His work as co-manager (with Kaj Grønbæk) of the Interactive Spaces research centre involves; The design and implementation of IT systems that are designed with a specific focus on ensuring the seamless integration of information architectures and the physical environment (Info Gallery, Echoes of the City, Wisdom Wells), The potential presented by pervasive computing for new forms of sporting interaction and extension (iSport) and The potential for context aware computing presented by pervasive computers ubiquitous networking and mobile sensor, capture and positioning technologies (Urban Web).

Peter’s research publications are concerned with the both theoretical and pragmatic exploration of new approaches to interaction design and have, for example explored the innovative concepts of ‘Collective Interaction’ (with M.G. Petersen Designing for Collective Interaction in Randall, D. (ed) From CSCW to Web 2.0 European Developments in Collaborative Design, Springer Verlag -in Press.) and ‘Frame Shifting’ (with Thomas Markussen, Mapping Cultural Frame Shifting in INteraction Design with Blending Theory 2008 -www.ijdesgn.org). Peter is the Conference Chair (with Olav W. Bertelsen) of the DIS2010 conference. He sits on the board of the Nordic Design Research Network Nordes.org.

Daniel Woo is  also associated with the iCinema project at UNSW a large scale hemispherical ‘cave’ style immersive environment although his work tends to focus of speech and natural languages and interface design and usability research.

Woo was central in establishing a HCI education at UNSW and is considered a leader in the field of HCI education and research. He has published widely on interface design, formal usability testing, speech synthesis and interface, spatial audio interfaces amongst other research interests.

Aaron’s work has often included the conceptualisation and visual design of installations, interactives, web applications, multi-screen displays as well as the subsequent coordination required to see the often multidisciplinary nature of cross-media projects realised with a consistency of visual and interactive design.

Helyer’s work is what his website describes as ‘actively interdisciplinary’- linking creative expression, scientific research and technical development. More specifically Helyer’s work is characterised by an interest in the potential for technical architectures to reveal otherwise unseen or marginalised dynamics that span and interweave the development of culture, environment, history and technology .

Installation is the most common vehicle for Helyer’s work which tends to employ elements of computer and mechanical interaction as the basis for an establishing and exploring the visceral relation between body and ecology that it potentialises.

Helyer’s most recent work has developed out of a collaboration with the Satellite Navigation and Positioning Group and Human Computer Interaction Lab of the University of New South Wales (Most notably with Daniel Woo and  Michael Lake of UNSW). That work is based on the Audio Nomad system that provides for the mapping of geo-tagged media and geospatial information in a interactive system that immerses the user in a sonified representation of the environment. That representation juxtaposes sonified meteorological and environmental data with recorded histories, cultural fragments, field recordings (both visual and sonic) making the relations between these ‘readings’ visceral. The user traverses this sonic topology  produced via an immersive multiscreen and surround sound system and the unique Audio Nomad interface  to explore the transitions and relations between the human, biological, and environmental systems.

The Audio Nomad system is the result of a project Helyer began in 1999 and which continued until 2001 called Sonic Landscapes and which employed the spatial audio systems developed by Lake Technology and the GPS systems developed by the SNAP lab of the University of New South Wales (and in collaboration with both Lake and UNSW). That project allowed for a fictive but nonetheless visceral 3D immersive soundscape to be accurately positioned and explored on/in a physical terrain. The subject and site for that work was the St Stephen’s Graveyard in Newtown, Sydney – a site rich with the kind of lost/invisible histories, that along with the invisible or marginalised dynamics of our ecology, constitute the other principle interest in Helyer’s work.

Two other interwoven streams are apparent in traversing Helyer’s catalogue. The first is an interest in oral and sonic histories that is expressed in the Wireless House (2009) and  GhosTrain (2008) projects both of which work on resounding the forgotten histories that are expressed in the sonic markers of a superceded or evicted heavy industry that once constituted Sydney’s inner city life or the oral histories that recount the human cultures to which it gave rise.

