New Techno-Humanities最新文献

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.

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.

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.

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.

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.

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.

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.

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.