This paper assesses the impact of the Choreographic Language Agent and the Digital Dance Archives on dance ontology. Enhanced visualisation - afforded by digital technology - impacts on the essential ontological features of dance, such as ephememerality and the human body. Referring to the work of Nelson Goodman (1968) and Martin Heidegger (1977), I discuss the significance of creative programming for dance, asking what such tools reveal about the ontology of the form and existing concepts of movement, notation and embodiment.

This work constitutes a contribution to the emergence of a common writing for French Sign Language in a graphical or even a typographical framework. Our hypothesis is as follows: in its execution, the gestural sign contains a readable graphic trace that can be visualized with a photographic device. In order to evaluate this hypothesis, we gather a photographic corpus made of isolated elicited signs.

The Talking Quilt is a traditional textiles quilt that has been augmented with digital technology to allow for enjoyable and reflective engagement. Produced by over 80 staff, volunteers and visitors to Spitalfields City Farm in East London, the quilt presents a snapshot of the farm at this point in time

Within the last twelve years, digital technology and the use of the World Wide Web has significantly influenced and affected daily lives. Revolutionising the way people participate in complex issues as well as how they experience reality. As a result, digital technologies such as interactive exhibits are now commonplace in museum settings, providing ‘edutainment’ for visitors. However, many technologies co-exist uneasily with more traditional methods of display. This demo seeks to examine how culture can be experienced through interaction between visitors and digital representation through the use of a digital board. Visitors’ experience of culture is then explored through an exhibition that provides the audience an opportunity to interact with digitised artefacts. The interactive board is not a move to replace but to complement rather conventional methods of exhibition.

The Battersea Arts Centre (London, UK) has been a pioneer in developing new models of theatre, including creating and supporting the Scratch programme for the last 12 years. At its core, Scratch is about giving artists-in-residence the opportunity to present work-in-progress, and to actively seek feedback from a live audience. Portions of new works are trialled in short pieces often lasting just 15 minutes, followed by discussions and feedback. With new funding from NESTA, the Battersea Arts Centre and several partners are in the process of developing a Scratch Online platform to help commissioned artists extend this engagement with audiences into an online space using digital tools including live and recorded video.

Computation can effectively represent highly complex processes, from which series of sequential static images can be derived directly. This is due to the unique sovereignties over spatial and temporal representation that it affords. This opportunity for complex spatiotemporal simulation offered by digital technologies allows a subversion of the computer’s traditional role as an image production device, through its use in my own work to create preliminary sketches as a basis for sequential pieces finished in traditional analogue forms. I am currently exploring these connections via the presentation of a variety of spatial and temporal sequential imagery in a series of exhibitions, and supporting contextual research.

The visualising of breath using digital in-line holography is challenging due to the issues of the relative scale of the human breath in relation to the recording area of the hologram. In this collaborative project between artist Jayne Wilton and physicists Professor Peter Hobson and Dr Ivan Reid a number of approaches, including the use of spatial filtering (Hobson and Hong 1988), are being used to record the human breath.

The present project is an interactive audiovisual creation, a sound and vision installation where the user interactively activates sound in its analog form. The sound is used to influence a physical medium (in this case a tank full of water) producing an image through the turbulences on its surface. This image, properly illuminated, is reflected and visualised in space. The installation is designed in such a way that allows, through an interactive application, the projection of sound on the water surface and the direct capture of that feedback, i.e. sound waves formed on water. At the same time, the reflected image is projected on a white surface (“imprint of sound” - projection of sound as image). The innovation of the project consists in the interactional mechanism of the system developed, which allowes the users to influence the final visual effect while they are moving in the room of the installation.

The paper examines an alternative and holistic method of preserving the cultural heritage of industrial sites, which would otherwise have been lost, using augmented reality and mobile technologies. The city of Newcastle is presented as a case study.

Conceptualization of information allows improved visualization and manipulation of large amounts of data. Especially in digitization of cultural heritage, and when aiming at presenting more than one monument, abstraction of information becomes the key solution. Our proposed application aims to present the main archaeological monuments of Crete through a conceptual 3D model. It allows the user to navigate among all the main monuments and approach them gradually in different levels of detail. Furthermore, the ability to switch between the seven historical periods offers a comparative study of their evolution in time. By providing the minimum needed information at each level of abstraction, “levels of detail”, we can create an online platform, light and easy to use.