CellF is the world’s first neuron-driven synthesiser. It is a collaborative project at the cutting edge of experimental art and music that brings together artists, musicians, designers and scientists to create a cybernetic self-portrait. cellF is an autonomous, bioanalogue electronic musical instrument designed to operate independently and interact with human musicians. The instrument is controlled by a bioengineered neural network or ‘brain’ derived from skin cells using induced pluripotent stem cell (iPSC) technology that is housed in a custom built synthesiser ‘body’.

Robert Casteels has composed a growing corpus of more than 100 musical works cross cultures, genres and disciplines. These range from miniature to large-scale works in the European tradition, as well as multidisciplinary works which combine European, Chinese and Indian instruments, as well as the gamelan, together with computer-generated sound and images. Instances of space for creative interaction between the performers in these compositions have been far and few between.

The aim of this panel session is to analyze and compare possible new venues, media, methodologies and forms that generative practices are taking today. We claim that a combination of analytical, playful and critical approaches in understanding and using technologies is important in today’s art world. The discussions will start by addressing the creative and cognitive aspects of procedural fluency in creating, reading or interpreting a generative artwork.

What does it mean to be a global designer of tomorrow? The framework of design education has to respond to the changes in the landscape. The characteristics layered by sequential, experiential and iterative learning, and pedagogical knowledge and understanding are not acquired passively but in an active manner through personal experience and experiential activities; and that learning is based on problem-solving and an exploration of a particular line of inquiry and an active engagement with ideas.

A theory of Cybernetic-Existentialism is proposed in the light of emerging themes within contemporary arts and performance that appear to relate simultaneously to both fields and to fuse them. Cybernetic-Existentialist ideas are also increasingly prevalent within everyday life and popular culture, and the Disney film Frozen (2013) is examined as an illustration.

Using 'Forest Project' by contemporary Chinese artist Xu Bing as a case study, this article investigates how the ideology of Ziran (the Chinese version of nature) has been promoted through the practice of art at a community and international level.

Western contemporary dance has long benefited from mental imagery practice for enhancing choreography, somatic embodiment and performance. Although science supports many psychophysical benefits of mental imagery practice, less is known about its effects on dance creation. Here, two dance educators report the results of a pilot study using two contrasting imagery modes in teaching improvisation. Four conservatory dance students engaged in two weeks of improvisation. In week one, Glenna used tactile-kinaesthetic imagery as verbal prompts. During week two, Susan emphasized visual prompts.

Ideas and themes central to both cybernetics and existentialist philosophy converge in the work of some of the world's most celebrated contemporary artists. Utilizing little or no technology, these artists nonetheless employ "systems" approaches and proto-cybernetic models, while simultaneously exploring themes directly related to existentialism.

This paper discusses the value of design rights using the example of UK's most high-profile case of design right litigation: Trunki, a ride-on travel case for children. Rob Law MBE invented Trunki in 1996. He registered it as a design in 2002 in the UK, and in 2003 with the Office for Harmonization in the Internal Market (OHIM), now EUIPO. The design has since been emulated by competitors in countries across the globe.

This paper constitutes a critical and detailed review of an investigation into design right infringement in the UK. The original mixed-method study was commissioned by the UK IPO in 2015/2016 and led by the author throughout the first three of four project stages. This paper focuses specifically on the results obtained in relation to registered design right infringement.