removed duplicated entry

music_proceedings/nime2016_music.bib

@@ -52,7 +52,7 @@ @inproceedings{nime2016-music-Barclay2016
   abstract = {Program notes: Ground Interference draws on short recordings from each location I visited in spring 2014 with a particular focus on Joshua Tree National Park, Jornada Biosphere Reserve, Mojave Desert, and Death Valley National Park. These fragile desert environments are inhabited by thousands of species all part of a delicate ecosystem that is in a state of flux induced by changing climates. The transfixing acoustic ecologies of the southwest deserts demand a stillness that encourages a deeper environmental awareness and engagement. In many instances during our field trip we struggled to find locations without human interference. The distant hum of highway traffic and relentless airplanes under the flight path from LAX were expected, yet we also encountered unexpected sounds interfering with the acoustic ecologies of the land. These range from an obscure reverberating vending machine in Death Valley National Park to rattling power lines in the Jornada Biosphere Reserve that were so loud I could feel the vibrations through my feet.}
 }
 
-@inproceedings{nime2016-music-Paine2016b,
+@inproceedings{nime2016-music-Paine2016,
   author = {Garth Paine},
   title = {Becoming Desert - The Listen(n) Project},
   booktitle = {Music Proceedings of the International Conference on New Interfaces for Musical Expression},
@@ -61,7 +61,7 @@ @inproceedings{nime2016-music-Paine2016b
   month = {June},
   publisher = {Griffith University},
   address = {Brisbane, Australia},
-  abstract = {Program notes: Becoming Desert draws on the experience of sitting or lying down silent in the desert for several hours at a time to make sound recordings. The field recordings I made in four deserts of the American Southwest are the basis of this work. When listening to the desert sounds through headphones at the time of recording, one is aware of a kind of hyper-real sonic environment. The amplified soundfield in the headphones is surreal in its presence and accuracy and multiplies my direct experience of listening many times.}
+  abstract = {Program notes: Becoming Desert draws on the experience of sitting or lying down silent in the desert for several hours at a time to make sound recordings. The field recordings I made in four deserts of the American Southwest are the basis of this work. When listening to the desert sounds through headphones at the time of recording, one is aware of a kind of hyper-real sonic environment. The amplified soundfield in the headphones is surreal in its presence and accuracy and multiplies my direct experience of listening many times. About the performer: Garth is particularly fascinated with sound as an experiential medium, both in musical performance and as an exhibitable object. This passion has led to several interactive responsive environments where the inhabitant generates the sonic landscape through their presence and behaviour. Garth has composed several music scores for dance generated through video tracking of the choreography, and more recently using Bio-Sensing on the dancers body. His immersive interactive environments have been exhibited in Australia, Europe, Japan, USA, Canada, UK, Hong Kong and New Zealand. Garth Paine is internationally regarded as an innovator in the field of interactivity in electronic music and media arts (some papers here). He gained his PhD in interactive immersive environments from the Royal Melbourne Institute of Technology, Australia in 2003, and completed a Graduate Diploma in software engineering in the following year at Swinburne University. All a long way from his Bachelor of classical Flute performance from the conservatorium of Tasmania. Garth is Associate Professor in Digital Sound and Interactive Media at the School of Arts Media + Engineering at Arizona State University in the USA. His previous post was as Associate Professor of Sound Technologies at the University of Western Sydney, where he established the Virtual, Interactive, Performance Research environment (VIPRe) . He is often invited to run workshops on interactivity for musical performance and commissioned to develop interactive system for realtime musical composition for dance and theatre performances.}
 }
 
 @inproceedings{nime2016-music-Vickery2016a,
@@ -569,17 +569,6 @@ @inproceedings{nime2016-music-Sniff2016
   address = {Brisbane, Australia}
 }
 
-@inproceedings{nime2016-music-Paine2016a,
-  author = {Garth Paine},
-  booktitle = {Music Proceedings of the International Conference on New Interfaces for Musical Expression},
-  editor = {Andrew Brown and Toby Gifford},
-  year = {2016},
-  month = {June},
-  publisher = {Griffith University},
-  address = {Brisbane, Australia},
-  abstract = {About the performer: Garth is particularly fascinated with sound as an experiential medium, both in musical performance and as an exhibitable object. This passion has led to several interactive responsive environments where the inhabitant generates the sonic landscape through their presence and behaviour. Garth has composed several music scores for dance generated through video tracking of the choreography, and more recently using Bio-Sensing on the dancers body. His immersive interactive environments have been exhibited in Australia, Europe, Japan, USA, Canada, UK, Hong Kong and New Zealand. Garth Paine is internationally regarded as an innovator in the field of interactivity in electronic music and media arts (some papers here). He gained his PhD in interactive immersive environments from the Royal Melbourne Institute of Technology, Australia in 2003, and completed a Graduate Diploma in software engineering in the following year at Swinburne University. All a long way from his Bachelor of classical Flute performance from the conservatorium of Tasmania. Garth is Associate Professor in Digital Sound and Interactive Media at the School of Arts Media + Engineering at Arizona State University in the USA. His previous post was as Associate Professor of Sound Technologies at the University of Western Sydney, where he established the Virtual, Interactive, Performance Research environment (VIPRe) . He is often invited to run workshops on interactivity for musical performance and commissioned to develop interactive system for realtime musical composition for dance and theatre performances.}
-}
-
 @inproceedings{nime2016-music-Bown2016,
   author = {Oliver Bown},
   title = {DIADs - The Ford Transit…},