This paper presents novel catoptric anamorphic sculptures made possible by the development of bespoke software. The authors detail the production of a catoptric anamorphic sculpture involving a concave mirror and examine the audience’s experience. The reflections the mirror creates are described as being holographic. This effect is known as a “real image” and only occurs using a concave mirror. The authors present the digital tools they have developed to facilitate anamorphic artistic production and extend the limits of what has been achieved in the past. They end with an outline of future work, including glass lenses, and propose using video projection mapping.

This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by adopting archival science methods, including digital preservation practices. Doing so will support media archaeology studies of digital cultures over time and ensure that the legacy of VFX creative and technical production thrives for future generations.

This paper discusses Creature:Interactions (2015), a large-scale mixed-reality artwork created by the authors that incorporates immersive 360° stereoscopic visuals, interactive technology, and live actor facilitation. The work uses physical simulations to promote an expressive full-bodied interaction as children explore the landscapes and creatures of Ethel C. Pedley’s ecologically focused children’s novel, Dot and the Kangaroo . The immersive visuals provide a social playspace for up to 90 people and have produced “phantom” sensations of temperature and touch in certain participants.

This paper considers the relationship between design, practice and research in the area of New Interfaces for Musical Expression (NIME). The author argues that NIME practitioner-researchers should embrace the instability and dynamism inherent in digital musical interactions in order to explore and document the evolving processes of musical expression.

This paper describes an interactive dance/physical theatre work entitled Encoded , which made use of motion capture techniques and real-time fluid simulations to create systems intended to support, stimulate and augment live performance. Preliminary findings from a qualitative study of performers’ experiences with the system raise a number of issues, including the challenges of creating theatrical meaning with interactive systems, using Contact Improvisation as a metaphor for engaging creative systems, and the impact that large-scale projections can have on performers’ engagement.