Download the DRHA2014 publication which includes ground breaking academic papers and abstracts.

The “book of Abstract” publication for the DRH2014 conference showcase up to-date well-known speakers & series of installations & exhibitions, discussions, dynamic debates, innovative keynotes and experimental performances. and aims to open a discussion on defining digital communication futures, as a theme that connects interdisciplinary practices, focusing particularly on issues of communication and its impact on creative industries .

Buy your Printed Paperback copy here*

Download the Full Online Interactive menu version FREE*

All Fully Registered Delegated will Receive a Free paperback copy on their arrival

Or select the Streams to download the group papers*

Science. Art. Life.*

  1. Expanded Life-Writing: Alev Adil
  2. Digitality and Human Machine: Language and Cognition: Alexandra Anikina
  3. Digital Dance in the Potency of a Biodancee: Natalia Ribeiro, Ana Carolina Frinhani
  4. Subjective Epistemologies: Inconsistent Artefacts in the Redesign of Medical Devices: Teresa Almeida, Gabriella Arrigoni

Museums archives and creativity*

  1. Engaging Audiences in Museums in a Performance Way: Licia Calvi, Jocelyn Spence
  2. Histories or Memories? The Problem of “Personal” Digital Archives and “Curation” in the Documentation of Creative Practice for Future Scholarship: Dennis Moser
  3. The Cultural Heritage Treadmill: Paul O’Shea and Anthony Durity
  4. Archive acts: designing modes of storytelling with a ‘living archive’: David Carlin
  5. Prototyping and Interdisciplinary Collaboration in Digital Media Design Practice for Museums: Marco Mason

Virtual Journeys*

  1. Spatial Humanities: Moving Beyond the Dot on a Map: Robert Allen, Nick Baron, Laura Carletti, Tim Coughlan, Catherine Davies, Bronac Ferran, Pamella Lach and Angeles Munoz
  2. Spatially-Organized Virtual Narratives of Contested Urban Space: digital methods of mapping the spatial experience of shared heritage: Georgios Artopoulos, Nikolas Bakirtzis and Sorin Hermon
  3. Playing with Perception: Locative Narrative and Sonic Virtual Locations: Emma Whittaker and James Brocklehurst
  4. After the death of cyberflâneur: Efthymia Kasimati

Noise Annoys*

  1. Chaos Media:Stephen Kennedy
  2. TuneGraph: an online visual tool for exploring melodic similarity : Chris Walshaw
  3. Com-Note: Designing a composer’s notebook for collaborative music composition: David M. Frohlich, Tom Armstrong, Janko Calic, Haiyue Yuan, Simon Desbruslais
  4. Sound and Visual Narratives in a Contemporary World: Frederico Dinis

Mapping on a digital surface*

  1. Earth or World: Google Earth and the Prosthetic Imagination: Lawrence Bird
  2. Potential uses of NFC enabled mobile apps within UK tourist attractions: Seyed Amir Mohsen Jazdarreh, Ed de Quincey, Amir Shadmand and Lachlan Mackinnon
  3. Mapping Moby-Dick in Locast: Pelin Arslan, Federico Casalegno, Wyn Kelley and Amar Boghani
  4. Aesthetic Action: Instagram’s Technogeographies of Resistance: Sarah Jaffray

Digital collections: re-defining the museum space*

  1. Transmedia Experience Design for Audience Engagement: An Experiment with Near Field Communication: Laura Carletti, Catherine Davies
  2. The imaginary in [re] construction through new forms of engagement with masterpieces :Raquel Barros Pinto
  3. Networks of care, or how in the future museums will no longer be the sole caretakers of art: Annet Dekke
  4. Geeks and Gut instincts: Challenges and Preconceptions from Collaborative Research Across the Arts, Design, and Technology. A Case Study Using Mobile Augmented Reality with Art Galleries: Emma Murphy and Paul Coulton

Re- thinking Digital Design*

  1. Developing Taxonomy for Good Design: Objectifying the subjective language of good design: Benny Tan
  2. Generative Design: an interdisciplinary approach to visual communication : Ana Filomena Curralo
  3. Concerning Data: The Importance of Developing New Frameworks for Design: Raoul Rickenberg
  4. Everything looks the same in digital design: Nickie Hirst

Creative Computational Technologies*

  1. Visualization of Complex Data: Olinkha Gustafson-Pearce
  2. Picture Perfect: Computational methods for matching historical photographic records across different collections: Stephen Brown, Simon Coupland and David Croft
  3. Literary Language and Eye Tracking: What Eye Movements Tell Us About How We Read Poetry: Christian Riegel and Katherine Robinson
  4. New Media and Tradicional Cognition Process in Observational Drawing Methodology: The Case of David Hockney’s Visual Experience in iPhone Drawings:Shakil Rahim,Ana Leonor Madeira Rodrigues

Digital Memories and Histories*

  1. Mediating Memory through a Digital Lens: Commemorating Colonialism in France: Isabel Hollis
  2. Cinephiles and Movie-Fans: A Counter-Cartography of Paris Film Culture, 1918—1928: Annie Fee
  3. Digital memories governance: trust beyond transparency: Estefanía Aguilar-Moreno, Alessia Ghezzi, Ângela Guimarães Pereira
  4. Digital Memories: Archiving and Visualising Absent Communities: Matilda Mroz

e-theatre narratives*

  1. “Cut me to pieces”: Shakespeare, fandom, and the fractured narrative: Daisy Abbott
  2. Etheatre Project: Political Participation in Online Theatre: Christina Papagiannouli
  3. Studio for Electronic Theatre – Jumping Into the Abyss of Technology: Fahrudin Salihbegovic
  4. Interactive Theatre Making: An interdisciplinary lens on Maker narratives: Mari Thynne

