018--01/2019}\textsc{Visiting Lecturer}. C4DM, School of Electronic Engineering and Computer Science (EECS), QMUL. \\
\years{10/2017--07/2018}\textsc{Postdoctoral Research Assistant}. C4DM, School of EECS, QMUL. \\
\years{07/2015--09/2017}\textsc{Postdoctoral Fellow}. Center for Music Technology (GTCMT) | Digital Media Program, Georgia Tech. \\
\years{08/2013--09/2014}\textsc{Research Fellow}. London Knowledge Lab, University College London (UCL) Institute of Education. London. \\
%{\small Qualitative data collection and analysis (6 sites), development of research tools and processes, dissemination activities and paper writing of results.}\\
\years{02/2004--06/2010}\textsc{Co-Founder, Project Manager, Web Designer \& Web Developer}. Nodular Soft. Barcelona. \\
%{\small Freelance studio focused on user-centric software and AV communication, development of community websites using several CMS, development of AV programs under specific needs, and usability consultancy.} \\
\years{01/2008--07/2009}\textsc{Web Designer \& Web Developer Project Officer}. Music Technology Group, UPF. Barcelona. \\
%{\small Web design and web development of the web 2.0 Sons de Barcelona (barcelona.freesound.org). Web design of the corporate portal of the research group MTG (mtg.upf.edu). Graphic design of the corporate brochure of the MTG (courses 2008--2009 and 2009--2010).}\\
\years{11/2007--06/2009}\textsc{Web Designer \& Web Developer Project Officer}. Uaalah!!. Barcelona. \\
%{\small Design and programming of a self-manageable interactive catalogue for CD-ROM about Bürkert products. Flash programming of the online tea shop of Sans \& Sans (sansisans-finetea.com).}\\
\years{08/2005--09/2006}\textsc{Web Designer \& Motion Graphic Designer}. CCRTVi | TV3 Interactiva. Sant Just Desvern, Barcelona. \\
%{\small Web interface design of different portals of the Catalan TV corporation (tv3.cat, catradio.cat, ritmes.net, among others). Web interface design of the sitcom Lo Cartanyà (locartanya.com). Mobile design of the prototype 3alacarta.}\\
\years{05/2001--08/2002}\textsc{Web Designer \& Motion Graphic Designer}. TerraNetworks | UranoFilms. Barcelona. \\
%{\small Web interface design and flash design of AV internet content about electronic music and digital culture.}\\
\years{04/2000--05/2001}\textsc{Web Designer \& Motion Graphic Designer}. MediaPark | ParkNet, Barcelona. %[1.3cm]%hack
%{\small Flash design of animations games for the Internet soccer portal futvol.com.} \\[1.1cm]
%\hrule
\section*{Honors \& Awards}
%\noindent
\subsection*{Academic Grants, Honors, Awards \& Accolades}
\years{10/2022--11/2022} \textsc{Research sabbatical}. DMU, Leicester, UK.\\
\years{10/2021--06/2022} \textsc{Future Research Leaders (FRL) 8 Programme} accolade. DMU, Leicester, UK.\\
\years{2019c} \textsc{Web Audio Conference 2019 Best Paper Award} to Anna Xambó, Robin Støckert, Alexander Refsum Jensenius and Sigurd Saue. NTNU, Trondheim, Norway.\\
\years{2019b} \textsc{The EUNIS DØRUP E-Learning Award} to Robin Støckert, Alexander Refsum Jensenius, Anna Xambó and Øyvind Brandtsegg. NTNU, Trondheim, Norway.\\
%\years{2019a} \textsc{Travel grant for European research and promotion} (30,000 kr, approx. 3,000 \euro). NTNU, Trondheim, Norway.\\
%\years{2018--2019} \textsc{3-year Startup Grant (Startpakke)} (250,000 kr, approx. 25,000 \euro), awarded to women in permanent academic positions in a scientific field with underrepresentation of women. NTNU, Trondheim, Norway.\\
\years{2017} NCWIT Engagement Excellence Award (\$5,000 cash award) to Greg Hendler, Léa Ikkache, Brandon Westergaard, Anna Xambó, Doug Edwards, Brian Magerko, and Jason Freeman (Earsketch), Georgia Tech.\\
\years{2016}\textsc{Women in Music Information Retrieval (WiMIR) grant}, awarded a conference fee waiver to attend the ISMIR 2016 conference. New York University (NYU), New York.\\
\years{10/2010--07/2013}\textsc{3-year Fully-Funded Full-Time OU PhD scholarship}. OU, Milton Keynes, UK.\\
\years{03/2010--06/2010}\textsc{4-month Fully-Funded OU Visiting Research Studentship}. OU, Milton Keynes, UK.
\subsection*{Artistic Honors \& Awards}
\years{05/2004}\textsc{First prize award Minima Festival}. Gandía, Spain. \\
Category: Experimental Video. \\
Project: ``Cosmogonias". \\
Role: Creator \& Director.
%\hrule
\section*{Grants \& Funding}
%\noindent
\subsection*{Principal Investigator}
\years{09/2023--08/2025}\textsc{AHRC Early Career Research Grant (AH/X011585/1, AH/X011585/2)} \\
Funding body: AHRC. \\
Project: "Sensing the Forest - Let the Forest Speak using the Internet of Things, Acoustic Ecology and Creative AI".\\
Role: PI. \\
Partners: C4DM, QMUL; Music, Technology and Innovation - Institute for Sonic Creativity (MTI$^2$), De Montfort University (DMU); Forest Research; Forestry England. \\
%Collaborators: .\\
Total Pound Amount: \pounds250,000 \\
\years{05/2022--06/2022}\textsc{Living in a Digital Society - Spotlight Funding Round 2} \\
Funding body: DMU. \\
Project: Development fund for research grant preparation.\\
Role: Lead Researcher/Coordinator. \\
Total Pound Amount: \pounds2,720 \\
\years{11/2021--06/2022}\textsc{Future Research Leaders 8 -- Development fund} \\
Funding body: DMU. \\
Project: Development fund that is part of the FRL Programme.\\
Role: Lead Researcher/Coordinator. \\
Total Pound Amount: \pounds1,000 \\
\years{04/2020-10/2021}\textsc{Human Data Interaction Network Plus/EPSRC Grant (EP/R045178/1)} \\
Funding body: EPSRC. \\
Project: ``MIRLCAuto: A Virtual Agent for Music Information Retrieval in Live Coding''.\\
Role: PI. \\
Partners: (MTI$^2$), DMU; Leicester Hackspace; IKLECTIK; Phonos; l’ull cec. \\
Collaborators: TOPLAP Barcelona, FluCoMa, Freesound.\\
Total Pound Amount: \pounds10,000 \\%[.2cm]
\years{08/2018-12/2019}\textsc{Start-up Package (Startpakke)} \\
Funding body: NTNU. \\
The start-up package is awarded to women in permanent academic positions to help them start their academic careers within a scientific field that has an underrepresentation of women. With part of this funding, I co-founded and was chair of the organisation Women Nordic in Music Technology (\emph{WoNoMute}) (see Entrepreneurship). \\
Role: PI. \\
Total Norwegian Krone Amount: kr250,000, approx. \euro25,000 \\
\years{11/2003-10/2004}\textsc{Teaching innovation project grant} \\
Funding body: Fundació Caixa de Sabadell. \\
Project: ``Crossmedia infantil: Estudio sobre las nuevas tecnologías y la comunicación audiovisual en la escuela infantil y primaria (Crossmedia for Children: New Technologies and Audiovisual Communication in Primary Education).''\\
Role: PI. \\
Collaborators: Eladi Martos (Co-PI), UB. \\
Total Euro Amount: \euro3,000
%Candidate’s Share: 50\% (1,500 \euro)
\subsection*{Collaborator}
\years{09/2016-08/2020}\textsc{Advancing Informal STEM Learning Grant} \\
Funding body: National Science Foundation (NSF). \\
Project: ``Collaborative Research: Mixing Learning Experiences for Computer Programming Across Museums, Classrooms, and the Home Using Computational Music''. Award Number: 1612644. \\
Organization: Georgia Tech Research Corporation. \\
Role: Postdoctoral Fellow and Co-Writer of the grant proposal. \\
Collaborators: Brian Magerko (PI), Jason Freeman (Co-PI), Mike Horn (Co-PI).\\
Total Dollar Amount: \$2,517,690.00
\subsection*{Fundraiser}
\years{2019b}\textsc{Web Audio Conference 2019} \\
Role: Conference chair. \\
Total Fundraised Norwegian Krone Amount: kr120,000 (approx. \euro12,000)\\[.1cm]
\years{2019a}\textsc{Internal funding for a COST application} \\
Role: Project leader. \\
Travel grant for European research and promotion.\\
Total Fundraised Norwegian Krone Amount: kr30,000 (approx. \euro3,000)\\[.1cm]
\years{2017--2018}\textsc{Female Laptop Orchestra + WoNoMute +YSWN + Sonora: seminar and concert at SARC} \\
Role: Co-organizer and participant of the event. \\
Total Fundraised British Pound Amount: \pounds2,000 \\[.1cm]
\years{05/2016--05/2017}\textsc{Women in Music Tech} \\
Role: Co-Founder \& Co-Chair of the organization. \\
Total Fundraised Dollar Amount: \$11,450
%\years{08/2016--05/2017}\emph{2016-2017 Academic Year}\\
%Funding body: School of Music, Georgia Tech. \\
%Total Dollar Amount: \$2,500\\[.1cm]
%\years{08/2016--11/2016}\emph{Fall 2016 Concert Event}\\
%Funding body: College of Design, Georgia Tech. \\
%Total Dollar Amount: \$2,000\\[.1cm]
%Funding body: ADVANCE program, Georgia Tech. \\
%Total Dollar Amount: \$1,000\\[.1cm]
%Funding body: Women's Resource Center, Georgia Tech. \\
%Total Dollar Amount: \$250\\[.1cm]
%\years{01/2017--05/2017}\emph{Spring 2017 Actions}\\
%Funding body: School of Music, Georgia Tech. \\
%Total Dollar Amount: \$2,400\\[.1cm]
%Funding body: College of Design Council Diversity, Georgia Tech. \\
%Total Dollar Amount: \$1,500\\[.1cm]
%Funding body: ADVANCE Program, Georgia Tech. \\
%Total Dollar Amount: \$1,000\\[.1cm]
%Funding body: Women's Resource Center, Georgia Tech. \\
%Total Dollar Amount: \$500\\[.1cm]
%Funding body: Digital Media Program, School of Literature, Media, and Communication, Georgia Tech. \\
%Total Dollar Amount: \$300
\subsection*{Creator | Director}
\years{09/2001--08/2002}\textsc{Audiovisual production grant} \\
Funding body: Departament de Cultura de la Generalitat de Catalunya (Department of Culture of Catalan Government).\\
Project: ``Transdata Pr.''. \\
Role: Creator, Director \& Video Editor.\\
Collaborators: Gerard Roma (music), Oscar Abril Ascaso (essay). \\
Total Euro Amount: \euro3,000\\
%Candidate’s Share: 50\% (1,500 \euro)\\[0.5cm]%hack
\years{09/1998--08/1999}\textsc{Audiovisual production grant} \\
Funding body: Departament de Cultura de la Generalitat de Catalunya (Department of Culture of Catalan Government).\\
Project: ``Mitösömä''. \\
Role: Creator, Director \& Animation Editor.\\
Collaborators: Gerard Roma (music). \\
Total Euro Amount: \euro3,000
%Candidate’s Share: 50\% (1,500 \euro)
\section*{Research Profiles}
\noindent
\textbullet \- \href{http://open.academia.edu/AnnaXambo}{Academia.edu}\\
%\textbullet \- \href{https://app.cristin.no/persons/show.jsf?id=997893}{CRISTIN (Current Research Information System in Norway)}\\
\textbullet \- \href{https://dora.dmu.ac.uk/browse?type=author&value=Xambo,\%20Anna}{DORA (De Montfort Open Research Archive)}\\
\textbullet \- \href{https://scholar.google.com/citations?user=yi3WXM8AAAAJ}{Google Scholar}\\
\textbullet \- \href{http://oro.open.ac.uk/view/person/ax22.html}{Open Research Online}\\
\textbullet \- \href{https://orcid.org/0000-0003-2333-6941}{ORCID}\\
\textbullet \- \href{http://www.researchgate.net/profile/Anna_Xambo}{ResearchGate}\\
\textbullet \- \href{https://www.scopus.com/authid/detail.uri?authorId=36642886000}{SCOPUS}\\
\textbullet \- \href{https://www.semanticscholar.org/author/Anna-Xamb\%C3\%B3/1915531}{Semantic Scholar}\\
\textbullet \- \href{https://publons.com/researcher/3980818/anna-xambo}{Web of Science}
%[1.2cm]%hack
\section*{Publications}
%\noindent
\subsection*{Peer-Reviewed Books / Edited Books, Journal Special Issues, and Proceedings}
\noindent
\years{2023}\textbf{Xambó, A.}, Roma, G., Magnusson, T. (eds.) (2023). Live Coding Sonic Creativities (special issue). \emph{Organised Sound}, 28(2).\\
\years{2020b}\textbf{Xambó, A.}, Martín, S. R., Roma, G. (eds.) (2020). JAES Special Issue on Web Audio. \emph{Journal of Audio Engineering Society}, 68(10).\\
\years{2020a}\textbf{Xambó, A.}, Martín, S. R., Roma, G. (eds.) (2019). \emph{Proceedings of the International Web Audio Conference}. NTNU. ISSN: 2663-5844.\\
\years{2019}Queiroz, M. \textbf{Xambó, A.} (eds.) (2019). \emph{Proceedings of the International Conference on New Interfaces for Musical Expression}. UFRGS. ISSN 2220-4806.\\
\years{2004}\textbf{Xambó, A.} (2004). \emph{Herramientas De Diseño Digital / Digital Design Tools}. Madrid: Anaya-Multimedia. Editor: Eugenio Tuya Feijoo. ISBN 8441516979.
