Performing Interaction: Space, Place and Time

Can notions of performance contribute to our understanding of interaction to move beyond current technological paradigms? If we were to propose a new vision for human computer interaction, can we interweave the data rich digital spaces of contemporary corporate giants with the crumbling physical reality of human culture? In response to the fusing of digital culture in all fields of human existence this panel examines perceptions of space, place and time to consider both the fluid connectedness of artistic expressions, interacting independent from human guidance, and the constraint of physical motion of the human form, bound by architectures steeped in history, conflict and culture.



Sean Clark

Sean Clark is a digital artist, the Founder and Managing Director of web/mobile developer Cuttlefish, the Director of Leicester arts company Interact Digital Arts and a Visiting Research Fellow at the Institute of Creative Technologies at De Montfort University.

In his commercial work he is interested in social networking, mobile multimedia, collaborative computing and location-aware information systems. In his arts work he is inspired by systems theory, the nature of interactivity and creative explorations of flow and connectedness.

Over a period of almost 30 years he has had a varied career that has seen him work in the arts, academia and commerce, and he is comfortably able to move my focus between the three.

As a researcher he has published over 30 research papers and has spoken at numerous conferences and seminars. He has an Honours Degree in Computer Studies from Loughborough University, a Masters in Digital Arts from Camberwell College of Arts, University of the Arts London and is currently writing-up a practice-based PhD in Systems Theory and Digital Arts at De Montfort University.

Lizzie Sykes

Lizzie Sykes is a Senior Lecturer and works with students on BA Media Production, BA Television Production and MA Directing Film and Television. Lizzie Sykes is a screen based artist and has recently completed an Arts Council funded residency at Mottisfont, Hampshire.

Lizzie has a continued involvement with participatory arts projects, and has produced the guide, ‘Creating Film Projects in The Community’. Lizzie is currently working at Holton Lee with a group of adults who have a range of abilities. She recently worked on a BBC funded dancefilm project with young people at Salisbury Arts Centre. Prior to joining the university Lizzie worked for large broadcasters, and set up and ran Vivid, a production company that focussed on using film for social change.

Research interests relate to screen based media art, focussing on collaborative site specific dancefilm projects. The work explores, subverts or reshapes existing moving image technology. More recently, Lizzie has used multi screen exhibition software to choreograph the moving image in exhibition spaces.

Her dancefilms have been toured internationally (Loop, Barcelona 2012, Cine Dans world tour 2008 and Reel Dance tour of Australia and New Zealand 2008), exhibited nationally (Sadlers Wells 2014, Ruskin Gallery, Cambridge 2012 and Brighton and Edinburgh Fringe Festivals 2013) and regionally (Mottisfont 2015, New Greenham Art Gallery 2011).

Alex May

Alex May is a British artist exploring a wide range of digital technologies, most notably video projection onto physical objects (building on the technique known as video mapping or projection mapping by using his own bespoke software), also interactive installations, generative works, full-size humanoid robots, performance, and video art.

He has performed live video mapping at Tate Modern in London, and for the inauguration of Serre Numérique in France, and exhibited internationally including at the V&A, Royal Academy of Art, Eden Project, Wellcome Collection, Science Museum, Bletchley Park, Watermans, Goldsmiths, the Museum of Contemporary Art in Caracas, Venezuela, the Science Gallery in Dublin, and the Rockefeller Arts Center at State University of New York.

Alex is a Visiting Research Fellow: Artist in Residence with the computer science department of University of Hertfordshire and a Digital Media Arts MA sessional lecturer at the University of Brighton. He is also head of Projective Geometry at The Institute of Unnecessary Research.

Michael Takeo Magruder

Michael Takeo Magruder is a visual artist and researcher who works with new media including real-time data, digital archives, immersive environments, mobile devices and virtual worlds. His practice explores concepts ranging from media criticism and aesthetic journalism to digital formalism and computational aesthetics, deploying Information Age technologies and systems to examine our networked, media-rich world.

In the last 15 years, Michael’s projects have been showcased in over 250 exhibitions in 34 countries, and his art has been supported by numerous funding bodies and public galleries within the UK, US and EU. In 2010, Michael was selected to represent the UK at Manifesta 8: the European Biennial of Contemporary Art and several of his most well-known digital artworks were added to the Rose Goldsen Archive of New Media Art at Cornell University. More recently, he was a Leverhulme Trust artist-in-residence (2013-14) collaborating with Professor Ben Quash (Theology, King’s College London) and Alfredo Cramerotti (Director, Mostyn) to research and develop a new solo exhibition – entitled De/coding the Apocalypse – exploring contemporary creative visions inspired by and based on the Book of Revelation. In 2014, Michael was commissioned by the UK-based theatre company Headlong to create two new artworks – PRISM (a new media installation reflecting on Headlong’s production of George Orwell’s 1984) and The Nether Realm (a living virtual world inspired by Jennifer Haley’s play The Nether). Last year, he was awarded the 2015 Immersive Environments Lumen Prize for his virtual reality installation A New Jerusalem.