L’articolo indaga l’opera di Paolo Rosa e di Studio Azzurro a partire dal suo rilievo politico. L’articolo rielabora il concetto, formulato originariamente da Walter Benjamin ne L’opera d’arte nell’epoca della sua riproducibilità tecnica, di “politicizzazione dell’arte”. Mentre per Benjamin la politicizzazione dell’arte riguarda il movimento di emancipazione delle masse da opporre alla “estetizzazione della politica”, il concetto si presta qui a una nuova interpretazione. Riprendendo il titolo di un saggio scritto da Rosa insieme ad Andrea Balzola, l’articolo mostra come l’arte (...) debba “uscire fuori di sé”. In altre parole, l’artista deve abbandonare le consuete modalità della creazione e della fruizione, per istituire nuove condizioni di interazione all’interno degli ambienti prodotti attraverso la creazione di immagini. In questo modo, l’opera di Rosa e Studio Azzurro recupera in una nuova accezione l’“aura” dell’opera d’arte. (shrink)

In recent years, the field of art therapy has sought to adapt traditional treatment approaches to today’s innovative technological environments when working with adolescent “digital natives.” In their clinic, art therapists often struggle with lack of cooperation when treating adolescents during sessions. This article presents two case studies that explore how Virtual Reality technology can be combined with traditional art therapy to treat adolescents suffering from anxiety and social difficulties. It is suggested that this type of technology may (...) lead to a better understanding of the needs of adolescents by adopting their vantage point and hence better outcomes. (shrink)

I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- Subsidization of art as (...) social policy -- Morality and the artist : toward an ethics of art -- Getting along beautifully : ideas for a social aesthetics. (shrink)

This article reports the results of an investigation into the issues encountered by undergraduate language students while engaging in ‘the Grammar Project’ - a collaborative assessment task for the module Academic and Professional Skills for Language Learning - and shows how encouraging students to take ownership of their learning process with the support of a Virtual Learning Environment can increase their motivation and their understanding of the subject matter. It shows that students’ beliefs may hinder their learning experience, while (...) maintaining that an effective social-interactive environment can help them understand subject-specific concepts, particularly if this is supported by recording their reflections both within the VLE and in a portfolio. (shrink)

This sweeping introduction to the science of virtual environment technology masterfully integrates research and practical applications culled from a range of disciplines, including psychology, engineering, and computer science.

In this paper I explored three well-known cases that seem to cast doubt on the notion that a speaker is always at the place of the utterance when the utterance occurs. I gave a few examples produced in Second Life environment, which cannot be handled correctly by evaluating the expression at issue with respect to the traditional view, i.e., the kaplanian framework—where the agent and the utterer will always be identical, and the referent of “I” will always be the utterer. (...) The same happens to “here” and “now”; in each case the character of the indexical is a function from a contextual parameter to the referent of the expression. An example of logical truth peculiar to indexicals is the sentence “I am here now”, since, according to that view, no utterance can take place in a context whose agent is not in its location in its time. Finally I concluded by claiming that particular kinds of utterances produced in virtual environments (VE) break with the logical truth status of “I am here now”. (shrink)

Women are still underrepresented in engineering courses although some German universities offer separate women’s engineering courses which include virtual STEM learning environments. To outline information about fundamental aspects relevant for virtual STEM learning, one has to reveal which similarities both genders in virtual learning show. Moreover, the question arises as to whether there are in fact differences in the virtual science learning of female and male learners. Working with virtual STEM learning environments requires (...) strategic and arithmetic-operative competences. Even if we assume that female and male learners have similar competences levels, their correlational pattern of competences, motivational variables, and invested effort during virtual STEM learning might differ. If such gender differences in the correlations between cognitive and motivational variables and learning behavior were revealed, it would be possible to finetune study conditions for female students in a separate engineering course and shape virtual STEM learning in a more gender-appropriate manner. That might support an increase in the number of women in engineering courses. To reveal the differences and similarities between female and male learners, a field study was conducted with 56 students (female = 27, male = 29) as part of the Open MINT Labs project (the German term for Open STEM Labs, OML). The participants had to complete a virtual STEM learning environment during their regular scie... (shrink)

Direct instruction (PowerPoint presentations, lectures) often imposes hierarchical classroom structures where the teachers are considered experts, imparting knowledge to passive learners. However, the emergence of tools like Multi-User Virtual Environments (MUVEs) encourages the creation of democratic learning environments. We hypothesize that these tools lead to higher degrees of civil discourse within the classroom and create transformative learning trajectories for students, allowing them to create shared purpose to incite social change. By comparing reflectivity displayed in weekly students’ blogging (...) assignments in a classroom using an MUVE (Second Life), and one using direct instruction, we sought to gauge the effect MUVEs had on students’ reflectivity with the passage of time. Results indicated that MUVEs facilitated more critical reflection and transformative learning trajectories as compared to direct instruction frameworks. (shrink)

_Art, Community and Environment_ investigates wide-ranging issues raised by the interaction between art practice, community participation, and the environment, both natural and urban. This volume brings together a distinguished group of contributors from the United States, Australia, and Europe to examine topics such as urban art, community participation, local empowerment, and the problem of ownership. Featuring rich illustrations and informative case studies from around the world, _Art, Community and Environment _addresses the growing interest in this fascinating discipline.

