Acknowledgements
EVA London 2022 gratefully acknowledges:
BCS, The Chartered Institute for IT for hosting EVA London, physically at the BCS London office and online using Zoom, and the BCS Computer Arts Society (CAS) Specialist Group for providing bursaries. Special thanks go to Kerry Wear at the BCS, for help with budgeting, registration, and other organisational arrangements, as well as Becky Youe, Florence Leroy, and Ian Borthwick of the BCS Electronic Workshops in Computing (eWiC) series, for support with the printed and online conference proceedings.
The Anthill Social and Tom Keene for website hosting and support.
Thank you to staff at the BCS Swindon office for help with administrative and IT support.
Thanks to all the contributors for making EVA London a continuing success.
Preface
The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group.
Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour.
Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation.
The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas.
The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International.
As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists.
The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year.
This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included.
EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community.
As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference.
Committee
EVA London 2022 Conference Chair: Graham Diprose
BCS CAS Chair: Nick Lambert
EVA London 2022 Programme Co-Chairs: Jonathan P. Bowen
Jon Weinel
Ann Borda
Graham Diprose
EVA London 2022 Keynote Chair: Ann Borda
EVA London 2022 Online Chair: Sean Clark
EVA London 2022 Symposium Co-Chairs: Tula Giannini
Jonathan P. Bowen
EVA London 2022 Research Workshop Chair: Graham Diprose
EVA London 2022 Workshop Co-Chairs: Nick Lambert
Carl Smith
EVA London 2022 Publicity Chair: Sarah McDaid
EVA London 2022 Financial Chair: Graham Diprose
EVA London 2022 Website: Jonathan P. Bowen
EVA London 2022 Technical Support: BCS, The Chartered Institute for IT
EVA International Liaison: Terry Trickett
EVA London Honorary Chair: James Hemsley
EVA London Honorary Committee Member: George Mallen
EVA London 2022 Organising/Advisory Committee Members:
Ann Borda The University of Melbourne
Jonathan P. Bowen London South Bank University
Sean Clark Interact Digital Arts
Graham Diprose Independent
Tula Giannini Pratt Institute, New York
Christina Hemsley Independent
James Hemsley Birkbeck College
Maureen Kendal Dreamstudio.io
Nick Lambert Ravensbourne University London
Sarah McDaid Zoea Ltd
Aphra Shemza Art in Flux
Carl Smith Ravensbourne University London
Terry Trickett Trickett Associates
Jon Weinel University of Greenwich
List of Reviewers
The people listed below reviewed submissions for the EVA London 2022 Conference and the Organising Committee is very grateful for their voluntary help in the selection process.
EVA London 2022 Programme Committee Members:
Otniel Altamirano
Jānis Garančs
Rebecca Norris
Doron Altaratz
Tula Giannini
Teresa Numerico
Xavier Aure
David Gibson
Paul O'Dowd
Camille Baker
Oliver Gingrich
Olaoluwa Oyedokun
Ann Borda
Oana Gui
Joskaudė Pakalkaitė
Karen Bosy
Kelly Hamilton
Jeremy Pilcher
Jonathan P. Bowen
Susan Hazan
Cristina Portugal
Beatrice Bretherton
Christina Hemsley
Luísa Ribas
Elisavet Christou
Kyoko Hidaka
Vasileios Routsis
Sean Clark
María Hidalgo Urbaneja
Benjamin Seide
Richard Collmann
Racelar Ho
Aphra Shemza
Ed Cookson
Richard Hoadley
Anna Shvets
Stuart Cunningham
Maria Kallionpää
Megan Smith
Daniela de Paulis
Maureen Kendal
Lydia Smolin
Laura Dekker
Eugenia Kim
Agata Marta Soccini
Graham Diprose
Jinhee Kim
Marina Sparvoli
Sophie Dixon
Nick Lambert
Terry Trickett
Alan Dunning
Kyungho Lee
Sarah Vollmer
Eva Emenlauer-Bloemers
Michael Lesk
Graham Wakefield
Huan Fan
Ziva Ljubec
Jon Weinel
Kenneth Feinstein
Andy Lomas
Ross Williams
Gabriele Ferreira Alencar
Lindsay MacDonald
Ozan Yavuz
Amalia Foka
Jon Malis
Jing Zhou
Raffaella Folgieri
Sarah McDaid
Rehan Zia
Giuliano Gaia
Lila Moore
Ode to Hope
Live free or die
Ukraine’s cry
for life, liberty, and
the pursuit of happiness
When less
is more
Stop the war
No more – No more
Rivers of tears
flow down the Dnieper
Mother’s fears
Children dying
Can’t stop crying
Can’t believe
The fate of Kyiv
under siege
