During a series of protests in Hong Kong about a leadership transition widely perceived to give Mainland China greater political influence, the Hong Kong Museum of History held a Special Exhibition of the Terracotta Warriors of Xian, China. Sponsored by "The Leisure and Cultural Service Department, " the exhibit featured the first emperor of the Qin Dynasty who ushered in "an epoch-making era in Chinese history that witnessed the unification of China" (Museum Exhibition). This essay explores the multi-media (...) aspects of the exhibit, arguing that encounters with dramatic music and fully immersive digital experiences are examples of an embodied, affective form of constitutive rhetoric. Put differently, the museum's multi-media elements demonstrate how Maurice Charland's theory of a constitutive rhetoric can be informed by recent work on affect and can provide one point from which to engage affect theory and the "affective dimension of politics.". (shrink)

Your digital camera is the perfect travel companion. You don't need to pack extra film, worry about airport scanners, budget for processing costs, or wait until you get home to learn whether you got that once-in-a-lifetime shot. Tuck this book in beside your Frommer's travel guide and you'll have everything you need for fantastic photos-how to watch for the right opportunity, compose the picture, work with lighting-even how to edit and upload from the road. * Learn what you must (...) take along and which accessories are nice to have * Capture the soul of a city, its people, and its sights * Include fellow travelers without shooting stereotypes * Take great shots even where flash is prohibited or your light sources are limited * Explore scenarios and expert tips for photographing scenery, wildlife, events, exhibits, and much more * Post your photos on the Web before you get home. (shrink)

In this paper, we argue that the characteristics of digital platforms challenge the fundamental assumptions of value sensitive design (VSD). Traditionally, VSD methods assume that we can identify relevant values during the design phase of new technologies. The underlying assumption is that there is onlyepistemic uncertaintyabout which values will be impacted by a technology. VSD methods suggest that one can predict which values will be affected by new technologies by increasing knowledge about how values are interpreted or understood in (...) context. In contrast, digital platforms exhibit a novel form of uncertainty, namely,ontological uncertainty: even with full information and overview, it cannot be foreseen what users or developers will do with digital platforms. Hence, predictions about which values are affected might not hold. In this paper, we suggest expanding VSD methods to account for value dynamism resulting from ontological uncertainty. Our expansions involve (1) extending VSD to the entire lifecycle of a platform, (2) broadening VSD through the addition of reflexivity, i.e. second-order learning about what values to aim at, and (3) adding specific tools of moral sandboxing and moral prototyping to enhance such reflexivity. While we illustrate our approach with a short case study about ride-sharing platforms such as Uber, our approach is relevant for other technologies exhibiting ontological uncertainty as well, such as machine learning, robotics and artificial intelligence. (shrink)

This book argues that relational cognition, a form of social cognition, exhibits digital infinity as does language. Copies of elementary models are combined and recursively nested to form a potentially infinite number of complex models. Just as one posits proof-theoretic grammars in order to account for the digital infinity of language, one also should posit proof-theoretic grammars to account for the digital infinity of relational cognition. Objections to a proof-theoretic approach, often equally applicable both to language and (...) to relational cognition, are considered and criticized. Such objections either posit overly complex alternatives or overlook the role of idealization in science. (shrink)

The digital divide is considered by many authors as one of the major ethical issues of the information age as it reinforces existing inequalities in society. This paper examines the gender digital divide in Europe and presents a detailed case-study of one of the most successful e-Government systems in Greece: the Greek TAXation Information System. Surprisingly, this efficient and well-running system exhibits longstanding gender discrimination. However, the problem is not technical but legal and political and requires careful consideration, (...) as the analysis unveils a gender digital gap in e-Government usage not only in Greece but all around Europe. (shrink)

This paper discusses an augmented reality installation presented at the 2014 International Žižek Studies Conference in Cincinnati, Ohio. The installation highlighted and expanded the conception of ‘headspace’ within the virtuality of contemporary subjectivity. By displacing our familiar view of reality onto a subjective engagement with cultural artefacts from many different symbolic spaces, remediated through an engagement with digital technology, the work frames the emergence of the contemporary subject as an ontological cyborg. The paper elucidates the theoretical underpinning of the (...) project and offering critical thoughts on its implications. This discussion of mediation expands on Žižek’s own position by applying the concept of parallax to the subjective shift between physical and digital spaces. There then follows documentation of the installation, including photos of the work in the physical exhibition space, the digital images from the augmented reality trackers, and the images and multimedia content depicting the digital objects themselves. (shrink)

