We test the possible multifractal properties of dominant EEG frequency components, when a subject tracks a path on a map, either only by eyes (imaginary movement - IM) or by visual-motor tracking of discretely moving spot in regular (RM) and Brownian time-step (BM) (real tracking of moving spot). We check the hypotheses that the fractal properties of filtered EEG (1) change with respect to the law of spot movement; (2) differ among filtered EEG components and scalp sites; (3) differ among real and imaginary tracking. Sixteen right-handed subjects begin to perform IM, next--real spot tracking (RM and BM) following a moving spot on streets of a citymap displayed on a computer screen, by push forward/backward a joystick. Multichannel long-lasting EEG is band-pass filtered for theta, alpha, beta and gamma oscillations. The Wavelet-Transform-Modulus-Maxima-Method is applied to reveal multifractality [local fractal dimensions Dmax(h)] among task conditions, frequency bands and sites. Non-parametric statistical estimation of the fractal measures h (Dmax) is finally applied. Multifractality is established for all experimental conditions, EEG components and sites as follows among filtered components - anticorrelation (h(Dmax) < 0.5) in beta and gamma, and long-range correlation (h(Dmax) > 0.5) for theta and alpha oscillations; among tasks--for RM and BM, h (Dmax) differ significantly whereas IM resembles mostly RM; among sites--no significant difference for local fractal properties is established. The results suggest that for both imaginary and real visual-motor tracking a line, multifractal scaling, specific for lower and higher EEG oscillations, is a very stable intrinsic one for the activity of large brain areas. The external events (task conditions) insert weak effect on the scaling.

European Calligraphy has a millennial history that has been marked by various stages and vicissitudes that influence modern aesthetic tendencies in calligraphy and typography. In the forthcoming conference will be presented some interesting examples of fundamental calligraphy scripts and their interpretations, as well as the preparation and realization of illustrations in graphic prints (lithography). The final result are artistic books inspired by Dante Alighieri's Divine Comedy poem, and in particular the Hell part, as well as Gustav Dore's graphics. The books are enriched with specially made cases, that further fortify the creative pursuits of the authors and to arouse interest in the viewer. The interdisciplinary approach and complex tasks, including 3D graphics and virtual reality, present a new read on book, illustration and calligraphy. Keywords: Calligraphy, Interdisciplinary, Virtual Reality, 3D Graphics, Artistic Book, Lithography

The installation "Interacting with a technological organism" is a natural consequence of two previous interactive projects, namely "Interactive Generative Formations" and "Virtual Arena". The most significant difference is that for the first two projects, the events occur on a two-dimensional plane on which images are projected. The aesthetics of the objects are specified in advance, and the movement of the spectators, which are participators as well, is captured by a sensor. In this way, observers change the look of dynamic images, becoming an active part of their aesthetics. With the project "Interaction with a technological organism", we leave the area of two-dimensional and move into three-dimensional space. The space in which the events take place is sized: 500x500x350 cm. During discussions, the authors came up with the idea to imitate a living organism that reacts to approaching. Keywords: Interactive Art, Interactive Installation

Lithography is one of the emblematic graphic techniques discovered in the late 17th century to create large print runs. It is practically a prototype of modern color, offset printing. For this reason, it is one of the mandatory disciplines in higher education institutions that can afford the appropriate equipment. Three-dimensional computer graphics, on the other hand, is a technology that has only been available for use by a wider range of people since the last decade of the twentieth century. The combination of these two techniques for creating a visual product, although it sounds illogical, is the subject of this paper. In addition, the possibility of including and augmented reality (AR) to printed works created in this way will be considered.

As I have repeatedly emphasized, processes in the field of technology and their application for the purposes of the visual arts have always played a major role in the development of my creative vision. An essential role in this direction has my acquaintance with Atanas Markov, with whom we complement each other in many respects and this has a beneficial effect on our teamwork. We have already shared in a previous edition of the conference "Cultural and Historical Heritage" about the work on the projects "Interactive Generative Formations", "Virtual Arena" and "Interaction with a technological organism". We are currently developing an extension of the last of the listed installations. This upgrade consists of the creation of a series of two-dimensional works in which an element of augmented reality must be included. This is essentially not something that has not already been done, but it is a very good element that would contribute the communication with the "Technological organism". The relation is also implemented at the level of interaction, and we rely on the game moment again. Through this act, we involve the observer, as an active participant in the artwork. Keywords: Augmented Reality, Interactive Art, Game, Game Model, Artwork