What is encoded in working memory may be a content-addressable pointer, but a critical portion of the information that is addressed includes the motor information to achieve deictic reference in the environment. Additionally, the same strategy that is used to access environment information just in time for its use may also be used to access long-term memory via the pre-frontal cortex.

People with neurodevelopmental disorders are often considered unsuitable or incapable of working in open employment. When employment is available, tasks are often limited, and opportunities for career development are restricted. Policy and funding constraints leave people with disabilities without an opportunity to develop skills due to the additional time and costs for employers. To overcome these barriers, virtual environments have been proposed as a safe and reliable solution for training. An important prerequisite for a wider uptake of training (...) in virtual environments are demonstrations that the training leads to improved performance in the real world. This is particularly true for people with neurodevelopmental disorders, as transferring learnings from one context to another can be challenging. A systematic review was conducted to assess whether training in virtual environments can be used to improve real-world vocational skills in people with neurodevelopmental disorders. After a systematic search in six databases, eight out of the initially identified 1,806 articles met the inclusion criteria. The findings from these eight studies demonstrate that people with neurodevelopmental disorders can transfer vocational skills from virtual environments to real-world settings. With substantial technological improvements, a surge in accessibility, and improved affordability, there is a need to build upon the promising results identified in this review. (shrink)

The idea of immersion research has been explored in various disciplines: Virtual Reality, Interactive Storytelling, Art, etc. However, most researchers focus on constraints of the hardware and software, and are less focused on the conceptual and philosophical implications of immersion and presence. This paper aims to define a certain quality of immersion that has emerged from artisticresearch experiences. Overall, immersion is an integrated conscious state where mind, body and environment are well interrelated and interweaved. Within the concept of immersion, (...) we explore four categories: ambient immersive natural space, body interaction, new consciousness and flow of energy. Finally, the paper presents examples of our artresearch work and offers detailed explorations on the quality of immersion. (shrink)

This article presents and reflects upon artistic artworks at the intersection of virtual and physical computer systems with wet (biological) systems, in reference to Roy Ascott’s ‘moist theory’. It is divided into two sections. The first section offers contextualization by pointing to Darcy Ribeiro’s considerations of differentiations among Brazilians, thus leading to an expectation of miscegenation that assimilates and incorporates races and beliefs in a syncretic way. To this background is added a theoretical framework based on semiotics entwined with (...) mathematics and physics from a set of authors. Both aspects are intertwined with visceral sensations and feelings which emerged from immersible field researches. Glimpses of the 1997 Xingu expedition are introduced as an example of such immersible field research to unveil aspects related with moist theory. The second section presents four case studies that illustrate all of the concepts previously mentioned. Here, syncretism is understood as a field for events that engender the artworks. These artworks are created as metaphorical journeys aimed at expressing potential shamantic experiences and configured as a set of symbiotic systems. Two of these artworks explore neural connections; their research involves computer devices that allow human interferences in the behaviours of autonomous agents in virtual reality simulations. The resultant systems are artificially alive organisms in flux with the rhythms of the autonomous programmed processes; these change each time they run within the computer, allowing the user to symbiotically interfere in the algorithmic nature of artificial ‘seeds’. These poetic realms are metaphors of the flow of life itself. Summing up, they are technoetic artworks that could only arise from the Brazilian melting pot of cultural, racial and theoretical mixtures. (shrink)

Designing a virtual environment within a digital game occupies a large part of the design procedure, requiring holistic attention and a broad arrangement of the game constituents. Considering other design disciplines, they occupy a unified design methodology; however, a comprehensive literature review reveals the lack of the intended design methodology in the digital game domain's virtual environment development, despite a currently proposed theoretical methodology trying to dissolve the issue. Hence, this research aims to determine the industry's requirements and (...) provide a set of assets included in current digital games as an initial step of providing such a design methodology for the domain. In this regard, the researchers reverse-engineered ten selected digital games, understanding the current condition of digital games via adopting the mentioned currently available design methodology. This dataset reveals a lack in the assets of the story layer in the recent digital games, despite their focus on being story-based. This dilemma leads to long text or speech conversations between game characters, disrupting the players while following the game. The current design focuses on environmental resources only, however, as a virtual landscape, the story needs to be reinforced to be a balanced and well-designed game. Hence, increasing the ratio of the assets in this layer will advance the games' interactivity. Also, as future work, this data set could pave the way for a digital game industry design tool regarding the virtual environment. (shrink)