Embodiment in Communication*

  1. Technological cognitive embodiment and the digital ‘other’: Louise Douse
  2. Digital performance and the materials of planned obsolescence: Daniel Ploeger
  3. Virtual Embodiment: The turbulent relationship between social media and the self: Stacey Pitsillides, Anastasios Maragiannis
  4. ‘Show the world how hot you are and how heavy you get down’: The Digital Desig: n of Pornographic Communication Rebecca Inez Saunders
  5. Interface design model for digital nativeʼs interpersonal affective communication,: Lessa Joana

Human Living Technologies*

  1. Pervasive Live Arts: Performing the Technological Promises of Infinite Connectivity and Gamification: Maria chatzichristodoulou
  2. Collaborative Share Spaces and FutureDigi-bodiments : Ghislaine Boddington
  3. Programming Languages, Software Thinking and Creative Proces: Nick Rothwell
  4. Can Machines Create: Digitised Creativity and the Technology Industries: Gregory Sporton

Creative Immersions*

  1. Design by Spambot; Can Social Interaction Be Successfully Integrated into High End Fashion Design Processes?: Cham Karen, Ibi Andrew
  2. Techno-aesthetics and dance analysis: tools for the critical appreciation of a portable new media dance installation: Paula Varanda
  3. Northern Ireland’s Creative Meshworks: Tracing Ad Hoc Knowledge Exchange: Pip Shea, Miriam Haughton, Michael Alcorn, Karen Fleming
  4. Use of creative tools, technologies, processes and practices in the sectors of Art, Media, and Architecture: State-of the-Art and desired future scenarios:Munir Abbasi, Lampros Stergioulas, Annette Payne, Camille Baker, Carl Smith, Panayiota Vassilopoulou.

Light, Sound, Body: Performing Arts*

  1. The rupture and establishment of chiasmatic space and corporeal spatiality : Sozita Goudouna
  2. Lighting the Lit – Luminosity as protagonist in mediated performance: Natalie Rowland
  3. The Art of Illusion: the magic in performing electronic music: Tychonas Michailidis
  4. Virtualization of the body in dance: Ana Carolina Frinhani, Natalia Ribeiro
  5. Multi-user Interactive audiovisual environments: Ken Byer

Looking Beyond the Screen*

  1. Transient self–portrait: Maria Mencia
  2. Homelessness in the Digital Age through the Lens of the Banopticon Videogame Project : Aikaterini Antonopoulou
  3. ‘Sustaining Lived Practices through Serious Play’: Misha Myers, Nina Sabnani, Anirudha Joshi and Saswat Mahapatra
  4. Death is Interdisciplinary: Digital Death and its Community: Stacey Pitsillides, Selina Ellis Gray, Damien McCallige

Living Digital archives*

  1. Curating Scholarly Conversation: Irish Studies and the Breac Project: John Dillon & Sonia Howell
  2. Case Notes: Turning crowd-sourced information into evidence trails for collection meta data : Marcus Winter, Lyn Pemberton, Susan Lambert and Phil Blume
  3. Designing for Presence in the Living Archive: Laurene Vaughan
  4. Archive Talks To Now: Iris Xinru Long and Cedar Shan Zhou

Design collaboration: intentions and tensions*

  1. ICT&ART Connect: Connecting Art and Technology Communities - Project Outcomes: Camille Baker
  2. Designing with Intention: Interaction Design and the Living Archive Project: Reuben Stanton
  3. Culture Hub: Developing new channels for cross-cultural and multilingual engagement in theatre and performance: Duncan Jamieson and Adela Karsznia
  4. 24 hours of Vine, big data and social performance: Conor McGarrigle

Curating Social media*

  1. Flat Archives: Or Promiscuity Unbound : Adrian Miles
  2. Augmenting Impact with Social Media: Misha Myers, Dane Watkins
  3. Curation, collage and culture-jamming: networked fan/political counterpublics on Tumblr: Alex Naylor
  4. UTOPIA project 2006-2010: Maria Glyka and Vassilis Vlastaras

Curating spaces*

  1. Domestic living space furnishings and culture identity: Raghda Hareri
  2. Interactive documentary “The East”: audience participation solution: Raivo Kelomees
  3. Structuring online learning collectivitie: Olga Ioannou
  4. Behind the Scenes: Building an Open Access Digital Archival Space through Co-curation and Co-design: Daniel H. Mutibwa

Our life, a Portable Device*

  1. Communicating Technology: interactive design and interdisciplinary collaboration in the digital arts: Elena Papadaki
  2. Interdisciplinary Design - designing for explicit and implicit narratives: Rosamund Davies and Ryan Flynn
  3. Visual Technologies: Reviewing the way we read and behave on the move: Anastasios Maragiannis
  4. Visualising texts: a design practice approach to humanities data: Jacqueline Lorber Kasunic, Kate Sweetapple

 

 

 Copyright © 2014 Author/s
 All rights reserved.
 Book designed by Say-Yes-Studio.com
All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including photocopying, recording or other electronic or mechanical methods, without the prior written permission of the author/s, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law. For permission requests, write to the editor, information on the website [www.drha2014.co.uk].
Disclaimer:The views expressed in this publication are of the author(s) and do not necessarily reflect the views of the DRHA Organisation or University of Greenwich, except where explicitly stated as such. Copyright of the publication stays with the editor(s) and copyright of individual papers stays with the author(s).
The editor(s) have used their best efforts in preparing this publication. However, the editor(s) make no representation or warranty with respect to the accuracy, or completeness of the contents of this publication and specifically disclaim any implied warranties or fitness for a particular use. All of the information supplied on this publication is published without warranty and the reader must satisfy themselves to it's suitability for use.