This chapter utilizes virtual reality technology to investi-gate its influence on the temporal perception of experienc-es. This analysis aims to explore the correlation between the artwork and its experiences and the impact of various temporal states shown within the artwork. The objective is to shed light on the ambiguous temporal awareness and disconnect between individual and collective time that the artwork evokes.
This study integrates virtual reality technology with physi-cal space and installations to construct an immersive set-ting that effectively restricts individuals’ ability to disen-gage from the experience. The environment in question incorporates a range of sensory stimuli, encompassing visual, tactile, and aural components. By utilizing the dis-tinctive features of VR headsets, this study effectively immerses participants in a simulated environment, leading to sensory manipulation that triggers distortions in the sense of time. The objective is to encourage deep reflection on an individual’s connection with the concept of external time.
This study integrates virtual reality technology with physi-cal space and installations to construct an immersive set-ting that effectively restricts individuals’ ability to disen-gage from the experience. For this purpose, we recruited twenty participants aged between 19 and 55 with varying degrees of experience with virtual reality, aiming to cover a wide range of time perception experiences.

A creative practice that entangles the digital medium with consumer-oriented data and experience will invariably engage with notions of efficiency and the consequent brevity of digital data presentation. This is particularly the case when said digital data is consumed through the all-too-familiar digital screen. The vernacular of digitally augmented design processes emphasises this quality – a heavy lean towards succinct, contextually aware, ubiquitous experience and the promise of the everywhere, made even more possible by mobile and touchscreen-bound computing devices. As a counterpoint to this focus on interaction brevity, the notion of slow data encourages a rethinking of this strategy, suggesting the introduction of temporal-centric intents and layers of expressing data. This intervention speaks to a technologically backgrounded motif of the everywhen, and encourages creative practitioners to engage, through various outcomes, strategies and frameworks, the significance of slow data thinking in the human-computer interfaces that we create. This is supported by a reflective account and discussion of three works that have contributed towards an understanding of slow data practice.

The Slow Down Time project is an aesthetic and technical investigation of the procedural outcomes of generative AI routines as both standalone works of visual culture and speculative practice of Large Language Models (LLM). As an exercise in new media curation, the assemblage operates as both a performative and conceptual response to LLM black-box processes in the form of a slow-media / slow-synthesis art intervention.
The archive documents the dialogue between the text-to-image service Midjourney and a network of twenty-three prompt authors. Intentionally meditative the intention was to catalogue fragments of the curatorial dialogue enabling contemplation within latent diffusion spaces.
The curatorial process for Slow Down Time archive was also an exercise in technical transparency and cultural excavation, employing the Discovery model of inquiry-based study to “unpack” technical, cultural and historical tendencies within the archive. Cataloguing the development of the Midjourney “house style” over a specific period of time was also an important goal of the project.

Dénouement's Afterword: A Pictorial Exploration on Subjective Sentiments of Death, Loss, and Grief through Animation Practice is a reflective afterword on a practice-based research project that engages with the emotionally fraught, complex and human experience of losing a loved one. Reflecting on the animation project, Dénouement's Afterword explores the project's inspiration, procedures and development, shedding light on how the contemplations of the practitioner, the practice and research intersect to address themes of death, loss and grief. The pictorial touches on the project’s intricate temporality, particularly in representing past, present, and future emotions for the practitioner, suggesting future directions with temporal dimensions.

The practice detailed in this pictorial underpins the researcher’s passion to draw the world (as they see it), moving it in time and moving those who view the work, emotionally.