\subsection*{Peer-Reviewed Book Chapters}
\noindent
\years{2020}Støckert, R., Bergsland, A., \textbf{Xambó, A.} (2020). “The Notion of Presence in a Telematic Cross-Disciplinary Program for Music, Communication and Technology". In Eiksund, Ø. J., Angelo, E., Knigge, J. eds. Music Technology in Education -- Channeling and Challenging Perspectives. Cappelen Damm Akademisk, Oslo. pp. 77--101.\\
\years{2019}\textbf{Xambó, A.}, Font, F., Fazekas, G., Barthet, M. (2019). “Leveraging Online Audio Commons Content For Media Production". In Michael Filimowicz ed. Foundations in Sound Design for Linear Media: An Interdisciplinary Approach. Routledge. pp. 248-282. ISBN 9781138093966.\\
\years{2016}\textbf{Xambó, A.} (2017), “Embodied Music Interaction: Creative Design Synergies Between Music Performance and HCI". In Price, S. and Broadhurst, S. eds. Digital Bodies: Creativity and Technology in the Arts and Humanities. Palgrave Macmillan, London. pp. 207--220. ISBN 9781349952410.\\
\years{2013}\textbf{Xambó, A.}, Laney, R., Dobbyn, C., Jordà, S. (2013). “Video Analysis for Evaluating Music Interaction: Musical Tabletops". In Holland, S., Wilkie, K., Mulholland, P. and Seago, A. eds. Music and Human-Computer Interaction. Springer, London. pp. 241--258. ISBN 9781447129905.
\subsection*{Peer-Reviewed Journal Articles}
\noindent
\years{2024}Jawad, K., \textbf{Xambó, A.} (2024). Feminist HCI and Narratives of Design Semantics in DIY Music Hardware. \emph{Frontiers in Communication}, 8:1345124.\\
\years{2023}\textbf{Xambó, A.} (2023). Discovering Creative Commons Sounds in Live Coding. \emph{Organised Sound}, 28(2): 276--289.\\
{\years{2022}\textbf{Xambó, A.} (2022) ``Virtual Agents in Live Coding: A Review of past, present and future directions''. \emph{e-Contact!}, 21.1. Online journal.\\
{\years{2021}Roma, G., \textbf{Xambó, A.}, Green, O., Tremblay, P.A. (2021) ``A General Framework for Visualization of Sound Collections in Musical Interfaces''. \emph{Applied Sciences}. 11(24):11926.\\
{\years{2020}\textbf{Xambó, A.}, Støckert, R., Jensenius, A.R. and Saue, S. ``Learning to Code Through Web Audio: A Team-Based Learning Approach''. \emph{Journal of Audio Engineering Society}, 68(10), pp. 727--737. \emph{Special Issue on Web Audio}.}\\
\years{2019}\textbf{Xambó, A.}, Lerch, A., Freeman, J. “Music Information Retrieval in Live Coding: A Theoretical Framework". \emph{Computer Music Journal}, 42(4), Winter 2018, pp. 9--25.\\
\years{2018b}Roma, G. and \textbf{Xambó, A.}, Freeman, J. (2018). “User-independent Accelerometer Gesture Recognition for Participatory Mobile Music". \emph{Journal of Audio Engineering Society}, 66(6), pp. 430--438.\\
\years{2018a}\textbf{Xambó, A.}, Roma, G., Shah, P., Tsuchiya, T., Freeman, J., Magerko, B. (2018). “Turn-taking and Online Chatting in Co-located and Remote Collaborative Music Live Coding". \emph{Journal of Audio Engineering Society}, 66(4), pp. 253--256.\\
\years{2017c}\textbf{Xambó, A.}, Hornecker, E., Marshall, P., Jordà, S., Dobbyn, C., Laney, R. (2017). “Exploring Social Interaction with a Tangible Music Interface". \emph{Interacting with Computers}, 29(2), pp. 248--270.\\
\years{2017b}Jewitt, C., Price, S., \textbf{Xambó, A.} (2017). “Conceptualising and Researching the Body in Digital Contexts: Towards New Methodological Conversations Across the Arts and Social Sciences". \emph{Qualitative Research}, 17(1), pp. 37--53.\\
\years{2017a}Jewitt, C., \textbf{Xambó, A.}, Price, S. (2017). “Exploring Methodological Innovation in the Social Sciences: The Body in Digital Environments and the Arts". \emph{International Journal of Social Research Methodology}, 20(1), pp. 105--120.\\
\years{2013b}\textbf{Xambó, A.}, Hornecker, E., Marshall, P., Jordà, S., Dobbyn, C., Laney, R. (2013). “Let's Jam the Reactable: Peer Learning during Musical Improvisation with a Tabletop Tangible Interface". \emph{ACM Transactions on Computer-Human Interaction}, 20(6), pp. 36:1--36:34.\\
\years{2013a}Bogdanov, D., Haro, M., Fuhrmann, F., \textbf{Xambó, A.}, Gómez, E., Herrera, P. (2013). “Semantic Audio Content-based Music Recommendation and Visualization based on User Preference Examples". \emph{Information Processing \& Management}, 49(1), pp. 13--33.%\\[1.2cm]%hack
\subsection*{Peer-Reviewed Conference Papers}
\noindent
\years{2024} Zheng, S., Del Sette, B.M., Saitis, C., \textbf{Xambó, A.}, Bryan-Kinns, N. (2024) ``Building Sketch-to-Sound Mapping with Unsupervised Feature Extraction and Interactive Machine Learning''. \emph{Proceedings of the New Interfaces for Musical Expression (NIME '24)}. Utrecht, The Netherlands.\\
{\years{2023}Champlin, A., Chicau, J., Corfiel, M., Knotts, S., Marie, M., Saladino, I., \textbf{Xambó, A.} (2023) ``LivecoderA Community Report'' (Community Report Paper). \emph{Proceedings of the International Conference of Live Coding (ICLC 2023)}. Utrecht, The Netherlands.}\\
{\years{2022}\textbf{Xambó, A.}, Goudarzi, V. (2022) ``The Mobile Audience as a Digital Musical Persona in Telematic Performance''. \emph{Proceedings of the New Interfaces for Musical Expression (NIME '22)}. Waipapa Taumata Rau, Aotearoa / The University of Auckland, New Zealand.}\\
{\years{2021}\textbf{Xambó, A.}, Roma, G., Roig, S., Solaz, E. (2021) ``Live Coding with the Cloud and a Virtual Agent''. \emph{Proceedings of the New Interfaces for Musical Expression (NIME '21)}. Shanghai, China.}\\
{\years{2020b}\textbf{Xambó, A.}, Roma, G. (2020) ``Performing Audiences: Composition Strategies for Network Music using Mobile Phones''. \emph{Proceedings of the New Interfaces for Musical Expression (NIME '20)}. Birmingham, UK. pp. 55--60.}\\
\years{2020a}Jawad, K., \textbf{Xambó, A.} (2020) ``How to Talk of Music Technology: An Interview Analysis Study of Live Interfaces for Music Performance among Expert Women''. In \emph{Proceedings of the International Conference on Live Interfaces (ICLI 2020)}. Trondheim, Norway. pp. 41--47.\\
\years{2019b}\textbf{Xambó, A.}, Støckert, R., Jensenius, A.R. and Saue, S. (2019) ``Facilitating Team-Based Programming Learning with Web Audio''. In \emph{Proceedings of the Web Audio Conference 2019 (WAC '19)}. Trondheim, Norway. pp. 2--7. \emph{Best Paper Award}.\\
\years{2019a}\textbf{Xambó, A.}, Saue, S., Jensenius, A.R., Støckert, R., Brandtsegg, Ø. (2019) "NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing". In \emph{Proceedings of the New Interfaces for Musical Expression (NIME ’19)}. Porto Alegre, Brazil. pp. 216–221.\\
\years{2018f}Roma, G., \textbf{Xambó, A.}, Green, O., Tremblay, P.A. (2018) "A Javascript Library for Flexible Visualization of Audio Descriptors". In \emph{Proceedings of the Web Audio Conference (WAC '18)}. Berlin, Germany.\\
\years{2018e}Pauwels, J., \textbf{Xambó, A.}, Roma, G., Barthet, M. Fazekas, G. (2018) "Exploring Real-time Visualisations to Support Chord Learning with a Large Music Collection". In \emph{Proceedings of the Web Audio Conference (WAC '18)}. Berlin, Germany.\\
\years{2018d}\textbf{Xambó, A.}, Pauwels, J., Roma, G., Barthet, M. Fazekas, G. (2018) "Jam with Jamendo: Querying a Large Music Collection by Chords from a Learner’s Perspective". In \emph{Proceedings of Audio Mostly 2018: Sound in Immersion and Emotion (AM '18)}. Wrexham, United Kingdom. \\
\years{2018c}\textbf{Xambó, A.} (2018) “Who Are the Women Authors in NIME?---Improving Gender Balance in NIME Research". In \emph{Proceedings of the New Interfaces for Musical Expression (NIME '18)}. Blacksburg, Virginia, USA. pp. 174--177.\\
\years{2018b}\textbf{Xambó, A.}, Roma, G., Lerch, A., Barthet, M., Fakekas, G. (2018) “Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases". In \emph{Proceedings of the New Interfaces for Musical Expression (NIME '18)}. Blacksburg, Virginia, USA. pp. 364--369.\\
\years{2018a}Weisling, A., \textbf{Xambó, A.}, Olowe, I., Barthet, M. (2018) “Surveying the Compositional and Performance Practices of Audiovisual Practitioners". In \emph{Proceedings of the New Interfaces for Musical Expression (NIME '18)}. Blacksburg, Virginia, USA. pp. 344--345.\\
\years{2017d}\textbf{Xambó, A.}, Shah, P., Roma, G., Freeman, J., Magerko, B. (2017) “Turn-taking and Chatting in Collaborative Music Live Coding". \emph{Nominee for Best Paper Award}. In \emph{Proceedings of the Audio Mostly Conference (AM '17)}. London.\\
\years{2017c}Roma, G., \textbf{Xambó, A.}, Freeman, J. (2017) “Handwaving: Gesture Recognition for Participatory Mobile Music". In \emph{Proceedings of the Audio Mostly Conference (AM '17)}. London.\\
\years{2017b}Roma, G., \textbf{Xambó, A.}, Freeman, J. (2017) “Loop-aware Audio Recording for the Web". In \emph{Proceedings of the Web Audio Conference 2017 (WAC '17)}. London.\\
\years{2017a}\textbf{Xambó, A.}, Drozda, B., Weisling, A., Magerko, B., Huet, M., Gasque, T., Freeman, J. (2017) Experience and Ownership with a Tangible Computational Music Installation for Informal Learning. In \emph{Proceedings of the Tangible, Embedded, and Embodied Interaction Conference (TEI '17)}. Yokohama, Japan. pp. 351--360.\\
\years{2016c} Moore, R., Edwards, D., Freeman, J., Magerko, B., McKlin, T., \textbf{Xambó, A.} (2016). “EarSketch: An Authentic, STEAM-Based Approach to Computing Education". In \emph{Proceedings of the 2016 American Society for Engineering Education Annual Conference \& Expo}. New Orleans, Louisiana.\\
\years{2016b}Freeman, J., Magerko, B., Edwards, D., Miller, M., Moore, R., \textbf{Xambó, A.} (2016). “Using EarSketch to Broaden Participation in Computing and Music". In \emph{Proceedings of the 13th Sound and Music Computing Conference (SMC 2016)}. Hamburg, Germany. pp. 156--163.\\
\years{2016a}\textbf{Xambó, A.}, Freeman, J., Magerko, B., Shah, P. (2016). “Challenges and New Directions for Collaborative Live Coding in the Classroom". In \emph{Proceedings of the International Conference on Live Interfaces (ICLI 2016)}. Brighton, UK. pp. 65--73.\\
\years{2014}\textbf{Xambó, A.}, Roma, G., Laney, R., Dobbyn, C. and Jordà, S. (2014). “SoundXY4: Supporting Tabletop Collaboration and Awareness with Ambisonics Spatialisation". In \emph{Proceedings of the International Conference on New Interfaces for Musical Expression 2014 (NIME '14)}. London. pp. 249--252.\\
\years{2013}Bogdanov, D., Haro, M., Fuhrmann, F., \textbf{Xambó, A.}, Gómez, E. and Herrera, P. (2013). “A Content-based System for Music Recommendation and Visualization of User Preferences Working on Semantic Notions". In \emph{IEEE 9th International Workshop on Content-Based Multimedia Indexing (CBMI '13)}. Madrid. pp. 249--252.\\
\years{2012}Roma, G., \textbf{Xambó, A.}, Herrera, P. and Laney, R. (2012). “Factors in human recognition of timbre lexicons generated by data clustering". In \emph{Proceedings of the 9th Sound and Music Computing Conference (SMC 2012)}. Copenhagen, Denmark. pp. 23--30.\\
\years{2011c}\textbf{Xambó, A.}, Laney, R., Dobbyn, C. and Jordà, S. (2011). “Multi-touch Interaction Principles for Collaborative Real-time Music Activities: Towards a Pattern Language". In \emph{Proceedings of the International Computer Music Conference (ICMC '11)}. Huddersfield, UK. pp. 403--406.\\
\years{2011b}\textbf{Xambó, A.}, Laney, R. and Dobbyn, C. (2011). “TOUCHtr4ck: Democratic Collaborative Music". In \emph{Proceedings of the Tangible, Embedded, and Embodied Interaction Conference (TEI '11)}. Funchal, Madeira. pp. 309--312.\\
\years{2011a}Milne, A. J., \textbf{Xambó, A.}, Laney, R., Sharp, D. B., Prechtl, A. and Holland, S. (2011). “Hex Player — A Virtual Musical Controller". In \emph{Proceedings of the International Conference on New Interfaces for Musical Expression (NIME '11)}. Oslo, Norway. pp. 244--247.\\
\years{2010b}Laney, R., Dobbyn, C., \textbf{Xambó, A.}, Schirosa, M., Miell, D., Littleton, K. and Dalton, N. (2010). “Issues and Techniques for Collaborative Music Making on Multi-touch Surfaces". In \emph{Proceedings of the 7th Sound and Music Computing Conference (SMC 2010)}. Barcelona. pp. 146–153.\\
\years{2010a}Haro, M., \textbf{Xambó, A.}, Fuhrmann, F., Bogdanov, D., Gómez, E. and Herrera, P. (2010). “The Musical Avatar: A Visualization of Musical Preferences by means of Audio Content Description". In \emph{Proceedings of the 5th Audio Mostly Conference (AM '10)}. Piteå, Sweden.\\
\years{2008}Roma, G. and \textbf{Xambó, A.} (2008). “A Tabletop Waveform Editor for Live Performance". In \emph{Proceedings of the International Conference on New Interfaces for Musical Expression (NIME '08)}. Genoa, Italy.
