Belfast’s Waterfront Hall


Venue Organising Institution(s):

  • University of Ulster

Venue Function(s):

    Exhibition(s), General Event(s), Keynote Presentation(s), Performance(s), Screening, and Workshop(s)

Venue Location:


Venue Presentations:

    Education in Mobile Environments, Contested space: cultural property and the art of appropriation, Keynote by Anthony Lilley, no title, no title (, no title (Sala-Manca), no title, no title, no title, Mobiles as Mobilising Tools, ISEA2009: The Exhibition, Foreword to the ISEA2009 Catalogue, Mapping Scapes of Sound and Vision (Notes on Simultaneous Echoes, by Masaki Fujihata), The River Sings Project, Postbiology between protocol and manifest: portraiture of a passing specie, Material beliefs: designing speculatively with biotechnology for public engagement, e. Menura Superba: posthuman dreams of ersatz animals, The dancing body as a screen: synchronising projected motion graphics onto the human form in contemporary dance, MindTouch: embodied ephemeral transference: mobile participatory performance research, Shin’m: reshaping the perceived body with sound, Cyborgs and the duality of perception and morality in performative interaction, Listening to the image: photography between representation and discourse, Products of negotiation and spaces of possibility: quantum systems and interactive media art, The Body without Organs: Deleuze and Guattari meet Romeo Castellucci, eye>hand>body>: data visualisation and the body in new media works, Green or not green: another glimpse of vanishing reality, The normalization of the cyborg: from futuristic artistic expression of mutilation to daily aesthetic beauty, Nanotechnology, storytelling, sensing, and materiality, Grasping the untouchable: the externalization of virtually created entities, The post-human imaginary and the body of the avatar, Bridging worlds: approaches to hybrid art in physical and virtual realities, Seeing the ‘light-colour’ seduces a new kind of touching, A study on an interactive construction tool for better interaction ability in an interactive installation, The real virtual living, The Meat Licence Proposal: proposing ‘law’ as a creative medium, Posthuman geographies: from virtuality to response-ability, CorpsCellule: Le Jardin, Human, robot, alien: the universal succession and transformation of terrestrial life, Bioinstincts, Mechatronic art: beyond craft-fetishism, Expression in interactive aesthetics: the case of physical computing, ‘Lives and works well everywhere’, Thinking of oneself as an aging computer / Thinking of (an aging) oneself as a computer, Prostheses for Instincts, Steganoflage: a new digital image security strategy, Designing and orchestrating technologies for future home or objects for arithmomaniacs, Gravitational aesthetics, The arts, innovation and commercial opportunities, Collaboration and development of an Artist’s Toolkit, Toward a process philosophy for digital aesthetics, Bridging the divide: emergent digital literacies and collaboration, The ephemeral body: aesthetics of the body in the new media arts of continental Southeast Asia, Cross-discipline collaboration: don’t care and don’t want to know, Semantic cartography, Authored collaboration, choreographed reality, Play Design: a collaborative design space based on digital game project, Play as a driving force in the era of the social web, Techno Viking: artist strategies for Web 2.0, The nature of the experience: understanding the role of the audience in pervasive and locative artworks, Lazarillo GPS, Through the dark room: an approximation between the movie theatre and VJ-ing spaces, The global data palette: massive databases and the reformation of content creation in film/video and music/sound art practice, Moon Vehicle: creating new culture from the Chandrayaan mission, Net gain/net loss: the Googlization of new media art in the era of neoliberalism, Avatar art: transformative outcomes of the Advanced Identity Representation Project, Hacking the borders of art and information: Jason Salavon and the art of anti-visualization, Vasarely Redux: Electroplastique and the structure of digital aesthetics, Professional capital and informal justice systems, ZooMorph: Enabling Interspecies Collaboration, Connecting with the iGeneration: the use of mobile interfaces and new technologies in galleries and museums, Understanding interactive media art based on Qi philosophy in traditional Orientalism, Before the reset: transformative practice of interactive media art, From instrument to interactive spectacle: transformations of participatory culture, Mapping the mind: collaborative creativity as alternative transformative practice, Same old story: media art in East Asia, Exploring the experience in everyday pedestrian routes: watch for ‘routinised’ pedestrians, The use of artifacts as critical media aesthetics, Fabrique: shaping experiential landscape, Reception strategies of transmedial audiences: playfulness, fiction, and the apparatus in interactive soap Lonelygirl15, The art of mobility: how transdisciplinary artists’ projects are testing the boundaries of mobile media design, KinoPuzzle: grasping realities through tangible tabletop documentaries, Picturing ideas as art: the visualisation of philosophical and political ideas using computer-generated imagery, Critical dressing: creative wearables and tactical practice, Exploring the ‘transitional’ in interactive 3D virtual environments, Aureole: communicating and evoking a poetic scientific phenomena, Lets