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

Computational Culture and A.I.: Challenging human identity and curatorial practice

This paper records a half-day Symposium of invited talks on the first day of the EVA London 2020 Conference. It continues a series from the previous four EVA London Symposiums held since 2016 (Bowen & Giannini 2016; Bowen, Giannini & Polmeer 2017; Bowen, Giannini, et al. 2018; 2019)

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

Early virtual science museums: when the technology is not mature

This paper discusses three case studies of early science museum-related websites in the 1990s and early 2000s, when web technology was still relatively new and evolving. The Virtual Museum of Computing (VMoC) was a completely virtual museum, originally produced in 1995 as part of the Virtual Library museums pages (VLmp), an international online museum directory within the WWW Virtual Library, adopted by the International Council of Museums (ICOM). The Science Museum in London was one of the first museums in the United Kingdom to have its own web server. The museum hosted an early meeting on web service provision by and for museums, concurrently with an exhibition on the Information Superhighway at the museum in 1995. Exhiblets were launched online in 1998. Ingenious was a multi-site digital collections transformation project, launched as a website in 2003. Virtual Leonardo and Leonardo’s Ideal City were two experiments conducted by the digital team of the Science and Technology Museum of Milan, between 1999 and 2001. The experiment consisted of the creation of a shared online 3D world, namely a reconstruction of the real museum in the first case and a completely imaginary world in the second case. This paper describes the above three case studies from the early World Wide Web and then draws some conclusions, from first-hand experience of developments at the time. We cover both the advantages and the challenges encountered by the various projects and illustrate why they did not necessarily become established, despite promising early results

States of Being: Art and identity in digital space and time

This one-day Symposium explored themes of personhood, modernity and digital art, bringing together speakers from a range of disciplines to consider technology, artistic practice and society. It seeks a renewed consideration of the role of art in illuminating human identity in a positive relation with technology, and its transformative effects upon space and time. The concerns for the role of art amidst the forces of a post-modern world are influenced by important legacies of the past, by which ideas about human identity and difference have been made meaningful in the relation of history and technology. In the frequently transient and conflicting forces of humanness and forces of modernity, the digital world of the arts emerges as a means by which new ideas of space and time can be considered, with new perspectives of human identity seen as states of being, towards the possibilities of experience, technology, individuality and society

States of being: art and identity in digital space and time

This one-day Symposium explored themes of personhood, modernity and digital art, bringing together speakers from a range of disciplines to consider technology, artistic practice and society. It seeks a renewed consideration of the role of art in illuminating human identity in a positive relation with technology, and its transformative effects upon space and time. The concerns for the role of art amidst the forces of a post-modern world are influenced by important legacies of the past, by which ideas about human identity and difference have been made meaningful in the relation of history and technology. In the frequently transient and conflicting forces of humanness and forces of modernity, the digital world of the arts emerges as a means by which new ideas of space and time can be considered, with new perspectives of human identity seen as states of being, towards the possibilities of experience, technology, individuality and society

Museum Websites of the First Wave: The rise of the virtual museum

In this paper, we analyse trends of the first wave of museum websites (from the 1990s to the early 2000s) to understand how the characteristics of the Internet (specifically the World Wide Web), of museum staff, and museum audiences shaped the adoption of technology and new forms of participation and what they can tell us about engagement for museums of the future. The early development of online museum resources parallels the development of the EVA conference, which was establishing itself at a similar time

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