\subsection*{Peer-Reviewed Abstracts with Proceedings}
\noindent
\years{2022b}Roma, G., \textbf{Xambó, A.} (2022). ``shreds''. In \emph{Proceedings of the Web Audio Conference 2022 (WAC '22)}. Cannes, France.\\
\years{2022a}Goudarzi, V., \textbf{Xambó, A.} (2022). ``Ear to Waipapa Taumata Rau''. In \emph{Proceedings of the New Interfaces for Musical Expression (NIME '22)}. Waipapa Taumata Rau, Aotearoa / The University of Auckland, New Zealand.\\
\years{2021b}\textbf{Xambó, A.} (2021). ``Live Coding with Crowdsourced Sounds and A Virtual Agent Companion''. In \emph{Proceedings of the Web Audio Conference 2021 (WAC '21)}. Barcelona, Spain.\\
\years{2021a}\textbf{Xambó, A.} (2021). ``A Live Coding Session With the Cloud and a Virtual Agent''. In \emph{Proceedings of the New Interfaces for Musical Expression (NIME '21)}. Shanghai, China.}\\
\years{2019b}Brandtsegg, Ø., \textbf{Xambó, A.}, Engum, T., Bergsland, A., Waadeland, C.H. (2019). ``Trondheim EMP Repository processing''. In \emph{Proceedings of the Web Audio Conference 2019 (WAC '19)}. Trondheim, Norway. pp. 161--162.\\
\years{2019a}Støckert, R., Jensenius, A.R., \textbf{Xambó, A.}, Brandtsegg, Ø. (2019). ``A Case Study in Learning Spaces for Physical-Virtual Two-Campus Interaction''. In \emph{Proceedings of the European University Information Systems (EUNIS)}. \emph{Dørup Award-winning paper}.\\
Brandtsegg, Ø., \textbf{Xambó, A.}, Engum, T., Bergsland, A., Waadeland, C.H. (2019). ``Trondheim EMP Repository processing''. In \emph{Proceedings of the Web Audio Conference 2019 (WAC '19)}. Trondheim, Norway. pp. 161--162.\\
\years{2018b}Skach, S., \textbf{Xambó, A.}, Turchet, L., Stolfi, A., Stewart, B., Barthet, M. (2018). “Embodied Interactions with E-Textiles and the Internet of Sounds for Performing Arts". In \emph{Proceedings of the Twelfth International Conference on Tangible, Embedded, and Embodied Interaction (TEI '18)}. Stockholm, Sweden. pp. 80--87.\\
\years{2018a}Weisling, A., \textbf{Xambó, A.} (2018). “Beacon: Exploring Physicality in Digital Performance". In \emph{Proceedings of the Twelfth International Conference on Tangible, Embedded, and Embodied Interaction (TEI '18)}. Stockholm, Sweden. pp. 586--591.\\
\years{2017a}\textbf{Xambó, A.}, Roma, G. (2017). “Hyperconnected Action Painting". In \emph{Proceedings of the Web Audio Conference 2017 (WAC '17)}. London.\\
\years{2016c}Tsuchiya, T., \textbf{Xambó, A.}, Freeman, J. (2016). “Adapting DAW-driven Musical Language to Live Coding: A Case Study in EarSketch". In \emph{Late-Breaking Demo of the Second International Conference on Live Coding (ICLC '16)}. Hamilton, Canada.\\
\years{2016b}\textbf{Xambó, A.}, Lerch, A., Freeman, J. (2016). “Learning to Code Through MIR". In \emph{Extended Abstracts for the Late-Breaking Demo Session of the 17th International Society for Music Information Retrieval Conference (ISMIR 2016)}. New York.\\
\years{2016a}Roma, G., \textbf{Xambó, A.}, Freeman, J. (2016). “Do the Buzzer Shake". In \emph{Proceedings of the International Conference on Live Interfaces (ICLI 2016)}. Brighton, UK. pp. 315--316.\\
\years{2015}Freeman, J., Magerko, B., Edwards, D., Moore, R., McKlin, T., \textbf{Xambó, A.} (2015). “EarSketch: A STEAM Approach to Broadening Participation in Computer Science Principles". In \emph{Proceedings of the IEEE Research in Equity and Sustained Participation in Engineering, Computing, and Technology (RESPECT '15)}. Charlotte, NC. pp. 109--110.\\
\years{2014}\textbf{Xambó, A.}, Jewitt, C., and Price, S. (2014). “Towards an Integrated Methodological Framework for Understanding Embodiment in HCI". In \emph{Proceedings of the Extended Abstracts on Human Factors in Computing Systems (CHI '14)}. Toronto. pp. 1411--1416.
\subsection*{Position \& Workshop Papers}
\noindent
\years{2024} Zheng, S., \textbf{Xambó, A.}, Bryan-Kinns, N. (2024) ``A Mapping Strategy for Interacting with Latent Audio Synthesis Using Artistic Materials''. 2nd International Workshop on eXplainable AI for the Arts (XAIxArts). ACM Creativity and Cognition Conference. Chicago, IL, US.\\
\years{2020}Fasciani, S., Jensenius, A.R., Støckert, R., \textbf{Xambó, A.} (2020) ``The MCT Portal: An Infrastructure, a Laboratory and a Pedagogical Tool''. Researchers’ Colloquium on Low Latency Streaming in Music Learning and Teaching. Royal Conservatoire of Scotland, Glasgow, UK.\\
\years{2017}\textbf{Xambó, A.}, Roma, G., Shah, P., Freeman, J., Magerko, B. (2017) “Computational Challenges of Co-creation in Collaborative Music Live Coding: An Outline". 2017 Co-Creation Workshop at the International Conference on Computational Creativity. Atlanta, GA, USA.\\
\years{2012}\textbf{Xambó, A.}; Laney, R.; Dobbyn, C. and Jordà, S. (September 11, 2012). “Towards a Taxonomy for Video Analysis on Collaborative Musical Tabletops". In \emph{BCS HCI 2012 Workshop on Video Analysis Techniques for HCI}. Birmingham, UK.\\
\years{2011}\textbf{Xambó, A.}; Laney, R.; Dobbyn, C. and Jordà, S. (July 4, 2011). ``Collaborative Music Interaction on Tabletops: An HCI Approach'''. In \emph{BCS HCI 2011 Workshop on When Words Fail: What can Music Interaction tell us about HCI?}. Newcastle Upon Tyne.
\subsection*{Dissertation}
\noindent
\years{2015}\textbf{Xambó, A.} (2015). ``Tabletop Tangible Interfaces for Music Performance: Design and Evaluation''. PhD thesis. The Open University. Milton Keynes, UK.
\subsection*{Reports \& Working Papers}
\noindent
\years{2008}\textbf{Xambó, A.} (2008). ``Interfaces for Sketching Musical Compositions''. Master thesis. Unpublished. UPF. Barcelona, Spain\\
\years{2004}\textbf{Xambó, A.}, Martos, E. (2004). ``Crossmedia Infantil: Estudi sobre les noves tecnologies i la comunicació audiovisual a l'escola infantil i primària'' (Report of New Technologies and Audiovisual Communication in the Primary Education). Report. Unpublished. Supported by Fundació Caixa de Sabadell. In collaboration with UB. Barcelona, Spain.
\subsection*{Book Reviews \& Endorsements}
\noindent
\years{2022}(July 20, 2022). Book Endorsement of \emph{``The Body in Sound, Music and Performance Studies in Audio and Sonic Arts.'' Edited By Linda O Keeffe, Isabel Nogueira. Focal Press / Routledge.}''\\
\years{2021}(December 22, 2021). ``Book Review: \emph{Thor Magnusson, Sonic Writing: Technologies of Material, Symbolic, and Signal Inscriptions. New York: Bloomsbury Academic, 2019. ISBN: 9781501313851. DOI: https://doi.org/10.5040/9781501313899}''. \emph{Organised Sound}, 26:3, pp. 430–433.
\section*{Talks, Panels \& Oral Presentations}
%\noindent
\subsection*{External}
\noindent
\years{2024e} \textsc{Invited Tutorial} (September 3, 2024). "Tutorial \#1 – Design strategies and techniques to better support collaborative, egalitarian and sustainable musical interfaces". \emph{DAFx 24}. University of Surrey. Guildford, UK.\\
\years{2024d} \textsc{Panel Member} (June 13, 2024). "We are the music makers\dots AI \& Music Forum" (Sonar+D) with Anna Xambó (C4DM-QMUL), Magda Polo (UB EKHO), Rob Clouth, Sergi Jordà (UPF), and Thor Magnusson (Intelligent Instruments Lab). Moderated by Günseli Yalcinkaya (Dazed). Curated by Antònia Folguera (Sonar+D). Powered by S+T+Arts. \emph{AI \& Music Forum}, Sonar Festival, Barcelona, Spain.\\
\years{2024c} \textsc{Invited Talk} (April 24, 2024). "In the search for sound-based music using MIRLCa, a SuperCollider extension for live coding a coral of sounds". \emph{NOTAM SuperCollider Meetup with James Harkins and Anna Xambó}. Online.\\
\years{2024b} \textsc{Panel Member} (April 12, 2024). "The Development and Application of AI in Music" with Dr Anna Xambó Sedó, Dr Geraint A. Wiggins, Dr Oded Ben-Tal and Dr Robin Laney. Moderated by Dr. Sven-Amin Lembke. \emph{Sound of Tomorrow}. Anglia Ruskin University's Helmore Recital Hall, Cambridge, UK.\\
\years{2024a} \textsc{Invited Talk} (January 24, 2024). "Reflections on the use of CC sounds in creative computing". \emph{Research Forum. CeReNeM: Centre for Research in New Music}. University of Huddersfield. Huddersfield, UK.\\
\years{2023e} \textsc{Panel Member (online)} (December 16, 2023). "AI in performance" with Thor Magnusson, Federico Visi, Anna Xambó. Moderated by Norbert Schnell. \emph{AI in Music - Agency, Performance, Production and Perception}. University of Music Trossingen/KISS project, Trossingen, Germany / online.\\
\years{2023d} \textsc{Panel Member (online)} (December 15, 2023). "AI and ethics" with Artemi Gioti, Genoël Von Lilienstern, Gerard Roma, Rujing Stacy Huang, Anna Xambó. Moderated by Norman Müller. \emph{AI in Music - Agency, Performance, Production and Perception}. University of Music Trossingen/KISS project, Trossingen, Germany / online.\\
\years{2023c} \textsc{Keynote Speaker} (November 14, 2023). "From NIME to NISE: Rethinking the design and evaluation of musical interfaces". \emph{Audio Developer Conference 2023 (ADC23)}. London, UK.\\
\years{2023b} \textsc{Invited Talk/Workshop (online)} (June 7, 2023). "About NIMEs, NIMEing and Speculative Futures". \emph{Creative Technologies II}. Creative Technologies Master's Program, Film Universität Babelsberg Konrad Wolf, Potsdam, Germany.\\
\years{2023a} \textsc{Invited Talk/Workshop} (March 3, 2023). "About NIMEs, NIMEing and Speculative Futures". \emph{Introduction to Making Digital Music Instruments
}. LEADD:NG, University of Nottingham, Nottingham, UK.\\
\years{2022g} \textsc{Panel Member (online)} (December 13, 2022). "Music creation" with Rob Clouth (music creator), Marcelo Estrella (lawyer - Across Legal), Antònia Folguera (curator - SONAR), Anna Xambó (researcher and music creator - Institute of Sonic Creativity, DeMontfort University). Moderated by Sergi Jordà and Karma Peiró. \emph{Challenges and Opportunities in Music Tech - Open Debate}. Universitat Pompeu Fabra, Barcelona, Spain / online.\\
\years{2022f} \textsc{Invited Talk/Workshop} (December 8, 2022). "Machine listening and machine learning using MIRLC/a". \emph{Computer Programming for Musicians}. Department of Performing Arts, School of Communication and Creativity, City, University of London, UK.\\
\years{2022e} \textsc{Invited Talk} (November 11, 2022). "HCI meets AI in Live Coding: A Practitioner's Perspective". \emph{Symposium Technoscientific
Practices of Music; New Technologies, Instruments and Agents}. Oodi, Helsinki, Finland. \href{https://vimeo.com/779151561}{[video]}\\
\years{2022d} \textsc{Invited Talk (online)} (October 26, 2022). "Designing networked algorithmic music performances - Creative coding as practice-led research". Computational Music for All, GTCMT, Georgia Tech, Atlanta, GA, USA.\\
\years{2022c} \textsc{Oral Presenter (online)} together with Goudarzi, V. (June 30, 2022). “The Mobile Audience as a Digital Musical Persona in Telematic Performance". \emph{NIME '22}. \emph{Waipapa Taumata Rau, Aotearoa / The University of Auckland}, New Zealand. \href{https://youtu.be/xu5ySfbqYs8}{[video]}\\
\years{2022b} \textsc{Invited Talk (online)} (May 27, 2022). "Betwixt and Between Sound-Based Music and Sound Design". \emph{Sound Design(ed) Futures: new realities, spaces, technologies}. Université Gustave Eiffel, Champs-sur-Marne, France. \href{https://clap.univ-eiffel.fr/channels/#ccaman-journee-detude-internationale-sound-designed-futures-new-realities-spaces-technologies}{[video]}\\
\years{2022a} \textsc{Invited Talk (online)} (April 25, 2022). "Data-Driven Sound-Based Music". Music-data seminar series. \emph{AHRC Datasounds, datasets and datasense: Unboxing the hidden layers between musical data, knowledge and creativity}. The University of York. York, UK. \href{https://youtu.be/8ootXx1csJQ}{[video]}\\
\years{2021h} \textsc{Keynote Speaker (online)} (July 5, 2021). "Grassrouters Music Performance: Past, Present and Future Directions of Grassroots \& Decentralised Organisation Structures for Network Music Performance". \emph{Web Audio Conference 2021 (WAC 2021)}. Barcelona, Spain. \href{https://youtu.be/7SWu3txbg-w}{[video]}\\
\years{2021g} \textsc{Oral Presenter (online)} together with Jawad, K. (June 19, 2021). ``Challenging the Status Quo - WoNoMute". \emph{Féminisme - Musique - Technologie / Rencontre ManiFeste-2021}. Centre Wallonie-Bruxelles, Paris, France. \href{https://youtu.be/jXmNvd9ty_o}{[video]}\\
\years{2021f} \textsc{Oral Presenter (online)} (June 15, 2021). “Live Coding with the Cloud and a Virtual Agent". \emph{NIME '21}.
