College towns contain mixtures of students and locals, tied to the intitution’s urban life. Due to students’ health, community engagement must be prioritized in these towns. However, technology is often blamed for distancing people. A paradoxical use of it, specifically immersive technology, a youth favorite, can be the solution by focusing on the technological narratives of the institute-related materials to improve community cohesion. This strategy shaped connections between students and locals and among past, present, and future. In (...) this presentation, the impact of immersive technology will be discussed and compared in two college towns, Lancaster, UK, and Lubbock, USA. (shrink)

To create an immersive experience, it is not important to have a plethora of stimuli for different sensors, but to have their coherence, or in other words, multisensory integration. This coherence becomes the necessary basis for immersing oneself in a story, a game, a movie, or any other experience. Sound plays a key role in creating such an experience, both by accompanying the action and emphasizing the narrative flow, and as an independent actor that takes a central role and (...) directs attention. The aim of the paper and poster is to explore the means by which sound can influence immersion in computer-generated virtual environments and the psychological mechanisms involved in the musical induction of emotions. The main question to be answered is how these techniques and models can be used to create a sense of immersion. The first part of the article examines immersiveness itself. The second part is devoted to the practical aspects of sound design for immersive technologies, describing the tools and techniques used to create realistic and compelling soundscapes. The third part touches briefly on the psychological mechanisms behind the induction of musical emotions. Taking a holistic view of these components and using them to reveal each other is how sound can create a sense of presence and place. (shrink)

The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information. By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding (...) of noise to the visual, architectural and cognitive domains. Nechvatal expands and extends our understanding of the function of cultural noise by taking the reader through the immersive and phenomenal aspects of noise into algorithmic and network contexts, beginning with his experience in the Abside of the Grotte de Lascaux. -/- Immersion Into Noise is intended as a conceptual handbook useful for the development of a personal-political-visionary art of noise. On a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? Joseph Nechvatal explores this intriguing question in Immersion Into Noise. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are (...) relevant to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

As the lyrics to the traditional nineteenth century gospel hymn state, one of the goals of many magical and religious practices is to experience ‘a closer walk with Thee,’ coming into the presence of the holy in both figurative and arguably literal terms. One of the many ways to improve this likelihood of achieving the deep and immersive presence of the holy—described by the scholar of comparative religion Rudolf Otto as the “gentle tide, [the] pervading [of] the mind with (...) a tranquil mood” numinous experience—is through the careful use of various sonic elements. To this point, an exploration of physical worship spaces themselves, a review of the means of creating sounds within worship, and a study of the related uses of sonic technology during worship rituals can help to elucidate just how these sonic elements compare in their utilization between ancient magic and more contemporary magical and religious applications. It is my contention that the overall goal of creating an immersive environment for worship and ritual practice has remained a constant from Ancient Greek and Roman times through to the present, while the technology available to achieve this goal (both in the creation of an immersive physical space and in the use of engaging and relatable musical instruments and instrumental styles) has continually progressed. Put another way, the methods in which we might best utilize various sonic elements to achieve the most numinous experience—the ‘how’— have certainly changed over time, but the underlying ‘why’ and the core goal of using sound to increase this sense of a presence with the holy has remained largely unchanged. (shrink)

The goal of this article is to present a first list of ethical concerns that may arise from research and personal use of virtual reality (VR) and related technology, and to offer concrete recommendations for minimizing those risks. Many of the recommendations call for focused research initiatives. In the first part of the article, we discuss the relevant evidence from psychology that motivates our concerns. In Section “Plasticity in the Human Mind,” we cover some of the main results suggesting (...) that one’s environment can influence one’s psychological states, as well as recent work on inducing illusions of embodiment. Then, in Section “Illusions of Embodiment and Their Lasting Effect,” we go on to discuss recent evidence indicating that immersion in VR can have psychological effects that last after leaving the virtual environment. In the second part of the article, we turn to the risks and recommendations. We begin, in Section “The Research Ethics of VR,” with the research ethics of VR, covering six main topics: the limits of experimental environments, informed consent, clinical risks, dual-use, online research, and a general point about the limitations of a code of conduct for research. Then, in Section “Risks for Individuals and Society,” we turn to the risks of VR for the general public, covering four main topics: long-term immersion, neglect of the social and physical environment, risky content, and privacy. We offer concrete recommendations for each of these 10 topics, summarized in Table 1. (shrink)