The other stream of Helyer’s catalogue is the design of mechanical and dynamic sculptures that harness wind or other environmental (or differential forces-electromagnetic force for example) forces as a means of modal ‘transduction’ – of converting wind to dynamic form (Zephyr 2010), or electromagnetic potential into sound (Swarm 2005), audio to tactile vibration (Adrift-2009, Transformer 2005), kinaesthetic potential into sound and form (Spinner 2005).

Helyer’s work is extensively and generously documented on the Artist’s web site (http://www.sonicobjects.com/) and farexceeds this rather cursory account of his contribution to media art both nationally in Australia and and internationally – The rise of ubiquitous computing and cheap portable, and embeddable, systems of playback has seen sound art move to the forefront of media and interactive art – Helyer has become a central protagonist in this ongoing exploration.

Jon’s solo work is mostly concerned with installation and performance sound projects. He has explored the potential interaction between old and emerging audio technology -most notably between the theremin and the sampler (Sheet and Spiral 1997).Sonic Constructions (2004-2008) is a series of live VJ style performance where projected ink blots (and runs) provide a live data feed that generates an accompanying soundscape via Max/MSP/Jitter. His Sounding the Winds project uses a sensor laden kite to provide a live feed of data via bluetooth to produce a soundscape below (Presented at Electrofringe Newcastle NSW 2005)

Martyn Coutts is a Melbourne based ‘live art’ artist – an art practice defined only by the fact that it tends to fall between the categories and discourse of established art practice and the institutional discourses into which they play – live art is difficult to contain or position in terms of intended audience or defined outcome.

Martyn has worked with, and helped to cultivate, a network of artists. He is,involved with an number of projects that experiment with funding and collaborative models for live and marginalised art practice. These projects include the Live Art List (a blog) and Field Theory (a collaborative funding/support model and collaboration -with performative elements).

In the context of this Dynamic Media Network he is notable for his collaborations with Kate Richards on the Wayfarer projects. He was the recipient of the Green Room award for his work on James Saunders’ The Harry Harlow Project (2009) and has experimented with the use of digital and relay video in choreographed performance works Inside (2004) and Bunker (2006). His work with the ‘live art’ collaboration Deadpan (with Willoh Weiland)  and puppetry/new media collaboration Blood Policy (initially with Sam Routledge) are characteristically difficult to place – although he use of media and a mechanism as a mode for generative engagement of an audience or subject marks an intriguing juxtaposition to the bulk of media and new media art documented here.

It’s tempting to package the form of practice that Martyn is engaged with as related to performance art – a form his work occasionally skirts around and engages. Despite the use of performance as a central mechanism in his work its not clear that expression in any sense of the word is key. The diversity of practices that Martyn is involved recall forms of structured improvisation – perhaps more of the musical or dance variety than theatrical in that the process and the object are inseparable and in constant recursion – the performance is exploratory rather than expressive. There are also echoes of a kind of urban and reflective anthropology (particularly with Deadpan) except that the form of the investigation itself implies a kind of open compositional and playful intent.

While its difficult to characterise Kate’s work as the expression of an overarching concern, most of her works explore the potential for frameworks of action and interaction to emerge out of, and then feed into the dynamism of complex systems. New and interactive media becomes a vehicle for exploring, invoking, disorientating, the generative and or affective potential of these frameworks and the social and subjective states they imply.

In ‘Prediction Pieces’ (1981-1991) Jones she explored ‘the way humans arrange the idea of the future within their minds’

The Darwin Translations (1994-99) explores Darwin’s theory of sexual selection across the animal and human and its relation to notions of sexual play.

Deep Water/Aqua Profunda (2001) is a video and sound installation exploring the nature of sexual intimacy (for the Venice Biennale).

The Avoca Project is a sprawling project that explores themes of immigration, subsistance, climate change, and community in the Victorian country town of Avoca.