xx possibly be considered as computationally creative. In Chapter 4: "0h!m1gas: a Biomimetic Stridulation Environment" Kuai Shen Auson (Ecuador and Germany) presents an artistic experiment that explores the bioacoustics involved in the social behavior of ants when they communicate by producing modula- tory vibrations. The author investigates the connections between these social organisms and humans, as human-ant relationship plays an important role in the creation of new ecosystems and the construction and mutation of posthuman ecology. In Chapter 5, "Bridging Synthetic and Organic Materiality: Graded Transitions in Material Connections," Hironori Yoshida (USA) introduces gradient material transitions that seamlessly bridge synthetic and organic matter, and applies what he learned about nature to archi- tectural and interior design applications using digital fabrication of hybridized materials. Using digital image processing of organic forms, this fabrication process generates 3D tooling paths, culminating in the concept of bio-customization rather than mass customization, a new prospect of digital fabrication. Section 2: Visualizing the Invisible: Processes for the Visual Data Formation contains four chapters: Chapter 6, "Sustainable Cinema: the Moving Image and the Forces of Nature," by Scott Hessels (Hong Kong) discusses the continuing relationship between the forces of nature and the materials of the moving image. The author revisits artworks that considered the natural environment as a co-creator in their realization and then presents his own series of kinetic public sculptures that use natural power sources to create the moving image. In Chapter 7, "Seeing the Unseen," Eve Andrée Laramée, Kalyan Chakravarthy Thokala, Donna Webb, Eunsu Kang, Matthew Kolodziej, Peter Niewiarowski, and Yingcai Xiao (USA) present art works created by the artists associated with the Synapse Group at the University of Akron in collaborations with the scientists in the group and/or inspired by the science of nature. The