This article criticises David Chalmers’ ‘Reality+’ by interrogating its distinction of virtual reality (VR) from 2D, non-VR video games, a distinction made on the grounds that VR is immersive and these types of video games are not because immersion is a distinct characteristic of 3D perceptually represented VR. Building on the Balcerak Jacksons’ account of ‘representational immersion’, which they acknowledge has ‘perceptual’ and ‘non-perceptual’ elements, I develop an account of ‘non-perceptual representational immersion’ and use it to critique Chalmers’ treatment (...) of VR, immersion, and video games, indirectly problematizing his central ontological claim that ‘virtual reality is genuine reality’ and the reflections he makes about future society which rest upon it. I argue that video games are rich in non-perceptual representational immersion, which includes the representation of non-perceptual information about the structure and behaviour of a virtual world and its systems, the non-perceptual cognitive states that are generated in the player by the virtual world, and the immersion which comes from the constitutively cognitive nature of the player’s engagement with the virtual world, a cognitive engagement construed in an enactive sense. These are just as crucial to the phenomenon of digital immersion as perception. Immersion generally is a much more complicated phenomenon than Chalmers allows for, and it is better conceived as taking place on a spectrum which includes both 3D and 2D experiences of virtual worlds, not as hinging on 3D perceptual representation. I use ‘immersive simulation’ games as a case study. (shrink)

In the contemporary era of urban design, the advent of big data and digital technologies has ushered in innovative approaches to exploring urban spaces. This study focuses on the application of Augmented Reality (AR) and Extended Reality (XR) technologies in the metropolitan areas of Houston and Amsterdam. These technologies create immersive 'Phygital Installations' that blend physical and digital elements, effectively capturing people's perceptions and enhancing urban design proposals. By fostering human-centered planning, AR and XR technologies make urban design more (...) interactive and accessible to the public. Houston, with its rapid industrial growth and diverse socio-economic landscape, provides a unique setting to examine the impacts of these technologies on urban form and socio-environmental dynamics. In contrast, Amsterdam, with its rich historical layers and socio-cultural diversity, offers insights into the integration of AR/XR technologies in urban planning, particularly in the realm of historical preservation and contemporary urban development. This research contributes to the emerging field of AR/XR in urban design by highlighting the transformative potential of these technologies in enhancing the understanding and engagement in urban design and spatial planning. (shrink)

This paper examines the innovative application of Artificial Intelligence (AI) to simulate real-time historical what-if scenarios, exploring its potential for creating immersive and engaging educational experiences. AI-driven simulations could revolutionize the way history is taught, allowing users to engage directly with alternative historical outcomes. By exploring possible scenarios—such as different outcomes for major events like World War II or the Cuban Missile Crisis—students and educators can gain deeper insights into historical processes. This paper discusses the methodologies behind AI-driven historical (...) simulations, the technical and ethical challenges involved, and the future potential of this technology. (shrink)

Molecular biology is a relatively new and very successful branch of science but currently it faces challenges posed by very complex issues that cannot be addressed by a traditional reductionist approach. However, despite its origins in the providential shift of some theoretical physicists to biology, currently molecular biology is immersed in a blind trend in which high-throughput technology, able to generate trillions of data, is becoming the leading edge of a discipline that has traded rational and critical thinking for (...) computer power, data crunching and statistics in hope of finding, once more, its way. However, the complex questions facing MB may only be solved by a paradigm shift in the causal way of thinking, so that complex, emergent, non-linear phenomena may be effectively understood in top-down and not in bottom-up terms. (shrink)

“[…] To alleviate the boredom, after catching a fish, Kingfisher would press all three buttons before swallowing the fish. Pressing the buttons has gradually become somewhat of a new technological ritual.” -/- —In “Innovation”; The Kingfisher Story Collection.

Are acts of violence performed in virtual environments ever morally wrong, even when no other persons are affected? While some such acts surely reflect deficient moral character, I focus on the moral rightness or wrongness of acts. Typically it’s thought that, on Kant’s moral theory, an act of virtual violence is morally wrong (i.e., violate the Categorical Imperative) only if the act mistreats another person. But I argue that, on Kant’s moral theory, some acts of virtual violence can be morally (...) wrong, even when no other persons or their avatars are affected. First, I explain why many have thought that, in general on Kant’s moral theory, virtual acts affecting no other persons or their avatars can’t violate the Categorical Imperative. For there are real world acts that clearly do, but it seems that when we consider the same sorts of acts done alone in a virtual environment, they don’t violate the Categorical Imperative, because no others persons were involved. But then, how could any virtual acts like these, that affect no other persons or their avatars, violate the Categorical Imperative? I then argue that there indeed can be such cases of morally wrong virtual acts—some due to an actor’s having erroneous beliefs about morally relevant facts, and others due not to error, but to the actor’s intention leaving out morally relevant facts while immersed in a virtual environment. I conclude by considering some implications of my arguments for both our present technological context as well as the future. (shrink)

