The purpose of the article is distinguishing between "internal" and "external" public human through comprehending the phenomenon of Self in its virtual-digital essence as a popular demonstrative-project space "BETWEEN" aggression and harmony. Theoretical basis of the work is based on the study of the phenomenon of modern human aggression in the virtual-digital space and the "project space" of the living environment through understanding the nature of the human "I". The penetration limits of the (...) Self of the public human into the "project space" are comprehended and the nature of the self-realization and self-search models of human through the "transcendent ego" is revealed. Originality is demonstrated through comprehending the Self phenomenon of the public human, which forms new anthropological research direction and represents a conceptual paradigm of relationship of "human I – publicity – human We – the living space of the Other". Conclusions. The Self of the public human as the space "BETWEEN" does not completely "dissolve" in a separate ontological basis, but is the basis for the formation of his/her "I", while only participation in the existence of others reveals the meaning of his/her own existence. Such interaction requires significant human efforts – skills and competencies of public communication, which are able to create a successful self-identification of a public human without aggression and conflict. (shrink)

The intersection of philosophies of space and technology is a fecund area of inquiry that has received surprisingly little attention in the philosophical literature. While the major accounts of space and place have not considered complexities introduced by recent technological developments, scholarship on the human-technology relationship has virtually ignored the spatial dimensions of this interaction. Place and Digital Space takes a step in addressing this gap in literature by offering an original, phenomenological account of place and (...) using this framework to analyze digitally mediated spaces. I argue that places are continually evolving, internally heterogenous, and spatially distinct meaningful wholes with indeterminate boundaries. I then show how spaces mediated by digital technologies, particularly augmented reality (AR), are fundamentally different from ordinary places. The increasing use of AR, I argue, poses an unprecedented challenge to the way we interpret, engage with, and have collective experiences of everyday places. Finally, I identify ethical questions raised by the interpretation of spaces by artificial intelligence, by the unauthorized augmentation of places, and by the possibility of a few companies with big data dominating the virtual modifications of public places. (shrink)

Humankind is facing many existential global problems that require international and transgenerational efforts to be solved. Preparing our next generation with sufficient knowledge and skills to deal with such problems is imperative. Fortunately, the digital environment provides foundational conditions for children’s and adolescents’ exploration and self-learning, which might help them cultivate the necessary knowledge and skills for future survival. We conducted the Bayesian Mindsponge Framework (BMF) analytics on a dataset of 2069 students from 54 Vietnamese elementary, secondary, and high (...) schools to test this presumption. The results showed that students with higher digital literacy are more curious and have better knowledge regarding global issues (i.e., climate change, disease, overpopulation, aging, etc.). Students’ curiosity also mediates the relationship between digital literacy and global issues knowledge. Based on these findings, we argue that digital explorative space is essential for digital natives’ education for survival, individually (i.e., for future employment requirements) and socially (i.e., for making informed decisions and creating innovations that can be helpful to society). Children’s and adolescents’ exposure to digital explorative space should be promoted to improve their digital literacy rather than prohibition. During the exploration, emotional intelligence is critical in mitigating existential risks, or threats, to digital natives to navigate and overcome chaotic processes occurring in unchartered waters in the virtual world. (shrink)

I reply to seven commentaries on “The Virtual and the Real”. In response to Claus Beisbart, Jesper Juul, Peter Ludlow, and Neil McDonnell and Nathan Wildman, I clarify and develop my view that virtual are digital objects, with special attention to the nature of digital objects and data structures. In response to Alyssa Ney and Eric Schwitzgebel, I clarify and defend my spatial functionalism, with special attention to the connections between space and consciousness. In response (...) to Marc Silcox, I clarify and develop my view of the value of virtual worlds, with special attention to the case where we experience these worlds as virtual. (shrink)

A common understanding of the role of a game developer includes establishing (or at least partially establishing) what is interactively and perceptually available in (video)game environments: what elements and behaviors those worlds include and allow, and what is – instead – left out of their ‘possibility horizon’. The term ‘possibility horizon’ references the Ancient Greek origin of the term ‘horizon’, ὄρος (oros), which denotes a frontier – a spatial limit. On this etymological foundation, ‘horizon’ is used here to indicate the (...) spatial and operational boundaries that a (video)game environment affords its players. This book chapter discusses a particular feeling that emerge in relation to playful encounters with the ‘possibility horizons’ of videogames. I am referring here to the realization, as a player, that a game environment can be experientially exhausted and is, as such, ultimately banal. In other words, I will examine how our deliberate engagement with the interactive environments of digital games can trigger sensations that are analogous to what Romantic authors referred to as Weltschmerz (‘world-weariness’). (shrink)

The field of digital cultural art design is increasingly driven by technological progress, forming a unique expression form that blends virtuality and reality. From a philosophical perspective, this article explores the application and embodiment of the ancient and profound philosophical thought of "virtuality and reality" in digital cultural art design. By analyzing the origin of the philosophy of "virtuality and reality" in ancient Chinese thought and its comparison in Western philosophy, combined with the creative practice of digital (...) art, this article reveals the manifestation of the philosophical opposition and unity of virtuality and reality, form and content, finite and infinite in digital art creation. In particular, with the development of technologies such as virtual reality (VR), augmented reality (AR), and artificial intelligence (AI), digital art design is increasingly showing the characteristics of transcending time and space and combining virtuality and reality. This article deeply explores how to use the philosophical thought of "virtuality and reality" to construct the expression system in digital cultural art, pointing out that the art design combining virtuality and reality is not only a technical means, but also a manifestation of modern cultural philosophy, and provides a new thinking mode for artistic creation. (shrink)

This pioneering study harnesses virtual reality to uncover the history of five venues that have been 'lost' to us: London's 1590s Rose Theatre; Bergen's mid-nineteenth-century Komediehuset; Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese opera performances in Australia's goldfields in the 1850s; and the Stardust showroom in 1950s Las Vegas. Shaping some of the most enduring genres of world theatre and cultural production, each venue marks a significant cultural transformation, charted here through detailed discussion of theatrical praxis and (...) socio-political history. Using virtual models as performance laboratories for research, Visualising Lost Theatres recreates the immersive feel of venues and reveals performance logistics for actors and audiences. Proposing a new methodology for using visualisations as a tool in theatre history, and providing 3D visualisations for the reader to consult alongside the text, this is a landmark contribution to the digital humanities. (shrink)

