New Techno-Humanities最新文献

Since the end of the Peruvian internal armed conflict (1980–2000), official histories circulate through mainstream media and the boulevard press that narrate Andean regions as a nest of radical politics and violent disruptions deepening the disconnect between Lima and other provinces. As a response, a group of self-taught filmmakers from Ayacucho took up cameras to tell their own stories of violence and conflict, providing a critical perspective on official narratives and their disregard for the continuing social disparities. Keeping up with a long-standing tradition of local artists as critical intellectuals and narrators of people's histories, these filmmakers use new and accessible technologies to tell stories at the margins of public discourses defined by the capital Lima. In this context, the role of filmmaking can be understood as two-fold: an act of appropriation of western technologies and a technique to deliver justice to the people of Ayacucho through storytelling. In this article, I examine the creative practice of cinema-making in the Andes as a form of social intervention that seeks to resist contemporary memory regimes and allows for imagining alternative futures.

This paper is focused on analysing the uniqueness of stereoscopic 3D visuality and its more and more matured narrative potency in the digital incarnation. Drawing on Kracauer's classic remark (1961) that ‘the nature of film is the redemption of physical reality,’ first I argue for 3D's enhanced ability to (re)construct and recreate a perceptual ‘hyper-reality’ based on 3D's (actual or virtual) two-camera mechanism and its integration with digital technologies as well as High Frame Rate (HFR), 360 Degree Production, and 4 K/8 K. Furthermore, based on 3D's cross-parallax ontologies, I argue that the alternation or layering of flatness and depth in 3D visuality enhances 3D narrative by highlighting the dramatic qualities of characters and volumetric spaces. I eventually compare the 3D and 2D versions of the opening scene in Gravity (2013) to exemplify the unique and transformative mode of ‘3D realism’ – the immersive 3D stereoscopic hyperrealism.

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.

This article analyses in some detail the silk fabrics that appear in a historical literary work of the early Qing dynasty, Dream of the Red Chamber, a famous autobiographical work in which the author describes many of the details of the fabrics based on his own experiences and his family's inextricable links with the imperial silk factories of Jiangnan during the Kangxi period. The text also cross-referenced historical archives to show the exquisite silk fashion at the turn of the seventeenth and eighteenth centuries, the pursuit and enjoyment of luxurious silk and imported fabrics by the aristocracy class in the early Qing dynasty, and how this mode affected the lives of ordinary people.

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.