The outbreak of SARS-CoV-2 has threatened ethnographic inquiry, undermining its quintessential characteristic. Participant observation, then, has been thoroughly dismembered by the radical measures implemented to prevent the spread of the virus. This phenomenon, in short, has dragged anthropologists to a liminal state within which ethnography is paradoxically caught in an onto-epistemological unstable vortex. The question of being here and not there, during the pandemic, is epitomised in the instability of different spatio-temporal contexts that overlap through technological mediations. Reflecting on previous (...) fieldwork experiences and current virtual inquiries with the Shuar of the Ecuadorian Amazon unfolds how COVID-19 has thoroughly reshaped how the author approaches subjects' socio-ecological settings. Against this background, the article argues that corporeal immersion remains a necessary condition for the anthropological scrutiny of multispecies relationalities amidst the challenging times of the Anthropocene. The article nevertheless demonstrates that the intellectual efforts to grasp the different material temporalities of virtual spaces embrace the ethical principles concerning the renunciation of fieldwork with vulnerable communities. Furthermore, a reflective and speculative stance is proposed to actualise the snapshots of faraway physicalities linking them to past embodied and multi-sensory experiences. It is ultimately theorised how these mnemonic devices operate as creative forms of inquiry that overcome the pandemic consequences, extra-stimulating our cognitive capabilities to reflect on prior and possible socio-material interactions. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and (...) interactivity. Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

This paper aims to outline the foundations for an ethics of digital touch. Digital touch refers to hardware and software technologies, often collectively referred to as ‘haptics’, that provide somatic sensations including touch and kinaesthesis, either as a stand-alone interface to users, or as part of a wider immersive experience. Digital touch has particular promise in application areas such as communication, affective computing, medicine, and education. However, as with all emerging technologies, potential value needs to be considered against potential (...) risk. We therefore identify some areas where digital touch raises ethical concerns, and we identify why these concerns arise, based on the distinctive physiological and functional properties of the human somatosensory system. Most scientific research in digital touch has focused on user interaction with external objects (active touch). However, the most pressing ethical concerns with digital touch technologies arise when users are being passively touched. Our analysis identifies several important questions about control, transparency, and epistemic procedure in digital touch scenarios. First, human somatosensation is “always on”, and many digital touch technologies take advantage of this (e.g., alerting systems). As a result, digital touch technologies can undermine individuals’ sensory autonomy (i.e., the right to choose what sensations one experiences). Second, users may reasonably want to know who or what is touching them, and for what purpose. Consent for digital touch will therefore need to be carefully and transparently transacted. Third, because touch gives us a special, direct experience of interacting with our physical environment, digital touch technologies that manipulate this interaction could potentially provide a major epistemic challenge, by changing a user’s basic understanding of reality and their relation to it. Informed by this discussion, we conclude by suggesting a basis for an ethical design framework for digital touch systems. (shrink)

Immersing in the virtual world of the Internet, information and communication technologies are changing the human being. In spite of the apparent similarity of on-line and off-line, social laws of their existence are different. According to the analysis of games, based on the violation of the accepted laws of the world off-line, their censoring, as well as the cheating, features of formation and violations of social norms in virtual worlds were formulated. Although the creators of the games have priority in (...) the standardization of the virtual world, society as well as players can have impact on it to reduce the realism. The violation of the prescribed rules by a player is regarded as cheating. And it is subjected to sanctions, but the attitude toward it is ambiguous, sometimes positive. Some rules are formed as a result of the interaction between players. (shrink)

Recently in this journal, Jessica Morley and colleagues (AI & SOC 2023 38:411–423) review AI ethics and education, suggesting that a cultural shift is necessary in order to prepare students for their responsibilities in developing technology infrastructure that should shape ways of life for many generations. Current AI ethics guidelines are abstract and difficult to implement as practical moral concerns proliferate. They call for improvements in ethics course design, focusing on real-world cases and perspective-taking tools to immerse students in (...) challenging situations with relatable personal, social and environmental implications. The present paper considers the ACTWith model of moral cognition for use in such training contexts. Morley and colleagues' paper and contemporary literature are reviewed. Whistleblowing as a source for relatable case studies is discussed, and the purpose of ethics education considered. The ACTWith model is introduced, and correlations with contemporaries noted. The ACTWith model has been successfully employed in a broad range of technology ethics courses in the Netherlands and South Korea. Illustrations are offered. Correlations with contemporary efforts are drawn in the context of software engineering. Summary discussion considers strengths and limitations of the ACTWith program. Overall, the paper emphasizes training high-level moral reasoning through guided inquiry education informing lifetime professional practice, and indicates an outstanding need for teachers able to do the job. (shrink)