Global Digital Health Market Size research report offers in-depth assessment of revenue growth, market definition, segmentation, industry potential, influential trends for understanding the future outlook and current prospects for the market. -/- Get a Sample Copy of the Report at – -/- The global digital health market size was valued at USD 548.08 billion in 2021 and is projected to grow from USD 742.72 billion in 2022 to USD 4,547.70 billion by 2029, exhibiting a CAGR of 29.5% during (...) the forecast period. Based on our analysis, the global market exhibited a higher growth of 81.2% in 2020 compared to 2019. The global COVID-19 pandemic has been unprecedented and staggering, with digital health experiencing higher-than-anticipated demand across all regions compared to pre-pandemic levels. -/- Drivers & Restraints -/- The global digital health market size stood at USD 452.79 Billion in 2023 and is projected to reach USD 1,965.30 Billion by 2030, exhibiting at a CAGR of 23.3% in the forecast period -/- This study provides information about the sales and revenue during the historic and forecasted period of (2024 to 2030). Understanding the segments helps in identifying the importance of different factors that aid market growth. Estimations about the CAGR value for specific forecast period, market drivers, market restraints, and competitive strategies are assessed in this Digital Health Market report. -/- This report focuses on Digital Health Market volume and value at the global level, regional level and company level. From a global perspective, this report represents overall Digital Health Market market size by analysing historical data and future prospect. Regionally, this report focuses on several key regions: North America, Europe, Asia-Pacific, Latin America and Middle East and Africa. -/- Competitive Strategic Window: -/- The Competitive Strategic Window analyses the competitive landscape in terms of markets, applications, and geographies to help the vendor define an alignment or fit between their capabilities and opportunities for future growth prospects. It describes the optimal or favorable fit for the vendors to adopt successive merger and acquisition strategies, geography expansion, research & development, and new product introduction strategies to execute further business expansion and growth during a forecast period. -/- An Overview of the Impact of COVID-19 on this Market: -/- The advancement of COVID-19 has conveyed the world to a stop. We fathom that this prosperity crisis amazingly influences associations across ventures. Nevertheless, everything fortunate or unfortunate should reach a conclusion. There are a couple of organizations that are fighting and some are thriving. By and large, essentially every region is relied upon to be impacted by the pandemic. -/- We are advancing incessant endeavors to help your business support and create during COVID-19 pandemics. Considering our experience and expertise, we will offer you an impact examination of Covid episode across ventures to help you with preparing for what's to come. -/- Key players covered in the global Digital Health Market research report: -/- General Electric Company (U.S.) Koninklijke Philips N.V. (Netherlands) Allscripts Healthcare, LLC (U.S.) Cerner Corporation (U.S.) Epic Systems Corporation (U.S.) McKesson Corporation (U.S.) Medical Information Technology, Inc. (U.S.) Siemens Healthcare GmbH (Germany) Boston Scientific Corporation (U.S.) FUJIFILM Holdings Corporation (Japan) Medtronic (Ireland) IBM (U.S.) Validic (U.S.). (shrink)

Drawing on theories related to interpersonal and intergroup behavior, this study investigated effects of personality traits (i.e., empathy and identity insecurity) and attitudes (i.e., anti-migration attitudes and social dominance orientation) on the perceived severity of digital hate against immigrants in Austria. Findings of autoregressive path modeling using two-wave panel data revealed that empathic suffering and egalitarianism positively predicted perceived severity, while anti-migrant attitudes exhibited a negative prediction. In terms of interactions between personality and attitudes, we observed that the prediction (...) of empathic suffering becomes less relevant for egalitarian individuals, which indicates an overwriting process that might be a promising way to counteract socially harmful digital hate perceptions. Implications for research on annotation tasks and hate interventions are discussed. (shrink)

Emergent digital technologies provide cultural heritage spaces with the opportunity to reassess their current user journey. An immersive user experience can be developed that is innovative, dynamic, and customised for each attendee. Museums have already begun to move towards interactive exhibitions utilising Artificial Intelligence (AI) and the Internet of Things (IOT), and more recently, the use of Virtual Reality (VR) and Augmented Reality (AR) has become more common in cultural heritage spaces to present items of historical significance. VR concentrates (...) on the provision of full immersion within a digitised environment utilising a headset, whilst AR focuses on the inclusion of digitised content within the existing physical environment that can be accessed through a medium such as a mobile phone application. Machine learning techniques such as a recommender system can support an immersive user journey by issuing personalised recommendations regarding a user’s preferred future content based on their previous activity. An ethical approach is necessary to take the precautions required to protect the welfare of human participants and eliminate any aspect of stereotyping or biased behaviour. This paper sets out a human-centred manifesto intended to provide guidance when inducing smart digital immersion in cultural heritage spaces. A review of existing digital cultural heritage projects was conducted to determine their adherence to the manifesto with the findings indicating that Education was a primary focus across all projects and that Personalisation, Respect and Empathy, and Support were also highly valued. Additionally, the findings indicated that there were areas with room for improvement such as Fairness to ensure that a well-balanced human-centred system is implemented. (shrink)

On the 7th of June 2018, The National Archives UK held its inaugural digital lecture, delivered by Professor Luciano Floridi entitled “Semantic Capital: What it is and how to protect it”. The lecture was followed by a poster exhibition, showcasing nine cutting-edge digital research projects at The National Archives. This paper aims at giving a distinct overview of The National Archives’ digital research priorities, drawing on examples from the active and recently completed research projects, which were (...) displayed at the exhibition on the 7th of June 2018. The focus of this paper is to discuss the research challenges that we are facing as we seek to become a second-generation digital archive, that is digital by instinct and design. By placing a particular emphasis on the conceptual and epistemological challenges relating to trust and openness, the paper suggests that research is the key for us as a rapidly evolving digital archive; enabling us not only to inform but also innovate around the forthcoming digital challenges, and helping us to define future directions and lead the shaping of the future archive. (shrink)

With 500+ papers and 20+ books spanning many scientific disciplines, Mark Burgin has left an indelible mark and legacy for future explorers of human thought and information technology professionals. In this paper, I discuss his contribution to the evolution of machine intelligence using his general theory of information (GTI) based on my discussions with him and various papers I co-authored during the past eight years. His construction of a new class of digital automata to overcome the barrier posed by (...) the Church–Turing Thesis, and his contribution to super-symbolic computing with knowledge structures, cognizing oracles, and structural machines are leading to practical applications changing the future landscape of information systems. GTI provides a model for the operational knowledge of biological systems to build, operate, and manage life processes using 30+ trillion cells capable of replication and metabolism. The schema and associated operations derived from GTI are also used to model a digital genome specifying the operational knowledge of algorithms executing the software life processes with specific purposes using replication and metabolism. The result is a digital software system with a super-symbolic computing structure exhibiting autopoietic and cognitive behaviors that biological systems also exhibit. We discuss here one of these applications. (shrink)

