It is July 2005. Dorian Gray, investment banker in the City, knows that everything rests on the deal. THE deal. When the Olympics are granted to London it will bring him "all the gold without the sweat and tears". The businessman, muse and murderer is currently living under a Stoke Newington cocktail bar. To enter the theatre of the White Rabbit, spectators must allow themselves to be led down a dark, narrow staircase into the unknown. This time it was Dorian Gray’s living room – he has set up a swanky City pad in the cellar, and a small group of us were privileged enough to be invited round to talk deals, art and immortality. The set was contemporary and simple - a fireplace, leather office chair, two mirrors and a flatscreen TV. Dorian (Laura Pradelska) joins Sybil, Baz and James as they gather upstage for the unveiling of the infamous portrait. They gaze out with awe and wonder making us, the spectators, become the portrait. But when its inescapable "twattishness" is described by James, Dorian’s expression grows smug, satisfied and arrogant, exactly as the portrait’s would be. He reflects the painting's expression and becomes a mirror image of...

Most people figure out pretty early on whether they’re either creative and artistic, or more mathematical and scientific. What if you’re both? Can science and the arts come together to form new creative forms that are one step up from the sum of their parts? Many artists and scientists are joining forces to create brand new interfaces where people can create new sounds, images and performances using the latest advances in technology. The point of the arts is to create something that’s a part of you, outwardly expressed – something real and true, and something fun and interesting to engage with. So what happens where a world where there a no right answers clashes with a world where there is only right and wrong? Well, something pretty cool, as it turns out. One example is the artist Di Mainstone, who has turned the Brooklyn Bridge into a harp using vibration technology and interactive motion. This makes the performer, when connected to the strings of the bridge, become both the harpist and part of the harp itself. It allows people and the bridge to physically become an instrument, and even the bridge is a performer when it begins to conduct...