Their influences are complex and include 'arts, architecture, literature, urban landscapes, discussion and new technologies,' the last particularly exciting the pair, who have been quoted as saying that part of their philosophy is to 'push and explore the excitement and contradiction of the confined infinite space,' meaning the endless universe of possibilities contained within the finite dimensions of the computer, a place where, with animation, 'a flea becomes the size of a house and the universe can live in a matchbox,' where 'the possibilities become endless. The idea of space, gravitational laws, natural forces etc all become play things.' Small wonder rm* often refer to themselves as 'digital magpies.'

Both Norton and Runciman had backgrounds as installation artists and were using their course at Glasgow School of Art as, in Norton's words, 'an opportunity to use the virtual world of the 3-D environment to push our respective work.' When they recognised that they shared a drive to have more creative control over their work – and that no one else was doing the kind of work they wanted to see – they began to think about working together on a formal basis.

There was also the realisation that neither was suited to the isolation of working alone, a realisation that perhaps contributed to them looking towards collaborations with other artists in their work as rm*. 'We both see other people as very exciting creatively,' Norton says. 'They may come at an idea from a totally different perspective. It is a very invigorating environment to work in. We are also aware of our own strengths and know we need others expertise from time to time, especially when you are working with such diverse and eclectic technologies. We do not want or need to know everything.'

Indeed their first formal project as rm*, 'Bugs', was a collaboration with the artist Deirdre Nelson. Norton and Runciman made their own digital interpretation of Nelson's existing work. Their interpretation was then passed back and forth with Nelson as details were finalized: a process which Norton now says 'helped us to define the possibilities for rm*.'

The collaboration process is something which is ongoing, with artist Moyra Campbell now very much a part of rm*. Campbell comes from a technical background and Norton says her role within the company is to 'fill in the gaps between art and science, between technology and creativity.' One of Campbell's areas of technological expertise is 3D Stereoscopic Visualisation: a new way of projecting images that has been described as 'the difference between looking at a flat photograph of an object and feeling you can touch the object itself.' Powerful computers then allow the image to be manipulated interactively in real time. Similarly rm* is beginning to experiment with The Pufferfish: a unique spherical display system that can be used to present digital imagery both indoors and outdoors and which is ideal for engaging large non-captive audiences.

For rm* the artistic possibilities seem endless here. 'We have a close relationship with hardware companies,' says Norton, 'and we're keen to use these technologies to explore possibilities of work in public space.'

This is an area rm* are very much looking towards: challenging people's perceptions of how and where art can be experienced, taking it out of galleries and into, in their words, 'the public space of odd interior corners . . . dead ends and backstreets . . . events and trade shows and clubs. They want to create work that offers 'a window into no precise place, which just asks you to look for as long or short a time as you please.'

Traditionally animation has been driven by narrative or character: you watch a particular story unfold, or you follow the adventures of a particular character. This is also something rm* is moving away from in their drive to make 'site-specific' works, art which functions in the spaces of cities where passers-by perhaps do not have time to watch entire stories unfold. Their aim, Norton says, is to 'draw people into musing for a moment on something beguiling or ambiguous . . . to ignite people during their journeys around their environment.' Accordingly they are developing several projects to bring displays into Glasgow's city centre and harbour areas - as well as creating a film and animation installation which will work in the city and on the web - and future collaborations may include work with mathematicians and composers.

Their win at the Scottish Style Awards brought Norton and Runciman recognition at a crucial moment in their development. As Norton says, 'it cemented everything. We really needed that recognition at that point.' Not that everyone in the room knew who rm* were on the night: 'To be fair, when the announcement was made there were whisperings of 'Who?' all around the room! You could really hear it . . . but we had been working really hard and, as a new, creative business, it is a very trying time. So to receive some acknowledgement is a very uplifting and motivating thing.'

As a result of this recognition Norton says that rm* is 'beginning to be asked to come into early stage discussions around events and happenings...we're moving into a much more creative role within projects and moving away from solely providing animations.'

As for the future, 'Every time we think we can define what we do someone asks us to do something completely different. This is where we thrive and the possibilities and challenges are endless . . .'

Further Information:

Courtesy of Scottish Government - Scotland.org .

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