All research is immersed in the competition for knowledge, but this is not always governed by fairness. In this opinion article, I elaborate on indicators of unfairness to be found in both evaluation guides and evaluation panels, and I spontaneously offer a number of rules of thumb meant to keep it at bay. Although they are explicitly offered to the Portuguese Foundation for Science and Technology (FCT) and in particular to the evaluation panel for Philosophy, Ethics and Religion of (...) FCT's fifth edition of their Individual Call to Scientific Employment Stimulus, here used as concrete illustrations of unfairness, my rules of thumb are guaranteed to promote fairness in the competition for knowledge in general. (shrink)

Humans think and communicate in very flexible and schematic ways, and a Spatial Data Infrastructure (SDI) for the Amazon and associated information system ontologies should reflect this flexibility and the adaptive nature of human cognition in order to achieve semantic interoperability. In this paper I offer a conceptual investigation of SDI and explore the nature of cultural schemas as expressions of indigenous ontologies and the challenges of semantic interoperability across cultures. Cultural schemas are, in essence, our ontologies, but they are (...) markedly different than classical formal ontologies. They shape our ontological commitments to what exists in the world as well as the ways in which we approach and engage the world. And while they help structure our understanding of the world in which we are embedded, they are associative and flexible. They help to focus our attention to particular details of our experiences and give them salience, yet they cannot be simply reduced to a series of extracted features. They allow us to make meaning of the contextualized, cultural experience in which we are always immersed. An SDI is a shared social-technological-informational structure that, if it is to be useful and successful for sustainability in the Amazon, must incorporate and use indigenous cultural schemas. Indigenous communities must have the ability to contribute to the collection of geospatial data and their contributions recognized as legitimate forms of knowledge. In order for the SDI to work, it must recognize the larger cultural landscape to which cultural schemas can connect to the ready-to-hand elements of salient cultural experiences. (shrink)

The primary objective of this book titled ‘The encyclopedia of female pioneers in online learning’ is to record and disseminate the voices and contributions of women who pioneered online learning. The pioneers themselves contributed the majority of the content. Because of this, this book serves as a timeless, living record of these women’s experiences, stories, and accomplishments at a time when the majority of the world switched from traditional, print-based correspondence to a bewildering array of immersive-learning experiences that are (...) enhanced by technology. The goal of these direct contributions, combined with a qualitative research study on the pioneers’ interview data, is to further inform readers about the struggles and successes of these female pioneers and their experiences, perceptions, and driving forces. For policymakers, administrators, educators, historians, researchers, writers, and students interested in topics related to distance education (DE), online learning, and educational technology. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with industrial (...) technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

How can we improve business ethics education for the twenty first century? This study evaluates the effectiveness of a visual case exercise in the form of a 3D immersive game given to undergraduate students at two UK Universities as part of a mandatory business ethics module. We propose that due to evolving learning styles, the immersive nature of interactive games lends itself as a vehicle to make the learning of ethics more ‘concrete’ and ‘personal’ and therefore more engaging. (...) To achieve this, we designed and built an immersive 3D simulation game in the style of a visual case. The effectiveness of the game was evaluated using a mixed methods approach measuring recognised and adapted constructs from the technology acceptance model. Results demonstrate that students found the game beneficial to their learning of ethics with the development of knowledge and skills applicable to the real world and that they engaged with the process due to game elements. Findings demonstrate the potential for the development of simulated games to teach ethics at all levels and modes of delivery and the contribution of this type of visual case model as a pedagogic method. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

This paper presents the design, development, and potential impact of Echoes of Union Depot, a virtual reality (VR) game aimed at promoting historic preservation and raising public awareness about El Paso's Union Depot, a building listed on the National Register of Historic Places Inventory. The game leverages the immersive capabilities of VR technology and 360° images to engage players in exploring the site's rich history and architectural evolution. Players assume the role of a time-traveling detective, guiding lost spirits (...) to resolve their past and move on. The paper outlines the development process, highlighting the use of 360° panoramic images and 3D Vista Virtual Tour Pro software to create an accessible and user-friendly experience that fosters historic preservation awareness and cultural appreciation. The study also discusses limitations and areas for future research, including expanding the scope to include other heritage sites, working with historians and cultural consultants for accurate representations, and evaluating the game's effectiveness in promoting awareness and fostering a sense of community pride. (shrink)

