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Letters and economic routes in the Spanish empire in the 18th century with GIS 基于GIS的18世纪西班牙帝国的信件和经济路线
Pub Date : 2023-06-01 DOI: 10.1016/j.techum.2023.06.002
Rocío Moreno-Cabanillas , Ana Castillo-Jurado

The postal service was one of the main channels through which letters, goods and actors circulated via fixed maritime and land routes, which favoured the circulation of postal communication between the most influential Spanish-American centres. This paper will examine the spatial organisation of maritime mail between Spain and America after the creation of the Maritime Post in 1764, as well as overland mail in the viceroyalty of New Granada, especially the Cartagena de Indias - Santa Fe de Bogotá route. It is based principally on the document Reglamento Provisional del Correo Marítimo de España a sus Indias Occidentales of 1764 for maritime mail. And the handwritten report of the commissioner José Antonio de Pando, which he produced around 1774. Both documents contain detailed information on postal routes, which have been reconstructed using a geographic information system (GIS). Through the use of GIS, a dynamic visualization of postal routes which made up the circulation of information, goods and agents in the 18th century is made possible.

邮政服务是信件、货物和行为者通过固定的海上和陆地路线流通的主要渠道之一,这有利于最具影响力的西班牙裔美国人中心之间的邮政通信流通。本文将研究1764年海事邮政成立后西班牙和美国之间的海事邮件的空间组织,以及新格拉纳达总督府的陆上邮件,特别是卡塔赫纳-印度-圣达菲-波哥大航线。它主要基于1764年关于海运邮件的Reglameto Temporary del Correo Marítimo de España sus Indias Occidentales文件。以及专员何塞·安东尼奥·德·潘多的手写报告,他在1774年左右制作了这份报告。这两份文件都载有关于邮政路线的详细信息,这些信息是利用地理信息系统重建的。通过使用GIS,构成18世纪信息、货物和代理人流通的邮政路线的动态可视化成为可能。
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引用次数: 0
Media, interactive audiences, and the virtual. Next generation narratives 媒体,互动观众,和虚拟。下一代叙事
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.07.003
Damien R Tomaselli, Keyan G Tomaselli

New Techno Humanities targets the creative aspect of the humanities still to be fully recognized in the established classification and methodology of disciplines. This article embraces the practical extension of the latest scientific and technological methods that are starting to emerge within what is increasingly being called the Fourth Industrial Revolution. As a launching pad for this special edition of this new journal, our article maps a forum for transdisciplinary discussion and in-depth analysis on the nature and development of humanities, as well as the latter‘s interface with other disciplines, as they are being shaped by new technologies, new analytical languages, new software and new creative and analytical participatory paradigms. This article provides an overview of the volume as a whole.

新技术人文学科的目标是人文学科的创造性方面,在学科的既定分类和方法论中仍有待充分认识。本文包含了在第四次工业革命中开始出现的最新科学技术方法的实际扩展。作为这个新杂志特别版的启动平台,我们的文章描绘了一个跨学科讨论和深入分析人文学科的本质和发展的论坛,以及后者与其他学科的接口,因为它们正在被新技术,新的分析语言,新的软件和新的创造性和分析参与式范式所塑造。本文提供了整个卷的概述。
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引用次数: 1
What's a Cellphilm? Integrating mobile phone technology into participatory visual research and activism 什么是细胞膜?将手机技术整合到参与式视觉研究和行动主义中
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.07.001
Addamms Mututa

This book review essay aggregates various research ideas on cellphilms and participatory research methodology advanced through Katie MacEntee, Casey Burkholder and Joshua Schwab-Cartas’ recently edited volume in the subject. It also collocates these ideas with the wider research topography within the field of visual cultures, providing summarized synthesis of contemporary thought in the subject. The essay also seeks to provoke new research agendas tangential to this developing field of cellphilm and cellphone multimedia technologies. It is hoped that the summary of ideas will offer quickly intelligible reference about the subject, specifically regarding the intersection between cellphilms, human life, digital technologies, and visual media theories.

