EVA London 2021: Keynote summaries

This paper includes summaries of keynote presentations and short biographies of the keynote speakers at the EVA London 2021 Conference on Electronic Visualisation and the Arts. The talks were delivered online due to the Covid-19 pandemic. EVA London broadly covers the digital arts and humanities, attracting a wide set of interdisciplinary participants. The keynote speakers, while largely affiliated with academic institutions, have wider interests as well.

Content

Author and article information

Contributors

Jonathan P. Bowen: http://www.jpbowen.com

Camille Baker: https://www.uca.ac.uk/staff-profiles/prof-camille-baker

Ghislaine Boddington: https://www.gre.ac.uk/people/rep/las/ghislaine-boddington

Ernest Edmonds: http://www.ernestedmonds.com

Merel van Helsdingen: https://nxtmuseum.com

Terrence Masson: https://www.terrencemasson.com

Conference

Publication date: July 2021

Publication date (Print): July 2021

Pages: 1-6

Affiliations

[0001]London South Bank University

London, UK

(editor)

[0002]University for the Creative Arts

Farnham, Surrey, UK

[0003]University of Greenwich

London, UK

[0004]De Montfort University

Leicester, UK

[0005]Nxt Museum

Amsterdam, Netherlands

[0006]School of Visual Arts

New York City, USA

Article

DOI: 10.14236/ewic/EVA2021.1

SO-VID: 11b69847-ffee-4b9f-84c8-580c1cc86c80

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2021

Conference acronym: EVA 2021

Conference number:

Conference location: London

Conference date: 5th July – 9th July 2021

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: AI and the Arts: Artificial Imagination