In this research we will examine the paradox nature of self-reference. This concept appears in the form of pure feedback loops in language and mathematics and naturally extends towards many different domains such as biology, sociology, art and philosophy. The basic elements of human experience show the manifestations of such loops. Their results are noticeable in internal or external, mental or body processes. Our interest with these loops focuses on the domain of brain processes in observing, thinking and interpreting as (...) it is meticulously analysed in the books Gödel Escher Bach and I Am a Strange Loop. Through the interactive artistic experiments ‘Ouroboros VR Self-Reference Apparatus’ by John Bardakos (2015) and ‘Anima’ by Elhem Younes (2016) we explore applied and theoretical concepts and experiences in logic, dream aesthetics and the human creativity. These experiments were conducted using ‘perception’ as a natural model of aesthetics generator via self-reference. Within this model, the loops were enriched with an artistic metamorphose of data from measurements of the human space to the aesthetic objects in the virtual space. Through the quantifiable perception feedback loop and the digital interaction, the spectator changes his role and becomes an active artist expressing himself or herself to a digital output with the support of data. The now post-conscious artist, with the use of visual and audio-visual tool sets, observes the fusion of art technology and aesthetics being transformed into basic elements that form consciousness. (shrink)

What happens when our digital sacred spaces become violent and incite trauma or trigger reminders of traumatic experiences? This project will delve into these questions as we begin to think about trauma in digital spaces for the Lesbian-Feminist. For example, we scroll through Facebook and see that an uncle has posted a homophobic article. The logical response to this, the response that our spiritual selves tell us to follow through on, is to delete this person from our Facebook (...) friends. Clicking the delete button is a virtual action, yet a very real and physical manifestation of losing family and friends because of their homophobia or sexism. In digital sacred spaces in particular, there is a tension between self-preservation and engaging so as to educate and bring about understanding. If we cannot even occupy the same digital spaces, how can we ever grow to occupy the same physical spaces? (shrink)

The growing critical and economic success of Virtual Reality technologies is generating renewed scholarly interest in virtual environments. One of the most long-lasting and influential perspectives on the topic has been labelled «virtual realism» (Heim [1998]), and it has passed throughout the entire history of virtual environments studies up to recent days (Chalmers [2022]). Virtual Realism frames virtual environments in terms of realism, and precisely of perceptive soundness and isomorphism between physical environments and (...) class='Hi'>virtual ones, producing a convincing illusion of being physically present in the digital space. This article develops a critical counter-argument to this account. By employing James J. Gibson’s ecology of perception and Deleuze’s and Lévy’s philosophy of the virtual, the article aims at demonstrating that the ontology of virtual environments is rooted in a domain of predetermined possibilities, and that the resulting aesthetics can not be fully immersive. Instead, the latter should embrace the «emersive» and anti-realistic qualities of the medium as an expressive device. (shrink)

Video games aren't merely casual entertainment: they are the heart of one of the fastest-growing media industries in the world, and a cultural phenomenon in their own right. Gaming has evolved from a niche pastime into a global business that rivals film and television, creating, in the process, new art forms and social arenas and have become the subject of endless public debate. This book shows that games also provide a unique space in which to study economic behavior. Games, (...) more than any other form of media, demonstrate the power and creative potential of human choice - an idea that's also the foundation of economic thinking. Whether it's developing trade relations, or the use of money, or even complex legal institutions, virtual worlds provide a captivating and entertaining arena for studying economic behavior in its most dynamic forms. The overarching theme of the volume is the economic order that governs virtual worlds, and the many ways individuals work together, often without knowing it, to govern their social relations in digital space. (shrink)

_Purpose._ The article presents exploring the cultural and anthropological traits of consumers and producers of cultural services and products in the digital epoch. There have been singled out two types of cultural subjectivity according to the aim of a person’s activity in the virtual net: either production of things, services, and technologies or the consumption and creative use of all mentioned innovations. So these sociocultural formations are called "geek" and "chic" subcultures. _Theoretical basis._ The historical genealogy of the (...) definitions was analyzed, so as the changes in social esteem of the contribution of geeky persons to modern art and design practices. Social and cultural identities of those who belong to the modern youth-subcultural communities have been formed according to the topology and temporality of digital trends. To explain the worldview characteristics of the members of those subcultures the concept of "the New Middle Ages" was used to discover the values and pursuits of those who represent geek and chic subcultures. The study is based on the theoretical works of such classical authors as A. Toffler, and Z. Bauman, as well as current investigators of youth cultures. They are Calum Finister, Thomas V. Pollet, Nick Neave, Jessica McCain, Billy Wong. The chic subculture is oriented toward the imitation of visual images, consumer habits, and the way of life of successful (or seemed to be such) people. Glamorous followers need to receive approvals and likes from like-minded people. The geek subculture is more inner-sense-oriented. It unites intellectuals and activists who have common creative intentions. _Originality._ There have been analyzed the main attributes and features of such modern subcultures were conditionally named chic and geek. They were analyzed in the context of the concept of the New Middle Ages. _Conclusions._ The virtual user’s life world seems to be diverse only quantitatively, but qualitatively it is as narrow, mythopoetic, and esoterically uncritical as the world of the Medieval person, who used to live the whole life in the same place, mai in one’s village. But thanks to the merger of the IT industry with effective social management, the geek culture becomes a powerful super-subculture that defends values of social good, industrial productivity, and cultural creativity. Chic subculture creates new trends in fashion and art discourse. It develops modern lifestyles, its visual images with which our era will be associated in the future. (shrink)

