“The Building Project describes how our landscape continuously undergoes transformation and how our presence in nature influences and impacts on it. The impact has to be orderly and balanced, or the order of nature will be affected”. We do not leave this premise to other people. We have attempted to demonstrate and understand how we are part of this change. It is a necessity for human beings to be part of the change, and we have to be aware that our presence will not affect the harmony of the nature.

Justine Flynn is an audio/visual artist who has been installing work, writing contemporary music and directing contemporary performance since 1997 and is currently researching Imponderable Sound: at UCLan.

Livecell combines elements of generative composition using cellular automata (CA) and stochastic processes with real-time score generation, under real-time control from user input. The CA graphical user interface enables interactive control through visual and auditory feedback whilst real-time score generation allows for the immediate realisation of the musical output by a string quartet. The tripartite structure of the system comprises the CA graphical user interface, the data musification engine and the score generator.

Photographic survey techniques were employed to monitor the condition of the paintwork on the ceiling of the Queen's Staircase at Hampton Court Palace. Illumination was provided by a flash, mounted on an 8 metre telescopic mast, raised to approximately 60 cm below the ceiling, with images were taken from a fixed camera position on the floor of the landing. The photometric stereo method was applied with images from ten lamp positions, to calculate surface normals and a depth map. Cross-sections at the estimated surface resolution of 7.7 pixels/mm, achieved a depth (Z axis) resolution of approximately 100 microns.

This paper describes the methodology and presents preliminary results of a project using multispectral imaging to document the deterioration of parchment. A series of treatments has been applied to degrade samples from a deaccessioned manuscript using both physical and chemical agents. Each sample is photographed before and after the treatment by a multispectral imaging system to record the effect of the treatments on both the writing and the parchment. Here we present the initial imaging of the samples, and we show how some of the agents affect the writing and parchment.

Discussions of medical imaging technologies often leave the connection between imaging, visualization, and vision ambiguous, which fails to explain the visual and technological nature of the images. I argue that this is because the standard way that account of image interpretation are constructed gets the explanatory order wrong; rather than looking to image use to explain interpretation, image use should be explained by image interpretation. An account of imaging that takes visual interpretation as primary has more explanatory power and provides new tools for analysis and critique of medical imaging.

As different as music and architecture are, the two forms of art also share a close relationship, and many composition and design concepts can become applicable to both. Historically the two disciplines have often been related on an emotional level, however the work of Orproject attempts a direct transformation from one to the other on an underlying structural level. By transforming time based attributes of music into spatial dimensions, different types of physical structures have been created which use lyrical effects to answer architectural requirements. The analysis of movement behaviours forms an intermediary step between the compositions in time and space.

This is a demonstration of a practice-based research project that investigates contemporary modes of non-linear digital storytelling based on algorithmic computer-controlled systems and the viewers’ cognitive and emotional engagement in the visual narrative construction. The video installation ‘Journeys in Travel’ tells a complex story of travel and investigates relationships between travelogue, cinematic essay and digital database narrative.

We live today under the empire of image. After oral and written words, image acquires an unprecedented relevance. It dramatically determines our life, both our way of seeing the world and of performing our individual and collective existence. Our aim is to present a video installation - Body-image - followed by a discussion where, taking images of the body as a case-study, questions related to the actual epistemological value of image will be discussed. Body-image was created in 2011 by the Centre for Philosophy of Science of the University of Lisbon in the context of a research project entitled "Image in Science and Art". It shows images of the body produced by Science and Art since the 19th century up until today. It is structured in three moments - Body-landscape, Body-fragment, and Bodyalgorithm - accompanying the most crucial technical and technological transformations occurred in that period. The first is marked by drawing; the second by photography and X-ray; the third by digitalization.

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized human pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. The author traces the development of these realistic human figures worldwide from the very beginning in 1964, when Boeing Man, the first and one of the most significant and iconic images in history of computer graphics was produced.