Beyond the observation that both speakers and listeners rapidly inspect the visual targets of referring expressions, it has been argued that such gaze may constitute part of the communicative signal. In this study, we investigate whether a speaker may, in principle, exploit listener gaze to improve communicative success. In the context of a virtual environment where listeners follow computer-generated instructions, we provide two kinds of support for this claim. First, we show that listener gaze provides a reliable real-time index (...) of understanding even in dynamic and complex environments, and on a per-utterance basis. Second, we show that a language generation system that uses listener gaze to provide rapid feedback improves overall task performance in comparison with two systems that do not use gaze. Aside from demonstrating the utility of listener gaze in situated communication, our findings open the door to new methods for developing and evaluating multi-modal models of situated interaction. (shrink)

Wayfinding is defined as the ability to learn and remember a route through an environment. Previous researchers have shown that young children have difficulties remembering routes. However, very few researchers have considered how to improve young children's wayfinding abilities. Therefore, we investigated ways to help children increase their wayfinding skills. In two studies, a total of 72 5-year olds were shown a route in a six turn maze in a virtual environment and were then asked to retrace this route (...) by themselves. A unique landmark was positioned at each junction and each junction was made up of two paths: a correct path and an incorrect path. Two different strategies improved route learning performance. In Experiment 1, verbally labeling on-route junction landmarks during the first walk reduced the number of errors and the number of trials to reach a learning criterion when the children retraced the route. In Experiment 2, encouraging children to attend to on-route junction landmarks on the first walk reduced the number of errors when the route was retraced. This was the first study to show that very young children can be taught route learning skills. The implications of our results are discussed. (shrink)

Video game spaces have vastly expanded the built environment, offering new worlds to explore and inhabit. Like buildings, cities, and gardens before them, these virtual environments express meaning and communicate ideas and affects through the spatial experiences they afford. Drawing on the emerging field of embodied cognition, this book explores the dynamic interplay between mind, body, and environment that sits at the heart of spatial communication. To capture the wide diversity of forms that spatial expression can take, the (...) book builds a comparative analysis of twelve video games across four types of space, spanning ones designed for exploration and inhabitation, kinetic enjoyment, enacting a situated role, and enhancing perception. Together, these diverse virtual environments suggest the many ways that video games enhance and extend our embodied lives."--Publisher's website. (shrink)

We currently exist in a post-biological age. Mixed-realities shape the way in which we live modern life; half in physical form, half in a hyper-mediated virtual environment of network protocols. This article discusses network-based impacts on neurological navigation and the ways in which the human auditory cortex is developing through conjuncture with post-biological combinations of sound. In doing so, it examines the capacity of the human brain in decoding and understanding the abundance of sound in confluent, variegated realms of (...) existence and how such increased perceptions expand consciousness and, in turn, affect sonic creativity as a somewhat mimicry or response to our immediate auditory environments. Conclusively, it will be argued that the exploration of sound-based creativity can be reinterpreted for post-biological spaces, taking particular aim at the reflective approaches of musique concrète and how such technologically infused ideas can be transformed and recontextualized to match the power and capacity of today’s hybrid environments of occupancy. (shrink)

As part of the Dutch national science program “Professional Games for Professional Skills” we developed a stress-exposure biofeedback training in virtual reality for the Dutch police. We aim to reduce the acute negative impact of stress on performance, as well as long-term consequences for mental health by facilitating physiological stress regulation during a demanding decision task. Conventional biofeedback applications mainly train physiological regulation at rest. This might limit the transfer of the regulation skills to stressful situations. In contrast, we (...) provide the user with the opportunity to practice breathing regulation while they carry out a complex task in VR. This setting poses challenges from a technical – as well as from a user-experience perspective. We illustrate how we approach these challenges in our training and hope to contribute a useful reference for researchers and developers in academia or industry who are interested in using biosignals to control elements in a dynamic virtual environment. (shrink)