\emph{NYU Shanghai}, Shanghai, China. \href{https://youtu.be/F4UoH1hRMoU}{[video]}\\
\years{2021e} \textsc{Oral Presenter (online)} (May 21, 2021). “Audience engagement in musical performances through on-site and online networks". \emph{Computer Networks meet Music Instruments}. COSY Colloquium, Faculty of Computer Science, University of Vienna. Vienna, Austria.\\
\years{2021d} \textsc{Panel Member (online)} (May 6, 2021). “Session 3: Musical performance \& education with AI" with Rafael Ramírez (Universitat Pompeu Fabra), George Waddell (Royal College of Music), Anna Xambó (De Montfort University), Luisa Pereira (New York University), Enric Guaus (Escola Superior de Música de Catalunya), Alia Ahmed Morsi (Universitat Pompeu Fabra) and moderated by Sergio Giraldo (Universitat Pompeu Fabra). \emph{ARTIFICIA Festival}. Barcelona, Spain. \href{https://youtu.be/o0arHV4s6Mo}{[video]}\\
\years{2021c} \textsc{Oral Presenter (online)} (April 29, 2021). “Insights Into MIRLCAuto: A Virtual Agent for Music Information Retrieval in Live Coding". \emph{Coding Literacy, Practices and Cultures / Colloquium}. University of Magdeburg, Germany, and Film University KONRAD WOLF in Potsdam Babelsberg, Germany.\\
\years{2021b} \textsc{Panel Member (online)} (April 16, 2021). “MusicLab 6: Human-Machine Improvisation" with Stefania Serafin (Aalborg University), Anna Xambó Sedó (De Montfort University), Nanette Nielsen (RITMO) and the performers, Christian Winther and Dag Erik Knedal Andersen, moderated by Alexander Refsum Jensenius (RITMO). \emph{RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion}. Oslo, Norway. \href{https://youtu.be/yeIRxkm-kSc}{[video]}\\
\years{2021a} \textsc{Oral Presenter (online)} (February 23, 2021). “Live Coding Using Crowdsourced Sounds and a Virtual Agent". \emph{ATLAS Seminar / Colloquium}. University of Colorado Boulder, Boulder, CO, USA.\\
\years{2020c} \textsc{Oral Presenter (online)} (October 6, 2020). “From Tabletop Tangible Interfaces to Virtual Agents in Live Coding: Five Years of Research in Progress". \emph{IUPUI MAT PhD seminar}. Department of Music and Arts Technology, Purdue School of Engineering and Technology, Indiana University--Purdue University Indianapolis, Indianapolis, IN, USA.\\
\years{2020b} \textsc{Oral Presenter (online)} (September 21, 2020). “Virtual Agents in Live Coding: Preliminary Investigations". \emph{Meetup for Women in Arts and Technology}. NOTAM, Oslo, Norway.\\
\years{2020a} \textsc{Keynote Speaker (online)} (June 24, 2020). “Collaborative/Participatory Music Experiences: A Dialogue Between SMC and HCI". \emph{Sound and Music Computing Conference 2020 (SMC 2020)}. Torino, Italy. \href{https://youtu.be/fWqhhdkVO6o}{[video]}\\
\years{2019d} \textsc{Oral Presenter} (December 5, 2019). “Facilitating Team-Based Programming Learning with Web Audio". \emph{WAC '19}.
\emph{NTNU}, Trondheim, Norway.\\
\years{2019c} \textsc{Oral Presenter} (November 22, 2019). “Research as Practice / Practice as Research: Real-time Algorithmic Music Experiences and Women in Music Technology". \emph{NOTAM}, Oslo, Norway.\\
\years{2019b} \textsc{Oral Presenter} together with Jawad, K. and Shrestha, S. (June 20, 2019). “International joint Master's programme in Music, Communication \& Technology: A master for technological humanists". \emph{MA Creative Technologies}. \emph{Filmuniversität Babelsberg Konrad Wolf}, Potsdam, Germany.\\
\years{2019a} \textsc{Oral Presenter} (July 5, 2019). "NIME Prototyping in Teams: A Participatory Approach to Teaching Physical Computing". \emph{NIME '19}. Centro cultural, Universidade Federal do Rio Grande do Sol (UFRGS), Porto Alegre, Brazil.\\
\years{2018j}\textsc{Panel Member}. (November 21, 2018). \emph{Panel: Women in Music Technology around the World} with Nela Brown (FLO), Magdalena Chudy (FLO), Liz Dobson (YSWN), Ada Mathea Hoel (WoNoMute), Léa Ikkache (WiMT), Tuna Pase (FLO), Franziska Schroeder (FLO), Ariane Stolfi, (Sonora) Sonia Wilkie (FLO) and Anna Xambó (WoNoMute, WiMT). Sonic Arts Research Center, Queen's University Belfast. Belfast, Northern Ireland.\\
\years{2018i}\textsc{Panel Member}. (November 15, 2018). \emph{Panel: Future of the Music Industries} with Joe Lyske (chair, MXX), Jesper Skibsby (panelist, WARM), Nick Breen (panelist, Reed Smith) and Anna Xambó (panelist, NTNU). Resonate Music Conference 2018. Barras Art and Design (BAAD), Glasgow, Scotland, UK.\\
\years{2018h}\textsc{Panel Member}. (October 26, 2018). \emph{Panel Session 3: Equality, Diversity, Gender} with Thomas Hilder (chair), Jill Diana Halstead Hjørnevik (panelist), Sunniva Skjøstad Hovde (panelist), Vivian Anette Lagesen (panelist), and Anna Xambó (panelist). Knowing Music -- Musical Knowing: Cross disciplinary dialogue on epistemologies. International Music Research School 2018, NTNU. Dokkhuset, Trondheim, Norway.\\
\years{2018g} \textsc{Oral Presenter} together with Pauwels, J. (September 19, 2018). "Exploring Real-time Visualisations to Support Chord Learning with a Large Music Collection". \emph{WAC '18}. \emph{Technische Universität Berlin}, Berlin, Germany.\\
\years{2018f} \textsc{Oral Presenter} together with Pauwels, J. (September 14, 2018). "Jam with Jamendo: Querying a Large Music Collection by Chords from a Learner’s Perspective". \emph{AM '18}. The \emph{University of Wrexham}, Wrexham, UK.\\
\years{2018e} \textsc{Oral Presenter}. (July 12, 2018). “Audio Commons: Challenges and Opportunities of Using Online Repositories in Music Production and Performance". \emph{Filmuniversität Babelsberg Konrad Wolf}. Potsdam, Germany.\\
\years{2018d}\textsc{Panel Member}. (July 4, 2018) \emph{The Disturbing Discussion about Innovation} with Nicolas d'Alessandro (panelist), Tom Mitchell (panelist), Anna Xambó (panelist), and Matthias Strobel (moderator). Wallifornia MusicTech Hackathon. Liège, Belgium.\\
\years{2018c}\textsc{Panel Member}. (June 6, 2018) \emph{Future, Democratization, and Globalization of NIMEs} with Onyx Ashanti (panelist), Peter Nyboer (panelist), Anna Xambó (panelist), Pamela Z (panelist) and R. Benjamin Knapp (moderator). NIME '18. Moss Arts Center: Anne and Ellen Fife Theatre. Blacksburg, VA, USA.
\years{2018b} \textsc{Oral Presenter}. (June 6, 2018). “Who Are the Women Authors in NIME?---Improving Gender Balance in NIME Research". \emph{NIME '18}. Virginia Tech, Blacksburg, Virginia, USA.\\
\years{2018a} \textsc{Oral Presenter}. (April 21, 2018). “Live Repurposing of Crowdsourced Sounds: Challenges and Opportunities of Using Online Repositories in Music Performance". \emph{Sonorities Symposium, Sonorities Festival}. Queen's University Belfast, Belfast, Northern Ireland.\\
\years{2017} \textsc{Oral Presenter}. (August 24, 2017). “Turn-taking and Chatting in Collaborative Music Live Coding". \emph{AM '17}. London.\\
\years{2016b} \textsc{Oral Presenter}. (July 2, 2016). “Challenges and New Directions for Collaborative Live Coding in the Classroom". \emph{ICLI 2016}. University of Sussex, Brighton, UK.\\
\years{2016a} \textsc{Keynote Speaker}. (April 22, 2016). “Anna Xambó and Liz Dobson in Conversation". \emph{Women in Sound Women on Sound 2016: Educating girls in sound}, University of Lancaster. Lancaster, UK.\\
\years{2015} \textsc{Lightning Talk Speaker}. (August 14, 2015). “EarSketch: A STEAM Approach to Broadening Participation in Computer Science Principles". \emph{RESPECT 2015}. Charlotte, NC. USA.\\
\years{2014b} \textsc{Oral Presenter}. (July 1, 2014). “SoundXY4: Supporting Tabletop Collaboration and Awareness with Ambisonics Spatialisation". \emph{NIME '14}. Goldsmiths University, London.\\
\years{2014a} \textsc{Oral Presenter}. (April 30, 2014). “Let's Jam the Reactable: Peer Learning during Musical Improvisation with a Tabletop Tangible Interface". \emph{CHI '14}. Toronto, ON, Canada.\\
\years{2013} \textsc{Oral Presenter}. (November 11, 2013). “Tabletop Tangible Interfaces for Music Performance and Implications for Tabletop Research". \emph{School of Computing}, University of Kent. Kent, UK.\\
\years{2011b} \textsc{Oral Presenter}. (August 2, 2011). “Multi-touch Interaction Principles for Collaborative Real-time Music Activities: Towards a Pattern Language". \emph{ICMC '11}. University of Huddersfield. Huddersfield, UK.\\
\years{2011a} \textsc{Oral Presenter}. (July 4, 2011). “Collaborative Music Interaction on Tabletops: An HCI Approach". \emph{BCS HCI 2011 Workshop on When Words Fail: What can Music Interaction tell us about HCI?}. Newcastle Upon Tyne, UK.\\
\years{2010} \textsc{Oral Presenter}. (July 23, 2010). “Issues and Techniques for Collaborative Music Making on Multi-touch Surfaces". \emph{SMC '10}. Universitat Pompeu Fabra, Barcelona.\\
\years{2008c} \textsc{Panel Member} together with Alsina, A., Ferrete, J. and Roma, G. (October 31, 2008). “Freesound, Sons de Barcelona y Freesound Radio: Proyectos colaborativos alrededor del sonido" (Freesound, Sons de Barcelona \& Freesound Radio: Collaborative Projects around sound). \emph{IV Cicle de Converses d'Antropologia Sonora}, Institució Milá i Fontanals (CSIC). Barcelona.\\
\years{2008b} \textsc{Panel Member} together with Alsina, A., Ferrete, J. and Roma, G. (2008). “Freesound.org, Freesound Radio i Sons de Barcelona" (Freesound.org, Freesound Radio \& Sons de Barcelona"). \emph{Facultat de Belles Arts (Faculty of Fine Arts)}, Universitat de Barcelona. Barcelona.\\
\years{2008a} \textsc{Panel Member} together with Alsina, A., de Jong, B., Loscos, A. and Roma, G. (September 27, 2008). “Influencia de la tecnología en la evolución de la música y la industria" (Influence of the technology in the evolution of music and industry). \emph{NetAudio}, CCCB. Barcelona. \href{https://www.youtube.com/watch?v=6JlCCvYXrHY}{[video]}\\
\years{2007}\textsc{Oral Presenter} together with Roma, G. (September 20, 2007). “A Sound Editor with a Tangible Interface". \emph{SCSymposium(2007)}, DCM, The Hague, The Netherlands.
