Digital Demonstrations

Digital Demonstrations will be presented with display posters in an open interactive session.

Paula Briggs and Sheila Ceccarelli
AccessArt: Sharing Inspiration and Practice

AccessArt has been working to support and enable high quality visual arts teaching, learning and practice since 1999. AccessArt was formed by Paula Briggs and Sheila Ceccarelli, graduates of Norwich School of Art and later The Royal College of Art. AccessArt uses the power of the internet as a visual tool to share and disseminate teaching and learning in the visual arts and inspire ideas. AccessArt has been at the forefront of using the web to 'further the advancement of teaching and learning in the visual arts' since its founding in 1999. Once more, AccessArt values and understands the richness, diversity and potential of the 'user' and the strength of the internet to bring stakeholders together to share ideas beyond geographical, socio-economic constraints and age, gender or ability.

Paula and Sheila believe that by sharing ideas and inspiration, we can all work together to create rigorous and appropriate art education for all ages. The AccessArt website has developed into a unique repository of teaching and learning ideas, shared by artists, educators and teachers across the nation. AccessArt now has over 12,000 subscribers across the UK and beyond, making it a vibrant creative community. In addition to the evolving resources AccessArt runs a number of very successful online participatory projects aimed at attracting new audiences, and takes an active role in campaigning about the importance of the visual arts to education, through initiatives such as #WhatDidMyChildMake and What is the Real Value of the Visual Arts.

Tom Hall, Drew Milne and Barry Byford
Lichen Beacons

Lichen Beacons is a collaborative audiovisual installation by Tom Hall, Drew Milne and Barry Byford. The installation introduces a new interface and platform for multimodal expression involving slow immersive portable sound, mobile digital images and poetry. In the installation, audience members are equipped with headphones and carry a mobile computer kit comprising a Raspberry Pi with a screen, housed in a transparent casing, a ‘Pi-in-a-Box’. Audience members participate in a personalised experience shaped by the flow of human–computer interaction with both the computer and bluetooth beacons placed around the installation space. In particular, individual mobile digital environments are mapped to each audience member’s relative location in the installation space. This allows individual and unpredictable paths through the eighteen short sections of the installation, each of which comprises a number of audiovisual elements. When an audience member is in range of a beacon, the computer screen displays an image, a photograph of a lichen, overlaid with text. At the same time a reading of one of the corresponding sections of Drew Milne’s serial poem accompanied by Tom Hall’s electronic music can be heard in the headphones. The portable digital environment is grounded in the installation space by a musical drone that is audible both in the room itself and in headphones.

Lichen Beaconswas first shown in the UK as Lichen Ohms Seriatim in Corpus Christi College Chapel in October 2015, as part of the Cambridge Festival of Ideas. The 2015 festival focused on art, power and resistance, providing an initial context for this installation which we relate to the CoDE conference theme of ‘creative communication’. The world of lichens offers multiple resistances to human perceptions and aesthetics, suggesting different and multi-modalities of time, and a slower, calmer sense of sound and motion involving the notion of flow.

Screenshot of 'Altogame' by Eija Mäkirintala showing a man and a woman in an art gallery

Eija Mäkirintala
Case Altogame – how to make innovation everybody´s business with a new paradigm of applied games

The world is changing fast and the pace of change is not getting any slower. There is growing global need to harness everybody´s brainpower to tackle challenges and to come up with innovative solutions. A great number of traditional organizations seem to have found themselves in the serious dilemma: how can we create new business through groundbreaking ideas and innovations? This is an area where new means are desperately needed to help organizations to transform themselves.

Altogame´s vision is to change the world and make innovation everybody’s business. Altogame is a 3D virtual multiplayer environment designed to break down barriers and stimulate innovation. You can brainstorm any real life question with anyone you like anytime you want – no tailoring is required. People also learn skills they need in future work. Altogame integrates modern technology with advanced behavioral design enabling a unique set of features compared to any other virtual environment. It utilizes opportunities that can be celebrated only in virtual world such as anonymity. Altogame celebrates arts based methods as a means to help people to unleash their creative potential. The behavioral concept draws on Eija Mäkirintala´s research work and hands-on coaching and training experience.

With Altogame organizations can organize meetings, workshops, or e.g. stakeholder surveys much faster and more efficiently than by using traditional methods. Altogame saves time and money –there is no need for travel, meeting rooms, facilitators or hotels. Engaging people in a novel and inspiring way inside the organization, and utilizing all competencies and innovativeness in networks have the potential to transform organizations, even nations.

Guest at an event playing Dr Arne Nyaken's 'Safe and Sound Drive' game.

Arne Nykanen
Safe and Sound Drive: A Green Driving Game

Safe and Sound Drive is an audio-only serious game for cars that will help drivers to increase eco-driving skills, lower fuel consumption and encourage safe and environmentally friendly approaches to driving. Music and podcast based contents is used to mediate continuous information to the driver. Game related cues are provided by altering the media content actively by, for example, adjusting BPM, volume, spectral balance, and music mix. The game concept is continuously developed, and has been publicly demonstrated in a racing simulator game at the Cambridge Festival of Ideas 2015 and the Cambridge Science Festival 2016. It will later be tested for effects on fuel consumption and critical safety behavior in real cars.