Within dramatherapy and psychodrama, the term ‘de-roling’ indicates a set of activities that assist the subjects of therapy in ‘disrobing’ themselves from their fictional characters. Starting from the psychological needs and the therapeutic goals that ‘de-roling’ techniques address in dramatherapy and psychodrama, this text provides a broader understanding of procedures and exercises that define and ease transitional experiences across cultural practices such as religious rituals and spatial design. After this introductory section, we propose a tentative answer as to why game (...) studies and virtual world research largely ignored processes of ‘roling’ and ‘de-roling’ that separate the lived experience of role-play from our everyday sense of the self. The concluding sections argue that de-roling techniques are likely to become more relevant, both academically and in terms of their practical applications, with the growing diffusion of virtual technologies in social practices. The relationships we can establish with ourselves and with our surroundings in digital virtual worlds are, we argue, only partially comparable with similar occurrences in pre-digital practices of subjectification. We propose a perspective according to which the accessibility and immersive phenomenological richness of virtual reality technologies are likely to exacerbate the potentially dissociative effects of virtual reality applications. This text constitutes an initial step towards framing specific socio-technical concerns and starting a timely conversation that binds together dramatherapy, psychodrama, game studies, and the design of digital virtual worlds. (shrink)

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can (...) be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries. (shrink)

Life is getting digital more than ever as technology improves. While the Internet is responsible for two percent of global greenhouse gas emissions, it is underestimated as a pollutant. Since public awareness is one of the most important preservation methods, it can contribute to protecting the environment from carbon emissions by raising people's understanding. In this regard, serious games, as a type of gamification transmitting educational content besides entertainment, immerse the player in enjoyment while teaching them a specific topic (...) or enhancing their skills in a field. This study proposes a serious game, taking the digital unseen carbon footprint and its effects on the landscape into the topic. The game considers SDG goals provided by the United Nations Department of Economic and Social Affairs. In this regard, the research uses SDGs 4 and 7 by providing quality education for all and access to sustainable energy by changing people's everyday habits. (shrink)

The integration of Augmented Reality (AR) and the Internet of Things (IoT) within smart homes represents a significant leap forward in home automation and user experience. This paper explores a comprehensive framework that combines these technologies to create an immersive, efficient, and user-friendly smart home environment. By utilizing AR, users can interact with and control IoT-enabled devices in real time through visual and intuitive interfaces. This integration not only simplifies the management of home systems but also enhances the overall (...) user experience by providing a seamless blend of the physical and digital worlds. (shrink)

Mobile phones are reportedly the most rapidly expanding e-reading device worldwide. However, the embodied, cognitive and affective implications of smartphone-supported fiction reading for leisure (m-reading) have yet to be investigated empirically. Revisiting the theoretical work of digitization scholar Anne Mangen, we argue that the digital reading experience is not only contingent on patterns of embodied reader–device interaction (Mangen, 2008 and later) but also embedded in the immediate environment and broader situational context. We call this the situation constraint. Its application to (...) Mangen’s general framework enables us to identify four novel research areas, wherein m-reading should be investigated with regard to its unique affordances. The areas are reader–device affectivity, situated embodiment, attention training and long-term immersion. (shrink)

Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) (...) led to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on (...) extensive pre-existing human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial’s author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

The article emphasizes the relevance of revising the content of professional activities and the range of powers of specialists of IT departments in business organizations and, accordingly, the conceptual foundations of their professional training. The need for forming future IT specialists with unique skills and abilities to carry out strategic and tactical activities and develop the relevant competencies, which allows them to be active participants in the construction and implementation of the organization’s business strategies, has been clarified. The purpose of (...) the article is to review and analyse the features of strategic and tactical activities in the functioning of IT specialists in a business organization, as well as the study of methodological foundations of the formation of tactical and strategic competence in future IT specialists, which will allow them to implement various measures of strategic planning and project work successfully. During the study of the problem of training future IT specialists for strategic and tactical activities in business organizations, methods of retrospective analysis, generalization and interpolation of theoretical aspects of the problem were applied; methods of conceptualizing advanced pedagogical experience in the formation of professional important competencies of future IT specialists were used. It has been found that tactical and strategic competence determines the ability of an IT specialist to project short-term and long-term goals, develop methods and tactics for their achievement, and in this way effectively organize professional activity and achieve success in it. It has been substantiated that the development of tactical and strategic competence can be realized in terms of a specially organized training process for future IT specialists contributing to their mastering the experience of developing and approbation IT strategies and tactics. Methodological approaches (competent-oriented, creative-developmental, multidisciplinary, practice-oriented, problem-based ones) have been revealed, for them the methods of training future IT specialists for strategic and tactical activities in business organization should be based. It has been noted that the methods of formation of future IT specialists’ readiness for strategic and tactical activities involve a number of stages, namely: 1) actualization of professional needs, interests, motives, and formation of students’ business values; 2) determination of the goal and selection the tools of influence aimed at the shaping of students’ scientific and theoretical knowledge and personal experience in the implementation of professional skills; 3) arming students with an arsenal of strategies that allow for a holistic analysis of the situation, actions, and motives and, as a result, permits to reduce the operational costs of the organization and the turned IT service into a driver of business; 4) modelling of possible strategy implementation tactics in various production situations; 5) analysis of acquired experience, control and correction of formation of future IT specialists’ professionally important competencies. The features of the application of methods of activation and stimulation of motivation and responsibility in educational and professional activities, organizational methods, the method of immersion in the situation, the method of pattern and case study in the process of formation of tactical and strategic competence in future IT specialists have been defined and described. A conclusion was made regarding the requirement for step-by-step application of methods and technologies in order to prepare future IT specialists for strategic and tactical activities during their professional training process. (shrink)