This hallowed ground
Lost and found
Stop the war
No more – No more
Let freedom ring
Sing – Sing
Sing of life’s and love’s
eternal spring
Hope is
Everything
— Tula Giannini (March 2022)
Papers:
Symposium: Enter the Metaverse
Tula Giannini, Jonathan P. Bowen, Chris Michaels & Carl Hayden Smith Digital Art and Identity Merging Human and Artificial Intelligence: Enter the Metaverse http://dx.doi.org/10.14236/ewic/EVA2022.1
Image Data and Visualisation
Andy Lomas Synthesis of Abstract Dynamic Quasiperiodic 3D Forms using SIRENs http://dx.doi.org/10.14236/ewic/EVA2022.2
Florent Di Bartolo & Xavier Hautbois Tackle Climate Change Through Art: A case study http://dx.doi.org/10.14236/ewic/EVA2022.3
Matthias Göggerle Opening black boxes – 3D CT digitalization of historical cipher machines http://dx.doi.org/10.14236/ewic/EVA2022.4
Rehan Zja Seen description: Visualising and crafting data in mixed realities http://dx.doi.org/10.14236/ewic/EVA2022.5
Maral Khosravi, Rehan Zia & Jian Chang Exeter Cathedral – A colour reconstruction for use in augmented reality devices http://dx.doi.org/10.14236/ewic/EVA2022.6
Marilene Oliver, J.R. Carpenter, Scott Smallwood & Stephan Moore My Data Body http://dx.doi.org/10.14236/ewic/EVA2022.7
Jonathan Weinel Book Launch: Explosions in the Mind: Composing Psychedelic Sounds and Visualisations http://dx.doi.org/10.14236/ewic/EVA2022.8
Leah Barclay, Tricia King & Lyndon Davis Cymatic Patterns of the Black Cockatoo: Visualising the calls of Wildlife in Australia http://dx.doi.org/10.14236/ewic/EVA2022.9
Elke Reinhuber National Flowers in Blue – Resurrecting analog imaging techniques in the era of big data and pixel perfection http://dx.doi.org/10.14236/ewic/EVA2022.10
Robb Mitchell Near-Instant Prototyping of Multi-User Digital-Physical Interactions http://dx.doi.org/10.14236/ewic/EVA2022.11
Digital Heritage
Sean Clark & Sean Carroll Rebuilding Ernest Edmond's Communication Game http://dx.doi.org/10.14236/ewic/EVA2022.12
Lindsay MacDonald The Immortal Shakspeare: Transcribing a micrographic drawing http://dx.doi.org/10.14236/ewic/EVA2022.13
Artistic Communities & Education
Raffaella Folgieri, Paul Arnold & Alessandro Giuseppe Buda NFTs In Music Industry: Potentiality and Challenge http://dx.doi.org/10.14236/ewic/EVA2022.14
Elisavet Christou Mediation in the Post-Internet Condition http://dx.doi.org/10.14236/ewic/EVA2022.15
Alexandra Orlova & Elvira Zhagun-Linnik Post-Internet Art in Russia as a Digital Folder in the World Practice http://dx.doi.org/10.14236/ewic/EVA2022.16
Dominik Lengyel & Catherine Toulouse How to Communicate Complex Spatial Itineraries: A balancing act between diagram and simulation http://dx.doi.org/10.14236/ewic/EVA2022.17
Cristina Portugal, Mônica Moura, Márcio Guimaraes, Iana Perez & José Carlos Magro (jnr) Design for Digital Humanities Practices Focusing On People With Visual Impairment http://dx.doi.org/10.14236/ewic/EVA2022.18
Joel Ong Hy-Breed: Growing a Responsive Organo-Mechanical Agent http://dx.doi.org/10.14236/ewic/EVA2022.19
Mercedes Bunz, Eva Jäger, Alasdair Milne & Joanna Zylinska Creative AI Futures: Theory and Practice http://dx.doi.org/10.14236/ewic/EVA2022.20
China Connections
Yi Wei, Ji Yi, Liu Yutong & Sean Clark Research on creative Transformation of Excellent Traditional Chinese culture – Taking interaction design of traditional handicraft culture translation as an example http://dx.doi.org/10.14236/ewic/EVA2022.21
Jing Li & Jonathan P. Bowen Female Self-presentation through Online Dating Applications http://dx.doi.org/10.14236/ewic/EVA2022.22
Jonathan P. Bowen & Huan Fan The Chengdu Biennale and Wikipedia Art Information http://dx.doi.org/10.14236/ewic/EVA2022.23
Digital Culture and Museums
Tula Giannini & Jonathan P. Bowen More than Human: Merging real and virtual states of being from arts and culture to wellness in a post-Covid world http://dx.doi.org/10.14236/ewic/EVA2022.24
James Simpson & Rory Foster Liveness for Contemporary Audiences: Developing online-togetherness in metaverse-theatre audiences http://dx.doi.org/10.14236/ewic/EVA2022.25
Jonah Brucker-Cohen Human Error, A Collection of Work that Highlights our Misuse of Technology and the Internet http://dx.doi.org/10.14236/ewic/EVA2022.26
Oliver Gingrich & Shama Rahman Neuro Art – liminal reflection, introspection and participatory art http://dx.doi.org/10.14236/ewic/EVA2022.27