go global: transforming lives through participation, digital engagement and creativity, Better than opiates, Transformative practices: the aesthetics, ethics and politics of social relations, Drawing lessons for ants, Transaction as interaction, One degree of separation: shopping super locally, Fluid archive: re-connecting the Matese community worldwide through archiving cultural values in the digital age, Tolerating mass murder: migration, diasporas, genocide and climate imperialism; an investigation by virtual migrants, The hegemony of freedom, Large screens, third screens, civic spaces and innovation, Particles In Space, Play, skip, jump: warp devices in videogames, Urban fiction: between map and landscape, Using 2D photography as a 3D constructional tool within the Second Life environment, Mixed-realities: opening the Beijing Olympics, A study on reconstructing meaning and experience with virtual restoration, Digital optics: vision, supervision and souvision, The new theatre of the world: map mashups and web 2.0 space, Virtual places, real money: the role of virtual worlds in the success of video games as cultural products, Bird watching: satellites, telescopes and the metaphor of transparency, JoyceWalks: remapping culture as tactical space, When digital trumps analog: teaching with Second Life, A study on the relation between the evolution of media platform and mobile content culture in Korea, Mitate: realising playfulness, multiple viewpoints and complexity in device art, Co-curating: distributing art globally, enacting art locally, Information non-place as a mirror of glocal subconsiousness, ‘What have you left behind?’: stories of nomads by nomads, Between here and elsewhere: relating to place, O-d-o: negotiating, contracting and transacting for online deal-making, Ruminations on remuneration, Dramaturgy as a model for geographically displaced collaborations, The Citizen versus the Stateless in the Nation-State, Griots and social media, The equator, the geostationary orbit and 1976: rewriting the Bogota declaration, Is there space to play?, Urban democracy in Japan, On hertzian space and urban architecture, Design for Responsive Communities, Contesting citizenship: participation and political art, Email (its being emotional … ), Cinematics and narratives: creating an archetypal character based experience, Emotional interactions: audience encounters with virtual personas and robots, Inner-active art: an examination of aesthetic and mapping issues in physiologically based artworks, AffecTech: an affect-aware interactive AV artwork, NewsViz: extraction and visualisation of emotions from news articles, Dancing sound: swarm intelligence based sound composition through free body movements, Power, emotion and virtuality, Enactive dialectics: inter-subjective emotional feedback through an embodied approach, Relationships between mood and aesthetics in video game design, Combining educational games and virtual learning environments for teaching physics with the Olympia architecture, Altogether human: tracking and recording human emotion online, Emotional exchange: embodiment and creativity in wearable technology, The confessional machine, Hitch haiku: an interactive supporting system for composing haiku poem, Video mirrors and mirror neurons: a look at empathy in participatory immersive environments, Composition of visual imagery for Shakespeare’s plays, The engineering of experiences through the mind cupola: interaction as a cognitive feedback loop, Entertainment and mobility, Intimate bidirectional interaction between external displays and mobile devices, The impact of location-based mobile games on group formation and urban environmental experience, Mobile anime and the cockpit comics, Mobile tagging and mixed realities in art, Stories on the run: narrative structures for mobile cinema, Memories, mobiles and creative art practice, PEGASYS: an interactive panoramic cinematic presence generating art system, Art and mobile augmentation: the brave new world of graphical tagging, An ‘on-the-fly’ pseudo model-based Augmented Reality, Does routine make a boring life? the visual representation of time and space using mobile technology, Urban sonic activation on wheels: ghost scraper, Fragments of place: revealing sense of place through shared phone images, Database narrative, spatial montage and the cultural transmission of memory: a work in progress, Sound, narrative and audience interaction: towards a recontextualisation of the Stephen Lawrence case, Digital media, memories and representation: Rebirth, Overlapping boundaries: art, technology and storytelling, Logos versus mythos: the strange adventures of Netochka Nezvanova in the lands without, Using interactive documentary as a peace-building tool in a post-Florian conflict situation, United & Severed: collaborative research and cognitive authority, Mnemonics as complementary space: theorising essayistic film towards a discourse on lost environments, The writing on the wall, Reinventing theatre in cyberspace, Counter-practices to the caribbean archives: the feminised narratives in Domino Effects (2009)., Design for posthuman future, Live puzzle: a kaleidoscopic spatio-temporal narrative, Interactive storytelling with MemoryLane, Alternate reality games, advertising and entertainment: how digital media are changing the way we tell stories, Connected memories, Media diffusion: multiplicity, identity and ecology; re-thinking images in animation after cinema, Pools, pixies and potentials, Moving