Movement abnormalities are prevalent across all stages of schizophrenia contributing to poor social functioning and reduced quality of life. To date, treatments are scarce, often involving pharmacological agents, but none have been shown to improve movement abnormalities effectively. Virtual reality (VR) is a tool used to simulate virtual environments where behavioral performance can be quantified safely across different tasks while exerting control over stimulus delivery, feedback and measurement in real time. Sensory information is transmittedviaa head mounted display (...) allowing users to directly interact with virtual objects and bodies using gestures and body movements in the real world to perform different actions, permitting a sense of immersion in the simulated virtual environment. Although, VR has been widely used for successful motor rehabilitation in a variety of different neurological domains, none have been exploited for motor rehabilitation in schizophrenia. The objectives of this article are to review movement abnormalities specific to schizophrenia, and how VR can be utilized to restore and improve motor functioning in patients with schizophrenia. Constructing VR-mediated motor-cognitive interventions that can help in retaining and transferring the learned outcomes to real life are also discussed. (shrink)

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

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

The idea of considering the living as an element of risk-taking was first inspired by my interest in existentialist approaches in different fields – literature, philosophy, the performing arts, etc. – as well as in the experimental approach Roy Ascott proposes between the arts and technology. Ascott (2003b: 150) advances an interpretation of change that is of particular interest to me: ‘the act of changing becomes a vital part of the total aesthetic experience of the participant’. In his article ‘Biophotonic (...) flux: Bridging virtual and vegetal realities’, Ascott (2003a) speaks of a digital paradigm whose ‘systems and processes become increasingly ubiquitous and invisible, [while provoking] many artists [to] seek new horizons – in the biological sciences, nanotechnology, and the study of consciousness, leading to the emergence of a “moistmedia” (incorporating digitally dry and biologically wet systems)’. From the outset, Ascott (2003b: 123) positions his concept of moistmedia within a dynamic of experimentation, stating ‘I use the word experimental to mean making an action the outcome of which is not foreseen’. I consider these ideas as being fundamental for my own research and for this article, in which I propose a re-evaluation of the relationship between the moving body and technology; more specifically, I suggest focusing on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. Thus, my latest research-creation projects led me to the conception and experimentation of a new aesthetic paradigm, which takes the form of a proposition of collective physical and mediated bodies. My interest in conducting creative research involving technology concerns the fact it reveals previously unknown aspects of the body. This article therefore reflects on the experience and conception of the performative body in the link it entertains with technology; an evolutive relationship from which emerges a complexification of self. To do so, I will highlight sensorial and perceptual phenomena and strategies related to the transformation of the body through its contact with technology – lived as a physicality – and subjective experience. This article also introduces the idea of how a culture of flux – reality in flux and constant transformation – is responsible for the emergence of new performative models, and how the dynamics of a loss of bearings and personal risk are essential with respect to this emergence. (shrink)

Anorexia nervosa patients exhibit distorted body-representations. Specifically, they represent their bodies as larger than reality. Given that this distortion likely exacerbates the condition, there is an obligation to further understand and, if possible, rectify it. In pursuit of this, experimental paradigms are needed which manipulate the spatial content of these representations. In this essay, I discuss how virtual reality technology that implements full-body variants of the rubber-hand illusion may prove useful in this regard, and I discuss some (...) issues related to the clinical application of this method. -/- . (shrink)

New technologies implied in art creation and exhibition are modifying the traditional landmarks on which aesthetics has always focused. In particular, Virtual Reality artworks call the body into question when it comes to living a bodily experience within exhibitions accessible through technological tools that expand the human body’s capabilities and motor potential. The body's status is challenged in its traditional unity, that of a subject of experience living in a world where the spatial configuration is relatively constant. Conversely, (...) in Virtual Reality, the spatial aspect is novel to our body which needs to adapt to unpredicted and disorientating motor schemas. Therefore, the Virtual Reality aesthetic experience takes place into a novel configuration for the human body: hybrid and split into the virtual realm. (shrink)

