EVA London 2023 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 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.
The Electronic Visualisation and the Arts London 2023 Conference (EVA London 2023) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group.
As for 2022, the EVA London 2023 Conference is a physical and online “hybrid” conference. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, in full colour. The main conference presentations run during 10–13 July 2023, with workshops and other activities, especially for students, on 14 July 2023.
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 2023 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the eighth year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a selection of other associated evening events including ones organised by the Computer Arts Society (under Sean Clark), EVA International (chaired by Terry Trickett), Camberwell College of Arts (c/o Graham Diprose) and Art in Flux (Olive Gingrich, Aphra Shemza, et al.).
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, Graham Diprose. The Research Workshop contributors are offered bursaries to aid participation. EVA London liaises particularly with Art in Flux, a London-based group of digital artists.
The EVA London 2023 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.
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, with a requirement to submit drafts of long papers for review as well as abstracts. It remains 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 2023. Associated online presentations are in general recorded and made available online after the conference.
❖ EVA London 2023 Conference Chair: Graham Diprose
❖ BCS CAS Chair: Nick Lambert
❖ EVA London 2023 Programme Co-Chairs: Jonathan P. Bowen
❖ EVA London 2023 Keynote Chair: Ann Borda
❖ EVA London 2023 Online & Demo Chair: Sean Clark
❖ EVA London 2023 Symposium Co-Chairs: Tula Giannini
❖ EVA London 2023 Research Workshop Chair: Graham Diprose
❖ EVA London 2023 Workshop Co-Chairs: Nick Lambert
❖ EVA London 2023 Publicity & IT Co-Chairs: Tilly Cullen
❖ EVA London 2023 Financial Chair: Graham Diprose
❖ EVA London 2023 Website: Jonathan P. Bowen
❖ EVA London 2023 Technical Support: BCS, The Chartered Institute for IT
❖ EVA International Liaison: Terry Trickett
❖ Art in Flux Liaison: Olive Gingrich
❖ BCS Liaison: Kerry Wear
❖ EVA London Honorary Chair: James Hemsley
❖ EVA London Honorary Committee Member: George Mallen
❖ EVA London 2023 Organising Committee Members:
Ann Borda The University of Melbourne
Jonathan P. Bowen London South Bank University
Sean Clark Interact Digital Arts
Tilly Cullen Independent
Graham Diprose Independent
Tula Giannini Pratt Institute, New York
Olive Gingrich University of Greenwich
Maureen Kendal Dreamstudio.io
Nick Lambert Computer Arts Society
Sarah McDaid Zoea Ltd
Carl Smith Independent
Terry Trickett Trickett Associates
Jon Weinel University of Greenwich
Karoline Winzer KarolineWinzerDesign
❖ EVA London Advisory Committee Members:
Christina Hemsley Independent
James Hemsley Birkbeck College
Gareth Polmeer Royal College of Art
Aphra Shemza Art in Flux
Anna Shvets Fablab by Inetum, Paris
List of Reviewers
The people listed below reviewed submissions for the EVA London 2023 Conference and the Organising Committee is very grateful for their voluntary help in the selection process.
❖ EVA London 2023 Programme Committee Members:
Florent Di Bartolo
Daniela de Paulis
Gabriela Maria Pyjas
Agata Marta Soccini
Tribute to Bruce Wands
Chair, Computer Arts Society
In the past year, the world of digital art has lost several key figures. Of particular relevance to EVA is Bruce Wands, who passed away on 6 July 2022 (while EVA London 2022 was running) at the age of 72. Bruce was a great supporter of EVA London for over a decade and attended many conferences along with students and colleagues from the School of Visual Arts (SVA) in New York.
Bruce discovered computer graphics through his Masters degree in Television/Radio/Film at Syracuse University in 1976 and immediately found a computer animation post in New York. His credits included the animated opening sequence for Saturday Night Live and the graphics on the Spectacolor billboard in Times Square that counted down the New Year.
In 1984, he began as a faculty member at the SVA, teaching a Business Graphics workshop in Continuing Education. Over the next few years, Bruce developed over seventy digital art courses and was appointed Director of Computer Education in 1992. He founded the BFA Computer Art Department in 1994 and educated many cohorts of students along with his faculty members at the Computer Art Center. In 1998, he was named Chair of the MFA Computer Art Department. Along with further expanding the department in the 2000s, he also became active in developing computer education in China.
Bruce saw the potential for emerging digital art to link together creative media and with this in mind he became the curator to the first New York Digital Salon in 1993, chaired by Timothy Binkley. Bruce became Chair in 1998 and the Salon ran for over 20 years, hosting internationally recognised digital artists selected by a panel of judges. The exhibitions were written up in the Leonardo journal and emphasised the connectivity of the digital arts scene, touring internationally and within the USA. Based on his leading role in the digital arts, Bruce was awarded grants by the National Endowment for the Arts, Rockefeller Foundation, New York State Council on the Arts, and NESTA UK. Bruce’s key books included Digital Creativity (Wiley, 2002) and Art of the Digital Age (Thames & Hudson, 2006). These did much to popularise the area of computer-based art.