\subsection*{Own Institution}
\noindent
\years{2024} \textsc{Oral Presenter}. (March 13, 2024). “Collaborative, Participatory and Practice-based Research Methods for Sound and Music Computing". \emph{CogSci seminar}. Queen Mary University of London. London, UK.\\
\years{2024} \textsc{Oral Presenter}. (February 22, 2024). “Sound and Music Computing Goes Wild: From Communities to Ecosystems". \emph{AIM Forum}. Centre for Digital Music. Queen Mary University of London. London, UK.\\
\years{2023b} \textsc{Panel Member} together with Adewole, F., Ferril, S., Kasumovic, M. (November 29, 2023). “Practice Research Roundtable Discussion". Online panel discussion moderated by Alissa Clarke and Rosie Garton. DMU, Leicester, UK.\\
\years{2023a} \textsc{Oral Presenter} together with Batchelor, P. (November 29, 2023). “The Sensing the Forest project". \emph{IOCT5007 Research Methods for Creative Projects}. DMU, Leicester, UK.\\
\years{2022b} \textsc{Oral Presenter}. (December 7, 2022). “Music performance with crowdsourced sounds: collaboration by chance". \emph{MUST5001 Aesthetics and Ideas in the Sonic Arts}. DMU, Leicester, UK.\\
\years{2022a} \textsc{Oral Presenter}. (June 8, 2022). “Future Research Leaders 2022 Showcase". DMU, Leicester, UK.\\
\years{2021} \textsc{Oral Presenter}. (November 10, 2021). “Music performance with crowdsourced sounds: collaboration by chance". \emph{MUST5001 Aesthetics and Ideas in the Sonic Arts}. DMU, Leicester, UK.\\
\years{2020} \textsc{Oral Presenter}. (November 25, 2020). “Music performance with crowdsourced sounds: collaboration by chance". \emph{MUST5001 Aesthetics and Ideas in the Sonic Arts}. DMU, Leicester, UK.\\
\years{2019c} \textsc{Oral Presenter} together with Jensenius, A., Jawad, K. and Aandahl, E. (May 23, 2019). “International joint Master's programme in Music, Communication \& Technology". \emph{Instituttseminar for sosiologi og statsvitenskap}. NTNU Department of Sociology and Political Science, Rockheim, Trondheim, Norway.\\
\years{2019b} \textsc{Oral Presenter}. (March 25, 2019). “Summary of my research and teaching 2018-2019". \emph{Faglig Forum}. Music Technology, NTNU, Trondheim, Norway.\\
\years{2019a} \textsc{Oral Presenter} together with Jawad, K. and Lesteberg, M. (January 31, 2019). “Women Nordic Music Technology". \emph{Girls Geek Dinner Trondheim}. Music Technology, NTNU, Trondheim, Norway.\\
\years{2018c} \textsc{Lightning Talk Speaker}. (September 28, 2018). “Challenges and Opportunities of Collaborative Music Live Coding: A Practitioner's Approach". \emph{The Raw and The Cooked, Inter/sections 2018}. Café 1001, London, UK.\\
\years{2018b} \textsc{Oral Presenter}. (August 13, 2018). “Women in Music Tech: A Case Study". \emph{Oppstartseminar (Institutt for musikk)}. Dokkhuset, Trondheim, Norway.\\
\years{2018a} \textsc{Oral Presenter}. (August 13, 2018). “A Journey Through My Research and Creative Practice". \emph{Oppstartseminar (Institutt for musikk)}. Dokkhuset, Trondheim, Norway.\\
\years{2017b} \textsc{Oral Presenter}. (June 19, 2017). “Computational Challenges of Co-creation in Collaborative Music Live Coding: An Outline". \emph{CCW2017: Co-Creation Workshop, ICC 2017}. Atlanta, GA, USA.\\
\years{2017a} \textsc{Panel Member} together with Ikkache, L. (May 4, 2017). “Women in Music Tech 2016--2017". Oral presentation and discussion. \emph{GTCMT}, Geogia Tech, Atlanta, GA, USA.\\
\years{2016d} \textsc{Lightning Talk Speaker}. (November 2, 2016). “Tangible User Interfaces and Tabletops". \emph{First Annual Women and Music Tech Concert and Reception}, The Garage, Atlanta, GA. USA.\\
\years{2016c} \textsc{Panel Member} together with Ikkache, L. and Jackson, D. (May 5, 2016). “Women in Sound." Oral presentation and discussion. \emph{GTCMT}, Geogia Tech, Atlanta, GA, USA.\\
\years{2016b} \textsc{Oral Presenter}. (February 25, 2016). “Algorithmic Composition: My Personal Journey". Oral presentation as a guest speaker in Jason Freeman's \emph{Computer Music Composition} class. GTCMT, Georgia Tech, Atlanta, GA, USA.\\
\years{2016a} \textsc{Oral Presenter}. (January 26, 2016). “EarSketch: Computational Music Remixing for All". Oral presentation as a guest speaker in Barbara Ericson's \emph{Educational Technology} class. College of Computing, Georgia Tech, Atlanta, GA, USA.\\
\years{2015c} \textsc{Oral Presenter}. (September 3, 2015). “Musical Tabletops: Challenges and Opportunities for Computer-Supported Collaborative Music and HCI". \emph{College of Architecture Research Forum}, Georgia Tech. Atlanta, GA, USA.\\
\years{2015b} \textsc{Oral Presenter}. (August 27, 2015). “Musical Tabletops: Challenges and Opportunities for Computer-Supported Collaborative Music and HCI". \emph{GVU Center Brown Bag Seminar Series}, Georgia Tech, Atlanta, GA, USA. \href{https://www.youtube.com/watch?v=VzOdtsq8YyE}{[video]}\\
\years{2015a} \textsc{Oral Presenter}. (August 24, 2015). “Musical Tabletops: Challenges and Opportunities for Computer-Supported Collaborative Music and HCI". \emph{GTCMT Seminar Series}, Georgia Tech, Atlanta, GA, USA.\\
\years{2014} \textsc{Oral Presenter}. (April 9, 2014). “Let's Jam the Reactable: Peer Learning During Musical Improvisation with a Tabletop Tangible Interface". \emph{London Knowledge Lab}, London.\\
\years{2013} \textsc{Oral Presenter}. (June 2, 2013). “Tabletop Groupware for Music Performance: Design and Evaluation". \emph{CRC PhD Student Conference 2013}, OU, Milton Keynes, UK.\\
\years{2012} \textsc{Oral Presenter}. (June 12, 2012). “Collaboration on Interactive Tabletops for Music Performance: An Exploratory Study". \emph{CRC PhD Student Conference 2012}, OU, Milton Keynes, UK.\\
\years{2011b} \textsc{Oral Presenter}. (June 16, 2011). “Tabletop Groupware for Music Performance: Design and Evaluation". \emph{CRC PhD Student Conference 2011}, OU, Milton Keynes, UK.\\
\years{2011a} \textsc{Oral Presenter}. (May 17, 2011). “Tabletop Groupware for Music Performance: Design and Evaluation". \emph{2011 Doctoral Workshops Conference}, OU, Milton Keynes, UK.\\
\years{2010b} \textsc{Oral Presenter}. (June 8, 2010). “Issues and Techniques for Collaborative Music Making on Multi-touch Surfaces". \emph{CRC PhD Student Conference 2010}, OU, Milton Keynes, UK.\\
\years{2010a} \textsc{Oral Presenter}. (May, 2010). “Issues and Techniques for Collaborative Music Making on Multi-touch Surfaces". \emph{Music Research Day}, Music Research Studio, OU, Milton Keynes, UK.
\section*{Poster Presentations, Demos \& Workshops}
%\noindent
\subsection*{Poster Presentations \& Demos}
\noindent
{\years{2021} \textsc{Poster Presenter (online)} (June 15, 2021). “Live Coding with the Cloud and a Virtual Agent". \emph{NIME '21}.
\emph{NYU Shanghai}, Shanghai, China.\\
{\years{2020} \textsc{Poster Presenter (online)} (July 23, 2020). ``Performing Audiences: Composition Strategies for Network Music using Mobile Phones''. \emph{NIME '20}. Birmingham, UK.}\\
\years{2018b} \textsc{Poster Presenter} together with Roma, G. (June 7, 2018). “Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced Databases". \emph{NIME '18}. Blacksburg, Virginia, USA. \\
\years{2018a} \textsc{Demo Presenter} together with Skach, S. (March 19, 2018). “Embodied Interactions with E-Textiles and the Internet of Sounds for Performing Arts". \emph{TEI '18}. Stockholm, Sweden. \\
\years{2017c} \textsc{Poster Presenter}. (June 22, 2017). Authors: Weisling, A. and Xambó, A. “Constructing a Conceptual Framework for Collaborative Audiovisual Performance". \emph{ICCC '17}. Atlanta, GA, USA.\\
\years{2017b} \textsc{Poster Presenter}. (June 22, 2017). Authors: Weisling, A., Xambó, A., Magerko, B., Roma, G., Jacob, M., Bhanu, N., and Freeman, J. “TuneTable: A Tangible Computational Music Installation for Informal Learning". \emph{ICCC '17}. Atlanta, GA, USA.\\
\years{2017a} \textsc{Poster \& Demo Presenter}. (March 21, 2017). “Experience and Ownership with a Tangible Computational Music Installation for Informal Learning". \emph{TEI '17}. Yokohama, Japan.\\
\years{2016b} \textsc{Poster \& Demo Presenter}. (August 11, 2016). “Learning to Code Through MIR". \emph{Late-Breaking Demo Session of ISMIR 2016}. New York.\\
\years{2016a} \textsc{Poster \& Demo Presenter} together with Roma, G. (July 2, 2016). “Do the Buzzer Shake". \emph{ICLI 2016}. Brighton, UK.\\
\years{2015} \textsc{Poster \& Demo Presenter} together with McKlin, T. (August 14, 2015). “EarSketch: A STEAM Approach to Broadening Participation in Computer Science Principles". \emph{RESPECT 2015}. Charlotte, NC. USA.\\
\years{2014} \textsc{Poster Presenter} together with Price, S. (April 29, 2014). “Towards an Integrated Methodological Framework for Understanding Embodiment in HCI". \emph{CHI '14}. Toronto, ON. \href{https://www.youtube.com/watch?v=pRDHuCUltwo}{[video]}\\
\years{2012} \textsc{Demo Presenter}. (January 10, 2012). "Tangible Additive Sound Synthesis (TASS)". \emph{Welcome to the French Embassy}, OU. Milton Keynes, UK.\\
\years{2011d} \textsc{Poster Presenter}. (June 17, 2011). “Designing and Evaluating Interactive Systems: Musical Tabletops for Collective Music Performance". \emph{CRC PhD Student Conference 2011}, OU. Milton Keynes, UK.\\
\years{2011c} \textsc{Poster \& Demo Presenter} together with Milne, A. J. (May 30, 2011). “Hex Player — A Virtual Musical Controller". \emph{NIME '11}. Oslo, Norway.\\
\years{2011b} \textsc{Poster Presenter}. (March 8, 2011). “Designing and Evaluating Interactive Systems: Musical Tabletops for Collective Music Performance". \emph{OU Poster Competition 2011}. Milton Keynes, UK.\\
\years{2011a} \textsc{Poster Presenter}. (January 25, 2011) “TOUCHtr4ck: Democratic Collaborative Music". \emph{TEI '11}. Funchal, Madeira.\\
\years{2010b} \textsc{Poster Presenter}. (December 21, 2010). Xambó, A., Laney, R., Dobbyn, C., Jordà, S. “Multi-touch Interaction Techniques for Collaborative Music Activities". \emph{DMRN+5: Digital Music Research Network One-day Workshop 2010}, Queen Mary, University of London. London.\\
\years{2010a} \textsc{Poster Presenter}. (June 8, 2010). “Issues and Techniques for Collaborative Music Making on Multi-touch Surfaces". \emph{CRC PhD Student Conference 2010}, OU. Milton Keynes, UK.\\
\years{2008b} \textsc{Poster Presenter}. (June 9--11, 2010). “Interfaces for Sketching Musical Compositions". \emph{SMC Summer School 2008}. Genoa, Italy.\\
\years{2008a} \textsc{Poster Presenter} together with Roma, G. (June 6, 2008). “A Tabletop Waveform Editor for Live Performance". \emph{NIME '08}. Genoa, Italy.
