Design and Implementation of a Low Cost Virtual Rugby Decision Making Interactive

The paper describes the design and implementation of a novel low cost virtual rugby decision making interactive for use in a visitor centre. Original laboratory-based experimental work in decision making in rugby, using a virtual reality headset [1] is adapted for use in a public visitor centre, with consideration given to usability, costs, practicality and health and safety. Movement of professional rugby players was captured and animated within a virtually recreated stadium. Users then interact with these virtual representations via use of a lowcost sensor (Microsoft Kinect) to attempt to block them. Retaining the principles of perception and action, egocentric viewpoint, immersion, sense of presence, representative design and game design the system delivers an engaging and effective interactive to illustrate the underlying scientific principles of deceptive movement. User testing highlighted the need for usability, system robustness, fair and accurate scoring, appropriate level of difficulty and enjoyment.

So mechanical or routine: The not original in Feist

The United States Supreme Court case of 1991, Feist Publications, Inc. v. Rural Tel. Service Co., continues to be highly significant for property in data and databases, but remains poorly understood. The approach taken in this article contrasts with previous studies. It focuses upon the “not original” rather than the original. The delineation of the absence of a modicum of creativity in selection, coordination, and arrangement of data as a component of the not original forms a pivotal point in the Supreme Court decision. The author also aims at elucidation rather than critique, using close textual exegesis of the Supreme Court decision. The results of the exegesis are translated into a more formal logical form to enhance clarity and rigor.


The insufficiently creative is initially characterized as “so mechanical or routine.” Mechanical and routine are understood in their ordinary discourse senses, as a conjunction or as connected by AND, and as the central clause. Subsequent clauses amplify the senses of mechanical and routine without disturbing their conjunction.


The delineation of the absence of a modicum of creativity can be correlated with classic conceptions of computability. The insufficiently creative can then be understood as a routine selection, coordination, or arrangement produced by an automatic mechanical procedure or algorithm. An understanding of a modicum of creativity and of copyright law is also indicated.


The value of the exegesis and interpretation is identified as its final simplicity, clarity, comprehensiveness, and potential practical utility.

Semiotics, Presence and the Sublime in the Work of Alvin Lucier

Alvin Lucier, in his uncompromising exploration into the artistic potential of acoustic phenomena, has developed a body of work that remains highly original and hugely influential across many disciplines. His seminal works such as I am sitting in a room and Music for Solo Performer foreshadowed ways of approaching sound that are in common use among electro-acoustic composers, installation artists, as well as in commercial products. Lucier, despite his far reaching influence, is and has always been a composer, and his explorations of acoustics have been singularly focused on the development of a rich body of music. In this article, I investigate Lucier’s unique approach and attitude towards acoustics and aspire to enumerate important aesthetic developments he has made in creating music through the exploration of acoustic phenomena. In particular, this article seeks to investigate the role of semiotics in Lucier’s work, commenting on the pre-linguistic nature of Lucier’s approach to acoustic phenomenon. Here as well, an exploration of Lucier’s musical materials takes place, focusing on his instrumental compositions, specifically Diamonds for One, Two or Three Orchestras, where instruments are used as catalysts to generate in real-time acoustic phenomenon which interact to produce a rich yet intimate world of sound. Finally, Lucier’s approach to semiotics and real-time generation of music is viewed through a sublime aesthetic provoking questions regarding issues of presence and the now.

“Do You Want to See My Hornpipe?”: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa Tíre.

Supporting Creative, Whole Peacebuilders: An Apprenticeship Program

This chapter has two major sections, one by Lederach and the apprentices, and one by Goldberg. The introduction above represents an amalgam of Lederach’s own writing and Goldberg’s, which summarizes some key information, but loses in written flow what it gains in information. As Goldberg reviewed Lederach’s initial chapter, she became deeply interested and asked Lederach for further materials. She conducted two interviews and collected background and supplementary materials and used them to explore some areas that were touched on by Lederach, but, if expanded, offered greater richness. In order to preserve the clarity of writing, the material will be presented in two sections. The first will include Lederach’s original chapter with the apprentice narratives. We start with an overview provided by John Paul that describes several practices incorporated into the process of the past three years. Each of the four apprentices will then reflect on how they experienced these practices and the impact, if any, they have had on their lives and professional careers. Each segment written by Lederach and the apprentices is written in the first person, starting with Lederach’s practices, below. Following will be Goldberg’s work deepening the information presented in Lederach’s section, and the conclusion.

‘Do you want to see my hornpipe?’: the traditional Irish dancing body at play in the work of Jean Butler and Colin Dunne’, in Anthony Shay and Barbara Sellers-Young (eds.), The Oxford Handbook of Dance and Ethnicity, Oxford: Oxford University Press, 2016, pp.41-65.

This chapter considers the radical reimaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne, in which the Irish step-dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step-dance technique becomes a springboard for creative experimentation. To consider the importance of the creative potential revealed by these works, this chapter contextualizes them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the “modernization” of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland’s national folk theater, Siamsa Tíre.