Process of stop-motion and motion graphics animation for The Amazing European Bison Journey clip

The Amazing European Bison Journey prototype clip shows an extract of the timeline of this species coming back from their near disappearance. It starts in the Białowieża Forest in Poland in 1919, when they went extinct in the wild. And runs up to 2013 in Zuid-Kennemerland in the Nether-lands, where an initial herd of 6 European bison, translocated in 2007 from Poland, had quadrupled to 24 individuals living in the Dutch dunes. The process of production of this animated documentary is de-scribed starting with the ecological research required. Review of literature, contact with specialist scientists and visitation of Poland and the Netherlands are some of the starting points of the process. Subsequently, the preparation for the animation is described. The initial storyboard was constructed out of the preceding ecological research. Afterwards, the development of the script and its respective narration was recorded. The construction of the sets, props and characters is described; specific emphasis is given to the construction of the European bison. Finally, the assemblage of all the elements is explained and the final results of the animation prototype are revealed. This animation forms part of a broader project, which has research into the effectiveness of a set of visual communication formats at its core, and uses rewilding as its ecological platform. A range of animations, infographics and virtual reality pieces will be eventually compared for their effectiveness using several communication research tools

Adapting a Strategy of Cultural Inclusion in a Pandemic: A Case Study in Agile Adaptation

The master’s programmes in Communication Design at The Glasgow School of Art (GSA) maintains a cohort of approximately 45-50 students of typically more than twenty nationalities. With such a culturally diverse cohort of students from a variety of prior learning experiences, promoting student cohesion is an important aspect in the student’s learning experience with studio-based learning playing a key role. I presented my paper on “Cultural Diversity in a Masters Programme in Illustration: A Case Study in Interna- tionalisation” at Confia in 2019 which presented the strategies the team had employed. During the Covid-19 Pandemic of 2020 and 2021 the teaching team at GSA had to adapt these strategies to ensure adherence to government guidelines which restricted and at points prohibited studio-based teaching. We developed an agile teaching model and a hybrid approach with online teaching combined with limited access for students to the studio and work- shops, to continue to deliver the positive strategies developed to promote cultural inclusion and diversity. In this paper I will reflect on the effectiveness of those adaptations and consider lessons learned in the process

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

Reoriented Illustration: Towards the Networked Image

In recent years there has emerged an increasing theoretical and contextual impetus from within the discipline of illustration that would seek to define the practice by authorial approaches to the production and distribution of illustrated content. The priority of this investigation is the attempt to imagine a theoretical landscape or environment in which an ‘authorial turn’ within the discipline might emerge and anchor itself to strategies outside of persisting colloquial or industrial notions of illustration practice. Specifically, this paper aims to tie such thinking to existing practices and concepts relevant to the contemporary construction, distribution and exchange of networked images

The Art of Adaptation in Film and Video Games

This Special Issue of Arts explores the art and practice of adaptation in several different mediums with a focus on film and video games. The topics covered include experimental game design, narrative design, film and trauma, games adapted from literature, video game cinema, film and the pandemic, film and the environment, film and immigration, and film and culture

Proceedings of the 21st International Congress of Aesthetics, Possible Worlds of Contemporary Aesthetics Aesthetics Between History, Geography and Media

The Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) are proud to be able to organize the 21st ICA Congress on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”. We are proud to announce that we received over 500 submissions from 56 countries, which makes this Congress the greatest gathering of aestheticians in this region in the last 40 years. The ICA 2019 Belgrade aims to map out contemporary aesthetics practices in a vivid dialogue of aestheticians, philosophers, art theorists, architecture theorists, culture theorists, media theorists, artists, media entrepreneurs, architects, cultural activists and researchers in the fields of humanities and social sciences. More precisely, the goal is to map the possible worlds of contemporary aesthetics in Europe, Asia, North and South America, Africa and Australia. The idea is to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our shared planet. Our goal is to promote a dialogue concerning aesthetics in those parts of the world that have not been involved with the work of the International Association for Aesthetics to this day. Global dialogue, understanding and cooperation are what we aim to achieve. That said, the 21st ICA is the first Congress to highlight the aesthetic issues of marginalised regions that have not been fully involved in the work of the IAA. This will be accomplished, among others, via thematic round tables discussing contemporary aesthetics in East Africa and South America. Today, aesthetics is recognized as an important philosophical, theoretical and even scientific discipline that aims at interpreting the complexity of phenomena in our contemporary world. People rather talk about possible worlds or possible aesthetic regimes rather than a unique and consistent philosophical, scientific or theoretical discipline