Contents: Section 1: Exploring Remediation: Old into New Formats; Damian Sutton (Glasgow School of Art): 'The suppleness of everyday life': CGI, Lumieres, and perception after photography; Patrizia Di Bello (Birkbeck College): From the album page to the computer screen: collecting photographs in the home; Michelle Henning (University of West of England): The Return of Curiosity: The World Wide Web as Curiosity Museum; Dan North (University of Exeter): From Android to Synthespian: the myth of mechanical life; Section 2: Culture, Aesthetics and the Influence of New Media; Ian Christie (Birkbeck College): Toys, Instruments, Machines: Spectacular Illusion from Descartes to Moving Pictures and Beyond; Isobel Armstrong (Birkbeck College, University of London): 'Half sick of shadows': Optical toys and 'The Lady of Shalott'; Charlie Gere (University of Lancaster): John Cage's Early Warning System; Jonathan Bollen (University of New England, Australia): As Seen on TV: Social Dance pedagogy, Kinaesthetic crossover and the animatic imaginary; Section 3: Media Consumption and Interactivity; John Plunkett (University of Exeter): Depth, Colour, Movement: Embodied Vision and the Stereoscope; Andrew Shail (Northumbria University): Penny Gaffs and Picture Theatres: Popular Perceptions of Britain's First Cinemas; James Bennett (University of Wisconsin Madison): From Museum to Interactive Television, Spectacle to Education: Organising the navigable space of natural history display; Andrea Zapp (Manchester Metropolitan University): Networked Narrative Environments; Section 4: Bringing Media Together: Visions of Convergence; Kaveh Askari (University of California Berkeley): Photographed Poses and the Illusion of Movement in Alexander Black's Picture Plays; William Boddy (Baruch College, CUNY): 'Margin and chaos': Early Wireless and Multimedia History; James Lyons (University of Exeter): From Nip/Tuck to cut/paste: remediating plastic surgery online; Richard Grusin (Wayne State University): The Cinema of Interactions: DVDS, Video Games, and the Aesthetic of the Animate.