The paper is historical in two respects, both concerned with visual representations of past time. Its first purpose is to enquire how visual representations of historical time can be used to bring out patterns in a museum collection. A case study is presented of the visualisation of data with sufficient subtlety to be useful to historians and curators. Such a visual analytics approach raises questions about the proper representation of time and of objects and events within it. It is argued that such chronographics can support both an externalised, objectivising point of view from ‘outside’ time and one which is immersive and gives a sense of the historic moment. These modes are set in their own historical context through original historical research, highlighting the shift to an Enlightenment view of time as a uniform container for events. This in turn prompts new ways of thinking about chronological visualisation, in particular the separation of the ‘ideal’ image of time from contingent, temporary rendered views.

This paper describes a project carried out by the authors to design and evaluate a mobile guide with visual content for a large and significant war memorial in Melbourne called 'The Shrine of Remembrance'. A practical intention was to display items from extensive, but currently unseen, archives of historic materials, including architectural drawings, iconic postcards, film of past ceremonies of remembrance, and oral accounts of war experience. A parallel intention was to address the problem, identified in previous research into audio-tours, of individual visitors becoming isolated in an electronic 'information bubble' that inhibits the social dimension of visiting and learning about places. In contrast to the immersive style of many audio-tours, we set out to investigate the use of relatively lean and fragmentary visual and audio content intended to provoke new readings of the material site and to exist alongside the social activity of visiting.

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.

This paper summarises work in progress on the digital reconstruction of the structure, space and decorative program of the music hall and annex at Vauxhall Pleasure Gardens c. 1764. The proposed outcome will be a recreation of the space and its contents combining Building Information Modelling in programs such as Revit with panoramic interior views of the larger-thanlife modern-subject history paintings of scenes from and allegories based upon England's victories in the Seven Years' War, marble busts of British worthies and mirrors. The final version of the project will also include a choral and instrumental musical element, as the space was physically connected to the garden's indoor orchestral performance space.

My research in recent years has focused on the relevance of traditional drawing, specifically studio based life drawing, to the contemporary digital environment. Following on from the successful exhibit of my interactive life drawing, Caryatid, at the 2009 EVA conference my aim is to open up  discussion on the relevance of traditional practice within the digital arena through an examination of my own creative practice and that of other artists involved in similar fields. The paper will explore the potential for cross fertilisation of old and new technologies and the opportunities for their presentation within new media.

This essay explores how the Deleuzian definition of sadomasochism applies to the performance art experience, how re-enactments of physical performance works through the use of surrogate bodies affects this experience, and the evolution of performance art in virtual worlds where the physical surrogate becomes the digital avatar body.

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.

Motion Studies brings together investigations at the intersection of Art and Science. At the core of the project are motion studies undertaken in Dr. Bret Tobalske’s flight laboratory at the University of Portland and translated into video, first at the flight lab and later in Fernanda D’Agostino’s studio. Motion Studies uses a fluid dynamics imaging system known as digital particle velocimetry to compare the nature of birds’ flights in different conditions. The footage is later edited into an experimental art video that combines location footage, archival imagery and a digitally altered sound track of wild birds’ calls. Motion Studies has been exhibited around the world as both a single channel video and as part of a video installation. Insights gained while working on the art video have led to promising new scientific research directions for the team and to a series of related art works.

New technological tools are allowing the authorship of computer generated faces that can easily move between very realistic, to cartoon-like, to painterly or even iconified - both in depiction and movement. These systems are beginning to allow artists, scientists and scholars to explore the notion of 'face space', whether as a realistic emotive character, an artistic portrait or symbolic facial mask, in new ways, that give a deeper understanding of how faces work as an expressive and communicative medium. We overview our computer facial suite of tools, which using a hierarchical parameterisation approach, has been used as a comprehensive frame work in several interdisciplinary, industrial and cognitive science applications.

As an artist who uses computers I present some justification and rationale for doing so within the context of my creative ideas and influences.