\subsection*{Workshops}
\noindent
\years{2023} \textbf{Xambó, A.} (March 3, 2023). "Situatedness meets live coding: A NIME approach". \textsc{Invited Talk / Workshop}. \emph{Introduction to Making Digital Music Instruments}. LEADD:NG, University of Nottingham, Nottingham, UK.\\
\years{2022b} \textbf{Xambó, A.} (December 8, 2022). "Machine listening and machine learning using MIRLC/a". \textsc{Invited Talk/Workshop}. \emph{Computer Programming for Musicians}. Department of Performing Arts, School of Communication and Creativity, City, University of London, UK.\\
\years{2022a}(January 29-30, 2022). "Live taming free sounds" in collaboration with Iván Paz. On-the-Fly Live Coding Hacklab. European Union's "Creative Europe" program. ZKM, Karlsruhe, Germany.\\
\years{2021d}Pardue, L., Martínez, J., \textbf{Xambó, A.}, Cavdir, D., Almeida, I. and Bin, A. (June 14, 2021). “Actions We Can Take to Improve Diversity and Inclusivity at NIME". Online workshop. \emph{NIME '21}, Shanghai, China.\\
\years{2021c}\textbf{Xambó, A.}, Roig, S. (January 25/27/29, 2021). “Performing With a Virtual Agent: Machine Learning for Live Coding". Online workshop. \emph{Leicester Hackspace}, Leicester, UK.\\
\years{2021b}Pardue, L., Martínez, J. and \textbf{Xambó, A.} (January 14, 2021). “NIME Diversity Workshop". Online workshop.\\
\years{2021a}\textbf{Xambó, A.}, Roig, S. (January 11/13/15, 2021). “Performing With a Virtual Agent: Machine Learning for Live Coding". Online workshop. \emph{l'ull cec}, Barcelona, Spain.\\
\years{2020c}\textbf{Xambó, A.}, Roig, S. (December 7/9/11, 2020). “Performing With a Virtual Agent: Machine Learning for Live Coding". Online workshop. \emph{IKLECTIK}, London, UK.\\
\years{2020b}\textbf{Xambó, A.} (September 25, 2020). “Creative Audio Programming for the Web with Tone.js". Online workshop. \emph{Women Who Code} workshop series, School of Media Arts, Columbia College Chicago, IL, USA.\\
\years{2020a}Jensenius, A.R., McPherson, A., \textbf{Xambó, A.}, Martin, C., Armitage, J., Granieri, N., Fiebrink, R., Naveda, L. (July 21, 2020). “NIME Publication Ecosystem Workshop". Online workshop. \emph{NIME '20}. Birmingham, UK.\\
\years{2019c} \textbf{Xambó, A.} (June 20--21, 2019). “Creative Audio Programming for the Web". Workshop. \emph{Filmuniversität Babelsberg Konrad Wolf}, Potsdam, Germany. Organized by MA Creative Technologies (Module 5 Audiovisual Application Design).\\
\years{2019b}Jensenius, A.R., McPherson, A., \textbf{Xambó, A.}, Overholt, D., Pellerin, G., Bukvic, I.I., Fiebrink, R., Schramm, R. (June 3, 2019). “Open Research Strategies and Tools in the NIME Community". \emph{NIME '19}. Workshop. Centro cultural, UFRGS, Porto Alegre, Brazil.\\
\years{2019a} Allik, A., \textbf{Xambó, A.} (January 16, 2019). “Musical Networks of Live Coders". Workshop. \emph{International Conference on Live Coding 2019}, Medialab Prado, Madrid, Spain. \\
\years{2018b} \textbf{Xambó, A.} (July 12--13, 2018). “Creative Audio Programming". Workshop. \emph{Filmuniversität Babelsberg Konrad Wolf}, Potsdam, Germany. Organized by MA Creative Technologies.\\
\years{2018a} Allik, A., \textbf{Xambó, A.} (April 7--8, 2018). “Collaborative Network Music". Workshop. \emph{Rewire 2018}, The Hague, The Netherlands. Organized by Music Hackspace. Funded by Rewire.\\
\years{2017} \textbf{Xambó, A.} (October 14, 2017). “Huddersfield Girl Geeks: Audiovisual Creative Coding with P5.js". Workshop. \emph{Kirklees Libraries}, Huddersfield, UK. Funded by Google.\\
\years{2013} \textbf{Xambó, A.} (May 2, 2013). “Introduction to SuperCollider". Workshop. \emph{Music Computing Meeting}, OU. Milton Keynes, UK.\\
\years{2012} \textbf{Xambó, A.}; Roma, G. and Bovermann, T. (April 15, 2012). “Tangible Musical Interfaces with SuperCollider". Workshop. \emph{SuperCollider Symposium 2012}, Goldsmiths, University of London. London.%\\[1.2cm]%hack
\subsection*{Webinars}
\noindent
\years{2016} \textbf{Xambó, A.} (October 28, 2016). “Debugging with EarSketch". GTCMT, Georgia Tech, Atlanta, GA, USA.%\\[3cm]%hack
\section*{Discography}
%\noindent
\subsection*{Solo Albums}
\noindent
\years{2023}Anna Xambó. \emph{detuning a tuning} [FLAC/MP3 files]. Barcelona/Kettering: Carpal Tunnel.\\
\years{2018}Anna Xambó. \emph{H2RI} [FLAC/MP3 files]. Chicago (IL, USA): pan y rosas discos.\\
\years{2013}peterMann. \emph{On the Go} [promo CD \& FLAC/MP3 files]. Barcelona: Carpal Tunnel.\\
\years{2011}peterMann. \emph{init} [promo CD \& FLAC/MP3 files]. Barcelona: Carpal Tunnel.
\subsection*{Group Albums}
\noindent
\years{2021}Dirty Electronics Ensemble, Jon.Ogara, and Anna Xambó. \emph{Dirty Dialogues} (live album) [FLAC/MP3 files]. Chicago (IL, USA): pan y rosas discos.\\
\years{2019}Anna Weisling and Anna Xambó. \emph{Beacon} (EP) [FLAC/MP3 files]. Barcelona: Carpal Tunnel.\\
\years{1999}La Más Fina. \emph{Zande Phondex}. Promo [CD]. Barcelona: Apache Productions.\\
\years{1996}La Más Fina. \emph{Como quien dice la hoja iberia extrafina}. Promo [Cassette]. Barcelona: Self-released.\\
\years{1994}Sosa's Cáustica. \emph{Paraponera Clavata}. Promo [Cassette]. Barcelona: Murmur Town.
\subsection*{Participation in Compilations}
\noindent
\years{2023}Anna Xambó. “mnnw (extract)" (3 min 56 sec) in \emph{LOLtrax001} [Cassette]. LOL Editions. \\
\years{2023}Anna Xambó. “Kicks \& Cuts" (2 min 21 sec) in \emph{f:p podcast episode 128\_Ana Maria Romano G.} [Podcast]. female:pressure podcast. \\
\years{2020b}Anna Xambó. “Magnets" (4 min 21 sec) in \emph{Compassion Through Algorithms Vol. II} [WAV/MP3 files]. Sheffield: Light Entries. \\
\years{2020a}Anna Xambó. “Poème Symphonique For Tape Metronome: Variation I" (5 min 38 sec) in \emph{In Unison} [WAV/MP3 files]. Brussels: i.u. \\
\years{2019}Anna Xambó. “Kicks \& Cuts" (2 min 21 sec). in \emph{10th Anniversary Festival en Tiempo Real - WoNoMute Playlist} [WAV file].\\
\years{2018}peterMann. “n02-petermann" (11 min 10 sec). in \emph{Noiselets} [FLAC/MP3 files]. Barcelona: Carpal Tunnel.\\
\years{2016}peterMann. “Go wild y'all" (1 min). in \emph{Microtopies 2016} [MP3 files]. Barcelona: Gracia Territori Sonor.\\
\years{2015}peterMann. “ldnsktch01" (1 min). In \emph{Microtopies 2015} [MP3 files]. Barcelona: Gracia Territori Sonor.\\
\years{2010}peterMann. “init11" (3 min 29 sec). In \emph{Electronic music from Catalonia 2010} [CD]. Barcelona: Catalan! Arts / Sonar, Barcelona.
\subsection*{Broadcasting}
\noindent
\years{2024}Anna Xambó's “mnnw". (January 23, 2024). Fractal Meat On A Spongy Bone.\\
\years{2023b}Anna Xambó's “traces", “residual", “triads" \& “clock". (April 24, 2023). Framework radio \#842.\\
\years{2023a}Anna Xambó's “traces". (February 13, 2023). TOPLAP w\/ QBRNTHSS \& Loopier (13.02.23). TOPLAP on Dublab.es. Barcelona, Spain.\\
\years{2021c}Dirty Electronics Ensemble, Jon.Ogara \& Anna Xambó's “Dirty Dialogues". (November 8, 2021). Framework radio \#776.\\
\years{2021b}Anna Xambó's “Magnets". (April 12, 2021). Two Foot Left (Mixcloud playlist). Sheffield Live! Sheffield, UK.\\
\years{2021a}Anna Xambó's “Magnets". (February 2, 2021). TOPLAP \#2 w/ hangar.org (Ramon Casamajó). Audio Formal on Dublab.es. Barcelona, Spain.\\
\years{2020}Anna Xambó's “Magnets". (November 9, 2020). Sleepsang - Hyperobjects w/ Sleepsang (Mixcloud playlist). Sheffield, UK.\\
\years{2019}Anna Xambó's “Footsteps". Feminatronic \#161 - Your 2019 Playback and More (SoundCloud playlist).\\
\years{2018c}Anna Xambó's “H2RI.01-04". (June 21, 2018). Rare Frequency on WZBC 90.3 FM Newton Boston College Radio. Boston, MA, USA.\\
\years{2018b}Anna Xambó's “H2RI.011". (June 10, 2018). NILUCCIO ON NOISE. Podcast \#154 (May 2018).\\
\years{2018a}Anna Xambó's “H2RI.07". (May 17, 2018). No Pigeonholes EXP on KOWS-FM.\\
\years{2013f}peterMann's “og02". (July 28, 2013). BiP\_HOp Generation on Radio Grenouille.\\
\years{2013e}peterMann's “og01", “og05", “og07" \& “og09". (June 23, 2013). Framework radio \#426.\\
\years{2013d}peterMann's “og01". (March 28, 2013). Rare Frequency on WZBC 90.3 FM Newton Boston College Radio. Boston, MA, USA.\\
\years{2013c}peterMann's “og01" \& “og10". (March 2, 2013). Onda Sonora.\\
\years{2013b}peterMann's selection of \emph{On The Go}'s tracks. (February 3, 2013). RNE Atmósfera. Madrid, Spain.\\
\years{2013a}peterMann's “og02". (February 2, 2013). Störung Radio 127 on ScannerFM. Barcelona, Spain.\\
\years{2010b}peterMann's “init 10--12". (December 18, 2010). Onda Sonora.\\
\years{2010a}peterMann's “init 2". (April 12, 2010). Sismógrafo.%\\[2cm]%hack
\section*{Performances}
%\noindent
\subsection*{Solo Performances}
\noindent
\years{2023}\textbf{Xambó, A.} (November 30, 2023). ``(un)pack''. \emph{I2MT Inaugural Concert}, University of Nottingham, Nottingham, UK.\\
\years{2023}\textbf{Xambó, A.} (June 14, 2023). ``Ceci n'est pas une usine''. \emph{+RAIN Film Fest}, Universitat Pompeu Fabra/Sonar+D, Barcelona, Spain.\\
\years{2022e}\textbf{Xambó, A.} (November 27, 2022). A live coding session using MIRLCa at ``Performing Critical AI I: feedback, noise, corpus, code''. MusAI conference, Cafe OTO, London, UK.\\
\years{2022d}\textbf{Xambó, A.} (September 16, 2022). ``When virtual meets reality''. \emph{British Science Festival}, LCB Depot, Leicester, UK.\\
\years{2022c}\textbf{Xambó, A.} (March 19, 2022). ``Make Noise Not War (live coding session)''. \emph{Algorave 10th Birthday Party}. Online event. Streaming from Sheffield, UK.\\
\years{2022b}\textbf{Xambó, A.} (March 11, 2022). ``detuning a tuning (live coding piece)''. \emph{BEAST @ Centrala: Anna Xambó Sedó, Milad K. Mardakheh}. Centrala, Birmingham, UK.\\
\years{2022a}\textbf{Xambó, A.} (March 8, 2022). ``Algonoise feat. Olympe de Gauges (live coding session)''. \emph{LIVECODERA a global live coding community gathering on International Women’s Day}. Online event. Streaming from Sheffield, UK.\\
\years{2021e}\textbf{Xambó, A.} (November 10, 2021). ``Magnets (live coding piece)''. \emph{Concert PACE 1 Live Music from MTI2. Works by Simon Emmerson, Anna Xambó Sedó, John Richards, and Leigh Landy}. Electroacoustic Music Studies 2021. Leicester, UK.\\
\years{2021d}\textbf{Xambó, A.} (July 6, 2021). ``Live Coding with Crowdsourced Sounds and A Virtual Agent Companion''. \emph{WAC 21}. Barcelona, Spain. Online event. Streaming from Sheffield, UK.\\
\years{2021c}\textbf{Xambó, A.} (June 17, 2021). ``A Live Coding Session With the Cloud and a Virtual Agent''. \emph{NIME 21}. Shanghai, China. Online event. Streaming from Sheffield, UK.\\
\years{2021b}\textbf{Xambó, A.} (May 6, 2021). ``Sonic Haikus''. \emph{ARTIFICIA Festival}. Online event. Barcelona, Spain.\\
\years{2021a}\textbf{Xambó, A.} (February 21, 2021). ``They Are the Robots: a live coding session''. \emph{Transnodal TOPLAP}. Online event. Streaming from Sheffield, UK.\\
\years{2020e}\textbf{Xambó, A.} (December 12, 2020). ``A live coding session''. \emph{Similar Sounds: A Virtual Agent in Live Coding}. IKLECTIK, London. Online event. Streaming from Sheffield, UK.\\
\years{2020d}\textbf{Xambó, A.} (November 14, 2020). ``A live coding session in binaural audio''. \emph{Sound Junction Satellites: Live Coding \& 3-D Sound -- Online Live Stream}. University of Sheffield Concerts/Algomech, Sheffield, UK. Online event. Streaming from Sheffield, UK.\\
\years{2020c}\textbf{Xambó, A.} (July 17, 2020). ``A Live Coding Exploration of How the Network Sounds''. \emph{Network Music Festival 2020}. Streaming from Sheffield, UK.\\
\years{2020b}\textbf{Xambó, A.} (March 22, 2020). ``Crowdsourced Eulerisms''. \emph{Eulerroom Equinox 2020}. Streaming from Sheffield, UK.\\
\years{2020a}\textbf{Xambó, A.} (February 28, 2020). ``A situated live coding session''. \emph{MTI Concert} celebrating 20 years of Music, Technology and Innovation at DMU with current and past staff and PhD alumni. PACE 1, Leicester, UK.\\
\years{2019}\textbf{Xambó, A.} (January 18, 2019). ``Live coding with crowdsourced sounds \& a drum machine''. \emph{International Conference on Live Coding}, Medialab Prado, Madrid, Spain.\\
\years{2018d}\textbf{Xambó, A.} (November 24, 2018). ``A session on participatory mobile music and live coding using crowdsourced sounds''. \emph{NTNU Research Concert}. Dokkhuset. Trondheim, Norway.\\
\years{2018c}\textbf{peterMann.} (September 28, 2018). ``Live coding session''. \emph{The Raw, Inter/sections 2018}. Café 1001. London, UK.\\
\years{2018b}\textbf{Xambó, A.} (September 19, 2018). Audience device participation piece. ``Imaginary Berlin''. \emph{WAC 18}. Factory Berlin. Berlin, Germany.\\
\years{2018a}\textbf{Xambó, A.} (August 9, 2018). Live. ``MareNostrum''. \emph{Cube Fest}. Moss Arts Center. Blacksburg, VA, USA.\\
\years{2017}\textbf{peterMann}. (January 8, 2017). Live coding session. \emph{Noiselets: A Noise Music Microfestival}. Freedonia, Barcelona, Spain.\\
\years{2016b}\textbf{Xambó, A.} (April 22, 2016). Live coding with EarSketch. \emph{Women in Sound Women on Sound 2016: Educating girls in sound}. Jack Hylton Music Room, University of Lancaster. Lancaster, UK.\\
\years{2016a}\textbf{peterMann}. (April 22, 2016). Live. \emph{Women in Sound Women on Sound 2016: Educating girls in sound}. Jack Hylton Music Room, University of Lancaster. Lancaster, UK.\\
\years{2013}\textbf{Xambó, A.} (October 4, 2013). Live coding session. \emph{Perspectives on Multichannel Live Coding}. PHONOS. Sala Polivalent, UPF. Barcelona, Spain.\\
\years{2012}\textbf{peterMann.} (September 20, 2012). Live. \emph{Crispy Crunchy Creaky}. Niu. Barcelona, Spain.\\
\years{2006}\textbf{peterMann.} (June 10, 2006). Live. \emph{5a Mostra Sonora i Visual | Convent Sant Agustí}. Barcelona, Spain.
