EVA London 2022: Electronic Visualisation and the Arts

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

VR Technologies in Cultural Heritage

This open access book constitutes the refereed proceedings of the First International Conference on VR Technologies in Cultural Heritage, VRTCH 2018, held in Brasov, Romania in May 2018. The 13 revised full papers along with the 5 short papers presented were carefully reviewed and selected from 21 submissions. The papers of this volume are organized in topical sections on data acquisition and modelling, visualization methods / audio, sensors and actuators, data management, restoration and digitization, cultural tourism

VR Technologies in Cultural Heritage

This open access book constitutes the refereed proceedings of the First International Conference on VR Technologies in Cultural Heritage, VRTCH 2018, held in Brasov, Romania in May 2018. The 13 revised full papers along with the 5 short papers presented were carefully reviewed and selected from 21 submissions. The papers of this volume are organized in topical sections on data acquisition and modelling, visualization methods / audio, sensors and actuators, data management, restoration and digitization, cultural tourism

Discovery: Research Annual Report 2017

Center for Research on Instructional Change in Postsecondary Education (CRICPE) The Office of the Vice President Initiated a New Program - Undergraduates Discover Discovery NSF Career Award Winners - Fahad Saeed, Elena Litvinova, and Wendy Beane Interdisciplinary Majors and Minors Focus on Social Sciences, Humanities and Arts Faculty Scholar Award From Invention to Commercialization External Funding WMed Research Activities Undergraduate Research Excellence Award Recipients Support for Faculty Scholars Award Graduate Student Research and Travel Grants External Awards to Faculty and Staff Research and Creative Activities Poster Day - Graduate Student Participant Winners Technology Development Fund Awards Faculty Research and Creative Activities WMU Centers and Institute

Multidisciplinary Aspects of Design. Objects, Processes, Experiences and Narratives

The book addresses the contemporary perspectives of design on a multidisciplinary through 4 key words: objects, processes, experiences, narratives. It aims at further investigating the role of the archive for the design culture reflecting on “Memory and Future” and “The Tools of Design and the Language of Representation”, and also themes that are yet at the center of the multidisciplinary debate on design. The tenets of the conference (OPEN: objects, processes, experiences and narratives) will hence also correspond to the book sections: -Objects. Design as focused on the object, on its functional and symbolic dimension, and at the same time on the object as a tool for representing cultures; -Processes. The designer’s self-reflective moment which is focused on the analysis and on the definition of processes in various contexts, spanning innovation, social engagement, reflection on emergencies or forecasting. -Experiences. Design as a theoretical and practical strategy aimed at facilitating experiential interactions among people, people and objects or environments. -Narratives. Making history, representing through different media, archiving, narrating, and exhibiting design

Actor & Avatar: A Scientific and Artistic Catalog

What kind of relationship do we have with artificial beings (avatars, puppets, robots, etc.)? What does it mean to mirror ourselves in them, to perform them or to play trial identity games with them? Actor & Avatar addresses these questions from artistic and scholarly angles. Contributions on the making of "technical others" and philosophical reflections on artificial alterity are flanked by neuroscientific studies on different ways of perceiving living persons and artificial counterparts. The contributors have achieved a successful artistic-scientific collaboration with extensive visual material

Electronic Literature as Digital Humanities

This book is available as open access through the Bloomsbury Open programme and is available on www.bloomsburycollections.com. Electronic Literature as Digital Humanities: Contexts, Forms & Practices is a volume of essays that provides a detailed account of born-digital literature by artists and scholars who have contributed to its birth and evolution. Rather than offering a prescriptive definition of electronic literature, this book takes an ontological approach through descriptive exploration, treating electronic literature from the perspective of the digital humanities (DH)––that is, as an area of scholarship and practice that exists at the juncture between the literary and the algorithmic. The domain of DH is typically segmented into the two seemingly disparate strands of criticism and building, with scholars either studying the synthesis between cultural expression and screens or the use of technology to make artifacts in themselves. This book regards electronic literature as fundamentally DH in that it synthesizes these two constituents. Electronic Literature as Digital Humanities provides a context for the development of the field, informed by the forms and practices that have emerged throughout the DH moment, and finally, offers resources for others interested in learning more about electronic literature

A model of sonority based on pitch intelligibility

Synopsis: Sonority is a central notion in phonetics and phonology and it is essential for generalizations related to syllabic organization. However, to date there is no clear consensus on the phonetic basis of sonority, neither in perception nor in production. The widely used Sonority Sequencing Principle (SSP) represents the speech signal as a sequence of discrete units, where phonological processes are modeled as symbol manipulating rules that lack a temporal dimension and are devoid of inherent links to perceptual, motoric or cognitive processes. The current work aims to change this by outlining a novel approach for the extraction of continuous entities from acoustic space in order to model dynamic aspects of phonological perception. It is used here to advance a functional understanding of sonority as a universal aspect of prosody that requires pitch-bearing syllables as the building blocks of speech. This book argues that sonority is best understood as a measurement of pitch intelligibility in perception, which is closely linked to periodic energy in acoustics. It presents a novel principle for sonority-based determinations of well-formedness – the Nucleus Attraction Principle (NAP). Two complementary NAP models independently account for symbolic and continuous representations and they mostly outperform SSP-based models, demonstrated here with experimental perception studies and with a corpus study of Modern Hebrew nouns. This work also includes a description of ProPer (Prosodic Analysis with Periodic Energy). The ProPer toolbox further exploits the proposal that periodic energy reflects sonority in order to cover major topics in prosodic research, such as prominence, intonation and speech rate. The book is finally concluded with brief discussions on selected topics: (i) the phonotactic division of labor with respect to /s/-stop clusters; (ii) the debate about the universality of sonority; and (iii) the fate of the classic phonetics–phonology dichotomy as it relates to continuity and dynamics in phonology