Racelar Ho & Xiaolong Zheng The Post-bit Human Universe: An Experiment on the Evolutionary History of Human-Posthuman Relations http://dx.doi.org/10.14236/ewic/EVA2022.28
Lark Spartin & John Desnoyers-Stewart Digital Relationality: Relational aesthetics in contemporary interactive art http://dx.doi.org/10.14236/ewic/EVA2022.29
Stefania Boiano, Ann Borda, Jonathan P. Bowen, Giuliano Gaia & Tula Giannini Vignettes of Computer-based Museum Interactive and Games Software through the Years http://dx.doi.org/10.14236/ewic/EVA2022.30
Richard Whitby Pixels to Drones: Imaging the Nation in Olympic Opening Ceremonies London 2012 and Pyeongchang 2018 http://dx.doi.org/10.14236/ewic/EVA2022.31
Virtual Reality
Maureen Kendal, Fion Gunn, Barney Kass, Alan Hudson & Mei-Tsen Chen A-Maze artists: Update on the development of ‘Boundless – Worlds in Flux' virtual world http://dx.doi.org/10.14236/ewic/EVA2022.32
Anna Shvets & Samer Darkazanli Adaptive VR Test in Music Harmony Based on Conditional Spiking GAN http://dx.doi.org/10.14236/ewic/EVA2022.33
Leslie Deere Action at a Distance: Altered states through virtual gestures and audio-visuals http://dx.doi.org/10.14236/ewic/EVA2022.34
Joanne Mills The Gamification of Arts and Culture: The expanded narrative and the virtual space from digital media to COVID http://dx.doi.org/10.14236/ewic/EVA2022.35
Meredith Drum Monument Public Address System AR http://dx.doi.org/10.14236/ewic/EVA2022.36
Gabriela Maria Pyjas, Jonathan Weinel & Martyn Broadhead Storytelling and VR: Inducing emotions through AI characters http://dx.doi.org/10.14236/ewic/EVA2022.37
Maf'J Alvarez Eva Quantica VR http://dx.doi.org/10.14236/ewic/EVA2022.38
David Bouchard, Cintia Cristia, Michael Bergmann & David Robert Augmented Symphony: an augmented reality application for immersive music listening http://dx.doi.org/10.14236/ewic/EVA2022.39
Terry Trickett Through the Looking Glass to a Post-pandemic World, With New Media Artists as Our Guide http://dx.doi.org/10.14236/ewic/EVA2022.40
The Rest at the End of the Metaverse
Kyoko Hidaka Sense of Place: Interactive Installation for Tourism and beyond http://dx.doi.org/10.14236/ewic/EVA2022.41
Danielle Barrios-O'Neill & Joskaudė Pakalkaitė Exploring Next-Generation Touch-Rich Interactions for Consumer Well-Being http://dx.doi.org/10.14236/ewic/EVA2022.42
Elena Marie Vella, Daniel A Williams, Aleks Michalewicz, Airlie Chapman & Robert Walton Did That Stone Move? Staging Stone Swarms in Virtual Reality and IRL Galleries http://dx.doi.org/10.14236/ewic/EVA2022.43
Sonia Milewska Show must go on? Problems of bio art preservation on example of Plant~Animals (2021–) by Elvin Flamingo http://dx.doi.org/10.14236/ewic/EVA2022.44
Avital Meshi & Treyden Chiaravalloti Structures of Emotion – An online demonstration of an emotion recognition process http://dx.doi.org/10.14236/ewic/EVA2022.45
Carl Hayden Smith & Roseanne Wakely Umwelt Hacking: Can we sense like a forest, a mycelium network or an octopus? http://dx.doi.org/10.14236/ewic/EVA2022.46
Anne Tsjornaja, Jonathan Weinel & Martyn Broadhead Art(NET)work: Visualising interconnected artwork data in VR http://dx.doi.org/10.14236/ewic/EVA2022.47
Carl Hayden Smith & Melissa Warner Cyberdelics: Context Engineering Psychedelics to Develop Altered Traits http://dx.doi.org/10.14236/ewic/EVA2022.48
Joskaudė Pakalkaitė Connecting Colour-Coding and Hand-Drawn Interfaces for Study Resources, Menu and Navigation to Enrich Student Learning Experience Research Workshop http://dx.doi.org/10.14236/ewic/EVA2022.49
Research Workshop
Tahmeena Javaid Adeel, Rehan Zia & Oleg Fryazinov Design and Development Considerations for Serious Games to Assist in the Rehabilitation of Patients with Back Pain: An overview http://dx.doi.org/10.14236/ewic/EVA2022.50
Daniella Chukwuezi Majority World Diasporas http://dx.doi.org/10.14236/ewic/EVA2022.51
David Penny A Fallen Line of Marble Drums http://dx.doi.org/10.14236/ewic/EVA2022.52
Keynotes
Ann Borda, Natasha Trotman, Charlie Gere, Birgitta Hosea, Anastasiia Gliebova & Olga Simson EVA London 2022: Keynote summaries http://dx.doi.org/10.14236/ewic/EVA2022.53
Maslisa Zainuddin Memory Pods: Upcycled objects and the stories they encapsulate: One (wo)man’s trash is another (wo)man’s inspiration http://dx.doi.org/10.14236/ewic/EVA2022.54