\subsection*{Collaborative Performances}
\noindent
\years{2022d}Roma, G., \textbf{Xambó, A.} (July 6, 2022). ``shreds''. \emph{Web Audio Conference (WAC '22)}. Université C\^{o}te d'Azur, Cannes, France\\
\years{2022c}Roma, G., \textbf{Xambó, A.} (June 21, 2022). ``shreds'' (online performance). \emph{International Conference on Live Interfaces (ICLI '22)}. Lisboa, Portugal.\\
\years{2022b}Goudarzi, V., \textbf{Xambó, A.} (June 11, 2022). ``immerse in the lake 2.0'' (hybrid performance). \emph{Symphony Center}. Chicago, USA.\\
\years{2022a}Goudarzi, V., \textbf{Xambó, A.} (May 19, 2022). ``Ear to Waipapa Taumata Rau'' (online performance). \emph{New Interfaces for Musical Expression (NIME '22)}. Waipapa Taumata Rau, Aotearoa / The University of Auckland, New Zealand.\\
\years{2021c}\textbf{Xambó, A.}, Goudarzi, V. (November 21, 2021). “immerse in the lake" (online performance). \emph{Jefferson Park EXP}. Chicago, IL, USA. Streaming from Sheffield, UK.\\
\years{2021b}Goudarzi, V., \textbf{Xambó, A.} (September 24, 2021). “Livesourcing: Audience Participation in a Live Coding Performance" (online performance). \emph{Ear Taxi Festival}. Chicago, IL, USA. Streaming from Sheffield, UK.\\
\years{2021a}Dirty Electronics Ensemble, Jon.Ogara, and \textbf{Xambó, A.} (May 17, 2021). "Dirty Dialogues". PACE, De Montfort University, Leicester, UK.\\
\years{2020}Schroeder, F., Meireles, M., Mannone, M., Papadomanolaki, M., Brown, N., Stolfi, A., Alarcón, X., \textbf{Xambó, A.} (July 28, 2020). “Absurdity" (telematic performance by the Female Laptop Orchestra (FLO)). \emph{Physically Distant \#2: More Online Talks on Telematic Performance}. Streaming from Sheffield, UK.\\
\years{2019}Brandtsegg, Ø., \textbf{Xambó, A.}, Engum, T., Bergsland, A., Waadeland, C.H. (December 4, 2019). “Trondheim EMP Repository processing". \emph{WAC 2019}. Rockheim, Trondheim, Norway.\\
\years{2018e}Brown, N., Chudy, M., Dobson, L., Hoel, A.M., Ikkache, L., Pase, T., Schroeder, F., Stolfi, A., Wilkie, S., \textbf{Xambó, A.} (November 22, 2018). “Transmusicking II". Sonic Arts Research Center, Queen's University Belfast. Belfast, Northern Ireland.\\
\years{2018d}Martin, C.M., Lesteberg, M., Jawad, K., Aandahl, E., \textbf{Xambó, A.} (August 29, 2018). ``Stillness during Tension''. \emph{MCT Open Seminar}. MCT Portal, NTNU / UiO, Trondheim / Oslo.\\
\years{2018c}Martin, C.M., \textbf{Xambó, A.}, Visi, F., Morreale, F., Jensenius, A.R. (June 5, 2018). ``Stillness during Tension''. \emph{NIME '18}. Moss Arts Center: Anne and Ellen Fife Theatre. Blacksburg, VA, USA.\\
\years{2018b}Weisling, A., \textbf{Xambó, A.} (June 5, 2018). “Beckon". \emph{NIME '18}. Moss Arts Center: Anne and Ellen Fife Theatre. Blacksburg, VA, USA.\\
\years{2018a}Weisling, A., \textbf{Xambó, A.} (March 20, 2018). “Beacon". \emph{TEI '18}. Kulturhuset. Stockholm, Sweden.\\
\years{2017d}Brown, N., Chudy, M., Papadomanolaki, M., Wilkie, S., Pase, T., Stolfi, A., Schroeder, F., \textbf{Xambó, A.}, Ikkache, L., Freeman, J., Ganesh, S., Kerure, A., Narang, J., Tsuchiya, T. (August 25, 2017). “Transmusicking I". \emph{AM '17}. Oxford House Theatre. London, UK. \\
\years{2017c}\textbf{Xambó, A.}, Roma, G. (August 21, 2017). “Hyperconnected Action Painting". \emph{WAC 2017}. Oxford House Theatre. London, UK. \\
\years{2017b}Weisling, A., \textbf{Xambó, A.} (May 16, 2017). “Beacon". \emph{NIME 2017}. Stengade. Copenhagen, Denmark.\\
\years{2017a}Weisling, A., \textbf{Xambó, A.} (February 11, 2017). “Beacon". \emph{Root Signals Festival 2017}. Georgia Southern University. Statesboro, Georgia, United States.\\
\years{2016b} Roma, G., \textbf{Xambó, A.}, Freeman, J. (November 2, 2016). Do the Buzzer Shake. \emph{The First Annual Women in Music Tech: Concert and Reception}. The Garage. Atlanta, GA, USA.\\
\years{2016a} Roma, G., \textbf{Xambó, A.}, Freeman, J. (July 1, 2016). “Do the Buzzer Shake". \emph{ICLI 2016}. St Mary's Church, Kemptown, Brighton, UK.\\
\years{2012}pulso (Roma, G., \textbf{Xambó, A.}). (March 15, 2012). Live coding session. \emph{Live Coding Sessions}. Niu. Barcelona, Spain.\\
\years{2004}pulso (Roma, G., \textbf{Xambó, A.}). (May 29, 2004). Live. \emph{Minima Festival}. Gandía, Spain.\\
\years{2002}b4ng (Roma, G., \textbf{Xambó, A.}, Brugos, Clarens). (June 13, 2002). Live. \emph{Sonar Festival}. Barcelona, Spain.
\section*{Mastering (other's work)}
\noindent
\years{2022}\emph{Ana y las Romanoides (o de las telepatías transaurales)} [FLAC/MP3 files] by Ana María Romano G. Barcelona/Sheffield: Carpal Tunnel.\\
\years{2018}\emph{Noiselets} [FLAC/MP3 files] by Various Artists (scmute, peterMann, Martin Hug, Faraldo, 0001, Miquel Parera, Urge to Kill). Barcelona: Carpal Tunnel.
\section*{Other Creative Products}
%\noindent
\subsection*{Awarded Music Hacks}
\noindent
\years{2014}“crowdj". \emph{Music Hack Day}. Barcelona, Spain.\\
Prize: Rdio prize.\\
Role: Concept, part of the implementation and user interface design.\\
Collaborator: Gerard Roma.\\
\years{2012b}“Soundscape Turntablism". \emph{Music Hack Day}. Barcelona, Spain.\\
Prize: Reactable prize, Zvooq prize.\\
Role: Concept, part of the implementation and tangible user interface design.\\
Collaborator: Gerard Roma.\\
\years{2012a}“Soundscape DJ". \emph{Music Tech Fest}. London, UK.\\
Prize: Warp Records prize. \\
Role: Concept, part of the implementation and tangible user interface design.\\
Collaborator: Gerard Roma.
\subsection*{Code}
\noindent
\years{2023--present}Sensing the Forest: \href{https://github.com/axambo/sensingtheforest}{github.com/sensingtheforest}.\\
Role: Concept and implementation.\\
\years{2022--present}personic: \href{https://github.com/axambo/personic}{github.com/axambo/personic}.\\
Role: Concept and implementation.\\
\years{2020--present}MIRLCa: \href{https://github.com/mirlca/code}{github.com/mirlca/code}.\\
Role: Concept and implementation.\\
\years{2019--present}MIRLC 2.0.\\
Role: Concept and implementation.\\
\years{2018b}Embedded AudioCommons: \href{https://github.com/AudioCommons/embedded-audiocommons}{github.com/AudioCommons/embedded-audiocommons}.\\
Role: Concept and implementation.\\
\years{2018a}HCI Python Utils: \href{https://github.com/axambo/hci-python-utils}{github.com/axambo/hci-python-utils}.\\
Role: Concept and implementation.\\
\years{2017--present} WACastMix: \href{http://annaxambo.me/code/WACastMix}{annaxambo.me/code/WACastMix}.\\
Role: Concept and implementation.\\
\years{2016--2019}MIRLC: \href{https://github.com/axambo/MIRLC}{github.com/axambo/MIRLC}.\\
Role: Concept and implementation.\\
\years{2017b} HAP: \href{https://github.com/axambo/HAP}{github.com/axambo/HAP}.\\
Role: Concept and implementation.\\
\years{2017a}Beacon: \href{https://github.com/axambo/beacon}{github.com/axambo/beacon}.\\
Role: Concept and implementation of the audio engine.\\
\years{2016}Algonoise.: \href{https://github.com/axambo/algonoise}{github.com/axambo/algonoise}.\\
Role: Concept and implementation.\\
\years{2014}SoundXY4: The Art of Noise: \href{https://github.com/axambo/soundxy4}{github.com/axambo/soundxy4}.\\
Role: Concept, implementation and tangible user interface design.\\
\years{2012}SoundXY: \href{https://github.com/axambo/soundxy2}{github.com/axambo/soundxy2}.\\
Role: Concept, implementation and tangible user interface design.
\subsection*{Video Creations \& Animation Films}
\noindent
\years{2003}Xambó, A. \emph{Cosmogonias} (3 min). Spain. Video creation | Animation film.\\
\years{2002b}Xambó, A. \emph{b.scope} (3 min). Spain. Video creation.\\ %3:23
\years{2002a}Xambó, A. \emph{Transdata Pr.} (5 min). Spain. Video creation.\\
\years{2000}Xambó, A. \emph{clubsfera} (3 min). Spain. Video creation | Animation film.\\
\years{1999}Xambó, A. \emph{Mitösöma} (10 min). Spain. Video creation | Animation film.\\
\years{1998c}Xambó, A. \emph{Lufthansa} (3 min). Spain. Videoclip for La Más Fina.\\
\years{1998b}Xambó, A. \emph{Neila} (2 min). Spain. Video creation.\\
\years{1998a}Xambó, A. \emph{Sueños} (1 min). Spain. Video creation | Animation film.
