This research project and exhibit, delves into the complex relationship between public exhibition, urban spaces, and socio-political norms in shaping urban thresholds within the two American and European metropolitan cities of Houston and Amsterdam. This study also investigates the transformative power of new media and emerging technologies in the production, circulation, and consumption of design, offering fresh perspectives on the influence of these technologies on urban design studies and digitally augmented physical spaces. By merging interdisciplinary research areas, including Design Computation (...) and Fabrication, Urban Communities, and Spatial Justice, this project provides an immersive exploration into the co-production of liminal spaces, focusing on the participation of diverse publics and the dynamics of inclusion, exclusion, and recognition in two cities of Houston and Amsterdam. The main emphasis of this paper is on the critical urban studies and the role of emerging technologies in advancing the theoretical and methodological frameworks of the presented immersive installation project. (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 discussed in previous publications by this 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 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)

The research discussed in this paper centers around the convergence of extended reality (XR) platforms, computational design, digital fabrication, and critical urban study practices. Its aim is to cultivate interdisciplinary and multiscalar approaches within these domains. The research endeavor represents a collaborative effort between two primary disciplines: critical urban studies, which prioritize socio-environmental justice, and integrated digital design to production, which emphasize the realization of volumetric or voxel-based structural systems. Moreover, the exploration encompasses augmented reality to assess its utilization in (...) both the assembly process of the structures and the integration of phygital (physical and digital) data with the physical environment. Within the context of these research scopes, this paper introduces FabriCity-XR as an interactive phygital installation. In addition to presenting an overview of the integrated research driven and performative design to production methodologies, the project showcases the practical implementation of web-based augmented reality trails, eliminating the requirement for external applications for interaction. This approach allows users to seamlessly navigate and engage with phygital content overlaid on physical objects using their personal smart devices. The result is a captivating and immersive user experience that effectively merges the physical and digital realms. (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 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)

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

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)

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)

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)

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)

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is timely. Not only (...) some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)

We created Justice: The Game, an educational, role-immersion game designed to be used in philosophy courses. We seek to describe Justice in sufficent detail so that it is understandable to readers not already familiar with role-immersion pedagogy. We hope some instructors will be sufficiently interested in using the game. In addition to describing the game we also evaluate it, thereby highlighting the pedagogical potential of role-immersion games designed to teach political philosophy. We analyze the game by drawing on our observations (...) as designers and playtesters of Justice, along with feedback from students obtained in focus-groups conducted shortly after playtesting ended. We present evidence that Justice, compared to conventional instructional methods alone, plausibly enhances student learning of philosophical skills and content by requiring them to practice those skills and put their content-area knowledge to use in a highly-motivating and engaging context. (shrink)

I argue that any account of imagination should satisfy the following three desiderata. First, imaginations induce actions only in conjunction with beliefs about the environment of the imagining subject. Second, there is a continuum between imaginations and beliefs. Recognizing this continuum is crucial to explain the phenomenon of imaginative immersion. Third, the mental states that relate to imaginations in the way that desires relate to beliefs are a special kind of desire, namely desires to make true in fiction. These desires (...) to make true in fiction do not differ from regular desires in kind, but only in content. I argue for these three desiderata in turn by critically discussing several recent accounts of imagination. (shrink)

Research on the specific features of daydreaming compared with mind-wandering and night dreaming is a neglected topic in the philosophy of mind and the cognitive neuroscience of spontaneous thought. The extant research either conflates daydreaming with mind-wandering (whether understood as task-unrelated thought, unguided attention, or disunified thought), characterizes daydreaming as opposed to mind-wandering (Dorsch, 2015), or takes daydreaming to encompass any and all “imagined events” (Newby-Clark & Thavendran, 2018). These dueling definitions obstruct future research on spontaneous thought, and are insufficiently (...) precise to guide empirical studies. They also fail to illuminate the phenomenal core of daydreaming, namely, its dreamlike qualities. Although daydreaming is related to both mind-wandering and narrative imagination, it is not reducible to either. We argue that daydreams are experiences of spontaneous, immersive imagination in the waking state. The main task of our investigation is to distinguish daydreaming, conceptually and phenomenologically, from mind-wandering, on the one hand, and night dreaming, on the other. Although daydream experiences can vary widely, we distinguish prototypical experiences of daydreaming from adjacent imaginative activity, including fleeting imagery and “focused daydreaming,” or crafted visualization. We consider our phenomenological analysis as preparatory work for conceptually distinguishing different spontaneous and imaginative states so that they can be investigated accordingly with questionnaires and qualitative methods. We argue that precision about the phenomenal character of daydreaming can guide neurophenomenological investigations, help delimit studies on individual variance in daydreaming features, and identify differences among daydreaming, mind-wandering, and night dreaming conceptually and phenomenologically, and possibly eventually in terms of neural correlates. (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)