In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not (...) only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light. (shrink)

Digital companies exhibit discontinuous growth in the process of shifting from their existing core business to a newer and less familiar business. This pattern of growth often ends in failure mainly because companies invest most of their resources in maintaining the value network of their existing core business, which ultimately results in a “lock-in” effect. The fractal theory assumes that there are similarities among fractals within companies. These similarities may reduce the threats posed by the value network lock-in effect (...) and increase the chances of successful discontinuous growth. In this study, we applied fractal theory to consider the following questions: in what aspects does the successful discontinuous growth of digital companies exhibit fractal characteristics? What strategy does digital companies use to ensure these fractal characteristics? We adopted an exploratory single-case study method and chose ByteDance as the case company to analyze its successful shift from Toutiao to Douyin. Our results show that a necessary condition for the successful discontinuous growth of digital companies is that similarities exist between the existing core business and the new business and entrepreneurial bricolage is a strategy used by digital companies to ensure the existence of fractal characteristics of similarities. We discuss the theoretical contributions and practical implications of this finding. (shrink)

The introduction of digital games and simulations into science museums has prompted excitement about a new "post-museum" pedagogy emphasizing egalitarianism, interactivity, and personalized approaches to learning. However, many post-museums of science, this article aims to show, enact rhetorical performances that lead visitors to narrowly targeted answers and hide the authority of the expert in a play of tactile and affective activities, thus operating in opposition to many of the basic ideals of the post-museum. The Brain and Cognition Exhibit at (...) the Hong Kong Science Museum serves as a case study for how a post-museum exhibit, through embracing interactivity and visitor-centered tasks, becomes a site where science is tested on and performed through visitors' bodies such that institutional prescriptions are applied. Visitors are not merely encouraged at this exhibit to learn about the brain through doing but are trained to see functional and dysfunctional brains and to then diagnose themselves and their children by playing games and taking brain-measurement tests. As a result, the interactive engagement of the exhibit creates a new space of public medicalization. Reflections and suggestions are offered at the end of the article. (shrink)

The web is increasingly inhabited by the remains of its departed users, a phenomenon that has given rise to a burgeoning digital afterlife industry. This industry requires a framework for dealing with its ethical implications. We argue that the regulatory conventions guiding archaeological exhibitions could provide the basis for such a framework.

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 rise of digital platforms is growingly acknowledged as a pivotal characteristic of contemporary capitalism. A subset of the literature on digital platforms scrutinized the political economy of platform companies, their data-driven business models along with the economic, social, and political consequences of platformization. Yet, this strand has been overwhelmingly interested in Big Tech companies in the United States and China. In this article, I aim to expand the geographical span of this emerging literature by scrutinizing platformization dynamics (...) in Turkey, a middle-income country that has not been systematically examined so far along these lines. To this end, I present an assessment on the overall platform landscape in Turkey by focusing on three highlight digital platforms (Trendyol, Hepsiburada, and Getir). My analysis on the trajectory of these three platforms indicates the following. First, these platforms have exhibited meteoric growth rates and have risen among the most valuable companies in Turkey in a tremendously short period of time. Second, their aggressive growth strategies based on data extraction and network externalities have led to a strong monopolization drive. Third, they have rapidly expanded into adjacent business areas, transforming themselves into infrastructural components of the domestic economy, with profound impacts on production, trade, and labor relations. Fourth, they remain dependent on the infrastructure laid by Big Techs. These findings suggest that platformization is rapidly transforming economic landscapes other than the United States and China as well, yet in an uneven and dependent form, underlining the need to broaden the geographical focus of the concerned literature. (shrink)

Public education in museums has the interdisciplinary nature of STEAM education contemporary learning. In the contemporary learning process of the public, digital museums can rely on mobile terminals to provide people with opportunities for mobile learning. Especially since the global outbreak of COVID-19, many offline museums have been forced to close their doors or impose restrictions. How to use digital museums to better carry out the learning experience of visitors is a problem worthy of attention. Effective dissemination of (...) visual information can help digital museums conduct educational activities more efficiently. The purpose of this study was to explore a research method for visual evaluation of visitors’ learning experiences in digital museums. The visual evaluation of visitors in the digital museum learning experience involves the layout of exhibition content, the form of exhibition space, and the way of display of exhibits. Through eye-tracking engineering experiments, we obtain and analyze the visual data of visitors during the educational experience of the digital museum to form an accurate evaluation. This method can be used to assess the visual satisfaction of visitors with the educational experience of a digital museum in mobile learning. This kind of evaluation research can provide strong data support and design optimization direction guidance for the development of digital museum public education. (shrink)

‘Plastinates’ (i.e. corpses conserved through plastics) are lab created artifacts which since the nineties have been the subject of a cultural field experiment via an anatomical exhibition. Similarly to brain-dead or digitalized bodies, they constitute an ambiguous form of post-mortem existence. The article inquires after the ways in which the ontological status of these entities is constituted through the practices of body donors, anatomists and visitors. Plastinates owe their ambiguity to an oscillation between two different frames of perception. Their (...) meaning is determined by the extent to which an anatomy exhibition can impose a ‘medical gaze’ over a non-professional way of perception, which would stubbornly associate bodies with persons. This association depends on two qualities of plastinates, which refer back to the donor: on the one hand, they draw the observer into a communicational relationship, since the body is the archetypal medium of the self-representation of persons. On the other hand, the plastinated body, considered as ‘bequest’, acquires a biographical dimension: though the exhibition tries to appropriate the individual body anatomically, as an exemplar of a timeless, abstract idea of the human, the visitor’s mundane perspective reintegrates the exhibit into history. Plastinates are the embodied expression of the last will of those people whom the public meets in the exhibition. (shrink)

Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories routinely (...) reveal creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

This mixed-methods study examines autonomy and shifts in the evolving digital news industry. Autonomous agency of news workers is an essential indicator of how journalism work is fulfilling its role as the Fourth Estate in American democracy. This work responds to calls in media ethics, media sociology and moral ecology to better understand how organizational structure and individual moral psychology factors influence the levels at which digital news workers exhibit autonomy within their digital news organizations. Using participant (...) observation, a unique survey and respondent interviewing, I worked for one year with a digitally native hyper-local news organization to examine how organizational structure, leadership, socialization, and individual factors influenced autonomy levels in the staff. Results found overall high levels of autonomy in the editorial staff, but with many constraints such as financial pressures, perceived lack of time, a high pressure to perform multiple jobs and duties outside of the scope of typical legacy journalism job descriptions. (shrink)

Presentation of self (via Goffman) is becoming increasingly popular as a means for explaining differences in meaning and activity of online participation. This article argues that self-presentation can be split into performances, which take place in synchronous “situations,” and artifacts, which take place in asynchronous “exhibitions.” Goffman’s dramaturgical approach (including the notions of front and back stage) focuses on situations. Social media, on the other hand, frequently employs exhibitions, such as lists of status updates and sets of photos, alongside situational (...) activities, such as chatting. A key difference in exhibitions is the virtual “curator” that manages and redistributes this digital content. This article introduces the exhibitional approach and the curator and suggests ways in which this approach can extend present work concerning online presentation of self. It introduces a theory of “lowest common denominator” culture employing the exhibitional approach. (shrink)

Medical school curricula and postgraduate education programmes expend considerable resources teaching medical ethics. Simultaneously, whistleblowers’ agitation continues, at great personal cost, to prompt major intrainstitutional and public inquiries that reveal problems with the application of medical ethics at particular clinical “coalfaces”.Virtue ethics, emphasising techniques promoting an agent’s character and instructing their conscience, has become a significant mode of discourse in modern medical ethics. Healthcare whistleblowers, whose complaints are reasonable, made in good faith, in the public interest, and not vexatious, we (...) argue, are practising those obligations of professional conscience foundational to virtue based medical ethics. Yet, little extant virtue ethics scholarship seriously considers the theoretical foundations of healthcare whistleblowing.The authors examine whether healthcare whistleblowing should be considered central to any medical ethics emphasising professional virtues and conscience. They consider possible causes for the paucity of professional or academic interest in this area and examine the counterinfluence of a continuing historical tradition of guild mentality professionalism that routinely places relationships with colleagues ahead of patient safety.Finally, it is proposed that a virtue based ethos of medical professionalism, exhibiting transparency and sincerity with regard to achieving uniform quality and safety of health care, may be facilitated by introducing a technological imperative using portable computing devices. Their use by trainees, focused on ethical competence, provides the practical face of virtue ethics in medical education and practice. Indeed, it assists in transforming the professional conscience of whistleblowing into a practical, virtue based culture of self reporting and personal development. (shrink)

This article examines the confessional booth as an architected space that, by serving as a geo-epistemological enclosure, prefigures digital forms of data capture and production. In conversation with critical scholarship about ‘confessional culture,’ it analyzes how confessionals and digital enclosures embody different historical iterations of a cultural technique that promises absolution – understood as a cleansing process of transparent exposure. It argues that, with digital enclosures, the renunciative self-mortification that lies at the heart of classic Christian confession (...) is reprogrammed into what Byung-Chul Han calls a ‘pornographic self-presentation.’ The self-death dealt by the confessional thus becomes an apparently voluntary self-exploitation for the social media subject. In both cases, however, absolution governs via rituals of cathartic transparency, submitting interiority to processes of legible exteriorization and articulating the subject via an exhibitive logic that blurs the boundaries between communicative freedom and compulsory self-exposure. (shrink)

Receptor tyrosine kinases exhibit ligand‐induced activity and uptake into cells via endocytosis. In the case of epidermal growth factor (EGF) receptor (EGFR), the resulting endosomes are trafficked to the perinuclear region, where dephosphorylation of receptors occurs, which are subsequently directed to degradation. Traveling endosomes bearing phosphorylated EGFRs are subjected to the activity of cytoplasmic phosphatases as well as interactions with the endoplasmic reticulum (ER). The peri‐nuclear region harbors ER‐embedded phosphatases, a component of the EGFR‐bearing endosome‐ER contact site. The ER is (...) also emerging as a central player in spatiotemporal control of endosomal motility, positioning, tubulation, and fission. Past studies strongly suggest that the physical interaction between the ER and endosomes forms a reaction “unit” for EGFR dephosphorylation. Independently, endosomes have been implicated to enable quantization of EGFR signals by modulation of the phosphorylation levels. Here, we review the distinct mechanisms by which endosomes form the logistical means for signal quantization and speculate on the role of the ER. (shrink)

Large groups of people exhibit social intelligence: coherent behavior directed towards individual or collective goals. This paper examines ways in which such behavior is produced in face to face situations, and discusses how it can be supported in online systems used by geographically distributed groups. It describes the concept of a “social proxy,” a minimalist visualization of the presence and activities of participants in an online interaction that is used to make online social norms visible. It summarizes experience with an (...) implemented system, presents conceptual designs that illustrate the range of situations to which social proxies can be applied, and discusses how to go about designing these types of visualizations. (shrink)

This article analyses the aesthetics of digital compression as revealed in Thomas Ruff’s Jpegs series of photographs (2004–07). These images exhibit a poor standard of digital picture resolution fixed as large-scale, high-quality, lustrous C-type photographic prints. With reference to Vilém Flusser’s writing on photography, I argue that Ruff’s work discloses a ‘horror of digital photography’: a system of automated representation, which inverts our relationship to the photographic image.