In the digital era, digital games, particularly those in virtual spaces, have become integral to daily life, offering users not only a blend of real and virtual world interactions but also an enhanced sense of happiness and fulfilment. However, traditional digital gaming modes often fall short in meeting the increasing demands for higher quality and more immersive experiences. This paper proposes a new model for the development of artificial intelligence-driven digital games based on (...) class='Hi'>virtual space, addressing the ethical and spiritual implications of such advancements. The research builds on data from a 2018 user expectation survey, which indicated significant demand for enhanced virtual reality (VR) games, improved voice communication, and tactile interaction within these environments. We developed a multidimensional model incorporating vision, touch, and auditory feedback, utilizing a Kinect-based haptic interaction redirection algorithm to enhance physical-virtual interaction. This algorithm significantly reduces angular deviation by 10% in virtual navigation, enhancing the boundary definition in virtual spaces and thereby improving the immersive experience. Further enhancements include an Encoder-Decoder (ED) framework for voice communication that employs a neural network with multiple feedback loops to adjust weight values, improving speech recognition accuracy by 15%. This system provides a more responsive and realistic communication environment within digital games. Lastly, the application of computer vision technology and deep learning techniques, including a backpropagation (BP) neural network, improves the system's image recognition capabilities, extending its precision and capacity for rendering high-definition, precise game graphics. This study not only advances the technical aspects of AI in gaming but also prompts a deeper philosophical discussion on the ethical and spiritual impacts of these immersive virtual environments. As AI continues to blur the lines between reality and virtuality, this research invites further inquiry into how such technologies influence human perception, behavior, and morality within digital spaces. (shrink)

Resumen: Este artículo trata sobre la construcción de significados e interpretación conjunta de la obra literaria por medios digitales. Para ello, se hace una revisión a la realidad digital de la literatura y sus procesos de recepción: la lectura digital no viene determinada tanto por la naturaleza del texto como por el comportamiento del lector digital. Internet ha facilitado la creación de espacios de afinidad en los que los usuarios pueden reunirse en torno a sus aficiones, intereses (...) u objetivos. Se generan, así, comunidades de lectores en los que debaten, analizan y elaboran fanworks que, en suma, conforman el fandom. Desde esta perspectiva, es la comunidad, como inteligencia colectiva, y no el autor, la que establece los límites de la interpretación textual: decide qué es o no canónico. Todo ello permite llegar a la conclusión de que estas prácticas letradas permiten a los usuarios realizar una lectura virtualmente digital caracterizada por la sincronización y socialización de los procesos de comprensión e interpretación textual. Lo realmente interesante es la construcción del fanon pues se genera una lectura multilineal, hipertextual, transmediática, reactiva, y, sobre todo, consensuada.: This article deals with the construction of meanings and joint interpretation of the literary work by digital means. Thereby, a review of the digital reality of literature and its reception processes are made. Digital reading is not determined as much by the nature of the text as by the behavior of the digital reader. The Internet has facilitated the creation of affinity spaces where users can gather around their hobbies, interests or objectives. Thus, communities of readers are generated to debate, analyze and elaborate fanworks that, in short, make up the fandom. From this perspective, it is the community, as collective intelligence, and not the author, that sets the limits of textual interpretation: they decide what is or is not canonical. All of this allows us to conclude that these literacy practices allow users to perform a virtually digital reading characterized by the synchronization and socialization of the processes of comprehension and textual interpretation. The most interesting issue is the construction of the fanon because it generates a multilinear reading, hypertextual, transmedia, reactive, and, above all, consensus reading. (shrink)

This paper states that the concept of real is modified by the emergence of nomadic technology devices, which are responsible for creating a hybrid reality that merges physical and digital spaces. The concept of virtual space is analysed from the perspective of arts and science fiction. The first section shows how the concept of virtual space as a mindspace has been developed. The idea of cyberspace as a place for the mind emphasizes the traditional Cartesian (...) doubt, that is, does the mental image correspond to the real? In the second section, the paper argues that the concept of virtual changes, since it can no longer be considered a disjoint from physical space; rather, it belongs to it. Finally, the movies The Thirteenth Floor (Rusnak 1999) and The Matrix (Wachowski and Wachowski 1999) are case studies that illustrate how the idea of inhabiting a virtual space has changed from the traditional notion of virtual space as a place for the mind to a hybrid space that is part of our lives. As a result, it amplifies the notion of what the real can be. (shrink)

Even though the digital church has been in existence for some time, it was mainly a transmission of onsite church services and programmes in the online space. The coronavirus disease 2019 (COVID-19) pandemic and its demands for a global shutdown to mitigate and contain the disease moved almost all social activities including church services to the online space. It is evident that persons with disability experience extreme exclusion from the church’s theology, praxes, and ethos. Unfortunately, this phenomenon (...) is replicated in the virtual space. Research proves that persons with disability were not considered in the migration of churches to the virtual space; hence, digital accessibility is minimal or non-existent during and after the COVID-19 era.Contribution: This article explores the various transformational stages of both the church and media while further exploring possible ways by which the virtual church may grant accessibility to persons with disability. (shrink)

This study investigates the complex relationship between the physical and digital spaces of the city of Douala, Cameroon by comparing its online representation with the social representations emerging orally by locals. Using the results of two existing studies reporting on the online image of the city, we investigate the social representations foreigners and locally relevant people have of Douala and uncover similarities and discrepancies of the two resulting representations. Outcomes from the analysis permit reflection on the implications of these (...) and show an unripe, intermediate stage of the “hybrid Douala,” where the virtual space seems still not to be affecting the way the physical space is experienced, as well as where the gaps in the digital divide are perpetuated. At the same time, strong local ownership of certain digital activities suggests how the online image of the city is in the process of being constructed and developed locally. As the spaces of the city start appearing online, the process of hybridization between physical and digital Douala is slowly taking place and offline and online narratives, now rather separated, will possibly communicate a different image of the city to global online narratives. (shrink)

