A Personal View of EVA London: Past, Present, Future

I first encountered EVA London in 1995 through my establishment of the Virtual Library museums pages (VLmp), part of the World Wide Web Virtual Library. In 2003, I was invited back as a keynote speaker on the subject of website accessibility for cultural heritage resources. Since then I have been involved with every EVA London conference either as an author or since 2007 as a proceedings editor. This paper summarises the developments of the EVA London conference over the past 25 years from a personal viewpoint and celebrates the 30th anniversary of EVA London and the whole family of international EVA conferences. The development of the community around EVA (Electronic Visualisation and the Arts) is evaluated in the context of a Community of Practice. The paper also considers possible future directions for EVA

Computing the Future: Digital encounters in art and science when da Vinci meets Turing

Computing the future, as life and research moves to the Internet, we are engaged increasingly in digital encounters from present to past and into the future with real people, events and documents. This paper focuses on the newly born-digital relationship between Alan Turing, father of computer science, and Leonardo da Vinci, master of Renaissance art and science – both revered as visionary geniuses, prophets of the future. Given the continued growth of digitised materials that are daily entering global consciousness, it is only relatively recently that both da Vinci’s notebooks and paintings, and Turing’s archive, are online and searchable. Thus we are able for the first time to relatively easily juxtapose and compare their work, and see that they have much in common in terms of what it means to human in science, art and the natural world, from da Vinci’s in-depth studies of the mechanisms of the human body, mind, and soul, foundational to his art, and to Turing’s discoveries in Artificial Intelligence (AI), machine learning, and morphogenesis. Considering their points of concurrence in the digital world brings into focus our global network of digital places and spaces, where science, art, and nature, including real and artificial life, become unbounded

Roman portraiture and biometric identification

This project utilised three-dimensional scanning technology in the study of ancient Roman art and archaeology: Roman representations of faces executed in marble. In the cultural heritage sector, three-dimensional (3D) scanning finds its primary application in documenting and reconstructing objects and structures mostly of simple geometry: bones, pottery, architecture or the imprint of whole archaeological sites (Adolf 2011). In forensic science, the face is interesting from investigative and probative perspectives, including both recognition and identification. Biometric methods of facial recognition have been part of a plethora of computer science-based applications used in the verification of identity (Davy et al. 2005, Goodwin, Evison and Schofield 2010). The aim of this initial project is to provide objective relevant measurements of key facial features from the two ancient Roman portrait statue three-dimensional scans, which will allow the delineation of relationships between individual portraits including formal and stylistics aspects. The work described in this paper proposal is truly multidisciplinary, it touches on many fields including : Classical archaeologies (specifically ancient art history in the period of the Roman Empire 31BC - AD400), Forensic Anthropology (specifically physical anthropology and human osteology, Facial Biometrics (specifically uniquely recognising humans based upon their intrinsic physical traits and features) and Computer Science and Statistics (specifically the analysis of large complex multi-dimensional data sets)

O Renascimento Digital de Leonardo da Vinci a Alan Turing

The Italian Renaissance started a rebirth of culture and knowledge not experienced since Roman times. Leonardo da Vinci was arguably the leading polymath of the era. We are now in the throes of a Digital Renaissance, arguably started by Alan Turing in England. The information revolution that we are now experiencing is as disruptive as any change since the Renaissance. This paper draws some parallels between these two periods and speculates on the future of digital developments.   Keywords – Computational culture, Digital culture, Digital identity, Information revolution, Italian Renaissance.    O Renascimento Italiano iniciou um reaparecimento de uma cultura e conhecimento não experimentados desde os tempos romanos. Leonardo da Vinci foi, sem dúvida, o principal polímamo da época. Agora estamos no auge de um Renascimento Digital, indiscutivelmente iniciado por Alan Turing, na Inglaterra. A revolução da informação que estamos experimentando agora é tão disruptiva quanto qualquer mudança desde o Renascimento. Este artigo traça alguns paralelos entre esses dois períodos e traz algumas especulações sobre o futuro do desenvolvimento digital.  

Roman portraiture and biometric identification

This project utilised three-dimensional scanning technology in the study of ancient Roman art and archaeology: Roman representations of faces executed in marble. In the cultural heritage sector, three-dimensional (3D) scanning finds its primary application in documenting and reconstructing objects and structures mostly of simple geometry: bones, pottery, architecture or the imprint of whole archaeological sites (Adolf 2011). In forensic science, the face is interesting from investigative and probative perspectives, including both recognition and identification. Biometric methods of facial recognition have been part of a plethora of computer science-based applications used in the verification of identity (Davy et al. 2005, Goodwin, Evison and Schofield 2010). The aim of this initial project is to provide objective relevant measurements of key facial features from the two ancient Roman portrait statue three-dimensional scans, which will allow the delineation of relationships between individual portraits including formal and stylistics aspects. The work described in this paper proposal is truly multidisciplinary, it touches on many fields including : Classical archaeologies (specifically ancient art history in the period of the Roman Empire 31BC - AD400), Forensic Anthropology (specifically physical anthropology and human osteology, Facial Biometrics (specifically uniquely recognising humans based upon their intrinsic physical traits and features) and Computer Science and Statistics (specifically the analysis of large complex multi-dimensional data sets)

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

Turing's Genius - Defining an apt microcosm.

Alan Turing (1912–1954) is widely acknowledged as a genius. As well as codebreaking during World War II and taking a pioneering role in computer hardware design and software after the War, he also wrote three important foundational papers in the fields of theoretical computer science, artificial intelligence, and mathematical biology. He has been called the father of computer science, but he also admired by mathematicians, philosophers, and perhaps more surprisingly biologists, for his wide-ranging ideas. His influence stretches from scientific to cultural and even political impact. For all these reasons, he was a true polymath. This paper considers the genius of Turing from various angles, both scientific and artistic. The four authors provide position statements on how Turing has influenced and inspired their work, together with short biographies, as a starting point for a panel session and visual music performance

Turing’s Genius – Defining an apt microcosm

Alan Turing (1912–1954) is widely acknowledged as a genius. As well as codebreaking during World War II and taking a pioneering role in computer hardware design and software after the War, he also wrote three important foundational papers in the fields of theoretical computer science, artificial intelligence, and mathematical biology. He has been called the father of computer science, but he also admired by mathematicians, philosophers, and perhaps more surprisingly biologists, for his wide-ranging ideas. His influence stretches from scientific to cultural and even political impact. For all these reasons, he was a true polymath. This paper considers the genius of Turing from various angles, both scientific and artistic. The four authors provide position statements on how Turing has influenced and inspired their work, together with short biographies, as a starting point for a panel session and visual music performance