As an essential institution of social public aesthetic education, the art museum has always undertaken the primary function of social aesthetic education. The digital art museum expands the role it is not able to play based on the space constructed by the physical art museum. Although the digital construction of domestic art galleries has been carried out for many years, its special significance and unique advantages are difficult to show under the usual operation and exhibition mode. The (...) sudden epidemic has changed people's life track and way of thinking to a certain extent, which will undoubtedly provide a significant development opportunity for the digital art museum. Based on the broad background that the country adheres to building morality and cultivating people, attaches great importance to aesthetic education, and vigorously carries forward the spirit of aesthetic education, this article compares and combs the current digital development achievements of art museums at home and abroad, and it considers the construction and potential problems of the cloud model of digital art museums in China's postepidemic era. This article attempts to provide a theoretical basis for accelerating the renewal of the educational model and ways of contemporary social aesthetic education. (shrink)

The aim of this article is to analyse interactive reinterpretations of two of Raul Meel’s artworks. They were created after the original works were made; they reference the original artworks and are meta-referential. These reinterpretations allow the original artworks to be opened and explained and become instantiations of their algorithmic content. The questions that arise in this article are as follows: how can physical artworks be opened up for audiences by means of interactive emulations? How can this serve to document (...) and preserve the unique experience of the artist? The aim of this article, in addition to the practical analysis of the two case studies, is to discuss the wider context of the problems of meta-artworks and the following direct questions that arise out of analysing them as research objects. I analyse in detail a selection of media artworks in which meta-referentiality is foregrounded. A focal point of my discussion is an interactive emulation of Raul Meel’s Under the Sky, which was created for his biggest retrospective exhibition entitled Dialogues with Infinity (2014) at the Kumu Art Museum in Tallinn. My second object of interest is the mobile app ‘seeESE’ based on Meel’s installation The Dice, shown in the same exhibition at the Kumu museum in 2014, of which the original version dates back to 1969. (shrink)

When experienced in-person, engagement with art has been associated—in a growing body of evidence—with positive outcomes in wellbeing and mental health. This represents an exciting new field for psychology, curation, and health interventions, suggesting a widely-accessible, cost-effective, and non-pharmaceutical means of regulating factors such as mood or anxiety. However, can similar impacts be found with online presentations? If so, this would open up positive outcomes to an even-wider population—a trend accelerating due to the current COVID-19 pandemic. Despite its promise, this (...) question, and the underlying mechanisms of art interventions and impacts, has largely not been explored. Participants were asked to engage with one of two online exhibitions from Google Arts and Culture. With just 1–2 min exposure, both improved negative mood, state-anxiety, loneliness, and wellbeing. Stepdown analysis suggested the changes can be explained primarily via negative mood, while improvements in mood correlated with aesthetic appraisals and cognitive-emotional experience of the exhibition. However, no difference was found between exhibitions. We discuss the findings in terms of applications and targets for future research. (shrink)

In the passage of time from the 1960s to the 1970s, the Brazilian artist Waldemar Cordeiro developed his first works in computer art by applying the mathematical concept of “derivative function.” Around the same time, he organized and took part in exhibitions, and composed a series of essays envisaging that the use of digital resources would become an inevitable process for the future of information reception and artistic communication. A closer look at Waldemar Cordeiro's production, both artistic and theoretical, (...) after almost 50 years of his first forays into the field of art and technology, is an excellent opportunity not only to revisit his trajectory, but to rewrite the history of digital art and our conception of it, locating Brazil and Latin America as situated centrally, not peripherally, in relation to the European and North American narratives. Drawing from theorists in the field of informational esthetics as well as scholars in the field of media such as Arlindo Machado and Vilém Flusser, this article seeks to demonstrate, through the analysis of Waldemar Cordeiro's theoretical–artistic productions, the relationship between his work, the field of cybernetics, and his utopian and social vision of artistic production. (shrink)

With the worldwide spread of the Internet, human activity has become permeated by digital media, which shapes communication and interaction and speeds up the improvement of the experience and diffusion of museum exhibitions. Contemporary museums must understand their audiences, especially with respect to online preferences and surfing involvement experiences. Museums are changing in an effort to attract young netizens to access and use museum resources. Virtual museums are increasingly using digital exhibitions to preserve and apply their collections and (...) establishing online community platforms to interact with young people. This study investigates the underlying mechanism of online community characteristics that enhance audiences’ emotional resonance and involvement. Results from a questionnaire survey of Taiwan undergraduate students show that perceived relevance and esteem improve their emotional resonance, which can attract new people and maintain existing relationships within their communities. Following flow theory, maintaining community relationship characteristics increases emotional resonance, which, in turn, enhances user involvement, but we found only small significant effects of emotional resonance on involvement. These findings illuminate the mechanism of the attitudinal relationship building and maintenance for online museum communities and advance the practical contributions of online museum community use and effects. (shrink)

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive (...) narratives. The "Woman, Life, Freedom" movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