In this paper, we draw on Foucault's and Deleuze's theorisations of discipline and control, respectively, to understand a teacher accountability system in the US state of Texas: the Texas Teacher Evaluation and Support System (hereafter, T-TESS). Specifically, we focus on the interplay of physical and virtual modes of governance – which we develop here as physical–virtual hybridity – and the techniques that make these physical and virtual domains compatible via language interoperability, with T-TESS deployed as a representative (...) empirical case to show how such technologies work to govern teacher subjectivity. First, in-person appraiser meetings and observations re-code teachers’ linguistic behaviours, so their physical bodies and practices can become legible to and interoperable with the hybrid T-TESS system. This avoids any possible syntax errors between the linguistic expression of physical teacher speech and the digital coding language of T-TESS. Second, these digital bodies of data can now be viewed as proxies for the physical teacher body in the classroom, allowing the constant modulation in physical space (teacher bodies) and digital space (bodies of data). This is the physical–virtual hybridity of T-TESS, whereby discipline and control work symbiotically to govern both the physical and the digital expressions of teachers and their teaching. In this way, the disciplining of teachers’ language has profound effects on teachers’ bodies, both corporeal and digital. (shrink)

Whilst previous research into mothering on social media has focused on representations of intensive mothering ideology, this paper argues that social media are fundamentally changing mothering discourses for some users. The paper explores ‘good’ mothering in digital communities by considering: the legitimised expression of ambivalent emotions in digital mothering communities; the shifting relationship between private and public, with implications for new forms of maternal intimacy; the forms of surveillance engaged in, and resisted, online; and the opportunities for women (...) to play with alternative identities. Through analysis of posts on the British mothering internet forum ‘Mumsnet’, the paper suggests the concept of virtual mothering to encapsulate the emerging ways in which mothering is performed through online spaces. Four aspects of virtual mothering discourse are explored – perfection, privacy, politics and play. (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)

In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality. Arguing against the acoustic or standard definition of sound as a sound wave, the book builds a case for a sonic aggregate as the virtual cloud of potentials created by perceived sound. The authors build on their recent work investigating the nature and perception of sound as used in computer games and virtual environments, (...) and put forward a unique argument that sound is a fundamentally virtual phenomenon.Grimshaw and Garner propose a new, fuller and more complete, definition of sound based on a perceptual view of sound that accounts more fully for cognition, emotion, and the wider environment. The missing facet is the virtuality: the idea that all sound arises from a sonic aggregate made up of actual and virtual sonic phenomena. The latter is a potential that depends upon human cognition and emotion for its realization as sound. This thesis is explored through a number of philosophical, cognitive, and psychological concepts including: issues of space, self, sonosemantics, the uncanny, hyper-realism, affect, Gettier problems, belief, alief, imagination, and sound perception in the absence of sound sensation.Provocative and original, Grimshaw and Garner's ideas have broader implications for our relationship to technology, our increasingly digital lives, and the nature of our being within our supposed realities. Students and academics from philosophy to acoustics and across the broad spectrum of digital humanities will find this accessible book full of challenging concepts and provocative ideas. (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)

The practice of modern craniomaxillofacial surgery has been defined by emergent technologies allowing for the acquisition, storage, utilization, and transfer of massive amounts of sensitive and identifiable patient data. This alone has thrust providers into an unlikely and unprecedented role as the stewards of vast databases of digital information. This data powers the potent surgical tool of virtual surgical planning, a method by which craniomaxillofacial surgeons plan and simulate procedural outcomes in a digital environment. Further complicating this (...) new terrain is the involvement of third‐party contractors—a necessary presence in bringing raw data to bear in the office, virtual space, and operating room. The individual privileges and responsibilities of patients, providers, and vendors towards data are situated within the most recent U.S. court rulings and regulations. This paper offers guidance for overseeing the safe and responsible transfer to third‐party contractors, and provides suggestions for negotiating the trinary relationship between physicians, their patients, and the vendors offering this transformative technology. (shrink)

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

Over the last 30 years, the computer and videogame has emerged as a popular recreational pastime. While often associated with the artificial and alien, it is my contention that the modern videogame informs on the subject of “nature” and what we consider to be natural. This article delineates some of the “natures” posited in computer game design. It provides a valuable overview of gaming culture and might serve as an introduction to further research on specific game genres. It argues that (...) virtual worlds are currently serving a dual purpose, of reinforcing traditional stereotypes of the natural world, while gradually moving towards radical, new forms of “virtual” nature to contend with. It suggests that the mimicking of biological systems in computer games expresses both our lingering cultural interest in the “great outdoors” and a need to give familiarity and substance to an electronic medium marked by its failure to fit within traditional notions of space and geography. (shrink)

This paper explores the perversion of reality in the context of advanced technologies, such as AI, VR, and AR, through the lens of Jean Baudrillard’s theory of hyperreality and the precession of simulacra. By examining the transformative effects of these technologies on our perception of reality, with a particular focus on the usage of digital avatars, the paper highlights the blurred distinction between the real and the simulated, where the copy becomes more ‘real’ than the original. Drawing on Baudrillard’s (...) concept of hyperreality, the paper delves into the perversion of reality as individuals seek refuge in virtual pleasure paradises and embrace artificial pleasures through their digital avatars, disconnecting from genuine human experiences. The convergence of AI, VR, and AR technologies amplifies this hyperreal condition, where digital avatars mimic or surpass the depth of human relationships, challenging our understanding of what is real. In line with Baudrillard’s theory, the paper explores the objectification and commodification of reality within digital spaces, specifically examining the digital avatars’ role in the erosion of genuine human connections. It explores the implications of these avatars in terms of consent, exploitation, and loss of authenticity, echoing Baudrillard’s concerns about the distortion of reality in contemporary society. Recognizing the implications of these technologies, the paper calls for a critical reflection on their transformative power. It emphasizes the need for a nuanced understanding of the hyperreal condition and ethical responsibility in engaging with AI, VR, and AR, particularly in relation to the usage of digital avatars. By resisting the seductive allure of digital escapism and preserving genuine human connections, we can navigate the perversion of reality and cultivate empathy, compassion, and meaningful interactions that transcend the simulated experiences offered by technology. (shrink)