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)

The chapter considers the “paradox of fiction,” understood as the claim that it is in some sense irrational or inappropriate to respond emotionally to mere fictions. Several theorists have held that special features of imagination, or other “arational” mental reflexes, play a role in its resolution. I argue, to the contrary, that imagination need not enter into the solution, and that the paradox can be resolved in a way that shows our responses to fictions to be reasonable and warranted, even (...) if our emotional reactions to fiction are caused by beliefs and desires. Coming to terms with the paradox requires both properly understanding the “rug-pull” structure of the examples used to motivate it, and appreciating the specific emotional norms relevant to fiction appreciation. Related proposals by Livingston & Mele (1997) and Gilmore (2011) are discussed; their relevance to and coherence with the present account are explained. [This is Chapter 11 of Explaining Imagination.]. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...) reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

A growing body of research suggests that students achieve learning outcomes at higher rates when instructors use active-learning methods rather than standard modes of instruction. To investigate how one such method might be used to teach philosophy, we observed two classes that employed Reacting to the Past, an educational role-immersion game. We chose to investigate Reacting because role-immersion games are considered a particularly effective active-learning strategy. Professors who have used Reacting to teach history, interdisciplinary humanities, and political theory agree that (...) it engages students and teaches general skills like collaboration and communication. We investigated whether it can be effective for teaching philosophical content and skills like analyzing, evaluating, crafting, and communicating arguments in addition to bringing the more general benefits of active learning to philosophy classrooms. Overall, we find Reacting to be a useful tool for achieving these ends. While we do not argue that Reacting is uniquely useful for teaching philosophy, we conclude that it is worthy of consideration by philosophers interested in creative active-learning strategies, especially given that it offers a prepackaged set of flexible, user-friendly tools for motivating and engaging students. (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)

Fish Night, an episode of LOVE DEATH + ROBOTS (S01E12, 2019) based on a 1982 short story by Joe R. Lansdale, can be interpreted as an allegory of the impossibility of immersive experience: if real, it is deadly, because the images are no longer such or ghosts but living beings present in a shared environmental habitat, acting with but also against the subject, in turn no longer a spectator. Comparing the story and film, and ancient ekphrastic literature, I discuss, (...) in a trans-medial imaginary genealogical perspective, the symptoms of this cultural topos and of the regressive desire for immersion and for transparent immediacy that shapes and drives it, dwelling in particular on the ambivalent phenomenological and ontological relations between living bodies, pictures and media as deep time-bending. (shrink)

The current study is conducted to examine the following research questions: 1) How are gender, age, and income associated with trying space tourism? 2) How are gender, age, and income associated with the intention to try space tourism when conditional on the level of immersiveness in information on social media?

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)

In this article, we reflect on our experiences teaching a PWOL course called Philosophy for Living. The course uses modules focused on different historical philosophical ways of life (Epicureanism, Stoicism, Confucianism, Existentialism, etc.) to engage students in exploring how philosophy can be a way of life and how its methods, virtues, and ideas can improve their own lives. We describe and compare our experiences with two central aspects of our approach: engagement with diversity and the use of immersive experiences (...) and assignments. In particular, we discuss how we recognize and center various forms of diversity in philosophy—cultural and gender diversity, but also diversity in how and in what forms philosophy can be done and what “philosophy as a way of life” can be. We also examine how the experimental and experiential aspects of immersive assignments promote deeper understanding and create possibilities for personal transformation. (shrink)

The current study is conducted to examine the following research questions: 1) How are information trustworthiness, usefulness, and immersiveness associated with the general intention to try space tourism? 2) Does the uncertainty of information (proxied by information trustworthiness) moderate the associations between information usefulness, immersiveness, and the general intention to try space tourism?

Menschen sind häufig nicht ganz bei der Sache. Oft finden wir sie abwesend, nicht ganz da, sich in Tagträume verlierend, in Gedanken schon bei der nächsten Sache; finden sie irgendwie nicht ganz hinein in die Situationen, mit denen sie sich gerade konfrontiert finden. Der Beitrag entwickelt die These, dass die Rede von der "Immersivität" von Erfahrung nicht erst bei technologisch oder ästhetisch mediierten Erlebnissen des Versetztseins in künstliche oder virtuelle "Welten" und Umgebungen am Platz, gewöhnliche menschliche Erfahrung vielmehr ganz grundsätzlich (...) durch eine immersive Dynamik des Hineinfindens in und Hinausgeratens aus Situationen charakterisiert ist: Noch bevor wir uns ein bewusstes Bild konkreter Umstände und Möglichkeiten gemacht haben, finden wir uns gewöhnlich schon in Situationen verortet. Diese zeichnen bestimmte Rhythmen und Richtungen, Valenzen und Tendenzen, Bedeutsamkeiten und Möglichkeiten vor. Der Beitrag skizziert eine Phänomenologie der Immersion, die auch ein tieferes Verständnis technologisch oder ästhetisch mediierter Immersionserfahrungen verspricht. (shrink)

