Steve Gibson is an interactive media artist, interface designer, audio-visual performer and Associate Professor in Innovative Digital Media at Northumbria University, Newcastle. He is interested in transdisciplinary collaborations between art, design and computing, and has concentrated his research work on tactile and physical interfaces and applications that enable a healthier relationship with technology. He works as lead-beta tester of the Gesture and Media System motion-tracking system and has produced a number of significant body-based pieces using this technology. His experimental electronic collaborative CDs include SPASM: The Sound of Virtual Reality and Hacking the Future. 

His current research and practice also explore the formal, theoretical and practical implications of Live and Real-time Audio-Visuals. This work culminated in a co-authored book Live Visuals: History, Theory, Practice, published by Routledge in 2022. His current work revolves around issues of media mapping using synaesthesia as a metaphor, transparent “no-screen” performance using only performance devices on stage, and micro performance in support of sustainable audio-visual arts. He is currently working on a new co-authored book on Audio-Visualism to be published by Routledge in 2026. Steve has also had immediately publicly facing roles as Curator and Director for the Media Art event Interactive Futures (2002-07), and as Co-owner and Creative Director of a media company Limbic Media Corporation (2007-14).

Steve has been involved in multi-screen audio-visual events, including several with Swiss VJ collective Scheinwerfer in Zurich, Vancouver, San Francisco, Chicago, Shanghai and Singapore. He also performs as a body-based performer using motion tracking and gestural interfaces to control sound, lights, and video by movement in 3D space and has exhibited these projects in Xi’an China, Mexico City, Zurich, Stockholm and Vancouver. Over the course of his 25-year career he has presented at many world-leading venues including Ars Electronica, 404 Festival Mexico City, Banff Centre for the Arts, Digital Art Weeks, the European Media Arts Festival, the National Museum of Scotland and Cabaret Voltaire, Zurich.

Personal Website: http://www.telebody.ws
Vimeo: https://vimeo.com/room101studio    
Soundcloud: https://soundcloud.com/steve-gibson-101 
Live Visuals Book: https://routledge.pub/Live-Visuals

1. Real-Time and Live Audio-Visuals – I am interested in the varied uses of audio-visuals in a real-time context, including performance, live cinema, gaming, projection mapping and information systems. Both my theoretical and practical research has been primarily concerned with this topic. I ran an AHRC-sponsored research network on Real-time Visuals in 2013-14 that culminated in a publication on Live Visuals for Leonardo Electronic Almanac. I co-authored a book on Live Visuals publshed by Routledge in 2022. I am currently working on a co-authored follow-up volume on Audio-Visualism to be published by Routledge in July 2026.

2. Motion-tracking – I have worked on motion-tracking technologies for the past twenty-years plus. I have been lead beta-tester for the Gesture and Media System tracking environment for the past twenty years. My work with these systems has included creating behaviours for controlling mixed media with user-motion, and design of 3D spaces for multi-user interaction with immersive environments. I have worked on a project in this area with Northern Dance, funded through Creativity Works/European Regional Diversification Fund (ERDF).

3. Intelligent gaming – Between 2007 and 2016 I completed a project called Grand Theft Bicycle in which the user interaction is achieved by outfitting a stationary bicycle with sensors. This is part of my on-going interest in physical computing, and more particularly forms the core of a long-term research goal to create a series of interfaces that encourage users to physically interact with technologically based environments.

4. Transdisciplinarity, as evidenced by a new generation of researchers who work across different disciplines. These researchers work not just collaboratively but employ the skill-set from one discipline and apply it to another becoming transliterate individuals. I co-edited a Springer volume entitled Transdisciplinary Digital Art.