Libraries occupy a special space in our society, and our minds. Today, public libraries are struggling hard to attract new users and increase footfalls that seem to be in the downtrend. Besides, Physical Libraries need innovations in their services frontier to survive stiff competition from virtual digital libraries that provide instant access to information at no cost. Librarians and library professionals as knowledge managers could help design and foster entrepreneurship models of service delivery aimed towards bringing novelty (...) in their operations. This is for the reason that libraries must take up the challenges to survive and compete with digital libraries which would maximize user satisfaction, attract new patrons and increase their user base. To make libraries economically independent and socially competent knowledge organizations, libraries need to innovate and adopt entrepreneurship-intrapreneurship business models which would attract investments from the private sectors. To transform libraries into productive, innovative knowledge organizations, librarians must take the initiative to think out of the box. This paper addresses these issues and analyses the intrapreneurship attitude to library operations. It argues that librarians should adopt a model of knowledge entrepreneurship where librarians, besides being knowledge managers, would also act as intrapreneurs within their organization. (shrink)

In this paper we will be discussing the ethical risks of the transcendental quality of virtual spaces as they apply to digital health, especially in relation to new attempts to construct a “social mediome.” As we will discuss in the following section, phenomenology has raised criticisms against the context-lessness and ethical opacity of technology. The creation of a social mediome seems to come as an answer to this criticism as it creates a context that gives voice and flesh (...) to human beings within their virtual lives. Yet, as we will discuss in this paper, the transcendental quality of this social mediome might involve the risk of normalizing health in a way that would prevent individuals from achieving well-being according to the meaning that they personally attribute to it. (shrink)

properly, for instance, in today’s videoconferencing systems, because the camera and the display screen cannot be in the same spot. This usually leads to a deadened and formal affect in interactions, eye contact being a nearly ubiquitous subconscious method of affirming trust. Furthermore, participants aren’t able to establish a sense of position relative to one another and therefore have no clear way to direct attention, approval or disapproval. Tele-immersion, a new medium for human interaction enabled by digital technologies, approximates (...) the illusion that a user is in the same physical space as other people, even though the other participants might in fact be hundreds or thousands of miles away. It combines the display and interaction techniques of virtual reality with new vision technologies that transcend the traditional limitations of a camera. Rather than merely observing people and their immediate environment from one vantage point, tele-immersion stations convey them as “moving sculptures,” without favoring a single.. (shrink)

Tuning in to nature -- The book of nature -- Reproducing nature -- Digital autochthony -- Contested places -- Zoo-space -- Refuge -- Numinous places -- The machine stops.

The advent of new media interactions has not only transformed the way museums curate and present cultural heritage but has also significantly influenced the reconstruction of religious memory and identity. Digital technologies enable immersive engagement with sacred artifacts, texts, and narratives, fostering deeper emotional and intellectual connections between visitors and religious traditions. By integrating interactive media into museum exhibitions, institutions can enhance the spiritual resonance of religious heritage, providing visitors with a participatory experience that strengthens their connection to sacred (...) history, theological concepts, and collective identity. This study explores the theoretical foundations of _collective religious memory_ and _spiritual identity formation_ in the context of digital museum design. By constructing an audience activity model and a hierarchical framework for narrative and interactive design, the research examines how digital storytelling, augmented reality (AR), and virtual reality (VR) enhance the experiential and educational value of religious exhibitions. Strategies for digital museum design are proposed, including immersive contextual atmospheres that allow visitors to engage with religious narratives in a deeply personal and contemplative manner. The integration of mirrored storytelling and interactive theological discourse fosters a heightened sense of spiritual connection and participation, reinforcing both individual and communal religious identity. Additionally, intelligent digital memory systems facilitate personalized engagement with religious texts, artifacts, and rituals, creating an adaptive learning environment that strengthens both cognitive and emotional understanding of religious traditions. By bridging the gap between traditional religious experience and modern technological advancements, this study highlights how digital museums serve as contemporary spaces for the preservation, reinterpretation, and transmission of sacred memory. It argues that new media interactions not only enhance the accessibility of religious heritage but also provide innovative pathways for engaging with theological discourse, fostering interfaith dialogue, and deepening spiritual reflection. Future research should further explore the role of digital museum spaces in shaping contemporary religious consciousness and their potential for sustaining and revitalizing sacred traditions in an increasingly digitalized world. (shrink)

This article examines popular cinema’s interactions with digital culture, focusing on cinema and social structure. A product of technological and social developments, digital culture has introduced the creation of cyberspace, the emergence and spread of social media, and the formation of virtual communities. This article focuses on a specific period (1980 – 2010) to examine the evolution in cinema of portrayals of digital culture. The analysis includes four influential films: WarGames (1983, by John Badham), Perfect Blue (...) (1997, by Satoshi Kon), Pulse (2001, by Kiroshi Kurosawa), and Life in a Day (2011, by Kevin Macdonald, Loressa Clisby, and Tegan Bukowski). The article provides a guide to popular cinema's interaction with and use of the possibilities offered by digital culture, revealing how the four selected films reflect digital culture themes. Each film demonstrates different aspects and dynamics of digital culture at a particular time, offering a unique look at that period's social and technological landscape through its portrayal of technological developments, human relations, cultural values, and social norms. Each film evaluates the impact of the digitization process on cinema from different perspectives, depicting how cinema adapts and responds to technological changes. (shrink)

During the 2020 COVID-19 epidemic a variety of social activities migrated online, including religious ceremonies and rituals. One such instance is the case of Santo Daime, a Brazilian rainforest religion that utilizes the hallucinogenic brew ayahuasca in its rituals. During the pandemic, multiple Santo Daime rituals involving the consumption of ayahuasca took place online, mediated through Zoom and other online platforms. The phenomenon is notable since the effects of hallucinogens are defined by context (set and setting) and Santo Daime rituals (...) are habitually governed by punctilious regulations aimed at directing the experience of participants. The abrupt move to online space thus augurs significant implications in the context of hallucinogenic rituals. This paper looks at this development and its repercussions for entheogenic rituals, as it asks how do psychedelic rituals change when they move online? Building on the author’s previous work on set and setting in the Santo Daime religion, the paper introduces accounts from 12 semi-structured interviews with daimistas participating in online daime rituals, approached through the prism of set and setting, and the study of online religiosity. The analysis points at several key dynamics emerging in the context of virtual rituals. The migration online allowed for the continuation of Santo Daime entheogenic rituals at a time of social distancing, fostered a sense of global brotherhood and opened new possibility for religious participation and learning. Concurrently, online ritual produced an impoverished ritual experience and novel types of challenges including a higher potential for distractions, technical difficulties, and low sensory fidelity. Other novel challenges included social anxiety and an in-built tension between the social and spiritual dimensions of ritual. Finally, some participants were concerned by the cultural context of online rituals: technological mediation, consumerism, commodification, and digital divide. The limitations of digital technology appear amplified by the highly immersive, body oriented, experientially intensified context of the psychedelic experience. This paper contributes to the literature on the extra-pharmacological factors shaping experiences with psychedelics, as well as to the literature on the consequences of the adoption of digital media technologies during the COVID-19 pandemic. (shrink)