Can a videogame tell us something about what it means to be human? Or even further, what is human as such? Yoko Taro's NieR: Automata tries to answer these questions with the astonishing characteristic of the videogames: the immersion. Thanks to a coherent coincidence between playing subjectivity and virtuality given by the joypad, videogames can deeply investigate the subject about moral, ethical and existential questions. My aim in the paper is to explain what is about of the human in Taro's (...) work thanks to Heideggerian's view on technology. (shrink)

This paper argues that the ubiquitous digital networks in which we are increasingly becoming immersed present a threat to our ability to exercise free will. Using process philosophy, and expanding upon understandings of causal autonomy, the paper outlines a thematic analysis of diary studies and interviews gathered in a project exploring the nature of digital experience. It concludes that without mindfulness in both the use and design of digital devices and services we run the risk of allowing such services to (...) direct our daily lives in ways over which we are increasingly losing control. (shrink)

“[…] To alleviate the boredom, after catching a fish, Kingfisher would press all three buttons before swallowing the fish. Pressing the buttons has gradually become somewhat of a new technological ritual.” -/- —In “Innovation”; The Kingfisher Story Collection [1].

Firstly, the "Metaverse" possesses two distinctive features, "thickness" and "imagination," promising the public a structure of unknown scenarios but with unclear definitions. Attempts to establish an open framework through incompleteness, however, fail to facilitate interactions between humans and the scenario. Due to the dilemma of "digital twinning," the "Metaverse" cannot be realized as "another universe". Hence, the "Metaverse" is, in fact, only a virtual experiential territory created by aggregating technologies that offer immersion and interactivity. Secondly, when artificial intelligence serves as (...) a key supporting technology for the "Metaverse," it presents multifaceted existential risks, manifested as safety, cognitive, and ethical dilemmas. Finally, we propose that the framework for responsible "Metaverse" governance should be constructed through three pathways: collective responsibility, realism, and the co-governance of the virtual and real. (shrink)

Resumen. El proceso de transformación digital que vivimos y el desarrollo progresivo de las tecnologías disruptivas emergentes están afectando al derecho, y en particular al constitucional, al menos tal y como se había entendido hasta ahora, especialmente desde la perspectiva del paradigma de los derechos fundamentales y de las categorías y conceptos utilizados en la dogmática constitucional. Este pequeño trabajo, desde una perspectiva multidiciplinar, incluyendo la dogmática constitucional (análisis constitucional) y la sociología jurídica (análisis social), constituye una aportación al debate (...) dogmático en torno a las aporías que enfrentan los derechos fundamentales en la era digital. Abstract. We are immersed in a process of digital transformation in which emerging disruptive technologies are affecting the law, and in particular constitutional law, at least as we had understood it until now, especially from the perspective of the fundamental rights paradigm and of the categories and concepts used in constitutional dogmatic. This small contribution, from a multidisciplinary approach, including constitutional dogmatic (constitutional analysis) and legal sociology (social analysis) perspectives, constitutes a contribution to the dogmatic debate around the aporia of fundamental rights in the digital age. (shrink)

"The Metaverse", a concept which has now become the symbolic term for the next evolution of the internet, is an immersive environment of almost metaphysical proportions. In this article, I discuss how the additional degrees of freedom in this transhumanist reality might saddle future generations with a massive existential crisis if philosophy is not well understood and applied by individuals.

It has been debated whether the so-called attention economy, in which the attention of agents is measured and sold, jeopardizes something of value. One strand of this discussion has focused on so-called attention rights, asking: should attention be legally protected, either by introducing novel rights or by extending the scope of pre-existing rights? In this paper, however, in order to further this discussion, we ask: How is attention already protected legally? In what situations does a person have the right to (...) attention under current law? -/- Unlike (Chomanski, Neuroethics 16:1–11, 2023), who discusses an overall right to attention, or (Puri, Rutgers Law Record 48:206–221, 2021), who discusses an overall right to attentional privacy, in this paper we focus on two types of situations in which a person’s attention is already protected by legal regulation. Sustained attention-requiring tasks can be jeopardized by distractions whereas attentiveness to certain kind of stimuli can be jeopardized by immersive stimuli. That is why distractions are regulated in situations where an agent has what we call a concentration right and immersive stimuli are regulated in situations where an agent has what we call a duty to be attentive. The further analysis of these situations provides an understanding of the legal means by which attention is already regulated, which can be helpful when thinking about how it should be regulated in the future. (shrink)