history, moving goalposts, (Re-) constructions of memory in post-conflict Serbian society, Location based entertainment and co-evolutionary narratives in mixed reality immersive environments, Cinesensory: a filmic model for imaginative reconstruction of a city from haptic memories, Lines of flight: placemaking in motion, Lily’s Image: a child’s process of ‘making sense’ of universal themes such as family, home and their perpetual change, SecondLife: art and archive; thoughts about Lynn Hershman Leeson, Narrative inertia: a spatio-dynamical model of generative story telling, Whose past is it anyway: the use of digital databases in exploring personal and collective memory, Memory, reverie machine: toward a dance of agency in interactive storytelling, Wearable absence, Pile blocks and bar code, E-static shadows: an interactive e-textile membrane, Wrinkle skin, The interface vanishes: wearable technology at the crossroads, E-motional textile: creating electronic patterns for printed textile design by integrating motion capture technology, ‘I would wear it, because it is something different’, Contemporary design for safety textiles, Syncretia: a virtual geography for play, [re]locate and environmental storytelling, Designing social media for social change, M-log exchange project, As long as we await the next day with curiosity, Drawings of a floating world, Interactive digital media: an asset or liability for participatory practices?, Bellows: bringing digital animation into the physical world, Red light, Sensitive rose and the mobile tag era, Exact change: the transit shelter, a site of activism, The grafting parlour, Fluxitecture: a virtual installation for motion visualization, From ‘World Wide VIP’ to ‘TUTOR’ and vice versa, Negotiations, Ribbons: a live cinema instrument, Bag lady 2.0 (2008), FOR THE RECORD (2009), Collaboration on local time, ElasticMapping: implications of a GPS drawing robot in times of locative media, Cloud car, KRFTWRK: global human electricity, Aura: the stuff that forms around you, Plug and play tangible interfaces, MY STORY photo project: pictures on the edge, The (Irish) linen memorial soundscape: a gathering of names, Migratory: filmic exchanges and cinematographic weavings, Life cycle in digital system, Airbridges, PuPaa: Butoh, digital media and collaboration, AmeXica sKin: a colloborative event questioning borders, An application of new methodology for the performing arts: PERFORMATIVE’s dance project ‘a room of remember’, dead-in-iraq, 0h!m1gas. Stridulation amplified: on biomimetic stridulation environments and the use of bioacoustics as an artistic resource, Telling Time: 13 films of dreams, memories, paradoxes, conundrums, lies and the uncanny, My pocket, sub_scapeUTOPIA, Jurong west street 81: a synchronised community video project, Moving mario, Outre-Ronde: research on a contra-intuitive interaction, Laughing is allowed!, Postponed: a site-specific installation concerning man and nature, Intervention and the Internet: new forms of public practice, Swap shots: mobile film exchange, Engagement and contemplation: communicating data in media art installations, Sentient city survival kit, Kritical works in SL, Último esfuerzo rural, The emotion lights 2 + 3, Specious dialogue III, HUG: a reactive textile product for affective care, Citizenship and contested spaces, A bottle of weather: an interactive media installation, Zleeches, Optical handlers: eeyee, Urban intersections, Contested perception: five digital sculptures, Game fashion 2.0. the semacode dress. a quick-read-code camouflage collection, Government, citizenship and the public sphere: contested democracy and digital technology, Recording stories of apartheid reparations in a culturally and economically diverse landscape, Boys would only like the programme because there are boys in bands: how preschool children’s television tells the story of contested spaces, Unheard voices: audio visual recordings of memories of the troubles in Northern Ireland, Spoken, printed & virtual: zimbabwe’s non-linear narration of memory, Gendered inter/activity? Reflections on memories of prison experience in Northern Ireland’s conflict, A poetics of exile: the place of memory in the new media environment, Mnemonics as complementary space: theorising essayistic film towards a discourse on lost environments, Spomenik / Monument, Prologue: transitional geographies / feminist mapping, Creative industries forum, Emotion research forum, Educational and artistic practice for the convergence of art and technology in Korea, New media art, new economic realities: emergent economic structures in new media art, Wearable materialities, Interactive urban installations in contested virtual spaces, M.A.R.I.N. residency for the Irish sea, Ecolocated: environment, sound and engagement, Conspiracy dwellings: surveillance in contemporary art, Posthumanism: is the (art) world ready for bioart?, CoLab panel: performance and interactive technologies, Dialogic exchanges for virtual curation, Educational forum: ISEA2009, ARS Electronica 2009 and Re:live 2009, Was I supposed to feel like I was a part of that? strategies towards engaged, embodied audiences in participatory electronic artworks, FutureSonic: FutureEverything, Creation of a publishing collection about digital performances, Alt-w: new directions in scottish digital culture, DXARTS, FACT Liverpool, Patchingzone, CoLab, and Japan Media Arts Festival and the formation of environment for global visual culture

Venue Workshops: