Electronic Visualisation and the Arts London 2010 (EVA 2010)London is co-sponsored by the Computer Arts Society (CAS) and BCS, The Chartered Institute for IT, of which CAS is a specialist group. Since 1992, the EVA conference series has established itself as a natural home from which to explore the richly interdisciplinary and constantly evolving world of digital visualisation. Nothing illustrates this more than the great scope, depth and diversity of the papers contained within this year's Proceedings.
The latest research in digital arts and new media are explored, with contributors ranging from established scholars to the new generation of research students who will lead the field tomorrow. Conference papers cover reconstructive archaeology, virtual museology, digital arts concepts and practice, immersive environments, and digital performance and music.
Discovering digital cultural capital in London's events of art and technology: reviewing the last decade
This paper is based on a five years' research focused on the measurement of cultural contribution of events of art and technology to London. Developing the concept of 'cultural capital' devised by sociologist Pierre Bourdieu, it was possible to identify their 'forms', such as 'embodied', 'objectified' and 'institutionalised' as parameters to a cultural measurement system. Applying this system to evaluate the cultural potential of events of art and technology brings the 'cultural capital' concept to the 'digital age' and results in the discovery of 'digital cultural capital'. The objective is to find out how much these events can contribute to cultural arts organisations and venues, artists and curators as much to the public experience. For this evaluation, London's most important events of art and technology were identified and analysed through case studies and interviews with specialists in the field.
Legal networks: visualising the violence of the law
Internet art that employs data visualisation techniques may be engaged with both in terms of the data used and also the interface to that data. Such an approach allows it to be understood as opening the possibility of an awareness of the contingency of the way any given community is constructed. The focus is shifted away from understanding data visualisation art as providing a transparent representation of reality. This is exemplified in the work They Rule which, approached in these terms, invites an engagement with the law’s role in enabling networks of powerful people to be constructed. They Rule opens the possibility of perceiving the law’s violence in the way that it asserts the authority of enabling and enforcing the existence of such connections. An awareness of the constructed nature of legal networks opens the law to the possibility of change by those it excludes.
The online potential of art creation and dissemination: DeviantArt as the next art venue
DeviantArt is an online community dedicated to sharing user-generated artworks. Launched in 2000, today this initiative has about 11 million members coming from over 190 countries. The website offers various web-based services to its members enabling and enforcing a strong social interaction. With its collection of around 100 million works, DeviantArt (DA) is the biggest art market of the world, presenting a new mode of displaying, evaluating and consuming arts. In that sense, DA generated a platform free of institutional and governmental politics, democratising the way arts are generated, shared and enjoyed. This paper discusses the collaborative aspects of this autonomous venue, and questions the potential of this initiative in becoming the new art venue of the 21st Century.
Beyond seeing is believing
Art, science, mathematics, technology, engineering and medicine became concentrated in silos around the time of the reformation. This both accelerated the disciplines whilst holding back the benefits to be gained from their linking. Today they are coming back together as a much-required force for innovation and understanding at a time when we are being progressively overtaken by vast amounts of data. This in turn demands complex combinations of modelling and visualisation to engender understanding, establish confidence and aid decision-making.
Visualisation of live code
In this paper we outline the issues surrounding live coding which is projected for an audience, and in this context, approaches to code visualisation. This includes natural language parsing techniques, using geometrical properties of space in language semantics, representation of execution flow in live coding environments, code as visual data and computer games as live coding environments. We will also touch on the unifying perceptual basis behind symbols, graphics, movement and sound.
Anticipation in networked musical performance
This paper discusses the use of visualisation to enhance audience and performer understanding of a distributed networked musical performance by addressing issues of anticipation of upcoming sonic events.