这篇书评文章汇集了关于细胞学和参与性研究方法的各种研究思想,这些研究思想是通过凯蒂·麦克恩蒂、凯西·伯克霍尔德和约书亚·施瓦布-卡塔斯最近编辑的关于这一主题的书中提出的。它还将这些思想与视觉文化领域内更广泛的研究地形进行了搭配,提供了该学科当代思想的总结综合。这篇文章还试图引发新的研究议程,与这个发展中的手机电影和手机多媒体技术领域无关。希望这些观点的总结能够提供关于这个主题的快速理解的参考,特别是关于细胞学、人类生活、数字技术和视觉媒体理论之间的交叉。
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引用次数: 3
Wayfaring in space: Story as environmental encounters in Ruins (2011) and Sacramento (2016) 太空旅行:《废墟》(2011)和《萨克拉门托》(2016)中的环境遭遇故事
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.03.001
Jenna Ng , Richard Carter

This article considers how story arises out of exploratory virtual environments, specifically in the context of so-called “wandering games,” or more popularly known as “walking simulators.” Inspired by scholarship on environmental storytelling (Jenkins 2004) and “ambient literature,” (Dovey 2016a; Dovey 2016b; Abba, Dovey and Pullinger 2021) we present a conceptualisation of story out of what we call “environmental encounters.” In the case of walking simulators, we argue that these encounters are engagements with the works’ virtual environments as perceived by the user through a trinomial framework of perspective, movement and environmental design. We illustrate such encounters for story through close readings of audiovisual engagement with virtual environments in two interactive media tutor texts, Ruins (2011) and Sacramento (2016). In thinking about alternative understanding of the conceptual spaces in which to conceive story, we also contemplate the richness and potential of contemporary interactive storytelling for meaning-making, affective conditions and experiential evocation.

本文将探讨故事是如何从探索性虚拟环境中产生的,特别是在所谓的“漫游游戏”或更广为人知的“行走模拟器”的背景下。受到环境叙事(Jenkins 2004)和“环境文学”(Dovey 2016a;Dovey 2016 b;Abba, Dovey和Pullinger 2021),我们提出了一个概念化的故事,我们称之为“环境遭遇”。在行走模拟器的案例中,我们认为这些遭遇是与作品的虚拟环境的接触,用户通过视角、运动和环境设计的三项式框架感知到这些虚拟环境。我们通过仔细阅读两个互动媒体辅导文本《废墟》(2011)和《萨克拉门托》(2016)中与虚拟环境的视听互动来说明这种故事遭遇。在思考对构思故事的概念空间的另一种理解时,我们也考虑了当代互动叙事在意义制造、情感条件和体验唤起方面的丰富性和潜力。
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引用次数: 0
Approaching metaverses: Mixed reality interfaces in youth media platforms 接近超现实:青年媒体平台中的混合现实界面
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.04.004
Julián de la Fuente Prieto, Pilar Lacasa, Rut Martínez-Borda

The general aim of this paper is to examine mixed reality settings present in the media practices of young people, exploring the future metaverses in which interactive narrative experiences will be carried out. First, the emergent design of metaverses is approached, going from their conception to their current state. Second, a selection of preferred platforms for young people is proposed and then the interfaces of these platforms are analyzed based on youth practices, with special emphasis on the narrative dimension. Third, emerging models of metaverses preferred by young people are discussed.