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2021.1

Self URI (journal page): https://ewic.bcs.org/

BIBLIOGRAPHY

R. Ascott (1984) Art and Telematics: towards a network consciousness. Kunst und Telematik/L’Art et le Télématique. In H. Grundmann (ed.), Art + Telecommunication. The Western Front Vancouver.
C. Baker (2018) New Directions in Mobile Media and Performance. Routledge.
C. Baker and K. Sicchio (eds.) (2016) Intersecting Art and Technology in Practice: Techne/Technique/ Technology. Routledge.
G. Boddington (2000) Virtual presence physical beings – From telegraph to telecast. Middlesex University, UK.
G. Boddington (2007) Virtual physical bodies – Serious play. In H. BirringerT. Dumke & K. Nicolai (eds.), Die Welt als Virtuelles Environment, pp. 64–92. Trans-Media-Akademie Hellerau.
G. Boddington (2021) The Internet of Bodies – Alive, connected and collective: the virtual physical future of our bodies and our senses. AI & Society Springer. [Cross Ref]
M. A. Boden and E. A. Edmonds (2019) From Fingers to Digits: An Artificial Aesthetic. MIT Press Cambridge, MA.
J. P. Bowen (2013) New art practice. In Bowenet al. (2013), Part II, pp. 73–74.
J. P. Bowen (2020) A personal view of EVA London: Past, present, future. In Weinelet al. (2020), pp. 8–15. [Cross Ref]
J. P. Bowen and T. Giannini (2021) Digitality: A reality check. In Weinelet al. (2021), this volume.
J. P. BowenT. GianniniR. FalconerM. T. Magruder, and E. Marconi (2021) Beyond Human: Arts and identity between reality and virtuality in a post-Covid-19 world. In Weinelet al. (2021), this volume.
J. P. BowenS. Keene, and K. Ng (eds.) (2013) Electronic Visualisation in Arts and Culture. Springer Series on Cultural Computing. [Cross Ref]
L. Candy (1992) Modelling the creative product versus supporting human creativity. AISB Quarterly 81, pp. 31–34 Autumn.
L. Candy (2019) The Creative Reflective Practitioner: Research Through Making and Practice. Routledge London.
E. Edmonds (1993) Knowledge-based systems for creativity. In Gero & Maher (1993), chapter 11, pp. 259–271.
E. Edmonds and F. Franco (2019) Evolving installations “Shaping Space”. In Giannini & Bowen (eds.) (2019a), chapter 18, pp. 367–379. [Cross Ref]
G. Fischer (1993). Creativity enhancing design environments. In Gero & Maher (1993), chapter 10, pp. 235–258.
J. Fish and S. Scrivener (1990) Amplifying the mind's eye: sketching and visual cognition. Leonardo 23(1), pp. 117–126.
F. Franco (2017) Generative Systems Art: The Work of Ernest Edmonds. Routledge.
J. S. Gero and M. L. Maher (eds.) (1993) Modeling Creativity and Knowledge-Based Creative Design. Lawrence Erlbaum Associates, Hillsdale, NJ. Republished by Psychology Press 2016.
J. W. Gertzels and M. Csikszentmihalyi (1975) From problem solving to problem finding. In TaylorGetzels (eds.), Perspectives in Creativity Aldine Publishing Co. Chicago, IL.
T. Giannini and J. P. Bowen (eds.) (2019a) Museums and Digital Culture: New Perspectives and Research. Springer Series on Cultural Computing. [Cross Ref]
T. Giannini and J. P. Bowen (2019b) Digital culture. In Giannini & Bowen (eds.) (2019a), chapter 1, pp. 3–26. [Cross Ref]
S. P. Gill (2015) Tacit Engagement: Beyond Interaction. Springer Switzerland. [Cross Ref]
J. Hemsley (2013) The EVA London Conference 1990–2012: Personal reflections. In Bowenet al. (2013), pp. 1–5. [Cross Ref]
J. Markoff (2015) Machines of Loving Grace: The Quest for Common Ground Between Humans and Robots. Ecco Press Los Angeles, CA.
T. Masson (2007) CG101: A Computer Graphics Industry Reference 2^nd edition. Digital Fauxtography.
W. J. Mitchell (1993) A computational view of design creativity. In Gero & Maher (1993), chapter 3, pp. 25–42.
P. V. Moore (2019) The Quantified Self in Precarity: Work, Technology and What Counts. Routledge.
D. A. Schon (1983) The Reflective Practitioner. Maurice Temple Smith London.
J. WeinelJ. P. BowenA. Borda, and G. Diprose (eds.) (2021) EVA London 2021: Electronic Visualisation and the Arts. BCS, Electronic Workshops in Computing (eWiC). ScienceOpen. [Cross Ref]
J. WeinelJ. P. BowenG. Diprose, and N Lambert. (eds.) (2020) EVA London 2020: Electronic Visualisation and the Arts. BCS, Electronic Workshops in Computing. ScienceOpen. [Cross Ref]

Comments

Comment on this article

[1] R. Ascott (1984) Art and Telematics: towards a network consciousness. Kunst und Telematik/L’Art et le Télématique. In H. Grundmann (ed.), Art + Telecommunication. The Western Front Vancouver.

[2] C. Baker (2018) New Directions in Mobile Media and Performance. Routledge.

[3] C. Baker and K. Sicchio (eds.) (2016) Intersecting Art and Technology in Practice: Techne/Technique/ Technology. Routledge.

[4] G. Boddington (2000) Virtual presence physical beings – From telegraph to telecast. Middlesex University, UK.

[5] G. Boddington (2007) Virtual physical bodies – Serious play. In H. BirringerT. Dumke & K. Nicolai (eds.), Die Welt als Virtuelles Environment, pp. 64–92. Trans-Media-Akademie Hellerau.

[6] G. Boddington (2021) The Internet of Bodies – Alive, connected and collective: the virtual physical future of our bodies and our senses. AI & Society Springer. [Cross Ref]

[7] M. A. Boden and E. A. Edmonds (2019) From Fingers to Digits: An Artificial Aesthetic. MIT Press Cambridge, MA.

[8] J. P. Bowen (2013) New art practice. In Bowenet al. (2013), Part II, pp. 73–74.