This paper presents and discusses the website. Under the title “The Virtual Laboratory: Essays and Resources on the Experimentalization of Life” it gives access to a massive collection of texts and images concerning the experimental life sciences of the 19th and early 20th century. The main focus is on physiology and psychology. Plant breeding is an additional theme. As of now, the Virtual Laboratory gives access to some 12,000 digital items, i.e. historical text books, journal articles, manuscripts, (...) trade catalogs, photos, films, audio files, etc. At the same time, the Virtual Laboratory is a platform for historians of science to publish and discuss their research on the experimentalization of life. Topics range from the history of precision time measurements in the physiological lab to the historical epistemology of hearing and the role of the Axolotl as an experimental animal in zoology. By way of a guided tour through the Virtual Laboratory, the paper describes the kind of epistemic space that was created. It argues that open access to historical sources as well as tight connections between historical research papers and their raw data, e.g. manuscript sources, profoundly change what used to be called the Archive. Today’s historians of science have started to work within a space that is widely distributed and extremely flexible with respect to its internal connections. It is a space that turns the Archive into an authentic laboratory for the science historian. (shrink)

Riassunto: Può la corporalità dirsi ancora una condizione costitutiva dell’esperienza nella presente era digitale? Esistono due fondamentali modi di affrontare la questione, la cui rilevanza è stata di recente sottolineata da ricercatori attivi nei campi dell’ Intelligenza Artificiale Incorporata. Il primo interpreta la questione come incentrata su un’indagine della relazione fra corporalità e digitalizzazione, il processo cioè di digitalizzare dati il quale rende possibile simulare, aumentare e perfino costruire la realtà all’interno di uno spazio di esperienza virtuale, assumendo l’idea tradizionale (...) del computing come un’attività che utilizza dispositivi artificiali, elettronici, per processare, gestire e comunicare informazioni. Il secondo considera la stessa relazione da una diversa prospettiva, facendo cioè riferimento al computing come a un’attività naturale, secondo l’emergente ricerca di computing naturale condotta nel campo del computing non convenzionale. Seguendo quest’ultima prospettiva, che sta acquisendo un crescente consenso all’interno della comunità scientifica, il lavoro indagherà il ruolo costitutivo della corporalità rispetto all’esperienza virtuale associata a una nota ed oramai autonoma area di ricerca del computing naturale, vale a dire il computing morfologico, utilizzando il metodo della fenomenologia genetica. Parole chiave: Computing naturale e computing artificiale; Corporeità; Morfologia naturale e morfologia artificiale; Fenomenologia genetica Lived Body and Virtual experience. A Phenomenological Perspective: In what sense can corporality still be considered a constitutive condition for experience in the current digital age? Recent scholarship in the fields of Embodied Artificial Intelligence and the philosophy of Embodied Artificial Intelligence has probed the relevance of two approaches to this question. The first queries the relationship between corporality and digitization, i.e., examining how it is possible to simulate, augment, and even construct reality within a space of virtual experience by digitizing data. This approach builds on the traditional idea of computing as an activity that uses artificial, mostly electronic, devices to process, manage, and communicate information. The second approach, increasingly favored by computer scientists, considers computing to be a natural activity, and approaches this same relationship from the perspective of emerging research in unconventional computing, specifically Natural Computing. This paper follows the latter approach, addressing the constitutive role of corporality in virtual experience associated with a well-known and still autonomous research area within Natural Computing, that is, Morphological Computing, from the from the point of view of genetic phenomenology. Keywords: Artificial and Natural Computing; Corporality; Natural and Artificial Morphology; Genetic Phenomenology. (shrink)

As rational agents, we are engaged in practices of mutual accountability. We produce reasons that explain and justify what we do. In producing reasons, we address demands of explanation and justification. Where do such demands come from? This is one of the central questions of this chapter. My contention is that in the attempt to make sense of and justify their actions, rational subjects construct reasons in an ideal dialogue with others. In the practice of exchanging reasons, rational subjects address (...) others under different descriptions. To assess the normative force of reasons, it is thus relevant to ask to whom reasons are addressed. On some philosophical accounts, reasons have a local authority insofar as they address others as members of the same community. This is the particularistic view. By contrast, on some other philosophical accounts, reasons are public and universal and address others as equals. This is the universalistic view. I deploy this distinction to articulate some issues about how to understand and measure the normative relevance and impact of web communication in the recent development of antimafia culture. The basic claim is that web communication broadens the scope of the relevant others and thus allows for reasons that have appeal independently of territorial belonging. The focus of the argument will be on the practices of “placing oneself in a space” as distinct sources of normativity. While the argument I produce is largely speculative and exploratory, I hope that it suffices to call attention to some aspects of the antimafia movement, which deserve closer scrutiny, such as the nature of the resources available because of the impact of web communication. As an example of this communication, I take into consideration Libera, an important non-profit organization, which fights the mafia by making a particularly effective use of social networks in building a virtual community of empowerment. (shrink)