The illness immersion condition prevents patients from enjoying everything worth living life for. In any case, according to Frank, this condition could represent one of the most insightful experiences towards understanding the meaning of life. Using the metaphor of phoenix taken from May, Frank identified four kinds of embodiments through which the phoenix can reveal itself in a patient after an illness immersion experience: the phoenix that could ever be and the phoenix that might have been; the recurrent and cumulative (...) phoenix and the reluctant phoenix. Based on these considerations, a qualitative study was conducted in order to give voice to the different phoenix embodiments focusing on several autobiographies of patients afflicted with severe or terminal illness. The analysis highlights several similarities that the different phoenixes shared ; however, a deep difference emerged in their worldview which proves able to lead them towards different epiphanies. These evidences reveal that every sick person should be understood, stimulated and accompanied throughout his lived experience of illness by an expressly designed and dedicated care. (shrink)

Since the 1980s chaos has been the subject of great interest both in scientific research and in public consciousness. Chaos as played roles in books and movies such as Jurassic Park and Bellwether and has been the subject of numerous popularizations. But what is chaos—better characterized as chaotic dynamics—really? How much of an impact does it have on everyday life? This book explores these questions and more, introducing you to the basics of chaos as mathematicians and scientists study it and (...) apply it. There are a lot of buzzwords surrounding chaotic dynamics such as “butterfly effect” and “strange attractors,” and much discussion about whether chaos has shattered scientific dreams of a predictable world. This book will help you understand these buzzwords and their excitement, what limitations there are for predictability, and the wisdom scientists have learned from studying chaos. You will come away with a deeper appreciation of the intricacy and surprising order of our world. (shrink)

Video-objects are often discussed in terms of their ability to reflect upon the speed of our narcissistic culture, but less acknowledged is video’s agency to perform electronic events outside of human experience. This article engages in scholarship interested in the space of video operations where lived and imagined, real and virtual phenomena are experienced at the threshold of perception. Bringing into this conversation a discussion of The Waves (2003), an interactive installation by video pioneer and media critic Thierry Kuntzel, the (...) article moves away from the time/movement nexus grounded in a filmic understanding of the image to position video-memory as the emergence of a volume of time. Different from the time-image and movement-image of cinema, the volume-image of video defines a mode of engaging with multiple temporalities within the continuum of the video itself. Constituted progressively through layers of ever-changing signal processes, the volume-image of video technology is an open field, a transductive zone where multiple intensities create new representational rhythms, which disrupt the durational model of time so often attached to human experience. (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)

This paper responds to Kathleen Stock’s attempt to explain a puzzling fact, at least from her standpoint: widespread assertions that some people who are biologically male are women and some people who are biologically female are men. She regards these assertions as made while immersed in a fiction. Stock rejects an alternative explanation – that a lot of these people have read Judith Butler or 1970s feminism. Clarifying that explanation reveals it to be not so easy to dismiss.

What can it mean to criticize when you are inside the work itself? In a immersive electronic or digital environment critic is not distanced on a platform based on firm principles. Yet criticism self-awareness and commentary remain possible. This essay examines various techniques for dealing with immersive environments critically.

In his criticism of my paper on the concept of race (Sesardic, 2010), Adam Hochman raises many issues that deserve further clarification. First, I will comment on Hochman’s claim that I attack a straw man version of racial constructionism. Second, I will try to correct what I see as a distorted historical picture of the debate between racial naturalists and racial constructionists. Third, I will point out the main weaknesses in Hochman’s own defense of constructionism about race. And fourth, I (...) will briefly comment on why I think that Hochman unjustifiably dismisses one of the potential sources of racial differentiation that were suggested in my paper. Before I start, though, a preliminary clarification is in order. Hochman kindly calls my article ‘‘one of the strongest defenses of racial naturalism in recent times’’, which might suggest to the reader that my goal was to offer a full-fledged biological explication of the concept of race. But in fact my ambition was more limited. As I explained: My aim in this paper was not to prove the biological reality of race. Rather, more modestly, I have tried to show that typical attempts to disconnect the concept of race from genetics have too quickly and too uncritically been accepted by many ‘‘race critics’’. (Sesardic, 2010, p. 160; italics added) I will continue defending the same position in this article. (shrink)