The exhibition Critical Zones – Horizonte einer neuen Erdpolitik (2020–2022) at the ZKM Karlsruhe is a renewed attempt to unite artistic, philosophical, and scientific knowledge production in the medium of the ›Gedankenausstellung‹ (thought exhibition). The thematic orientation of the exhibition draws upon the writings of Bruno Latour, one of the curators. The article analyzes how his research on the critical zone, the terrestrial, and the Gaia hypothesis has been transformed into an exhibition format, intending a transmedial (...) spatialization of thoughts combined with the visitor’s experience ›how to land on earth‹. Based on a detailed exhibition analysis, it examines the curation and mediation of Latour’s earth-political thoughts and concepts in both the physical exhibition and the digital exhibition platform that evolved in response to the Covid-19 pandemic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Quan Zhou Wu and Linaje’s GenealogyJulia Haeyoon Chang (bio) Click for larger view View full resolutionQuan Zhou WuENJOY (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 5] Click for larger view View full resolutionQuan Zhou WuUNA DE ELLAS (Linaje 2024)Art and design by Quan ZhouWu Digital infrastructure by Marco Fratini[End Page 6] Click for larger view View full resolutionQuan Zhou WuMEMORIAS (...) RETORCIDAS(Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 30] Click for larger view View full resolutionQuan Zhou Wu,NEGATIVOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 31] Click for larger view View full resolutionQuan Zhou WuELLAS Y YO (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 49] Click for larger view View full resolutionQuan Zhou Wu,STATEMENT (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 74] Click for larger view View full resolutionQuan Zhou WuLAS ARTISTAS QUE NO FUIMOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 75]Quan Zhou Wu’s followers will surely be struck—as I was—by the multisensory digital exhibit “Linaje” (“Lineage”), which was published in 2024 and departs, perhaps unexpectedly, from the artist’s previous well-established oeuvre. Before delving into the work in question, it may be fruitful first to have a glimpse at the artist’s iconic aesthetic. In 2015, and at the age of twenty-seven, Wu, a self-taught artist, debuted her first graphic memoir, Gazpacho Agridulce. The book commences with her parents’ newfound life in Spain after leaving Qingtian, a province of Zhejiang, China, to run a restaurant in Algeciras, a municipality of Cadiz. The opening pages of Gazpacho pack a punch, depicting Wu’s dramatic and untimely birth in a taxicab en route to the hospital.Gazpacho’s publication initiated a crucial sea change in the predominantly white Spanish publishing world, which would soon after be rocked by a boom of racialized1 authors penning anti-racist memoirs and other works of non-fiction.2 Gazpacho would also eventually become the first of the author’s trilogy of graphic memoirs, which was completed by the sequels Andaluchinas por el mundo (2017) and the most recent La agridolce vita (2023).Wu’s narratives capture the familial, identarian, and social conflicts that erupt from cultural disloyalties and racism—direct consequences of migration. She and her sisters, for example, loathe their family’s rigid Chinese and Christian mores and long for the cultural markers of an ordinary Spanish childhood, structured of course by U.S. global consumer culture, e.g. Barbie, Pizza Hut, and McDonald’s.An illustrator, cartoonist, and podcaster, Wu’s talent as a storyteller lies in her complex use of humor. With great care for her subject and her reader, Wu deploys humor to tend to the uncouth, raw, and ugly parts of life. In so doing, the author invites us to laugh and ultimately reckon with our own discomfort as we with sit with the heaviness of racism, sexism, and post-migration melancholy—using humor as a salve.At her best, Wu serves irreverence, rawness, and wit. To be immersed in her books is to rub up against the rough-hewn emotions that bring her characters to life. The vibrancy of her palette and the whimsy of her pen strokes are inviting, animated, and deceptively light-hearted. In an instant, lines and pigment rearrange into abstractions dense with affect. Fiery hollowed eyes, a gaping mouth, and flushed skin burn through the frame—making the volcanic rage of a migrant mother immediately palpable. It’s so emotive, it practically singes your skin. Click for larger view View full resolutionFigure 1.Cover of Wu’s first graphic memoir Gazpacho agridulce: Una autobiografía china-andaluza[End Page 102] Click for larger view View full resolutionFigure 2.Excerpt from Gazpacho agridulce (courtesy of the artist)[End Page 103]While... (shrink)

Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The (...) latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations. (shrink)

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 數位復活是利用數位技術、大資料和人工智慧等技術實現的同一性的再現式行為，數位人是一種特殊的數位記憶形式。從語言維度看，語言再現能夠將逝者的聲音和言語方式再現，但是數位語言存在如無法呈現世界經驗，數位主 體的語言與理解呈現出分裂、無法再生意義以及非言語行為的單向交流等問題；從影像維度看，圖像再現能夠將逝者的影像呈現，數位圖像數能夠確保整體性的構建，但是卻無法實現道德責任的建構。面對數位影像，我們無法實 現對數位親者和數位他者的道德責任。從復活主體看，復活自我、復活他者和復活親者是數位復活基本的三種形式。復活自我的本質是增強意義上的做法，而復活他者則是懷念意義上的做法；復活親者是悼念意義上的做法。 Digital resurrection refers to a representational act involving digital technology, big data, or artificial intelligence in which the digital agent offers a specific form of digital memory. From the linguistic dimension, although language reproduction can imitate the voice and speech styles of the departed, digital reproduction cannot present a lived experience of them. The digital subject, which exhibits a split between language and (...) understanding, may fail to regenerate a clear meaning or unidirectional communication from the animated image of the departed. In terms of the digital agent, ambivalent relationships exist among the three entities of the departed, the self, and the other. Digital resurrection can offer three forms of meaning: an enhanced meaning from the self, the memorial meaning of the other, and a condoling meaning from the departed. Who is the resurrected agent? Who has the digital memory? Who is ethically responsible for the digital data used to create the digital memory? All of these questions should be addressed and discussed. (shrink)