The imagistic promotion of the iconic city form is increasingly achieved by the deployment of the CCTV webcam system. This not only presents new material to mediate people's engagement with this space, but also offers new ways to materialize its actual three-dimensional form. Recent design-based research conducted at the University of Technology, Sydney, shows that the function of the CCTV Internet cameras can be extended and adapted to provide a type of engagement with urban environments that subverts its more (...) representational role and converts it into one that is qualitative and experiential. The article will discuss how the performative aspects offered by this virtual environment can be productively employed by the Internet user to not only create a new type of engagement with public space, but also, ultimately, to curate this space. The article will also reveal how the strategic deployment of recently developed non-proprietary software can be used to intervene within the operational logic of the Internet camera to exploit its potential for use as a design tool. By the strategic recruitment of this software, raw virtual qualitative data from webcam images are processed to generate a formal response to civic space. This type of intervention, which utilizes the two-dimensional image as a platform for intervention within three-dimensional space, asks the designer to relinquish the techniques traditionally used to generate urban form and instead to capitalize upon the opportunities for material intervention offered by the spatial ambiguity of virtual and real-time environments. The exploration of the distortional optical properties associated with contemporary camera technology begins to suggest the development of a range of new techniques for design intervention that will continue to evolve in direct relationship to the technology they exploit. This article will therefore discuss how the utilization of the interactive potential of the CCTV system can produce a new understanding of urban space that replaces any symbolic role for form with the affect of form. This range of unprecedented techniques can be seen to offer a new paradigm for material intervention within both virtual and urban space. (shrink)

Virtual environment landmarks are essential in wayfinding: they anchor routes through a region and provide memorable destinations to return to later. Current virtual environment browsers provide user interface menus that characterize available travel destinations via landmark textual descriptions or thumbnail images. Such characterizations lack the depth cues and context needed to reliably recognize 3D landmarks. This paper introduces a new user interface affordance that captures a 3D representation of a virtual environment landmark into a 3D thumbnail, called (...) a worldlet. Each worldlet is a miniature virtual world fragment that may be interactively viewed in 3D, enabling a traveler to gain first-person experience with a travel destination. In a pilot student conducted to compare textual, image, and worldlet landmark representations within a wayfinding task, worldlet use significantly reduced the overall travel time and distance traversed, virtually eliminating unnecessary backtracking. (shrink)

Higher education in the 21st century faces the challenge of changing the way in which knowledge is conveyed and how teachers and students interact in the teaching-learning process. The current pandemic caused by SARS-CoV-2 has hastened the need to face up to this challenge and has furthered the need to approach the issue from the perspective of digitalisation. To achieve this, it is necessary to design training programmes geared towards teaching staff and which address both the use of technology and (...) instructional design aimed at promoting the development of self-regulated learning and automatic feedback systems. In this study, work was carried out with 23 teachers in a training programme conducted through Moodle. The aims were: to test whether there were any significant differences between the behaviour patterns of new teachers compared to experienced teachers, to determine whether clusters of behaviour patterns corresponded to the type of teacher and to ascertain whether the level of teacher satisfaction with the training activity in digital teaching will depend on the type of teacher. A quantitative as well as a qualitative design was applied. Differences were found in the behaviour patterns in the training activities for the development of rubrics and use of learning analytics systems in virtual learning environments. It was also found that the type of teacher did not correspond exactly to the behaviour cluster in the learning platform. In addition, no significant differences were found in the level of satisfaction between the two kinds of teacher. The main contribution this study makes is to provide a detailed description of the training stage as well as the materials required for its repetition. Further analytical studies are required on teacher perception of training programmes in digital teaching in order to provide personalised training proposals that lead to an effective use of teaching in digital environments. (shrink)

The efficient coding hypothesis posits that sensory systems are tuned to the regularities of their natural input. The statistics of natural image databases have been the topic of many studies, which have revealed biases in the distribution of orientations that are related to neural representations as well as behavior in psychophysical tasks. However, commonly used natural image databases contain images taken with a camera with a planar image sensor and limited field of view. Thus, these images do not incorporate the (...) physical properties of the visual system and its active use reflecting body and eye movements. Here, we investigate quantitatively, whether the active use of the visual system influences image statistics across the visual field by simulating visual behaviors in an avatar in a naturalistic virtual environment. Images with a field of view of 120° were generated during exploration of a virtual forest environment both for a human and cat avatar. The physical properties of the visual system were taken into account by projecting the images onto idealized retinas according to models of the eyes' geometrical optics. Crucially, different active gaze behaviors were simulated to obtain image ensembles that allow investigating the consequences of active visual behaviors on the statistics of the input to the visual system. In the central visual field, the statistics of the virtual images matched photographic images regarding their power spectra and a bias in edge orientations toward cardinal directions. At larger eccentricities, the cardinal bias was superimposed with a gradually increasing radial bias. The strength of this effect depends on the active visual behavior and the physical properties of the eye. There were also significant differences between the upper and lower visual field, which became stronger depending on how the environment was actively sampled. Taken together, the results show that quantitatively relating natural image statistics to neural representations and psychophysical behavior requires not only to take the structure of the environment into account, but also the physical properties of the visual system, and its active use in behavior. (shrink)