In this paper, I argue that virtual manifestations of selfhood in VR environments have a transformative effect on the users, which in turn has spillover effects in the physical world. I will argue in favor of extending our notion of personal identity as to include VR avatars as negotiable bodies that constitute a genuine part of who we are. Recent research in VR shows that users can experience the Proteus Effect and other lasting psychological changes after being immersed in VR. (...) An extended theory of the self, modeled after the extended mind thesis advanced by Clark and Chalmers (1998), can offer a deeper understanding of how and why immersive virtual experiences have such a transformative effect on users. The early VR scholars had a similar intuition- that “VR is a medium for the extension of body and mind” (Biocca and Delaney 1995), acting like a genuine “reality engine” (Biocca and Levy 1995). (shrink)

Otávio Bueno* * and Steven French.** ** Applying Mathematics: Immersion, Inference, Interpretation. Oxford University Press, 2018. ISBN: 978-0-19-881504-4 978-0-19-185286-2. doi:10.1093/oso/9780198815044. 001.0001. Pp. xvii + 257.

“Are humans in a toxic, abusive relationship with nature? Love is strange.” -/- —In “Glands of Love”; Meandering Sobriety.

There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. (...) The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations. (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.

Imaginative immersion refers to a phenomenon in which one loses oneself in make-believe. Susanna Schellenberg says that the best explanation of imaginative immersion involves a radical revision to cognitive architecture. Instead of there being an attitude of belief and a distinct attitude of imagination, there should only be one attitude that represents a continuum between belief and imagination. -/- We argue otherwise. Although imaginative immersion is a crucial data point for theorizing about the imagination, positing a continuum between belief and (...) imagination is neither necessary nor sufficient for explaining the phenomenon. In addition, arguing against Schellenberg’s account reveals important but underappreciated lessons for theorizing about the imagination and for interpreting boxological representations of the mind. (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)

In this paper, I examine Adorno’s controversial claim that human rationality is inherently mimetic. To do so, I break this claim down into three puzzles (the natural historical puzzle, the metaphysical puzzle, and the epistemic puzzle) and consider each in turn. The first puzzle originates in Adorno’s assertion that in the course of human history the mimetic moment of human thought “is melted together with the rational moment”. So whereas, on his narrative, mimesis has become an intrinsic component of human (...) rationality, it appears that we are oblivious to this state of affair and unable to recognize the workings of mimesis in what we otherwise refer to as rationality. The second puzzle concerns the traditional metaphysical question regarding the possibility of knowledge. Adorno holds that the key to this question lies in the “mimetic moment of knowledge”, which he characterizes as the “moment of the elective affinity between the knower and the known.” The third puzzle concerns his views on how the mimetic moment of thought plays out in our epistemic practices. As he puts it, “consciousness knows of its other as much as it resembles that other,” which seems to entail that our very efforts to conceptualize objects somehow rely on imitative processes. I work out what I take to be the basics of Adorno’s understanding of mimesis and use them to make sense of each puzzle. I argue that Adorno’s insistence on the mimetic component of human rationality isn’t meant to promote more mimetic modes of comportment, but a reflexive awareness of the extent to which our rational activities already rely on imitative (or immersive) processes, even those we view as embodying the strongest claims to the contrary. (shrink)

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this assumption we (...) will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty. (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. By examining liminal spaces and the 'phygital' nexus, the paper challenges conventional urban narratives and advocates for more inclusive and equitable urban strategies. (shrink)

La représentation de la région de Beni Mellal-Khénifra, par les deux groupes des migrants subsahariens qui y sont visibles, participe au processus de la production de leurs espaces vécus et à la différenciation des stratégies de cette production. Les migrants mancheurs produisent ces espaces à partir de leur conception de la région comme une nouvelle étape imprévue dans leurs parcours migratoires en adoptant une stratégie basée sur la déambulation et la mobilité. Tandis que le groupe des migrants commerçants recourent à (...) la stratégie de la stabilité ou l’immobilité engendrée par sa représentation des espaces de la région de Beni Mellal-Khénifra comme espaces d’installation pérenne et d’investissement. Cette recherche est une approche qualitative de l’immigration subsaharienne en relation avec l’espace basée sur une ethnographie multi-située. Le travail ethnographique de terrain est fondé sur une observation participante qui s’appuie sur la description dense et l’entretien semi-directif comme outils de collecte de données et la multiplication des sites d’observation. -/- . (shrink)

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net (...) art. The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014). (shrink)