My own connection with Bruce developed through my colleague Professor Jeremy Gardiner, who had worked closely with him during his time in the USA. Bruce provided generous and continuing support to our project Computer Art and Technocultures, including a memorable evening at the SVA in 2009 that included many luminaries of American computer art past and present. It was also in 2009 that Bruce began his longstanding connection with EVA London. Later, Bruce became a judge on the Lumen Prize for Art and Technology and when Lumen presented at New York Creative Tech Week in 2016, he opened the doors at SVA and gave freely of his time to support us. He was an affable guide to New York’s digital art scene, and we enjoyed his anecdotes.
I miss Bruce greatly, as do my EVA London colleagues, knowing how much he did to establish computer art both in American education, through the Digital Salon and his own publications, supported by his personal warmth alongside his sterling contributions to the field.
Jonathan P. Bowen, Tula Giannini, Terrence Masson, Giuliano Gaia & Graham Diprose The Digital Lens http://dx.doi.org/10.14236/ewic/EVA2023.1
Jonathan P. Bowen & Tula Giannini The Arts and Computational Culture: A landscape view http://dx.doi.org/10.14236/ewic/EVA2023.2
Ann Borda Bearing Witness: A commentary on climate action and immersive climate change exhibitions http://dx.doi.org/10.14236/ewic/EVA2023.3
Mei-Tsen Chen, Fion Gunn, Shoran Jiang, Ardern Hulme-Beaman, Alan Hudson, Maureen Kendal & Nazia Parvez A-MAZE Artists Update 2023: Boundless – Worlds in Flux: Overcoming boundaries to virtual world integration in traditional heritage settings http://dx.doi.org/10.14236/ewic/EVA2023.4
Karoline Winzer The Connection Framework: How designers and developers can impact social connection http://dx.doi.org/10.14236/ewic/EVA2023.5
Aphra Shemza, Peter Todd & A.J. Bravo Shemza Digital: Across Generations http://dx.doi.org/10.14236/ewic/EVA2023.6
Dominik Lengyel & Catherine Toulouse How Physical Models Complete Virtual Multimediality http://dx.doi.org/10.14236/ewic/EVA2023.7
Lindsay W. MacDonald Visualising a Medieval Wall Painting of St Thomas Becket http://dx.doi.org/10.14236/ewic/EVA2023.8
Carl Hayden Smith & William L.J. Bigmore Re-Enchantment with Technology and Ourselves: Constructing the technomancy and neuromancy framework http://dx.doi.org/10.14236/ewic/EVA2023.9
Jonathan P. Bowen & Sean Clark Recent Progress with the Computer Arts Archive http://dx.doi.org/10.14236/ewic/EVA2023.10
Leah Barclay, Tricia King & Lyndon Davis Seeing Sound and Hearing Images: Interdisciplinary explorations in marine environments in Queensland, Australia http://dx.doi.org/10.14236/ewic/EVA2023.11
Mary-Joyce Arekion Digital Storytelling: An innovative arts-based research method for qualitative research http://dx.doi.org/10.14236/ewic/EVA2023.12
Susan Hazan The Dance of the Doppelgängers: AI and the cultural heritage community http://dx.doi.org/10.14236/ewic/EVA2023.13
Documenting Digital Art
Kenneth Feinstein Voicing the Subject: Finding new ways of creating the documentary http://dx.doi.org/10.14236/ewic/EVA2023.14
Sean Clark & Stephen Scrivener Rebuilding Stephen Scrivener's Homeostasis Artwork http://dx.doi.org/10.14236/ewic/EVA2023.15
Carmen Gil Vrolijk Hybris http://dx.doi.org/10.14236/ewic/EVA2023.16
Lindsay Pierce, Dajonea Robinson, Mi Tran & Whitney Graham Social Memberships and Identity Representation in ‘Text-to-Image’ Artificial Intelligence Programmes http://dx.doi.org/10.14236/ewic/EVA2023.17
Kristin Carlson, Greg Corness, Zahra Irannezhad, Kimberly Brucker & Lyndsie Schlink Sounds of Connection: Tactile support of family engagement in elderly memory-care residents http://dx.doi.org/10.14236/ewic/EVA2023.18
Joskaudė Pakalkaitė Noise-Free Digital Interfaces From the Near Future http://dx.doi.org/10.14236/ewic/EVA2023.19
Camila Mangueira & Fabrício Fava Metaimage: The image beyond visual representation http://dx.doi.org/10.14236/ewic/EVA2023.20