[9] J. P. Bowen (2020) A personal view of EVA London: Past, present, future. In Weinelet al. (2020), pp. 8–15. [Cross Ref]

[10] J. P. Bowen and T. Giannini (2021) Digitality: A reality check. In Weinelet al. (2021), this volume.

[11] J. P. BowenT. GianniniR. FalconerM. T. Magruder, and E. Marconi (2021) Beyond Human: Arts and identity between reality and virtuality in a post-Covid-19 world. In Weinelet al. (2021), this volume.

[12] J. P. BowenS. Keene, and K. Ng (eds.) (2013) Electronic Visualisation in Arts and Culture. Springer Series on Cultural Computing. [Cross Ref]

[13] L. Candy (1992) Modelling the creative product versus supporting human creativity. AISB Quarterly 81, pp. 31–34 Autumn.

[14] L. Candy (2019) The Creative Reflective Practitioner: Research Through Making and Practice. Routledge London.

[15] E. Edmonds (1993) Knowledge-based systems for creativity. In Gero & Maher (1993), chapter 11, pp. 259–271.

[16] E. Edmonds and F. Franco (2019) Evolving installations “Shaping Space”. In Giannini & Bowen (eds.) (2019a), chapter 18, pp. 367–379. [Cross Ref]

[17] G. Fischer (1993). Creativity enhancing design environments. In Gero & Maher (1993), chapter 10, pp. 235–258.

[18] J. Fish and S. Scrivener (1990) Amplifying the mind's eye: sketching and visual cognition. Leonardo 23(1), pp. 117–126.

[19] F. Franco (2017) Generative Systems Art: The Work of Ernest Edmonds. Routledge.

[20] J. S. Gero and M. L. Maher (eds.) (1993) Modeling Creativity and Knowledge-Based Creative Design. Lawrence Erlbaum Associates, Hillsdale, NJ. Republished by Psychology Press 2016.

[21] J. W. Gertzels and M. Csikszentmihalyi (1975) From problem solving to problem finding. In TaylorGetzels (eds.), Perspectives in Creativity Aldine Publishing Co. Chicago, IL.

[22] T. Giannini and J. P. Bowen (eds.) (2019a) Museums and Digital Culture: New Perspectives and Research. Springer Series on Cultural Computing. [Cross Ref]

[23] T. Giannini and J. P. Bowen (2019b) Digital culture. In Giannini & Bowen (eds.) (2019a), chapter 1, pp. 3–26. [Cross Ref]

[24] S. P. Gill (2015) Tacit Engagement: Beyond Interaction. Springer Switzerland. [Cross Ref]

[25] J. Hemsley (2013) The EVA London Conference 1990–2012: Personal reflections. In Bowenet al. (2013), pp. 1–5. [Cross Ref]

[26] J. Markoff (2015) Machines of Loving Grace: The Quest for Common Ground Between Humans and Robots. Ecco Press Los Angeles, CA.

[27] T. Masson (2007) CG101: A Computer Graphics Industry Reference 2^nd edition. Digital Fauxtography.

[28] W. J. Mitchell (1993) A computational view of design creativity. In Gero & Maher (1993), chapter 3, pp. 25–42.

[29] P. V. Moore (2019) The Quantified Self in Precarity: Work, Technology and What Counts. Routledge.

[30] D. A. Schon (1983) The Reflective Practitioner. Maurice Temple Smith London.

[31] J. WeinelJ. P. BowenA. Borda, and G. Diprose (eds.) (2021) EVA London 2021: Electronic Visualisation and the Arts. BCS, Electronic Workshops in Computing (eWiC). ScienceOpen. [Cross Ref]

[32] J. WeinelJ. P. BowenG. Diprose, and N Lambert. (eds.) (2020) EVA London 2020: Electronic Visualisation and the Arts. BCS, Electronic Workshops in Computing. ScienceOpen. [Cross Ref]

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