The goal of this project is to provide an interface that frees the 'laptop musician' from the laptop and in doing so, encourages more interactive performances within the genre of electronic music. This paper examines interactive systems that use motion and other sensors to control computer music applications and discusses interface design in this context. The various interfaces already tackling this goal demonstrate issues with regard to complexity, affordability and usability. We are particularly interested in interfaces that utilise simple design concepts to provide a flexible, intuitive controller that is appealing and affordable to a broad range of electronic musicians.

Internet art that employs data visualisation techniques may be engaged with both in terms of the data used and also the interface to that data. Such an approach allows it to be understood as opening the possibility of an awareness of the contingency of the way any given community is constructed. The focus is shifted away from understanding data visualisation art as providing a transparent representation of reality. This is exemplified in the work They Rule which, approached in these terms, invites an engagement with the law’s role in enabling networks of powerful people to be constructed. They Rule opens the possibility of perceiving the law’s violence in the way that it asserts the authority of enabling and enforcing the existence of such connections. An awareness of the constructed nature of legal networks opens the law to the possibility of change by those it excludes.

This paper presents a method for the merging of poetry into interactive storytelling that is based on still and video panoramas. This non-linear approach aims to give a young audience a new understanding of poetry, by exploring the poet Charles Causley’s house and the town of Launceston in England where he spent most of his life. His poetry mentions a number of locations from this town and artefacts located in his house. The user of the interactive application based on Adobe Flash plug-in and Lucid Viewer (panoramic viewer), take a number of narrative journeys in order to search for hidden poems, voice marks or trails signs that have references to the town. Still panoramas localised at decision-making points were linked by using video panoramas (360-degree video), which were recorded with a spherical video camera - Ladybug2 mounted on a motorised wheelchair. Still and video panoramas are elements that create a branching narrative. The aim of this application is to develop the interest not only in the Causley’s biography but also in literary output of the poet.

This paper uses psychoanalysis to explore the magic of the immersive experience, comparing 18th century peepshows with the latest in virtual reality. A project to produce a museum artefact based on an existing antique peepshow, is the driving force behind this research to rediscover the enchantment of the peepshow, and to question how new technologies can add to this experience.

In this paper the author reflects on his experience of photographing artworks in churches, mainly as part of his role as photographer on the Imaging the Bible in Wales Project (2005-8). The ability to subjectively create new photographic images from original objects is considered and different approaches to photographic recording are evaluated for a variety of effects. An additional perspective on the creation of new images by photographic means is given by the way that medieval visual culture was retained and reused as churches were restored in the second half of the 19th century. This applies not only to 'old stone' but also stained glass, woodcarving and wall painting from the medieval period, which was sometimes crafted into new composite works. In conclusion the author briefly considers the potential for artists to make their own visual interpretations of historical visual culture.

Eye.Breathe.Music is a musical interface that can be controlled by movement of the pupils and breath pressure. The interface uses a pressure sensor to measure breath intensity; a camera to track eye movement and a display to provide the user with interactive feedback. This paper discusses the background research into the instrument, how this was used to design and construct the system, an evaluation of the resulted prototype, future development and possible applications.

The prevalence of multimedia technology has influenced modern society in many ways. Technological and economic feasibility have enabled the application of multimedia to physical spaces, where media such as audio, visual and interactive content take on spatial significance.(McCollough 2005, pp. 154-165) This has spurred multidisciplinary ventures in architecture that explore the architectonic potential of multimedia. Particularly relevant, are the progressive spatial applications of multimedia evident in multimedia installation artworks and interactive spaces. Through a case study analysis of 25 works of multimedia installation art and interactive spaces, this paper seeks to understand the manner that multimedia influences an architectural space and determine the significance of such influences in an architectural context.

This paper comments on the research project 'A New Media Approach: Visualisation of a Digital Exhibition,' whose final aim is to design a digital interface for a collection of works within the cultural heritage domain of the Xalapa Museum of Anthropology (MAX) in eastern Mexico. This museum hosts a fine collection of about 29,000 Pre-Hispanic pieces of the Olmeca, Central Veracruz and Huaxteca cultures, organises special and theme-based exhibitions, promotes research and publication and acts as a local culture centre. This paper discusses the conceptual framework for the digital interface that will display the most important pieces from the collection at the MAX and reflects on the importance of the strands that feed into the design: interface design, interaction design, information design, information architecture and navigation. The project will explore alternative design solutions of digital interfaces through a triple-interpretation concept, which are: research tool, device of information and learning, and educational resource. Integration of social media tools in the digital interface will also be explored. The project additionally aims to contribute to the analysis of the interaction that takes place when people interact with digital representations and cultural heritage data.

Visualisation of complex datasets is often designed to assist communication and to make that data more visually accessible (Friendly and Denis, 2006). In some recent approaches to data visualisation, the goal of visualising datasets is not to reveal a single underlying 'truth' that hides in complex data, but rather to visualise the structure of the data itself, to 'show everything' and see what emerges (Jones, 2009).

This paper discusses the use of visualisation to enhance audience and performer understanding of a distributed networked musical performance by addressing issues of anticipation of upcoming sonic events.

The paper reviews aspects of abstract films and the notions of time that occur in them. A series of developments by the author in making various generative digital abstract, or concrete, works are described and compared to film. The generation of the time element of the works described is integral with the generation of images. It is shown how different approaches to dealing with time in the digital context have emerged. In particular, an integrated constructivist approach has built from concepts in abstract film to go beyond cinema in a way that makes significant use of digital media.