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.

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.

According to the description of the artists web page (http://katerichards.net/art/eclipse/) the work explores the universe as a generative system informed by a ‘creative intelligence, ordering principles, patterns, significance and aesthetics’.

The work explores questions regarding our aesthetic relation to the universe and the recurrent generativity it describes between astronomical and scientific visualisation and schematisation, cosmology and folk sciences.

The work is also notable for the way Richards is live documenting the process of the works development on an open wiki. If the work explores the universe as both ‘process and object’ then the work is also a recursive function and modulation of that systemic generativity. (http://darkenergy.wikispaces.com/)

Bystander is a multichannel interactive video, sound and interactive installation by Australian artists Kate Richards and Ross Gibson. Bystander is one of the Life After Wartime suite which includes works; Crime Scene, LAW Live, Darkness Loiters, and the LAW CD-ROM. Bystander is the final work of the suite all of which is based on an unsorted and poorly documented archive of post-war crime scene and police photographs. Richards and Gibson have used these evocative images as the basis for a fictional narrative . That narrative  unfolds according to the participants movement within the installation space and their interaction. A ‘kinaesthetic particle animation’ responds, reflects and feeds back on the relation between body and archive. The development of the narrative is keyed to the quality of movements of bodies in the space. A still and attentive participant unlocks a deeper and more focussed narrative unfolding while the hyperactive participant realise a more fragmented and playful experience.

The work establishes a complex play between a societal perception and response to a diffuse, arbitrary, and perhaps ambient criminality and violence and the more complex and highly contextual set of relations that have produced such an archive. In the process Bystander posits intriguing questions about the nature of the archive, narrative, technology (perhaps including the former two but extending to the institution, interaction, photography), and affect.

He is the founder of Transmute, the interdisciplinary collective behind Intimate Transactions, an interactive installation that has been exhibited all over the world, where two people in geographically separate spaces inhabit and interact in a shared virtual space.

She has performed audio/visual work with artists like Chris Caines, Shannon O’Neill and Ben Byrne. She has curated collaborative performance events like Semaphore and is also Co-Director of the Firstdraft Gallery.

Sher Doruff was head of the Research Dissemination Programma at Waag Society until September 2007. This programme investigated creative processes and research methodologies of projects within Waag Society. It aims to distribute analyses of these processes to a wider public in a variety of ways.

Sher received her PhD in 2006 from University of the Arts London/Central Saint Martins/Smartlab. Her research  focused on situating translocal performance practice enabled by KeyWorx in a conceptual frame that references the affective intensities of diagrams, biograms and polyrhythms.