本文的总体目的是研究年轻人的媒体实践中存在的混合现实设置,探索交互式叙事体验将在其中进行的未来元情境。首先,探讨了元数据的紧急设计,从它们的概念到它们的当前状态。其次,提出了年轻人偏好的平台选择,并结合年轻人的实践分析了这些平台的界面,特别强调了叙事维度。第三,讨论了年轻人偏好的新兴元环境模式。
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引用次数: 29
The affective flows of the sublime in Martina Menegon's new machinic subjectivity 在玛蒂娜·梅内贡的新机械主体性中崇高的情感流动
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.04.001
Grant Petrey

What can the use of emerging digital technologies for the creation of art exploring subjectivity offer up for research into new affective flows within the temporal structures created by machinic assemblages? An examination of the work by the artist Martina Menegon who explores the self to engage with the problematics of representation, cognition and sensation within machinic assemblages using photogrammetry, raises ontological issues. Menegon uses photogrammetry to capture her body as data, to experience her body and represent her body as art in the digital virtual space, link the ontological, with the material and corporeal. This recent virtual reality output of

Menegon's explores emerging post screen digital aesthetics and manifestations of digital subjectivity, where “affect” becomes central to the form, content and reception of the work.

Menegon uses the virtual digital space to take pleasure is confusing the boundaries of the body via its digital capturing, re-presentation and plays with notions of the self and its limits. Menegon's explorations can be positioned as action research within a theoretical framework of Donna Haraway and the assemblage theory of Giles Deleuze and Felix Guatarri where a new “image” of the self can be mediated or remediated and where Menegon can take responsibility for production and dissemination within her networks of distribution to consider what this entails. The temporal and affective relationships of production become key to this new machinic subjectivity.

利用新兴的数字技术来创作探索主体性的艺术,能为研究由机械组合创造的时间结构中的新情感流动提供什么?艺术家玛蒂娜·梅内贡(Martina Menegon)的作品通过摄影测量法探索了自我与机械组合中的表现、认知和感觉问题的关系,提出了本体论问题。Menegon用摄影测量法捕捉她的身体作为数据,在数字虚拟空间中体验她的身体,并将她的身体作为艺术表现出来,将本体论、物质和肉体联系起来。menegon最近的虚拟现实作品探索了新兴的后屏幕数字美学和数字主体性的表现,其中“情感”成为作品形式、内容和接受的核心。Menegon利用虚拟的数字空间来获取乐趣,通过数字捕捉、再现和玩弄自我及其极限的概念来混淆身体的界限。梅内贡的探索可以定位为行动研究,在唐娜·哈拉威的理论框架内,在贾尔斯·德勒兹和菲利克斯·瓜塔里的集合理论中,一个新的自我“形象”可以被调解或修复,梅内贡可以在她的分销网络中承担生产和传播的责任,并考虑这需要什么。生产的时间和情感关系成为这种新的机械主体性的关键。
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引用次数: 0
Beyond interactivity and immersion. A kinetic reconceptualization for virtual reality and video games 超越互动性和沉浸感。虚拟现实和视频游戏的动态重新概念化
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.04.003
Enzo D'Armenio

In this paper, we aim to propose a theory for understanding and analyzing the experience of meaning in video games and virtual reality. By focusing on the viewer's movements on the interface and their transformation into movements within virtual worlds, we will attempt to overcome assumptions based on the concepts of interaction and immersion that are at the core of academic thinking. It is not clear what distinguishes the interaction of digital media from the interpretive interaction of traditional media. Similarly, the concept of immersion risks generating confusion between sensory involvement and emotional and narrative involvement. For this reason, we will understand video games and VR as movement-images: experiences that build their meaning and storytelling according to two interrelated sets of qualities. On the one hand, there are the visual qualities that are widely studied in semiotics and in art history, while on the other hand, there are the kinetic qualities, those concerning movement. By postulating the existence of kinetic diagrams, i.e. relations between movements on the interface and virtual movements, we will identify the way in which video games and virtual reality build emerging narratives, combining visual worlds with figurative, abstract or thematic movements. Some examples of virtual experiences — including the cases of Tetris, Half-Life: Alyx, and Carne y Arena — will allow us to show how kinetic syntax and visual syntax are respectively articulated in video games and virtual reality.

