Motivation: The identification of the functional variants responsible for observed genome-wide association studies (GWAS) signals is one of the most challenging tasks of the post-GWAS research era. Several tools have been developed to annotate genetic variants by their genomic location and potential functional implications. Each of these tools has its own requirements and internal logic, which forces the user to become acquainted with each interface. Results: From an awareness of the amount of work needed to analyze a single locus, we have built a flexible, versatile and easy-to-use web interface designed to help in prioritizing variants and predicting their potential functional implications. This interface acts as a single-point of entry linking association results with reference tools and relevant experiments. Availability and Implementation: VEXOR is an integrative web application implemented through the Shiny framework and available at: http://romix.genome.ulaval.ca/vexor. Contact: [email protected]. Supplementary information: Supplementary data are available at Bioinformatics online.

Reading is a manual activity. The touch hands are ever- present: holding, turning, pointing, scrolling, clicking and scribbling are physical practices that engross people in the printed word. The project "AIME Tiles" began by thinking about howsystems of ideas can be translated into hybrid physical-concept tools. Further, the project attempts to resituate the scholarly activity of reading as a practice with its own material culture and media affordances. AIME Tiles, their design intent and construction are described as a modest sketch of tactile tools for scholarship-game pieces for playing with our thinking.

A shift is occurring, particularly evident in art-and- technology practice, in which the artist-led-workshop is transformed into an distinct and distinguishable artistic form. Resulting from, and contributing to, the new access and relationships people have to information, creative culture, materials and like-interested individuals, the "workshop-as-artwork" is herein proposed and outlined. As a set of multiple artistic (material), social and learning agent interactions, thinking this new form as an ecology has shown benefits in terms of the aims and design of these new works, as well as their thinking, planning and execution. Further, from the artist-interventionist point of view, positing the workshop-as-artwork and ecological thinking seeks to update notions of legacy, consequence and significance for the art-and-technology practitioner and his or her audience.

Chiptune Marching Band (CTMB) is a workshop-performance held in diverse public venues internationally (http://chiptunemarchingband.com/). The CTMB project proposes a contemporary form of dialogic art - an inclusive, participatory event designed to provide direct experience of resource, social and creative dynamics. In this poster we invoke the phrase "ecology of practice" to describe CTMB in terms of a number of interrelationships: amongst skills, with materials, in creativity and between participants. We also present our evaluative methods for 'participant' feedback within this type of event that are designed to be congruous with the overall intention.

This paper proposes a public workshop and performance, Chiptune Marching Band, where participants make a sensor-reactive sound instrument, powered by a localized power resource, and perform with their instrument as a band.