In the popular and academic literature on the problems of the so-called attention economy, the cost of attention grabbing, sustaining, and immersing digital medias has been addressed as if it touched all people equally. In this paper I ask whether everyone has the same resources to respond to the recent changes in their stimulus environments caused by the attention economy. I argue that there are not only differences but disparities between people in their responses to the recent, significant increase in (...) the degree and persuasiveness of digital distraction. I point toward individual variance in an agent’s top-down and bottom-up attention regulation, and to further inequality-exacerbating variance in active participation on the internet and in regulating reward-seeking behaviors on the internet. Individual differences in these areas amount to disparities because they have been found to be connected to socioeconomic background factors. I argue that disparities in responding to digital distraction threaten fair equality of opportunity when it comes to digital distraction in the classroom and that they may lead to an unequal contribution of achievements that require complex cognition by people from lower socioeconomic backgrounds. (shrink)

This paper is going to deal with water absorption in different types of wood such as: pine, oak, beech, and fir. The amount of water absorbed by these types of wood is known as water absorption and it is determined using the material's initial state and after their immersion in water. The major goal of this study is to explain the effects of water absorption in hardwood materials and to demonstrate the changes that will take place in them over the (...) course of 48 hours. Water can be absorbed by wood in a variety of ways, as a liquid, or as an atmospheric vapor. Despite the fact that wood can absorb other liquids and gases, water is the most important. Because of its hygroscopicity, wood, whether as part of a living tree or as a material, always contains moisture. The experiment will be focused on the selection of different types of wood (most popular in the Albanian context), analyzing their water absorption and moisture level. The wooden samples will be submerged in water for 24 and 48 hours in order to obtain the appropriate results. Their moisture level and water level due to capillarity will be analyzed too. The purpose of the study is to follow the behavior of wooden frames in different environments. (shrink)

In recent days Augmented Reality is an emerging trend in marketing and sales strategies. Augmented reality ads are immersive, which means they help marketers create a certain emotional connection with customers. Unlike images or banners, for example, AR ads are interactive and lifelike consumers can see and even interact with them. Now-a-days people prefer online shopping rather than the traditional window shopping and Augmented Reality allows brands to give customers unique experiences with the convenience of tapping into their mobile (...) devices. So the main purpose is to build an “AR Watch Try-On application” is to develop android application for trying different watches in a Virtual way using a mobile which supports AR camera. This application can be used on Online Watch Shopping websites and applications such as Titan, Fastrack, Sonata and so on. The application will eliminate the human efforts by physically visiting the Watch shops which is very time-consuming activity. User can try out multiple watches and different varients of those watches. (shrink)

This paper puts forward an account of imaginative immersion. Elaborating on Kendall Walton’s thesis that imagining aims at the fictional truth, it first argues that imaginings are inherently rule- or norm-governed: they are ‘regulated’ by that which is presented as fictionally true. It then shows that an imaginer can follow the rule or norm mandating her to imagine the propositions presented as fictional truths either by acquiring explicit beliefs about how the rule (norm) is to be followed, or directly, without (...) acquiring such beliefs. It proceeds to argue that to the extent that an imaginer follows this rule (norm) without holding such beliefs, she is more immersed in her imaginings. The general idea is that immersion in an activity is a matter of following rules or norms that apply to that activity without explicitly thinking about how to follow them, that is, without ‘doxastic mediation.’ Lastly, the paper shows that this thesis can explain various features associated with imaginative immersion, such as the sort of attentiveness it involves, the emotional response it generates, and its relation to spoilers. (shrink)

Children sometimes lose themselves in make-believe games. Actors sometimes lose themselves in their roles. Readers sometimes lose themselves in their books. From people's introspective self-reports and phenomenological experiences, these immersive experiences appear to differ from ordinary experiences of simply playing a game, simply acting out a role, and simply reading a book. What explains the difference? My answer: attention. -/- [Unpublishable 2007-2017. This paper was referenced in Liao and Doggett (2014).].