In the digital age, the concept of identity has evolved in ways that challenge long-held philosophical assumptions about the self. No longer has fixed or continuous, identity become fragmented, shaped by multiple digital personas that people craft in response to the ever-expanding digital universe. Now, there is no sense of a fixed self that remains constant throughout space and time. Self and identity can be seen as a Heraclitean flux always in a state of becoming and (...) never for a moment being in a state of being. The boundaries between the real and the virtual have blurred, and hyperreal experiences now often seem more significant than actual events. This review delves into the complex relationship between selfhood and digital representation, exploring how traditional theories like Baudrillard’s hyperreality and Buddhist notions of impermanence help explain this transformation. It examines the implications of digital simulations, especially in the context of digital immortality, which raises profound questions about consciousness, existence, and the essence of being. In a world where avatars, social media profiles, and virtual realities dominate, self navigates an uncertain terrain between reality and simulation. This study is an exploration of the evolving nature of identity, consciousness, and human experience in the age of digital fragmentation, with a focus on the philosophical and psychological dimensions of selfhood in the modern, digitized world. (shrink)

This paper introduces the concept of Adaptive Rooms, which are virtual environments able to dynamically adapt to users’ needs, including ‘physical’ and cognitive workflow requirements, number of users, differing cognitive abilities and skills. Adaptive rooms are collections of virtual objects, many of them self-transforming objects, housed in an architecturally active room with information spaces and tools. An ontology of objects used in adap- tive rooms is presented. Virtual entities are classified as passive, reactive, ac- tive, and information (...) entities, and their sub-categories. Only active objects can be self-transforming. Adaptive Rooms are meant to combine the insights of ubiquitous computing -- that computerization should be everywhere, transpar- ently incorporated -- with the insights of augmented reality -- that everyday ob- jects can be digitally enhanced to carry more information about their use. To display the special potential of adaptive rooms, concrete examples are given to show how the demands of cognitive workflow can be reduced. (shrink)

The article examines the impact of the virtual public sphere on how urban spaces are experienced and conceived in our data-driven society. It places particular emphasis on urban scale digital twins, which are virtual replicas of cities that are used to simulate environments and develop scenarios in response to policy problems. The article also investigates the shift from the technical to the socio-technical perspective within the field of smart cities. Despite the aspirations of urban scale digital (...) twins to enhance the participation of citizens in the decision-making processes relayed to urban planning strategies, the fact that they are based on a limited set of variables and processes makes them problematic. The article aims to shed light on the tension between the real and the ideal at stake during this process of abstracting sets of variables and processes in the case of urban scale digital twins. (shrink)

Cyberspace, a term popularized in the 1984 novel Neuromancer, was used by William Gibson to describe the ‘consensual hallucination’ and interstitial online world that lies between the reality of our world and that of the surreal terrain of dreamscapes. While many attempts have been made to describe this intangible, yet seemingly perceptible space, the digital domain as a metaphor mirrors in many ways our own inadequate understanding of consciousness. Conversely, the physicist Michio Kaku explains that our reality is (...) bounded by hyperspace – a multi-dimensioned space beyond our quotidian 3D existence that runs parallel, or tangential, to us along with the phenomenon of time. Indeed, if space and time (here considered as space–time) are a consolidated whole in the physical sense, perhaps our consciousness, as a structure manifest within this continuum may itself be thought of as a sensorial projection of this amalgam that attempts to observe and make sense, or meaning, of this condition. In truth, what if our need and delight in storytelling is driven by the evolution of our biology, as well as our impulse to locate our place in the universe? This article will attempt to examine and delimit the narrative confines of space–time as an appeal to, and an endeavour at, uncovering the alterity of storytelling as a function of consciousness. It will visit the realms of the holograph, quantum mechanics, virtual and augmented realities, as well as other scientific and philosophical tracts as a means to investigate and explore the physiology of space and our imperative desire to share stories. (shrink)

The field of eSports is undergoing a process of developing and evolving with irresistible forces. The process witnesses the ever-refreshing and hybrid meanings and definitions of Sports and eSports in the digital era of technology empowerment and advancing artificial intelligence. This paper calls us to re-construct the meanings and sporting values of eSports, re-evaluate the eSports landscape, going beyond the debate ‘Are eSports Sports?’ and move to re-examine the contextual nature and values of Sports and eSports, as well as (...) their interweaving relationships in contemporary society. It is of significance to explore the way in which the intelligent embodiment of eSports and the virtualisation of traditional sports integrate with each other, offering the potential for fitness and physical exercises and practices in real and virtual spaces. Meanwhile, crucial digital ethics issues are emerging in the field of eSports, potentially challenging and alerting the eSports industry to take timely measurements to maintain the Sport’s integrity. (shrink)

The promised open space of cyber-interaction has its dark side hidden behind its brilliant rhetoric. The danger emerges within the very center of developing this technology (cyber-evolution). That is a more fundamental danger than this dark side seems to have. The possible replacement of our primary reality with virtual reality might erode the significance of our existential reality. This means also that the virtual reality might lose its own ground to be constructed. In order to clarify this (...) fundamental problem at issue I show some results from a questionnaire done on younger generation. The results seem to suggest possible way of facing this problem. (shrink)

If the twentieth century was the age of the world picture taken as a photograph of the Whole Earth from outer space, today’s observations of the planet are produced by means of computer simulation. Pandemic models are of paramount sociological interest in this respect, since modelling contagion is closely intertwined with modelling the material connectivities of social life. By envisioning the global dynamics of disease transmission, pandemic simulations enact the relationscapes of a transnational world. This article seeks to analyse (...) such an enactment: It asks how simulation methods can establish a particular relation to the social from within the social. To provide an answer to this question, and adopting Niklas Luhmann’s theory of world society, pandemic simulations are described as modes of global self-observation that can be specified factually, socially, spatially and temporally. They instantiate a ‘doubling of reality’ designed to apprehend the potential future threat of disease transmission along the pathways marked by global infrastructures. They constitute scopic regimes that virtually synthesize a global situation of universal communicability in order to turn the world into an object of political intervention. (shrink)

