Helgason, I., Smyth, M., Speed, C. (2012). Aspects of Lifelikeness: A Framework for Optional Interactions with Public Installations. Designing Interactive Systems DIS 2012, Newcastle, UK.
Helgason, I. (2012). Beat Haiku: Interactive Poetry Application. In: NordiCHI’12 Making sense through design. ACM 978-1-4503-1482-4/12/10: ACM Digital Library.
Helgason, I. (2011, September + October ). Demo Hour: Anthony Otten, Daniel Schulze, Mie Sorensen, Di Mainstone, Tim Murray-Browne . ACM Interactions Magazine, 8.
Helgason, I., Bradley, J., Egan, C., Paechter, B., Hart, E. (2011). This Pervasive Day: Creative Interactive Methods for Encouraging Public Engagement with FET Research . In: Fet 11 essence. Elsevier.
Helgason, I., Bradley, J., Egan, C. (2011, March). This Pervasive Day: Design and Development Case Study. Paper presented at i-Docs, A Symposium on Interactive Documentary, Watershed Media Centre / Bristol, UK.
Smyth, M., Helgason, I. (2011). Imagining urban interactions: strategies for exploring future design landscapes. In: Proceedings of British HCI.
Smyth, M., Helgason, I., Mitrovic, I., Zaffiro, G. (2011). The City in Cinema: How Popular Culture can Influence Research Agendas. In: Fet 11 essence. Budapest.
Helgason, I. (2010). Interaction design: learning from new-media art. Paper presented at Irish Human Computer Interaction (HCI) Conference, Dublin.
Smyth, M., Helgason, I. (2010). Informing the Design of the Future Urban Landscape. Proceedings of Designing Interactive Systems, Aarhus, Denmark, 2010, 438-440.
Benyon, D., Smyth, M., Helgason, I. (Eds.) (2009). Presence for Everyone - A short guide to presence research.
Smyth, M., Helgason, I. (2009). Fragments of Place :: Revealing Sense of Place through Shared Phone Images. In: Proceedings of ISEA 09. Belfast, UK.
Smyth, M., Helgason, I. (2009). The secret life of digital images revealed. PerAda Magazine.
Smyth, M., Helgason, I., Benyon, D. (2008). Fragments of Place. In: Bryan-Kinns, N., Lloyd, T., Sheridan, J. (Eds.) Proceedings of (re)Actor3, the Third International Conference on Digital Live Art. (pp. 35-36).