A common view about the phenomenology of episodic remembering has it that when we remember a perceptual experience, we can relive or re-experience many of its features, but not its characteristic presence. In this paper, we challenge this common view. We first say that presence in perception divides into temporal and locative presence, with locative having two sides, an objective and a subjective one. While we agree with the common view that temporal and objective locative presence cannot be relived in (...) remembering, we argue that subjective locative presence – the feeling of being immersed in a certain scene – can be so. Our argument for this claim starts by determining independently the underpinning mechanisms of subjective locative presence in quasi-perceptual imagination. These mechanisms are self-projection, imaginative pretence, and attentional focus. We then proceed to establish that they have been found to underpin conscious states of episodic remembering too. We conclude that episodic remembering can bring us to relive the subjective locative presence characteristic of a perceptual experience, and that the common view is mistaken. Our view – ‘mnemonic immersivism’ – has important consequences regarding the relationships between memory and imagination and the phenomenology of episodic remembering. (shrink)

"... Dr. Ihde brings an enlightening and deeply humanistic perspective to major technological developments, both past and present." —Science Books & Films "Don Ihde is a pleasure to read.... The material is full of nice suggestions and details, empirical materials, fun variations which engage the reader in the work... the overall points almost sneak up on you, they are so gently and gradually offered." —John Compton "A sophisticated celebration of cultural diversity and of its enabling technologies.... perhaps the best single (...) volume relating the philosophical tradition to the broad issues raised by contemporary technologies." —Choice "... important and challenging... " —Review of Metaphysics "... a range of rich historical, cultural, philosophical, and psychological insights, woven together in an intriguing and clear exposition... The book is really a pleasure to read, for its style, immense learning and sanity." —Teaching Philosophy The role of tools and instruments in our relation to the earth and the ways in which technologies are culturally embedded provide the foci of this thought-provoking book. (shrink)

Cultural pluralism and diversity give rise to debates on conflicts and inclusiveness. Scholars largely investigate how people manage their culture of origin within their host culture, and how the host culture helps them adapt to the changes they experience within their new environment. However, both cultures can merge peacefully and the involved cultures can flourish as a result. The evolvement of jiasha, the attire of Chinese Buddhist masters, illustrates intertwined immersion, in which traditional Chinese (domestic) and Buddhist (imported) cultures show (...) their openness, tolerance, and acceptance to foreign cultures. Finally, while maintaining the significance of Indian Buddhist clothing, jiasha has adopted Chinese dress style, incorporating local cultural and environmental characteristics. This manifests great respect for both traditional Chinese and Buddhist cultures, harmoniously achieving this hybrid product that mutually rejuvenates and enriches native and foreign cultures. (shrink)

The ethical neutrality of technology has been widely questioned, for example, in the case of the creation and continued existence of weapons. At stake is whether technology changes the ethical character of our experience: compare the experience of seeing a beating to videotaping it. Interpreting and elaborating on the work of George Grant and Marshall McLuhan, this paper consists of three arguments: 1) the existence of technologies determines the structures of civilization that are imposed on the world, 2) (...) technologies shape what we do and determine how we do it, and 3) technology, unlike any other kind of thing, seems not to make moral demands of us: it is morally neutral. This means that they offer us the freedom of imposing on something that does not impose back. The introduction of this experience of freedom changes the way we experience the world in general by introducing a new way of relating to the good, namely by introducing the act of subjective valuation. Each of these points implies that technology structurally changes or interferes with our ethical relationship with things, with the result that through subjective valuation the experience of the obligation to act can be suspended. (shrink)

Robotics and artificial intelligence are beginning to fundamentally change the relative profitability and productivity of investments in capital versus human labor; creating technological unemployment at all levels of the workforce; from the North to the developing world. As robotics and expert systems become cheaper and more capable the percentage of the population that can find employment will also fall; stressing economies already trying to curtail "entitlements" and adopt austerity. Two additional technology-driven trends will exacerbate the structural unemployment crisis in (...) the coming decades; desktop manufacturing and anti-aging medicine. Desktop manufacturing threatens to disintermediate the half of all workers involved in translating ideas into products in the hands of consumers; while anti-aging therapies will increase the old age dependency ratio of retirees to tax-paying workers. Policies that are being proposed to protect or create employment will have only a temporary moderating effect on job loss. Over time these policies; which will impose raise costs; lower the quality of goods and services; and lower competitiveness; will become fiscally impossible and lose political support. In order to enjoy the benefits of technological innovation and longer; healthier lives we will need to combine policies that control the pace of replacing paid human labor with a universal basic income guarantee provided through taxation and the public ownership of wealth. The intensifying debate over the reform of "entitlements" will be the strategic opening for a campaign for BIG to replace disability and unemployment insurance; Social Security; and other elements of the welfare state. (shrink)

This paper explores spatial justice in urban environments through immersive art and design, focusing on Amsterdam and Houston. It presents a case study from the Venice Biennale 2023, showcasing art's potential in fostering inclusive urban spaces. The study delves into the socio-political complexities of urban areas, highlighting often-ignored liminal spaces and their tensions and possibilities. Immersive art emerges as a transformative medium, capable of challenging and reshaping perceptions of space, and addressing systemic socio-economic disparities. Adopting a transdisciplinary approach, (...) the research combines insights from various fields to enrich discussions on spatial justice and inspire urban transformations. (shrink)