This paper outlines the development of a sensory feedback device providing a tangible interface for controlling digital environments, in this example a flight simulator, where the intention for the device is that it is relatively low cost, versatile and intuitive. Gesture based input allows for a more immersive experience, so rather than making the user feel like they are controlling an aircraft the intuitive interface allows the user to become the aircraft that is controlled by the movements of the user's hand. The movements are designed to allow a sense of immersion that would be difficult to achieve with an alternative interface.A vibrotactile based haptic feedback is incorporated in the device to further enhance the connection between the user and the game environment by providing immediate confirmation of game events. When used for navigating an aircraft simulator, this device invites playful action and thrill. It bridges new territory on portable, low cost solutions for haptic devices in gaming contexts.

This paper outlines the ongoing development of a wearable haptic game interface, in this case for controlling a flight simulator. The device differs from many traditional haptic feedback implementations in that it combines vibrotactile feedback with gesture based input, thus becoming a two-way conduit between the user and the virtual environment. The device is intended to challenge what is considered an "interface" and sets out to purposefully blur the boundary between man and machine. This allows for a more immersive experience, and a user evaluation shows that the intuitive interface allows the user to become the aircraft that is controlled by the movements of the user's hand.

This chapter suggests that in terms of preparing creative technologies graduates it is better to define what skill sets will be in the future rather than attempting to define either what creative technologies is now or what a current creative technologist should be capable of. The chapter is a collaborative attempt to explore the future definition of a creative technologist through a form of creative expression. The chapter utilizes a combination of self-reflective narrative and performative writing to develop position descriptions for jobs that may exist in the future, where each job is an extension of an author's life trajectory. A cluster analysis is undertaken to identify common themes that define the possible characteristics and attributes of future graduates that can be used to design the curricula for creative technologies programmes to meet the needs of the changing world.

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