\subsection*{Installations \& Visuals}
\noindent
\years{09/2002}\emph{I love Japan}, Fake Industries, Circuit Festival, Barcelona.\\
%Description: Audiovisual installation for Divinas Palabras' Japan collection. \\
Role: Visuals.\\
Collaborators: Urtzi Grau (director), Emma Dünner, Jorge Meneses, Ana Otero.\\
\years{03/2002--08/2002}\emph{Astoria (cinema \& restaurant)}, Barcelona. \\
%Description: Visuals for the opening and first season of the Astoria (cinema \& restaurant) venue.\\
Role: Co-filming and visuals.\\
Collaborators: Babylon Cannes (concept).\\
\years{09/2001}\emph{Eme3density, Second Architectural Market}, Centre de Cultura Contemporània de Barcelona (CCCB), Barcelona.\\
Role: Visuals \& Flash programming. \\ %(Flash animation and programming of the website presented in the event).\\
Collaborators: Urtzi Grau (curator), Ana Otero (artistic director).
%\newpage
%\hrule
\section*{Teaching \& Coordination}
%\noindent
\subsection*{Graduate Courses}
\noindent
\years{09/2024}Course: \emph{ECS742P Interactive Digital Multimedia Techniques}. \# Students: $\sim$10--15. \\
Master course. Queen Mary University of London, London, UK.\\
\years{01/2024}Course: \emph{ECS637U/ECS757P Digital Media and Social Networks 2023/24}. \# Students: $\sim$274. \\
Master/undergraduate course. Queen Mary University of London, London, UK.\\
Role: Lecturer of a 15-credit course with two lecturers, two teaching assistants and 8 demonstrators.\\
\years{10/2019}Course: \emph{MCT4000 Music Communication and Technology}. \# Students: $\sim$14. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Coordination of a 15-credit course which includes 7 modules.\\
\years{10/2019}Course: \emph{MCT4000 Human-Computer Interaction Lectures (2nd edition)} (8 h). \# Students: $\sim$14. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{10/2019}Course: \emph{MCT4000 Physical Computing Workshop (2nd edition)} (28 h). \# Students: $\sim$14. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{1/2019}Course: \emph{MCT4046 Sonification and Sound Design} (58 h). \# Students: $\sim$10. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Creation of syllabus, creation of content, instruction, coordination of guest lectures, and assessment.\\
\years{1/2019}Course: \emph{MCT4048 Audio Programming} (58 h). \# Students: $\sim$11. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{10/2018}Course: \emph{MCT4000 Human-Computer Interaction Lectures} (8 h). \# Students: $\sim$15. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{10/2018}Course: \emph{MCT4000 Physical Computing Workshop} (28 h). \# Students: $\sim$15. \\
Master of Music, Communication and Technology (MCT), Norwegian University of Science and Technology (NTNU), Trondheim, Norway.\\
Role: Creation of syllabus, creation of content, instruction and assessment.
\subsection*{Undergraduate Courses}
\noindent
\years{01/2024--04/2024}Course: \emph{ECS637U/ECS757P Digital Media and Social Networks 2023/24}. \# Students: $\sim$274. \\
Master/undergraduate course. Queen Mary University of London, London, UK.\\
Role: Lecturer of a 15-credit course with two lecturers, two teaching assistants and 8 demonstrators.\\
\years{10/2023--12/2023}Course: \emph{MATT3000\_2324 Research Project} (10 h). \# Students: $\sim$25-30. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, instruction, coordination and assessment.\\
\years{10/2023--11/2023}Course: \emph{MTEC2001\_2324 Presentation \& Promotion (DIY instrument design specialisation)} (24h). \# Students: $\sim$7. \\
De Montfort University, Leicester, UK.\\
Role: Creation of content for lectures, labs, instruction and assessment.\\
\years{05/2023--06/2023}Course: \emph{MTEC1005\_2223 Music Industry Practice} (42 h). \# Students: $\sim$15--20. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures, instruction and assessment.\\
\years{02/2023--03/2023}Course: \emph{MTEC1003\_2223 Sound Analysis \& Synthesis} (14 h). \# Students: $\sim$35--40. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures, instruction and assessment.\\
\years{01/2023--04/2023}Course: \emph{MATD2029 Digital Audio Electronics: Sensors \& Interfaces} (30 h). \# Students: $\sim$10. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures and labs, instruction and assessment.\\
\years{12/2022--05/2023}Course: \emph{MATT3002 Community Arts} (44 h). \# Students: $\sim$10. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures and labs, instruction and assessment.\\
\years{01/2022--04/2022}Course: \emph{MATD3039 Advanced Musical Electronics} (36 h). \# Students: $\sim$4. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures and labs, instruction and assessment.\\
\years{10/2021--12/2021}Course: \emph{MATD3009 Advanced Digital Signal Processing Music} (30 h). \# Students: $\sim$4. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures and labs, instruction and assessment.\\
\years{10/2021--12/2021}Course: \emph{MATD2004 Further Digital Signal Processing} (30 h). \# Students: $\sim$13. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures and labs, instruction and assessment.\\
\years{01/2020--04/2021}Course: \emph{MATD1019 Audio Electronics Fundamentals} (12 h). \# Students: $\sim$10. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures, instruction and assessment.\\
\years{01/2021--04/2021}Course: \emph{TECH3011 Studio Technology: Audio Electronics} (36 h). \# Students: $\sim$16. \\
De Montfort University, Leicester, UK.\\
Role: Creation of content for lectures and labs, instruction and assessment.\\
\years{10/2020--12/2020}Course: \emph{MATD2004 Further Digital Signal Processing} (30 h). \# Students: $\sim$14. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures, seminars and labs (blended teaching), instruction and assessment.\\
\years{10/2020--12/2020}Course: \emph{MATD2019 Further Audio Electronics} (10 h). \# Students: $\sim$10. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures and seminars (blended teaching), instruction and assessment.\\
\years{01/2020--04/2020}Course: \emph{MATD1019 Audio Electronics Fundamentals} (12 h). \# Students: $\sim$12. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures, instruction and assessment.\\
\years{01/2020--04/2020}Course: \emph{TECH2019 Audio Technology 2: Audio Electronics} (12 h). \# Students: $\sim$16. \\
De Montfort University, Leicester, UK.\\
Role: Course leader, creation of content for lectures, instruction and assessment.\\
\years{01/2020--04/2020}Course: \emph{TECH3011 Studio Technology: Audio Electronics} (36 h). \# Students: $\sim$16. \\
De Montfort University, Leicester, UK.\\
Role: Creation of content for lectures and labs, instruction and assessment.\\
\years{02/2004--06/2004}Course: \emph{Experimental Motion Graphics} (45 h). \# Students: $\sim$15. \\
Centre de la Imatge i la Technologia Multimèdia, Universitat Politècnica de Catalunya, Terrassa, Barcelona.\\
Role: Co-creation of syllabus, creation of content, instruction and assessment.\\
\years{10/2003--02/2004}Course: \emph{Crossmedia} (45 h). \# Students: $\sim$15. \\
BAU Escola de Disseny, Universitat de Vic, Barcelona.\\
Role: Co-creation of syllabus, creation of content, instruction and assessment.\\
\years{11/2003--06/2004}
Course: \emph{Digital Compositing with Adobe AfterEffects} (45 h). \# Students: $\sim$10. \\
Media Art Institute Fak d'Art, Barcelona.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{11/2003--06/2004}
Course: \emph{Photography in Motion} (45 h). \# Students: $\sim$10. \\
Media Art Institute Fak d'Art, Barcelona.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{11/2003--06/2004}
Course: \emph{Type in Motion} (45 h). \# Students: $\sim$10.\\
Media Art Institute Fak d'Art, Barcelona.\\
Role: Creation of syllabus, creation of content, instruction and assessment.\\
\years{11/1999--06/2003}
Course: \emph{Computer Animation} (90 h). \# Students: $\sim$15. \\
Media Art Institute Fak d'Art, Barcelona.\\
Role: Creation of syllabus, creation of content, instruction and assessment.
\subsection*{Professional Courses}
\noindent
\years{04/2004--05/2005}
Course: \emph{Usability} (12 h). \# Students: $\sim$5.\\
Crea Formación, Barcelona.\\
Role: Instruction.\\
\years{04/2004--05/2005}
Course: \emph{Internet Design Techniques} (12 h). \# Students: $\sim$5.\\
Crea Formación, Barcelona.\\
Role: Instruction.\\
\years{04/2004--05/2005}
Course: \emph{Web Design with DreamWeaver} (24 h). \# Students: $\sim$5.\\
Crea Formación, Barcelona.\\
Role: Instruction.\\
\years{04/2004--05/2005}
Course: \emph{Multimedia Content with Adobe Flash} (16 h). \# Students: $\sim$5. \\
Crea Formación, Barcelona.\\
Role: Instruction.\\
\years{04/2004--05/2005}
Course: \emph{Flash Programming} (20 h) \# Students: $\sim$5.\\
Crea Formación, Barcelona.\\
Role: Instruction.\\
\years{04/2004--05/2005}
Course: \emph{Theoretical Aspects in Graphic Design} (12 h). \# Students: $\sim$5.\\
Crea Formación, Barcelona.\\
Role: Instruction.\\
\years{04/2004--05/2005}
Course: \emph{Video Edition with Adobe Premiere} (60 h) \# Students: 1.\\
Crea Formación, Barcelona.\\
Role: Creation of syllabus, creation of content and instruction.
\subsection*{Preschool \& Primary School Courses}
\noindent
\years{03/2004--06/2004}
Course: \emph{Crossmedia infantil} (11 h). \# Students (6--7 years old): $\sim$8.\\
Escola Magòria, Barcelona.\\
Role: Co-creation of syllabus, creation of content, instruction and assessment.\\
\years{03/2004--05/2004}
Course: \emph{Crossmedia infantil} (9 h). \# Students (9--10 years old): $\sim$15.\\
Escola Costa i Llobera, Barcelona.\\
Role: Co-creation of syllabus, creation of content, instruction and assessment.\\
\years{03/2004--05/2004}
Course: \emph{Crossmedia infantil} (12 h). \# Students (3--4 years old): $\sim$8.\\
Escola Glòries, Barcelona.\\
Role: Co-creation of syllabus, creation of content, instruction and assessment.%\\ [1.3cm]%hack
\section*{Supervision}
%\noindent
\subsection*{PhD Students}
\years{10/2023--present}1st supervisor of Shuoyang Zheng. AIM. C4DM-QMUL.\\
\years{08/2022--present}2nd supervisor of Sam Topley. DMU.\\
\years{11/2022--12/2023}2nd supervisor of Christopher Cousin. DMU.\\
\years{04/2022--12/2023}2nd supervisor of Eva Kára. DMU.
\subsection*{Master Students}
\years{07/2021--10/2021}Creative portfolio \& short dissertation (master thesis) co-supervisor of Harri Bettsworth. Master thesis title: \emph{``Exploring How Uncanny Sound Can Trigger Fear In Video Game''}. Master programme: Music Technology and Innovation, DMU. \\
\years{01/2020--07/2020}Master thesis supervisor of Karolina Jawad. Master thesis title: \emph{``Gatekeepers by Design? Gender HCI for Audio and Music Hardware''}. Master programme: Music Communication Technology, NTNU. Our publication at ICLI '20 (see Peer-Reviewed Conference Papers) and the work at WoNoMute have inspired this work.\\
\years{01/2018--08/2018}Master thesis co-advisor of Tayjo Padmini Vaduru. Master thesis title: \emph{``Moodscape Generator: Automated Generation of Soundscapes''}. Computer Science, QMUL.\\
\years{09/2015--05/2016}Co-advisor of Marc Huet and Travis Gasque (master's students in Digital Media, School of Literature, Media, and Communication) and Anna Weisling (PhD student in Digital Media, School of LMC) for their graduate design project TuneTable. This work has been part of Brian Magerko’s Digital Media studio course at Georgia Tech. From this work, we have published at TEI '17 (see Peer-Reviewed Conference Papers) and we have informed a successful and competitive NSF-funded grant (Advancing Informal STEM Learning Grant).\\
\years{09/2015--05/2017}Co-advisor of Pratik Shah (master student in Human-Centered Computing, School of Interactive Computing) with the research and design on adding collaborative features to EarSketch, an online platform for learning code by making music. This work has been part of the design and development of the NSF-funded project EarSketch, led by Jason Freeman. From this work, we have published at the conferences ICLI '16 and AM '17, and also at the AES journal in 2018 (see Peer-Reviewed Conference Papers).
\subsection*{Undergraduate Students}
\years{09/2022--06/2023}Supervision of two L6 undergraduate students in music technology for their \emph{MATT3000 Research Project}: Leon Riley's ``Leicester-verb: Acoustic footprints of Leicester spaces for creative reverb purposes'' (Technical Research Project) and Ambrose Jnr Nwodoh's ``The `Cocktail Party Effect' -- Exploring selective attention through Auditory Scene Analysis''. DMU. \\
\years{09/2021--06/2022}Supervision of two L6 undergraduate students in music technology for their \emph{MATT3000 Research Project}: Abbey Young's ``A Practice-based Analysis of Practical Workshops to Improve Gender Equality in Music Technology Education in the UK'' and Tolu Ikuyinminu's ``Investigating the Positive and Negative Impacts of the `UK Drill' Genre on Generation Z''. DMU.
\section*{Mentoring}
\years{08/2018--12/2019}Mentor and advisor of the members of the organization \emph{WoNoMute}, including the co-chair and research assistant Karolina Jawad, and the research assistants Mari Lesteberg and Ane Bjerkan.\\
\years{05/2016--12/2017}Mentor and advisor of the members of the co-founded student-led organization \emph{Women in Music Tech}, including the chair of the organization, Léa Ikkache, the editor-in-chief of the newsletter Amruta Vidwans, and other organization members, such as Jyoti Narang.
\section*{Assessment}