在本文中,我们旨在提出一个理论来理解和分析电子游戏和虚拟现实中的意义体验。通过关注观众在界面上的动作以及他们在虚拟世界中的动作转换,我们将试图克服基于互动和沉浸概念的假设,这些概念是学术思维的核心。数字媒体的互动与传统媒体的解释性互动的区别尚不清楚。同样地,沉浸的概念可能会混淆感官参与与情感和叙事参与。出于这个原因,我们将把电子游戏和VR理解为运动图像:根据两组相互关联的品质构建其意义和故事的体验。一方面,有在符号学和艺术史中被广泛研究的视觉品质,而另一方面,有与运动有关的动态品质。通过假设动力学图的存在,即界面上的运动和虚拟运动之间的关系,我们将确定电子游戏和虚拟现实如何构建新兴叙事,将视觉世界与具象、抽象或主题运动相结合。一些虚拟体验的例子——包括《俄罗斯方块》、《半条命:Alyx》和《Carne y Arena》——将让我们了解动态语法和视觉语法分别是如何在电子游戏和虚拟现实中表达出来的。
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引用次数: 1
Repeat Performance: Embodying the Artist's Legacy in Audience Engagement with Posthumous Live Performance 重复表演:以死后现场表演体现艺术家在观众参与中的遗产
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.04.005
Sam R.M. Geden
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引用次数: 1
HERE: A case study in creating virtual reality 这里:创建虚拟现实的案例研究
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.04.002
Shelley Barry
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引用次数: 0
The paradox of the virtual iñárritu's Carne y Arena between innovative spect-actor and traditional fruition 虚拟的iñárritu嘉年华竞技场中创新演员与传统成果之间的悖论
Pub Date : 2022-12-01 DOI: 10.1016/j.techum.2022.06.001
Francesco Buscemi

This article analyses the relationships between text and participant in the mixed-reality film/installation Carne y Arena by the Mexican director Alejandro Inarritu (2017), which I experienced in 2018 at Prada Foundation in Milan, Italy. The film is divided into three sections: the first theatrical, the second based on virtual reality (VR) and the third concerning TV.

Theoretically, the article draws on Boal's spect-actor and on theories analyzing the position of the audience between the opposite poles of passivity and activity; and on conceptualizations of how the digital media have increased participants' activity. Starting from all of this, the article applies rhetorical narratology analysis to the three parts of Inarritu's film to find out what kind of narrative experience the film/installation offers the participant.

The results show that the second part of the installation mostly surprises and excite the participant. In contrast, the materiality of the theatrical part and the informational value of the TV part talk to the participant more completely and concretely. In the end, Boal's spect-actor is more present when the participant deals with old and traditional forms of communication than when they are only apparently immersed in the VR experience. Thus, to bridge its gap, VR needs help from old languages such as theatre and TV. This is the paradox of the virtual mentioned in the title.

本文分析了墨西哥导演亚历杭德罗·伊纳里多(Alejandro Inarritu, 2017)的混合现实电影/装置《Carne y Arena》(2017)中文本与参与者之间的关系。我于2018年在意大利米兰的普拉达基金会(Prada Foundation)观看了这部作品。这部电影分为三个部分:第一部分是戏剧部分,第二部分是基于虚拟现实(VR)的,第三部分是关于电视的。从理论上讲,本文借鉴了鲍尔的“行动者观”和分析观众在被动与主动两极之间的地位的理论;以及数字媒体如何增加参与者活动的概念化。从这一切出发,本文运用修辞叙事学的分析方法对伊纳里图的电影的三个部分进行分析,以找出电影/装置为参与者提供了什么样的叙事体验。结果表明,装置的第二部分主要是让参与者感到惊喜和兴奋。相比之下,戏剧部分的物质性和电视部分的信息价值更完整、更具体地与参与者对话。最后,当参与者处理旧的和传统的交流形式时,比当他们只是明显地沉浸在VR体验中时,Boal的spect-actor更存在。因此,为了弥补这一差距,VR需要戏剧和电视等传统语言的帮助。这就是标题中提到的虚拟的悖论。
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引用次数: 0
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New Techno-Humanities
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