Salient landmarks enhance route learning. We hypothesised that semantically salient nostalgic landmarks would improve route learning compared to non-nostalgic landmarks. In two experiments, participants learned a route through a computer-generated maze using directional arrows and wall-mounted pictures. On the test trial, the arrows were removed, and participants completed the maze using only the pictures. In the nostalgia condition, pictures were of popular music artists and TV characters from 5 to 10 years ago. In the control condition, they were recent pictures (...) of these same artists and characters. In Experiment 1, in the test trial, participants in the nostalgia condition completed the maze faster than controls. Experiment 2 conceptually replicated these findings and extended them by exploring boundary conditions. Participants had to learn two mazes sequentially. In Maze 1, we placed nostalgic/control landmarks only at non-decision points (whereas we placed them at decision points in Experiment 1). In Maze 2, we placed nostalgic/control landmarks at decision points during acquisition but removed them in the test trial (whereas they were present in the test trial in Experiment 1). In both mazes, participants in the nostalgia (compared to control) condition completed the test trial faster. (shrink)

Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage. -/- Leading international scholars have provided chapters to explain current issues in accuracy and precision; challenges in adopting advanced animation techniques; shows how archaeological learning can be developed (...) in Minecraft; they propose mixed reality is conceptual rather than just technical; they explore how useful Linked Open Data can be for art history; explain how accessible photogrammetry can be but also ethical and practical issues for applying at scale; provide insight into how to provide interaction in museums involving the wider public; and describe issues in evaluating virtual heritage projects not often addressed even in scholarly papers. -/- The book will be of particular interest to students and scholars in museum studies, digital archaeology, heritage studies, architectural history and modelling, virtual environments. (shrink)

Virtual fictionalism is the view that virtual reality is a kind of fiction. We imagine that what we see and hear in virtual reality is real, although it is not. The problem with this view is that there are real moral concerns with our use of virtual reality, from violent video games to cases of virtual groping on social platforms. If what we do in virtual reality is just make-believe, the fictionalist cannot explain the (...) real moral harms of our virtual actions. Call this the moral objection to virtual fictionalism. I address the objection in this paper by arguing for a new fictional account of virtual actions. Virtual fictionalists can take virtual actions to be happening within the fiction and consider users to act as characters or actors within the fictional world depicted in the virtual environment. Instead, I argue that virtual actions create fictional representations from outside the fiction; users act in virtual reality as an author might in their work. The alternative I present better addresses the moral objection to virtual fictionalism—it does not conflate the user with a fictional character. Our virtual actions create fictional representations, and we can morally evaluate them as such. (shrink)

Nowadays virtual reality has gained extreme popularity among adolescents around the world, thanks to the possibility they offer to create a new life for their users. Especially for teenagers affected by the hikikomori syndrome, who experience struggles in establishing communication with others, virtual reality has become a tool to forsake their “adverse” reality, shaping fictitious safe environments and creating relationships with similar-minded users. This issue of virtual reality has been depicted in recent Japanese animation, whose country (...) is mostly affected by this issue. I will show mainly two approaches to the phenomenon: the one given in the anime series Sword Art Online (2012), in which virtual reality is perceived as the only place where true communication can happen; the second is the interpretation given by director Hosoda Mamoru in his animated features Summer Wars (2009) and Belle (2021), where virtual reality is a tool to support real life’s difficulties. (shrink)

Exploring Nature's Texture brings together a collection of internationally-known group of artists, theologians, anthropologists and philosophers to look at the imaginative possibilities of using the visual arts to address the breakdown of the human relationship with the environment.

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for knowledge inspired, (...) only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

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

Virtual reality constitutes an alternative, effective, and increasingly utilized treatment option for people suffering from psychiatric and neurological illnesses. However, the currently available VR simulations provide a predetermined simulative framework that does not take into account the unique personality traits of each individual; this could result in inaccurate, extreme, or unpredictable responses driven by patients who may be overly exposed and in an abrupt manner to the predetermined stimuli, or result in indifferent, almost non-existing, reactions when the stimuli do (...) not affect the patients adequately and thus stronger stimuli are recommended. In this study, we present a VR system that can recognize the individual differences and readjust the VR scenarios during the simulation according to the treatment aims. To investigate and present this dynamically adaptive VR system we employ an Anxiety Disorder condition as a case study, namely arachnophobia. This system consists of distinct anxiety states, aiming to dynamically modify the VR environment in such a way that it can keep the individual within a controlled, and appropriate for the therapy needs, anxiety state, which will be called “desired states” for the study. This happens by adjusting the VR stimulus, in real-time, according to the electrophysiological responses of each individual. These electrophysiological responses are collected by an external electrodermal activity biosensor that serves as a tracker of physiological changes. Thirty-six diagnosed arachnophobic individuals participated in a one-session trial. Participants were divided into two groups, the Experimental Group which was exposed to the proposed real-time adaptive virtual simulation, and the Control Group which was exposed to a pre-recorded static virtual simulation as proposed in the literature. These results demonstrate the proposed system’s ability to continuously construct an updated and adapted virtual environment that keeps the users within the appropriately chosen state for approximately twice the time compared to the pre-recorded static virtual simulation. Thus, such a system can increase the efficiency of VR stimulations for the treatment of central nervous system dysfunctions, as it provides numerically more controlled sessions without unexpected variations. (shrink)

