Visual communicators, authors, publishers and their audiences are now feeling the cultural and economic effects of technological convergence on the transmission and reception of ideas. In January 2011 Amazon.com claimed to be selling more Kindle ebooks than traditional paperbacks in the USA. This suggests a shift in reading habits towards a more blended transmedia experience and a shift in buying habits away from printed publications.

Birdsong for Prisoners explores the ways in which we interpret sound, recalling memories of chords and phrases that trigger new stories and challenge our perception of a world where sound is only available with accompanying still and moving images. Created from a variety of sources including birdsong, improvised jazz and the creative use of piezo mics to record the rarely heard sounds of the human smile, Birdsong for Prisoners presents an opportunity to explore how listeners react to, and interpret, an original composition that places sound at the centre of an audience response.

Whispers of The Still City is a 15 min performance integrating interaction design, augmented reality, scenography and character creation. This performance installation conveys a nostalgic place with people who belonged to it once and now they only exist through traces of the past. In particular, Whispers of The Still City exhibits an affectionate space composed of a liquid architecture, which is not only a physical place but also a place with sensation. In other words, scenography of the place is anthropomorphized with life similar to a human character with sensation and memory.

"Tratado de imagenes" ("Image treaty") - 2009 - is a piece for live trio - violin, clarinet, piano - and video track. It is a practical research on the possible relationships between sound and image, explored from a joint approach: sound was not considered to be something external to the image, nor was image complementary to the sound. The artistic intention behind this work is for both images and sounds to build the musical context together, instead of thinking one of them purely as a translation (or embellishment) of the other. Synchrony is therefore used exhaustively in the piece, as it is a powerful means of uniting the different media.

This paper discusses the interim results of the AHRC RTISAD project. The project has developed and tested a range of techniques for gathering and processing reflectance transformation imaging (RTI) data. It has also assembled a detailed understanding of the breadth of RTI practice. Over the past decade the range of applications and algorithms in the broad domain of RTI has increased markedly, with current working addressing issues such as large resolution capture, 3D RTI, annotation, enhancement amongst others. Capture of RTI datasets has begun to occur in all aspects of cultural heritage and elsewhere. This has in turn prompted the development of policies and methods for managing and integrating the large quantities of data produced. The paper describes these techniques and issues in the context of a range of artefacts, including painted Roman and Neolithic surfaces, examples of ancient documents in a variety of forms, and archaeological datasets from Herculaneum, Catalhoyuk, Abydos and elsewhere. The paper also identifies on-going software development work of value to the broad EVA community and proposes further enhancements.

The objective of this text is to analyze the awarded artwork Sensitive Rose as a model to discuss and reflect about the potentialities of using mobile tags as tools for augmented reality and cross-media.

The ways in which we both produce and consume content has been a constant state of technologyled evolution. However, the perceived speed of change is now greater, and with that speed comes disruption (as was the case with the music industry around a decade ago). This work will look at the "content economy" - where it has come from, where it is going, and whether the world of iPad-clutching consumers sipping on a Starbucks while browsing micro-paid content is the reality that we are moving to - and whether it is something that we innately desire.

Projection of 3D space onto a 2D surface relies on the computer graphics camera, which is designed like the camera obscura. The procedure follows the laws of perspective projection and does not explicitly consider the viewer of the rendered image. Our approach is to extend this camera model in order to involve human perception into the rendering of 3D scenes. The aim is to create a user-centred spatial impression by a 2D image. By integrating the user into this process, implicit interactions can be applied to provide interfaces for an efficient and coherent communication of information in virtual environments. This paper introduces user-specific and context-specific parameters that must be taken into account when designing presence-aware applications. To this end, we present a concept of an interactive exhibition based on implicit interaction and point out its applicability in information design of three-dimensional scenes.

This paper investigates the nature of remote and virtual creative interaction; the issues, potential and questions arising in the uniting of a diverse group of people as a collaborative working team in the development of a range of digitally generated products and creative outputs. In the early 20th century Zika Ascher established a textile concept that integrated the provenance of high craft with the creativity of the leading exponents of the art world. Using a unique approach to making Ascher commissioned artists to generate imagery that featured as an exceptional moderating collaboration between the dislocated fields of Art and design. Ascher collaborated with artists such as Matisse, Picasso, Alexandra Calder and Henry Moore inspiring and leading them to engage with new mediums and exciting forms of artistic expression. Bringing this ideology into the contemporary virtual landscape a conceptual brand was created in the winter of 2009 that explored the collaborative ground, non-located working processes, and the potential of developing a product with a virtual team to create a commercial product utilising digital technologies. A group of artists and creative makers from a wide range of backgrounds and diverse modes of creative expression, some established, others emerging or outsider artists, were invited to participate in the project though social networking. This paper reflects on the nature of collaborative working in the virtual worlds of social networking and new media. It problematizes methods of remote team building and working with virtual individuals. In the discussions arising from the case study issues of clarity, communication and isolation are considered and analysed within a clear theoretical context.

This paper discusses the capabilities of the Vist3D system which enables non-technical users, specifically users without knowledge of 3D modelling techniques, interface design, data manipulation and creation of multimedia artefacts to build historical 3D spatiotemporal visualisations from natural language narratives. The user (e.g. museum curator, people involved with cultural heritage) need only supply a narrative of the event and a specification of the artefacts, e.g. buildings, ships.