This article introduces an experimental artwork on moving mobile interfaces. It aims to answer the question: Is it possible to navigate a part of a large image composition, moving a smaller interface of a mobile device in a certain direction such as left and right, back and forth or up and down? The article then outlines the new concept of “Invisible (or impossible) Navigation” and discusses the output of artistic practices which address the “Labyrinth of Art”.

ABSTRACT The purpose of the research reported is to argue that “formal” design solutions of past cultures can generate innovative ideas in interactive media design. The authors ask how a traditional art in which body motion is used, namely Turkish Islamic calligraphy— Khatt —can help create innovative solutions for digital interaction design. Taking inspiration from Khatt , the authors have developed a project with the aim of allowing an audience with no prior calligraphy background to experience the performance process of calligraphy by reproducing it themselves. By creating a performance interface that provides predictability components, the authors have correlated the visual compositions with sound.

ABSTRACT The authors, interactive design-art educators, recount their experience in using cultural inspirations as part of student exercises. The authors found that, although students proposed various design concepts drawing from the surrounding culture, very few moved beyond experience design art. In order to remedy this situation without giving explicit direction, the authors encouraged students to examine cultural habits and/or artifacts from their past or their current lives in the hope that this could generate innovative design ideas. One such project is the Prayer Bead Gesture Based TV Input Device.

This article introduces a conceptual design for an interactive artwork called Feel-in-Touch! Its aim is to improve the use of imagination in artworks using abstract images in the formats of interactive media and vibro-tactile aids. New technologies can visually realize every surrealistic narration we can imagine, but these technologies limit our perceptions by presenting only one way of imagining, instead of multiple alternatives. This restricts creative thinking. Working from the above assumption, this article explores how to increase the degree of imagination in an interactive artwork. The author discusses problems of the imagination in art and interactive media and summarizes current research on vibro-tactile and vibroacoustic applications. He then outlines Feel-in-Touch! and discusses the outputs of this conceptual design.