In all the Alien films, the environments are gloomy settings originally inspired by Gothic architecture, but it's the creature design, which leaves the most profound mark on us. The interaction between these art‐horror monsters and the sterileturned‐ grotesque environments of the Alien films can produce disgust or revulsion in the viewer. In Alien a fair amount of time is spent on the relationships between the crew members. One of the most horrific moments of the series is the cry (...) of “kill me” that emerges from the half‐conscious hosts as the space Marines explore the former colony of Hadley's Hope. Central to Carroll's theory on art‐horror is revulsion at the suggestion of physical contact with the fusion‐figures. At the end of Alien: Resurrection, Ripley lies in the middle of the Queen's huge mass. It is the most striking image in an otherwise cartoonish film. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as natural and built (...) class='Hi'>environments. Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

New branches of social science primarily engaging the “internet revolution” are appearing alongside mainstream research and journals such as Cyberpsychology, Behavior, and Social Networking are providing social scientists with an outlet of peer-reviewed research. HPS scholars will find new methodologies and the relation of technology to social science of particularly interest. Social scientists are becoming increasingly interested in virtual realities (see Milburn (Spontaneous Generations 2008, 63)) and are declaring time spent “in-game” ethnographic research. William Sims Bainbridge boasts 2300+ hours (...) (approximately 96 days) of ethnographic research into a virtual world he calls “The Warcraft Civilization.” Blizzard Entertainment reported in a December 2008 press release that World of Warcraft (WoW), its extraordinarily successful 2004 massively multiplayer online role-playing game (MMORPG) comprised 11.5 million subscribers worldwide . In order to accommodate player demand, Blizzard uses hundreds of servers, artfully called realms, each running an instance of WoW for subscribers to play on. There are four types of realms: normal or player-versus-environment (PvE) realms, player-versus-player (PvP) realms, role-playing (RP) realms, and role-playing player-versus-player (RP-PvP) realms. The most popular realms are PvE and PvP; players on RP and RP-PvP realms are meant to “live” in WoW and therefore must adhere to role-playing policies such as remaining “in-character” of the avatar they have selected. (shrink)

The environment raises basic questions about many of the fundamental concepts and doctrines in aesthetics and the arts. Including new work by the leading international contributors to environmental aesthetics, this is the first book to deal with the relations between the arts and environment, directed towards a non-philosophical audience of practitioners and critics, as well as theorists. Introducing many for the basic ideas and issues in the theory of the arts, particularly as they bear on environment, this book addresses the (...) special concerns of an aesthetics of environment and explores the implications of environmental aesthetics for understanding both aesthetic theory and the aesthetic of individual arts. Environment and the Arts provides an introduction to some of the most intriguing and compelling questions about understanding and appreciating the arts and environment, setting a mark for the field and opening the topics to a wider audience. (shrink)

Jacques Rancire's theory of the sensible is an attempt to frame and secure the relationship between politics and aesthetics, art and design on the same surface. Accordingly, the reconstruction of the sensible appearances of the world of the built environment, of the dcor of the sensible, as Rancire describes it is more than the negation of bourgeois appearances in the name of either a radical aesthetics or a radical politics; it is, rather, the common invention of sensible forms and material (...) structures for a life to come. In this respect Rancire's theory has much in common with the historic avant-garde. Following the constructivism of Rodchenko and El Lissitsky, representation here is not just the symbolic life of pictures, but the very materiality of things and their relations. Yet Rancire has little time for the active politicization of art, insofar this destroys, he asserts, the potential democracy of art. This leaves his constructivism in a weakened critical position. This essay explores the hiatuses and limitations of Rancire's cultural theory. (shrink)

