EVA London 2012

In July 2011 Kew Gardens launched an app called ‘Kew’ with the aim of enabling visitors to “explore more of Kew gardens and dig deeper into [the] science and horticulture” (Kew Royal Botanic Gardens 2012). The Kew app is designed to facilitate this experience by providing location specific information on a customizable map through seasonal recommendations, and site specific tools, such as QR code reader for plant labels and an augmented reality browser, enabling a more personalized and unique exploration of Kew. In October 2011 audience research was carried out to evaluate visitors responses and experiences to the app and to identify the nature of their experience of Kew when using the app.

Though Ottoman miniatures are 2D representations, they carry the potential of conveying an individual’s perception in a more detailed manner as compared to 3D perspective renderings. In a typical 2-vanishing-point perspective; objects / subjects drawn in the foreground hide the ones that are located at their back: This phenomenon is called occlusion. In Ottoman miniatures there is no occlusion, all object / subject illustrations are wholistic, there is no partial description of figures. Consequently, you end up with a life form that is the synthesis of individual forms, a sui generis state... This unique visual narrative can be extended to cubist works where multifaceted descriptions are observed.

In this keynote Ian Hughes/epredator will show the link between the huge changes in communication of design ideas and the accessibility of tools for user creation of content. How that merges with gaming culture and educational opportunities and how the digital interaction with the physical shows us a path to a very different future.

Over recent years there has been considerable investment in the use of technology to identify sources of text-based plagiarism in universities. However, students of the visual arts are also required to complete numerous pieces of visual submissions for assessment, and yet very little similar work has been undertaken in the area of non-text based plagiarism detection. The Spot the Difference! project (2011-2012), funded by JISC and led by the University for the Creative Arts, seeks to address this gap by piloting the use of visual search tools developed by the University of Surrey and testing their application to support learning and teaching in the arts and specifically to the identification of visual plagiarism.

Understanding what goes on in collective creativity is difficult. This paper presents work on visualising mutual engagement in musical micro-creativity and shows how musical memes can be visualised and tracked through extensive logs of creative interaction.

The analysis presented covers three broad areas of implementation of eye- and gaze-tracking (with the description of current research and functional prototypes), namely 1) Gaze-tracking for mobile devices; 2) Gaze-tracking in a museum/gallery context; and 3) Gaze-tracking for medical information display.

Animating time and space: scientific virtual modelling, microscopy time-lapse and the fifth dimension. As a visual artist I am exploring methods of contemporary scientific research and digital technologies that create new ways of visualising virtual volumetric data of dynamic (or kinetic) microscopic systems. My current research project is an investigation of the aesthetic possibilities of computational extension of vision through the process of dynamic X-ray micro-computed tomography (micro-CT). With this science I am attempting to capture in 4D (3D + time) microscopy, the transformation of agricultural seeds as they germinate, from embryo to first leaf stage. I am visualising these dynamic data-sets in in a custom designed volume exploration and presentation tool Drishti.

Advanced dissection and analysis of sound is often used to aid technology’s understanding of its environment (e.g. in robotics and telecommunications). The aim of this project is to utilise sound information technology to enhance our understanding of sound and how we process it.

Within the last twelve years, digital technology and the use of the World Wide Web has significantly influenced and affected daily lives. Revolutionising the way people participate in complex issues as well as how they experience reality. As a result, digital technologies such as interactive exhibits are now commonplace in museum settings, providing ‘edutainment’ for visitors. However, many technologies co-exist uneasily with more traditional methods of display. This demo seeks to examine how culture can be experienced through interaction between visitors and digital representation through the use of a digital board. Visitors’ experience of culture is then explored through an exhibition that provides the audience an opportunity to interact with digitised artefacts. The interactive board is not a move to replace but to complement rather conventional methods of exhibition.

KAPTUR seeks to investigate the nature of visual arts research data, making recommendations for its effective management; develop a model of best practice applicable to both specialist arts institutions and arts departments in multidisciplinary institutions; and apply, test and refine the model with its four institutional partners.