Anatomical exhibitions, online atlases and televised dissections have recently attracted much attention and raised questions concerning the status of and the authority over the human body, the purpose of anatomical education within and outside medical schools and the methods of teaching in the digital age. I propose that for understanding the current public views of anatomy, we need to gain insight into their historical development. This article focuses on anatomies accessible to non-medical audiences in the capital of the Habsburg (...) Empire, Vienna, at the time when the city was the seat of a world-leading medical school. Anatomy at the University of Vienna was famous for its research, instruction and the abundant provision with dissectible corpses. Public anatomies were equally rich and ranged from exhibitions at the Präuscher’s Panoptikon und Anatomisches Museum , established in 1871 in the Prater amusement park, lectures on human and comparative anatomy by the university professor Carl Bernhard Brühl (1863–1890), to displays of anatomical objects at the World Exhibition in 1873. I finish by discussing a collection of letters written by the prospective ‘cadaver donors’, offering an insight into the ways in which medical encounters and anatomical knowledge informed the working-class views of their bodies. By looking at the kinds of anatomy in circulation, as well as at the participants in these exchanges, I want to illuminate the relationship between academic and public anatomies, as well as to reveal the purposes to which public anatomy served. (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)

Cet article explore une problématique de l'identité personnelle alternative à celle du contrôle policier pour étudier les traces numériques que créent ou laissent les usagers sur Internet et sur les dispositifs informatiques en général. Cette problématique embrasse toutes les traces, numériques et non numériques. Le constat de départ est celui d'une évolution récente de la présentation de soi dans l'espace public qui expose désormais des données jadis réservées à l'intimité. L'hypothèse conséquente est qu'existe un lien entre l'affichage d'une identité plus (...) détaillée et la conscience de vivre dans une société incertaine. Dans cette perspective, les motivations qui président à cet affichage sont la recherche de l'estime de soi et de la considération par autrui, deux composantes du lien social, ébranlées dans les sociétés incertaines. Une attention particulière est également accordée, dans ce climat d'incertitude, à la géolocalisation qui contribue au travers de divers appareils à situer en temps réel et constamment les individus les uns par rapport aux autres.This paper explores an approach to personal identity issues that offers an alternative to police surveillance for investigating digital traces created or left behind by people who use the Internet and information technology in general. The approach covers all traces, whether digital or not. The paper posits a recent trend in which personal identities are presented in a public sphere that has begun to exhibit information of a type that was formerly divulged only in intimate circles. The ensuing hypothesis is that there is a link between the public display of more detailed personal identities and people s awareness of living in a society of uncertainty. If this is indeed the case, then the reason underlying the display of one s private identity in public is a quest for self-esteem and for the esteem of others - both being integral to the social cohesion now being undermined by uncertainty in society. In this context of uncertainty, particular attention is given to geolocation, which, through various technical systems, enables individuals to locate each other in real time, and at any time. (shrink)

The lantern exhibition at the Lantern Festival is an important traditional festival in Taiwan. Visitors play an important role in the promotion and sustainable development of intangible cultural heritage. In recent years, the involvement of digital technology in traditional lantern design and shows has contributed to the protection, inheritance, and promotion of ICH, there remains less research on using augmented reality with ICH tourism. In this study, AR is used for ICH lantern exhibition to discuss the learning (...) experience in lantern tourism and the relationship between technology acceptance and satisfaction from the perspective of visitors, as well as evaluate what AR has on improving visitors’ awareness and learning experience. Then, primary variables of the technology acceptance model are combined with generic learning outcomes to integrate ICH, education, and technology to expand TAM, building a new model to study the ICH learning experience. A questionnaire and observation are used. Respondents are visitors participating in the AR lantern exhibition in Taiwan, which is designed by the author. There is a total of 200 questionnaires collected in the end. The result shows that knowledge and understanding, attitudes and values, activity, behavior, and progression, and enjoyment, inspiration, and creativity from GLOs have a positive effect on technology acceptance and actual use. Therefore, visitors are satisfied with innovative and interesting technology learning experiences, enhancing learning interest and results. Besides, the interaction of the AR system improves visitors’ learning motivation, which shows the combination of AR technology with ICH tourism helps improve cultural awareness. (shrink)

According to a traditional view, scientific laws and theories constitute algorithmic compressions of empirical data sets collected from observations and measurements. This article defends the thesis that, to the contrary, empirical data sets are algorithmically incompressible. The reason is that individual data points are determined partly by perturbations, or causal factors that cannot be reduced to any pattern. If empirical data sets are incompressible, then they exhibit maximal algorithmic complexity, maximal entropy and zero redundancy. They are therefore maximally efficient carriers (...) of information about the world. Since, on algorithmic information theory, a string is algorithmically random just if it is incompressible, the thesis entails that empirical data sets consist of algorithmically random strings of digits. Rather than constituting compressions of empirical data, scientific laws and theories pick out patterns that data sets exhibit with a certain noise. (shrink)