What happens when an object you take to be beautiful or aesthetically pleasing, no longer appears beautiful or pleasing when you learn something new about it? I am assuming a situation in which there is no direct change in the perceptual features of the object, and that what you learn is not the location of some new surface property but rather a bit of non-perceptual information. I classify episodes of dampened appreciation under the heading 'aesthetic disillusionment', and in this paper (...) I explore the relationship between such episodes and the broader issue of ethical constraints on aesthetic activity and appreciation. Does it make sense to say that one should not, or ought not, take pleasure in certain objects or events? I think it does – but in a very particular, almost ecological way. The subsequent discussion focuses on ethical constraints as they operate on the aesthetic appreciation of objects and events within the natural environment. (shrink)

Virtual learning environments (VLEs) present us with unprecedented opportunities in bringing together students and educators from widely disparate geographical locations, as well as diverse cultures and backgrounds to participate in a learning experience that should take into cognizance the affordances of these novel arenas in the design of both content and the environment(s) in which this content is to be implemented/enacted. While VLEs do seem to address the requirements of well-structured learning endeavours, the boundaries of which are clearly (...) defined, they are challenged where complex learning material in which boundaries are less easily defined, as is the case in art/creativity education, are concerned. Given that the learning content of the creative fields is open ended by its very nature and as such does not seem to readily lend itself to an implementation within the structure of present-day, two-dimensional virtual learning environments, can such an environment/methodology be developed in the open-ended three-dimensional structure of a metaverse, based upon the critical examination of a real-life, historic precedent? (shrink)

The world we live in is expanding its borders by letting the virtual become part of our lives. Digitisation equally pervades the public and the private sectors and transforms interactions between individuals, and between individuals and the state. For instance, the UK government is now in the process of digitising a whole range of processes and interactions with its citizens, through the Governmental Digital Service (GDS). In this article we aim to prove that virtual worlds provide a playground (...) for social engineers, legal researchers and philosophers, for two reasons. First, virtual worlds offer confirmations of social theories of cooperation, they illustrate that cooperation among individuals emerges spontaneously where there are no established forms of governance and decision. Secondly, virtual worlds offer sandboxes where the peculiarities of online interaction can be observed. (shrink)

This paper starts with the study of realistic three-dimensional models, from the two aspects of ink art style simulation model and three-dimensional display technology, explores the three-dimensional display model of three-dimensional model ink style, and conducts experiments through the software development platform and auxiliary software. The feasibility of the model is verified. Aiming at the problem of real-time rendering of large-scale 3D scenes in the model, efficient visibility rejection method and a multiresolution fast rendering method were designed to realize the (...) rapid construction and rendering of ink art 3D virtual reality scenes in a big data environment. A two-dimensional cellular automaton is used to simulate a brushstroke model with ink and wash style, and outlines are drawn along the path of the brushstroke to obtain an effect close to the artistic style of ink and wash painting. Set the surface of the model with ink style brushstroke texture patterns, refer to the depth map, normal map, and curvature map information of the model, and simulate the drawing effect of the method by procedural texture mapping. Example verification shows that the rapid visualization analysis model of ink art big data designed in this paper is in line with the prediction requirements of ink art big data three-dimensional display indicators. The fast visibility removal method is used to deal with large-scale three-dimensional ink art in a big data environment. High efficiency is achieved in virtual reality scenes, and the multiresolution fast rendering method better maintains the appearance of the prediction model without major deformation. (shrink)

Gardner’s theory of multiple intelligences has been further developed to focus on the research of human cognitive activities. Thus, the concept of emotional intelligence, which is the topic of the current paper, was introduced by John D. Mayer, Peter Salovey and ‎Daniel Goleman. General intelligence can be defined as the capacity to carry out abstract reasoning to understand meanings, to recognize the similarities and differences between two concepts and to make generalizations. Emotional intelligence is not a part of general intelligence. (...) Emotional intelligence can be defined as an ability of a human to perceive oneself and interact with others with the help of obtained and processed emotional information. Language acquisition is mediated by the necessity to communicate with others. Consequently, the ability to manage the process of communication is of utmost importance in learning a language. Virtual learning environment reduces dramatically the immediate interaction of the participants of the process of education. It undoubtedly affects the process of acquisition and demands to reconsider the distribution of different learning activities. (shrink)

Environment and the Arts: Perspectives on Environ- mental Aesthetics. Edited by ARNOLD BERLEANT . Ashgate. 2002. pp. 192. C ONSISTING of twelve chapters, and an extended introduction, this volume provides a leading-edge anthology of reflections on environmental aesthetics.