Rochele Gloor, Greg Corness, Rose Marshack & Aaron Paolucci Can You Feel What I Feel? Leveraging aesthetics in visual and spatial audio VR experience http://dx.doi.org/10.14236/ewic/EVA2023.21
Stuart Smith Creating an App for Computer-assisted Art http://dx.doi.org/10.14236/ewic/EVA2023.22
Bao Han & Jonathan P. Bowen The Public Sphere and Weibo Microblogging Social Media Platforms in China http://dx.doi.org/10.14236/ewic/EVA2023.23
Huan Fan & Jonathan P. Bowen An Overview of New Media Art Exhibitions in China (2017–2022) http://dx.doi.org/10.14236/ewic/EVA2023.24
Yi Ji, Sean Clark, Minliang Bai, Congxiao Sang & Yihong Yuan A Study on the Development of Digital Art in China Through Artworks http://dx.doi.org/10.14236/ewic/EVA2023.25
Ze Gao Envisioning an Immersive Multi-Screen VR System for Museum Archive Browsing http://dx.doi.org/10.14236/ewic/EVA2023.26
Ze Gao, Simin Yang & Xingxing Yang Symbiotic Hands: A virtual reality interactive system that traverses reality http://dx.doi.org/10.14236/ewic/EVA2023.27
Anna Shvets & Samer Darkazanli Volumetric Music Composition in a VR Context http://dx.doi.org/10.14236/ewic/EVA2023.28
Marco Innocenti, Guillaume Mur, Christophe Brod & Olga Kisseleva Extracting Treescape Data from an Autonomous Smart Beehive: A project for an art museum device using near-infrared light http://dx.doi.org/10.14236/ewic/EVA2023.29
Ninon Lizé Masclef & Adrien Chuttarsing Latent Organism: A tangible interface for 3D co-creation with AI http://dx.doi.org/10.14236/ewic/EVA2023.30
Sophie Dixon Crafting Virtual Spaces with Creative AI: A case study of Lux in Tenebris http://dx.doi.org/10.14236/ewic/EVA2023.31
André Rangel Rechteck Fyrkant: If they were the same thing, they were the same thing, but they are not http://dx.doi.org/10.14236/ewic/EVA2023.32
Elina Argyridou, Panayiota Samara, Marinos Ioannides, Maria Hadjiathanasiou, Elena Karittevli, Iliana Koulafeti, Ioannis Panayi & Kyriakos Efstathiou Research Methodologies for Digital Holistic Documentation of Cultural Heritage http://dx.doi.org/10.14236/ewic/EVA2023.33
Racelar Ho, Sarah Vollmer & Xiaolong Zheng 24/7 Worldlessness of Post-Bits Human Universe: Asynchronous Signal Transmutation http://dx.doi.org/10.14236/ewic/EVA2023.34
Monika Keenan Bridging the Divide: Creating an accessible transparent AR display http://dx.doi.org/10.14236/ewic/EVA2023.35
Terry Trickett Building Less is More: A tale of two realities http://dx.doi.org/10.14236/ewic/EVA2023.36
Tula Giannini & Jonathan P. Bowen Generative Art and Computational Imagination: Integrating poetry and art world http://dx.doi.org/10.14236/ewic/EVA2023.37
Daniela de Paulis Mare Incognito http://dx.doi.org/10.14236/ewic/EVA2023.38
Andy Lomas Digital Chemotaxis http://dx.doi.org/10.14236/ewic/EVA2023.39
Carmen Gil Vrolijk Voltaje – Art and Technology Salon: Art as an experience not as an object http://dx.doi.org/10.14236/ewic/EVA2023.40
Graham Diprose, Jairo Zaldua, Nicola Jane Green & Margarita Galandina Research Workshop Collected Paper: Capturing Memories – Real and Imaginary http://dx.doi.org/10.14236/ewic/EVA2023.41
Raheem A. Lawal, Jonathan Weinel & Darrenlloyd Gent Representing Amphibian Perspectives in a 3D Game Engine http://dx.doi.org/10.14236/ewic/EVA2023.42
Haya Sheffer Humanity Measures Itself: Self-measuring and new “post measuring discourse” http://dx.doi.org/10.14236/ewic/EVA2023.43
Ross Rodney, Jonathan Weinel & Martyn Broadhead Retro Stylistic Transformations in Games http://dx.doi.org/10.14236/ewic/EVA2023.44
Pierre Chaumont A Citizen Of Culture: On art as a gamified experience http://dx.doi.org/10.14236/ewic/EVA2023.45
Carl Haydon Smith, Tom Middleton, Joe Crossley, Jose Montemayor Alba, Benjamin I. Outram, Melissa Warner The Sacred Sound Chamber and The Cyberdelic Renaissance http://dx.doi.org/10.14236/ewic/EVA2023.46
Carl Haydon Smith, Tom Middleton, Joe Crossley The Intentional Use of Sound Design in the Egyptian Temples and the Great Pyramid http://dx.doi.org/10.14236/ewic/EVA2023.47