A number of philosophers and logicians have argued for the conclusion that maps are logically tractable modes of representation by analyzing them in propositional terms. But in doing so, they have often left what they mean by "propositional" undefined or unjustified. I argue that propositions are characterized by a structure that is digital, universal, asymmetrical, and recursive. There is little positive evidence that maps exhibit these features. Instead, we can better explain their functional structure by taking seriously the observation (...) that maps arrange their constituent elements in a non-hierarchical, holistic structure. This is compatible with the more basic claim advanced by defenders of a propositional analysis: that (many) maps do have formal semantics and logic. (shrink)

In the first experiment, I exhibit unreliable judgment about the primeness or divisibility of four-digit numbers, in contrast to a seeming Excel program. In the second experiment, I exhibit an imperfect memory for arbitrary-seeming three-digit number and letter combinations, in contrast to my seeming collaborator with seemingly hidden notes. In the third experiment, I seem to suffer repeated defeats at chess. In all three experiments, the most straightforward interpretation of the experiential evidence is that something exists in the universe that (...) is superior in the relevant respects – theoretical reasoning (about primes), memorial retention (for digits and letters), or practical reasoning (at chess) – to my own solipsistically-conceived self. (shrink)

For many people, consciousness is one of the defining characteristics of mental states. Thus, it is quite surprising that consciousness has, until quite recently, had very little role to play in the cognitive sciences. Three very popular multi-authored overviews of cognitive science, Stillings et al. [33], Posner [26], and Osherson et al. [25], do not have a single reference to consciousness in their indexes. One reason this seems surprising is that the cognitive revolution was, in large part, a repudiation of (...) behaviorism's proscription against appealing to inner mental events. When researchers turned to consider inner mental events, one might have expected them to turn to conscious states of mind. But in fact the appeals were to postulated inner events of information processing. The model for many researchers of such information processing is the kind of transformation of symbolic structures that occurs in a digital computer. By positing procedures for performing such transformation of incoming information, cognitive scientists could hope to account for the performance of cognitive agents. Artificial intelligence, as a central discipline of cognitive science, has seemed to impose some of the toughest tests on the ability to develop information processing accounts of cognition: it required its researchers to develop running programs whose performance one could compare with that of our usual standard for cognitive agents, human beings. As a result of this focus, for AI researchers to succeed, at least in their primary task, they did not need to attend to consciousness; they simply had to design programs that behaved appropriately (no small task in itself!). This is not to say that conscious was totally ignored by artificial intelligence researchers. Some aspect of our conscious experience seemed critical to the success of any information processing model. For example, conscious agents exhibit selective attention. Some information received through their senses is attended to; much else is ignored.. (shrink)

It is only now, with the rise of digitalization and the near-obsolescence of traditional technology, that we are becoming fully aware of the distinctive character of analogue photography. This owl-of-Minerva-like appreciation of the analogue has prompted photographic art practices that mine the medium for its specificity. Indeed, one could argue that analogue photography has only recently become a medium in the fullest sense of the term, for it is only when artists refuse to switch over to digital photographic technologies (...) that the question of what constitutes analogue photography as a medium is self-consciously posed. While the benefits of digitalization—in terms of accessibility, dissemination, speed, and efficiency—are universally acknowledged, some people are also beginning to reflect on what is being lost in this great technological revolution. In this context, artists' use of analogue film and the revival of early photographic techniques should be regarded as timely interventions, although these may strike some as anachronistic. This essay does not attempt an ontological inquiry into the essential nature of the analogue; rather, it is an effort to articulate something about the meaning of analogue photography as an artistic medium for contemporary artists by paying close attention to its meaning and stakes for particular artists. Instead of presenting a general survey, I want to consider the work of just two artists, Zoe Leonard and Tacita Dean, both of whose work is concerned with what is being lost. As Leonard put it: “New technology is usually pitched to us as an improvement. … But progress is always an exchange. We gain something, we give something else up. I'm interested in looking at some of what we are losing.”1 Tellingly, both artists have produced exhibitions simply called Analogue. Leonard gave the title to a large project she did between 1998 and 2009 consisting of 412 silver gelatin and c-prints of local shop fronts in lower Manhattan and poor market stalls around the world.2 Dean used it for a 2006 retrospective exhibition of her films, photographs, and drawings. (shrink)

This essay explores various ways in which bibliographies have exhibited “sociality.” Bibliographies are both products of the social contexts that have created them and engines of social interaction in scholarly communities. By tracing the history of the Isis Bibliography, the longest-running and most comprehensive bibliography in its field, this essay explains how different Isis classification systems have been tied to major twentieth-century cataloging efforts. By looking at classification, the essay also attends to the ways in which aspects of the Isis (...) Bibliography in different decades have reflected social mores of their period. Finally, it demonstrates how critical the Isis Bibliography was in the formation of the discipline of history of science and goes on to discuss how that disciplinary connection is evolving in the twenty-first century. By thinking of the bibliography as a network of scholars, not just scholarly works, the essay asks us to reflect on the nature and purpose of bibliography in the digital age. (shrink)

During the course of this article, we examine the use of membership categorisation practices by a high-profile celebrity public social media account that has been understood to generate interest, attention and controversy across the UK media ecology. We utilise a data set of harvested tweets gathered from a high-profile public ‘celebrity antagonist’ in order to systematically identify types of antagonistic formulation that have generated different levels of interest within the social media community and beyond. Drawing from classic ethnomethodological studies of (...) banner headlines and other means of generating public interest and ‘making sense’, we respecify high-profile antagonistic tweets as category formulations that exhibit particular and regular membership category features that are reflexively bound to potential antagonistic readings, interest and controversy. In conclusion, we consider how such formulations may be understood to represent resources that constitute ignition points within antagonistic flows of communication and information that can be metaphorically understood as ‘digital wildfires’. (shrink)