Humans, like all organisms, have evolved to survive in specific environments, while some elect or are forced to live and work in extreme environments. Understanding cognition as it relates to environmental conditions, we use 4E cognition as a framework to explore creativity in extreme environments. Our paper examines space arts as a case study through the history, present practices, and future possible arts in the context of humans beyond the Kármán boundary of the Earth’s atmosphere. We develop (...) a proposed taxonomy of space arts, based on prior taxonomies, and provide specific exemplars of space art developed by artists in space or for use by astronauts in space. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts, driven by consideration of all biopsychosocial factors and 2) how new scientific and engineering discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by discussing possible benefits of space art, future research applications, and advocate that all space actors, government or private, involve artists in all projects beyond the Kármán Boundary of the Earth’s atmosphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Late-Marxist, Post-Poststructuralist Critical NebulosityWendell V. HarrisIllustration, by J. Hillis Miller; 168 pp. Cambridge: Harvard University Press, 1992, $35.00.The title of J. Hillis Miller’s Illustration is apt in a way other than the author anticipated: it is a composite illustration of most of what makes so much of contemporary literary and aesthetic criticism unsatisfying if not nugatory. Initial evidence of the lack of cogent conceptualization is the disparateness of the (...) two long essays jammed between the covers of the book. Part One is entitled “The Work of Cultural Criticism in the Age of Digital Reproduction” and Part Two “Word and Image.” Miller explains the relationship by saying what while the first section of the book “will attempt to understand” the shift in literary studies toward theory and especially cultural studies, the second section “will explore the relations of picture to word as one practical and theoretical issue important to cultural studies” (p. 9). But that connection is (fleetingly) asserted in the midst of an argument so fragmented and confused that whole sections must here be passed over without comment.What is most striking about Part One is the thought-disabling imprecision of many of the key terms and the not unrelated way in which the argument follows well-travelled modes of Marxist and poststructuralist thought. The title of Part One, “The Work of Cultural Criticism in the Age of Digital Reproduction,” is of course intended to [End Page 127] link Miller’s first essay to what is probably the best-known of Walter Benjamin’s essays, “The Work of Art in the Age of Mechanical Reproduction.” Both seek not only to link changing technological possibilities to the direction of cultural change, but to suggest that such changes should be harnessed to the work of political revolution. Miller might have been warned by the deficiencies of Benjamin’s over-rated essay. Benjamin begins his essay by applauding Marx for so cogently showing “what could be expected of capitalism in the future”: the prophecy Benjamin derives from Marx is “that one could expect [capitalism] not only to exploit the proletariat with increasing intensity, but ultimately to create conditions which would make it possible to abolish capitalism itself” (p. 217). 1 There is still plenty of exploitation to be found in the world, not excluding the most economically (capitalistically) developed countries, but it requires real intellectual contortions to argue that the growth and exploitation of a proletariat has increased where capitalism has most developed; the assertion that the world is moving toward the abolition of capitalism hardly requires comment.Benjamin’s closing argument, the point toward which his entire essay is presumably driving, substitutes a clever slogan for thought. “The logical result of Fascism is the introduction of aesthetics into political life” (p. 241). But, writes Benjamin in his closing sentence, “Communism responds by politicizing art” (p. 242). Miller attempts to explain the distinction: “To aestheticize politics is to treat the state as though it were a work of art” while the “politicizing of art... means affirming the political value and force of art” (p. 10). Well, it is of course possible to assume such a meaning for Benjamin’s words, especially since it is hard to know exactly what they mean, but why make so much of an essay which begins by endorsing a prophecy that has become increasingly dubious, ends in an ambiguous formulation, and in between mixes obvious and trivial observations with a highly questionable argument about the disappearance of the “aura” of a work as a result of mechanical reproduction? As for the latter, the cheap reproduction of, for example, certain of Van Gogh’s paintings can be argued to “debase” them, but if they mean little to those who encounter them only on cheap posters or computer screens, they can scarcely mean less than they did to those unaware of their existence before the age of mechanical reproduction. And after all, if the original paintings have not retained their “aura,” museums could simply fill their rooms with reproductions.The reason Miller links his essay to that of Benjamin is presumably to demonstrate his allegiance to the form of Marxist thought so frequently... (shrink)

Introduction for Reframing Beauty: Body, Environment, Art, the thematic issue of ESPES. The Slovak Journal of Aesthetics.

If the aura has been interpreted as a result of the artwork or its enactment, it is possible to think the aura as the work that the artwork produces: the artwork acts, interacts with the Other or identifies it. Can the aura be identified in this relationship between moods and emotions, between the artwork and the viewer? Where to place the path that opens a gap to establish a connection between Self and Other? The aura of the artwork is this (...) Otherness, this Other that remains to be seen, to be listened and traced: the Other that still cannot be heard, which remains silent or speaks through tensions, plots and tracks. The relationship between trauma (shock) and experience, memory and consciousness, between what is remembered and what is hard to remember, is the question addressed in these pages. (shrink)