The technological virtual demands philosophical scrutiny. Existing methodologies, like pragmatism and social constructivism, often limit the examination of technology to the social, neglecting questions of embodiment. Said approaches tend to overlook the intricate existential connection between the embodied individual and digital technology artefacts. This article argues that Merleau-Ponty’s phenomenology may be mobilised to describe, understand and reconceptualise the category of the virtual and the dynamic relation between the digital technology artefact and its user. The result is (...) a clearer description and deeper understanding of the richly intertwined reversible relationship between the embodied individual and the artefactual – two poles or points from which virtual space as emergent perceptual characteristic arises. Questions of the body and the artefactual are therefore not tangential to the question of virtual space; rather, the re-deployment and development of key concepts from Merleau-Ponty’s work shows that such considerations are crucial for the ongoing development of a phenomenological account of the phenomenon of digital technology. We thus see that digital technology artefacts constantly, and in an encompassing manner, challenge perceptual faith, necessitating increased imaginative signification to make sense of a world via these technologies. In this manner, the process of sense-making as regards the self, world and others is modified. (shrink)

The organizational theory literature is reasonably unanimous that team autonomy is a key factor for employee well-being and motivation as well as organizational performance. However, team autonomy is challenged when its processes and outputs need to be aligned with actors and factors external to a team. There are likely challenges and conflicts between team autonomy and the need for coherence in the wider system. Team autonomy has a range of implications and is challenged by a number of factors, such as (...) knowledge complexity and decision-making, learning, large-scale problems, product and technical interdependencies, the use of platforms, virtual collaboration and diversity. Alignment with the external is particularly necessary in multi-team environments with many technical interdependencies, where a single team’s failure to deliver a sufficient level of quality may lead to system-wide consequences. Therefore, teams in complex environments increasingly need to regulate and manage their work in cooperation with internal and external partners and systems. Such dependencies challenge team autonomy. In this special issue of AI&S, we want to address these topics in more detail, particularly in the context of software-intensive organizations and digital transformations. The scope and, thus, the consequences of a team’s work can be far-reaching when the team’s effort and output take place partially or completely in fully digitized contexts and processes. The articles in this special issue show various ways of dealing with the challenge of balancing autonomy and alignment with the external. A key focus is to show the buffering function: how teams, with the help of processes, technology, new organizational forms and time and space are able to find the buffer needed for maintaining team autonomy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 54-82 [Access article in PDF] Seeing With The Body The Digital Image In Postphotography Mark B. N. Hansen In a well-known scene from the 1982 Ridley Scott film Bladerunner, Rick Deckard scans a photograph into a 3-D rendering machine and directs the machine to explore the space condensed in the two-dimensional photograph as if it were three-dimensional [see fig. 1]. Following Deckard's commands to (...) zoom in and to pan right and left within the image space, the machine unpacks the "real" three-dimensional world represented by the two-dimensional photograph [see figs. 2-3]. After catching a glimpse of his target—a fugitive replicant—reflected from a mirror within the space, Deckard instructs the machine to move around behind the object obstructing the two-dimensional photographic view of the replicant and to frame what it sees [see figs. 4-5]. Responding to the print command issued by Deckard, the machine dispenses a photograph of the replicant which is, quite literally, a close-up of an invisible—indeed nonexistent—part of the two-dimensional original [see fig. 6]. And yet, following the fantasy of this scene, this impossible photograph is—or would be—simply the image of one particular data point within the data set comprising this three-dimensional data space. As fascinating as it is puzzling, this scene of an impossible rendering—a rendering of two-dimensional data as a three-dimensional space—can be related to the crisis brought to photography by digitization in two ways. On the one hand, in line with the film's thematic questioning of photography as a reliable index of memory, this scene foregrounds the technical capacity of digital processing to manipulate photographs. In this way, it thematizes the threat posed by digital technologies to traditional indexical notions of photographic realism. On the other hand, in what has turned out to be a far more prophetic vein, the scene presents a radically new understanding of the photographic image as a three-dimensional "virtual" space. Such an understanding presupposes a vastly different material existence of the photographic image: instead of a physical inscription of light on sensitive paper, the photograph has become a data set that can be rendered in various ways and thus viewed from various perspectives.The first position corresponds to the arguments made by William Mitchell in his now classic book, The Reconfigured Eye. In a comprehensive analysis of the techniques and possibilities of digital imaging, Mitchell concentrates on demarcating the traditional photographic image from its digital doppelgänger. While the specter of manipulation has always haunted the photographic image, it remains the exception rather than the rule: "There is no doubt that extensive reworking of photographic images to produce seamless transformations and combinations is technically difficult, time-consuming, and outside the mainstream of photographic practice. When we look at photographs we presume, unless we have some clear indications to the contrary, that they have not been reworked" [Mitchell 7]. To buttress this claim, Mitchell sketches three criteria for evaluating traditional photographic images: (1) does the image follow the conventions of photography and seem internally coherent? (2) does the visual evidence it presents [End Page 54]Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click for larger viewFigure 1Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="32" />Click for larger viewFigure 2Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click... (shrink)

The practice of parkour in urban spaces by young people, especially those who call themselves traceurs, illustrates how identities are formed in an ephemeral way by reinterpreting spaces in the city – briefly and without leaving a trace. However, in a sort of paradox, these interventions are registered in the socio-digital spectrum, tokenistically anchoring and incorporating them into conversations and social interactions. This work aims to explain the practice of the sport called parkour as a socio-semiotic phenomenon. We have (...) used some zones of Mexico City as a specific case for our approach. The foregoing leads to the conclusion that the meaning of parkour goes beyond its recreational role and places it as a relevant piece of identity for excluded urban social groups – even though these practices have been appropriated by marketing strategies. Our approach will use a cultural semiotics perspective, as well as direct observations and interviews as research techniques. (shrink)

In the immersion process the border between the canvas and the spectator or between screen and user dissolves, and the distance or physical separation between virtual and physical space is no longer given. The self can expand into the virtual, to test its own boundaries by abandoning the materiality of the limited corpus (Ostermann and Wenzel 2011). This phenomenon can also be understood as a dialogue, an important exchange, which can be itself an illuminating experience for the (...) self and the mind. If the subject is an individual in an auditorium and the object is changing between the physical space of a digital theatre surrounded by a 360° canvas and the virtual world on the canvas, how can the encounter or the immersion process be described and even more important: how can it be induced? (shrink)