Understanding what goes on in collective creativity is difficult. This paper presents work on visualising mutual engagement in musical micro-creativity and shows how musical memes can be visualised and tracked through extensive logs of creative interaction.

Over recent years there has been considerable investment in the use of technology to identify sources of text-based plagiarism in universities. However, students of the visual arts are also required to complete numerous pieces of visual submissions for assessment, and yet very little similar work has been undertaken in the area of non-text based plagiarism detection. The Spot the Difference! project (2011-2012), funded by JISC and led by the University for the Creative Arts, seeks to address this gap by piloting the use of visual search tools developed by the University of Surrey and testing their application to support learning and teaching in the arts and specifically to the identification of visual plagiarism.

In this keynote Ian Hughes/epredator will show the link between the huge changes in communication of design ideas and the accessibility of tools for user creation of content. How that merges with gaming culture and educational opportunities and how the digital interaction with the physical shows us a path to a very different future.

Though Ottoman miniatures are 2D representations, they carry the potential of conveying an individual’s perception in a more detailed manner as compared to 3D perspective renderings. In a typical 2-vanishing-point perspective; objects / subjects drawn in the foreground hide the ones that are located at their back: This phenomenon is called occlusion. In Ottoman miniatures there is no occlusion, all object / subject illustrations are wholistic, there is no partial description of figures. Consequently, you end up with a life form that is the synthesis of individual forms, a sui generis state... This unique visual narrative can be extended to cubist works where multifaceted descriptions are observed.

In July 2011 Kew Gardens launched an app called ‘Kew’ with the aim of enabling visitors to “explore more of Kew gardens and dig deeper into [the] science and horticulture” (Kew Royal Botanic Gardens 2012). The Kew app is designed to facilitate this experience by providing location specific information on a customizable map through seasonal recommendations, and site specific tools, such as QR code reader for plant labels and an augmented reality browser, enabling a more personalized and unique exploration of Kew. In October 2011 audience research was carried out to evaluate visitors responses and experiences to the app and to identify the nature of their experience of Kew when using the app.

The Life Project explores issues of psychological projection into technology by diving into the convoluted relationship between practical purpose and emotional attachment, through both the creative act of designing and making robot entities with artificial emotions, and the social act of engaging with them. This process explores the concept of body representation through a multiidentity in virtual and physical blended space. In a lesser sense, it also suggests a future world of collaboration between physical and virtual forms, enabled by new forms of representation in blended worlds.

This paper will present an outline the Pixel Ware project; its conceptual background and technical process, and finishing with a brief evaluation of the project as an interactive artwork in the context of the museum.

This paper will present an outline the Pixel Ware project; its conceptual background and technical process, and finishing with a brief evaluation of the project as an interactive artwork in the context of the museum.

In July 2011 Kew Gardens launched an app called ‘Kew’ with the aim of enabling visitors to “explore more of Kew gardens and dig deeper into [the] science and horticulture” (Kew Royal Botanic Gardens 2012). The Kew app is designed to facilitate this experience by providing location specific information on a customizable map through seasonal recommendations, and site specific tools, such as QR code reader for plant labels and an augmented reality browser, enabling a more personalized and unique exploration of Kew. In October 2011 audience research was carried out to evaluate visitors responses and experiences to the app and to identify the nature of their experience of Kew when using the app.

Though Ottoman miniatures are 2D representations, they carry the potential of conveying an individual’s perception in a more detailed manner as compared to 3D perspective renderings. In a typical 2-vanishing-point perspective; objects / subjects drawn in the foreground hide the ones that are located at their back: This phenomenon is called occlusion. In Ottoman miniatures there is no occlusion, all object / subject illustrations are wholistic, there is no partial description of figures. Consequently, you end up with a life form that is the synthesis of individual forms, a sui generis state... This unique visual narrative can be extended to cubist works where multifaceted descriptions are observed.