In this demonstration we will take people on a test drive in our demonstrator of the Safe and Sound game. They can hear how energy efficient their driving behavior is and compete with their friends. The aims of the demonstration are to inform about the influence driving behavior has on energy consumption, demonstrate how information about energy consumption can be mediated to drivers, and give us an opportunity to interact with the conference participants and discuss the use of sound based gaming in cars in general and our design of the game in particular.

Shreepali Patel, Piet De Groen, Mariana Lopez, Rob Toulson
Evaluating the impact of artistic filmmaking on patient engagement with cancer screening procedures 

Colorectal cancer (CRC) is the second leading cause of cancer-related death in the US.  Yet, CRC-related mortality is mostly preventable if patients participate in a screening and surveillance program based on colonoscopy.  Colonic preparation prior to colonoscopy is an essential part of the procedure and greatly determines the eventual outcome.  Thus, it is of the utmost importance for patients to follow medical instructions on how to prepare for screenings.

Previous research by Patel and Toulson describes the use of creative documentary filmmaking in enhancing compassionate and emotional responses to healthcare issues.  Their research has shown that by capturing footage from an artistic viewpoint, it is possible to educate healthcare practitioners and the general public in more compassionate ways, resulting in a deeper engagement with the scientific facts and medical conditions that they need to understand.

The present demonstration is the result of a collaborative project between Mayo Clinic (US) and Anglia Ruskin University (UK) that aimed to reach out at a cognitive and emotional level to patients and convey the importance of colon cleansing prior to the procedure.   The resulting documentary combines science and emotional storytelling with the aim of improving screening for CRC.  The construction of the film based itself on creating empathy between the viewer and the contributors within the film, focusing on universal themes and questions that the audience could identify with, in order to maximise the impact of the factual information.  As such, the contributor selection, the use of humour, easily relatable graphics, high quality visual and audio production, together with a designed soundscape of music and sound effects are combined to not just appeal to the ‘target audience’ but to set a stage and seed of thought which asks them to question their approach and rationale to health screenings and preparation.  

Cropped screenshot of Signals by Karolina Raczynski, an interactive performance using mirror signalling and live video feed

Karolina Raczynski
Signals: an interactive performance using mirror signaling and live video

In an age where communication between people and communities can be achieved through instant messaging or live video chats, the interactive Skype performance Signals takes at its starting point the idea that a light source from a projector and the Internet can be used to physically influence a space and connect audiences in separate locations (e.g. adjoining rooms or in different countries). A reflection from a mirror in one place can affect the darkness or lightness in another. A new experience of space is created through the solidarity of two audience groups, and a third virtual performance space emerges, regardless of borders and time zones.

Signals is an interactive performance using mirror signaling and live video feed (Skype) and requires audience participation. Previously, the set up has been arranged in various ways but in general has these requirements: two audiences, or one audience and the artist, located in two separate projection rooms or in different countries (eg. London/Ankara, Berlin/New York, Edinburgh/Ankara). A computer and projector are positioned at the front of each room. The projectors then face the audience and their light source enables the act of signaling.

Emmanouel Rovithis
Kronos: Educational Role Playing Audio Game on Electronic Music Composition

Audio Games (AG) implement auditory means to express the game’s content. Players must rely on their sense of hearing to explore the game space and accomplish the gameplay tasks. Research suggests that interacting with sound improves concentration, memory and cognitive performance, whereas blocking visual stimuli and immersing into an aural environment promote imagination and result in the better understanding of acoustic issues and music concepts. Thus, AG can be designed as valid educational tools on sound-related curricula. Furthermore, employing sound as the main carrier of information facilitates the inclusivity of students with visual impairment.

The AG prototype Kronos supports the thesis that an audio game, an educational tool and a music instrument can be merged into an interactive platform, on which users will exercise their skills and apply their creative ideas. The goal of the game is for players to evolve a sonic organism through completing tasks that exercise their understanding of musical properties, as well as introduce them to concepts and techniques of electro-acoustic synthesis including sampling, sequencing, frequency and amplitude modulation, additive and granular synthesis, filters and reverberation.

Choosing a role determines which sound source will be used as the organism’s raw material: noise, oscillators or samples. Following the role’s path leads to audio interaction challenges, such as identifying pitch and timbre, describing melodies, reproducing rhythms, targeting and avoiding sounds in the stereo field, silencing soundscapes, navigating through audio mazes and searching for hidden sonic objects. Successfully completing these challenges rewards with respective sound design modules. Thus, players construct and customise their musical instrument by participating in the game’s action and narrative. The proposed demonstration will present all audio interaction mechanisms implemented in Kronos, as well as its music performance capabilities. Then the game can be exhibited as an interactive installation inviting the audience to test it themselves.