What stands out when we blend in? Performing Ground is the first book to explore camouflage as a performance practice, arguing that the act of blending into one's environment is central to the ways we negotiate our identities in and through space. Laura Levin tracks contemporary performances of camouflage through a variety of forms - performative photography; environmental, immersive, and site-specific performance; activist infiltration; and solo artworks - and rejects the conventional dismissal of blending in as an abdication of (...) self. Instead, she contemplates the empowering political possibilities of 'performing ground,' of human bodies intermingling with the material world, while directly engaging with the reality that women and other marginalized persons are often relegated to the background and associated with the properties of space. Performing Ground engages these questions through the works of some of today's most exciting performance artists such as Rebecca Belmore, Liu Bolin, Janieta Eyre, and Violeta Luna, and groups like Gob Squad, Punchdrunk, The Yes Men, and Urban Mimics. (shrink)

Virtual reality (VR) is the computer simulation of a three‐dimensional environment that a person can interact with using special electronic equipment, such as a headset with an integrated display. Often coupled with VR, exergames are video games that involve physical exercise. Little is known regarding the chronic effects of exergaming through VR chon cognitive functions. Eleven young participants were enrolled in this crossover exploratory study. They had to follow two trainings of 5 consecutive days, 15 min per day, (...) interspaced by a 1‐month washout period. Trainings were performed in a random order: (1) a video training using shadow boxing fitness videos (SBV) and (2) a VR training using a three‐dimensional game where the aim is to cut moving cubes with a sword in each hand. Before and after each training period, a battery of cognitive tests was performed to assess executive functions, such as attention (change blindness), reaction time, response inhibition (go/no‐go, Stroop task), or flexibility (trail making test). Fine motor skills were also evaluated through a Fitt's task. No effect of the SBV training was observed on any of the cognitive functions tested. On the contrary, a significant increased performance in selective attention and observation tests was found after VR training, as well as in inhibitory processes (Stroop and go/no‐go). Other performances were unaffected by either VR or SBV training. The present study argues that VR exergaming is a promising tool to promote cognitive enhancement but targets specific functions according to the type of interface/game that is used. (shrink)

Natural scientists working at the intersection of virtual reality, psychology, and computer science have recently explored the question of whether Embodied Virtual Reality (EVR) can be employed to train empathy. While for some authors (e.g., Bertrand et el. 2018), EVR can enhance empathy by means of creating a series of perceptual illusions, which lead users to adopt the other’s perspective and resonate with her experience, other authors (e.g., Sora-Domenjó 2022; Sutherland 2016) have been more skeptical about (...) the powers of EVR to increase empathy in its users. This chapter aims at contributing to this recent debate by exploring how perspective-taking contributes to empathy in EVR. After an analysis of perspective-taking in non-virtual and virtual environments, the chapter introduces the distinction between sensual and emotional empathy found in classical and contemporary phenomenology (Stein 1989 ; Sveaneus 2018). While in sensual empathy, the user empathizes with the other’s lived body, in emotional empathy, she apprehends the other’s emotional states and their related values. It is argued that while the perceptual illusions elicited by EVR can lead the user to the impression of a body swap and, in so doing, foster sensual empathy, for the apprehension of the other’s emotions, which is crucial to emotional empathy, EVR must be supplemented with a series of narrative devices which that make the other’s emotions and values accessible to her. (shrink)

Humans routinely modify their walking speed to adapt to functional goals and physical demands. However, damage to the central nervous system often results in abnormal modulation of walking speed and increased risk of falls. There is considerable interest in treatment modalities that can provide safe and salient training opportunities, feedback about walking performance, and that may augment less reliable sensory feedback within the CNS after injury or disease. Fully immersive virtual reality technologies show benefits in boosting training-related gains (...) in walking performance; however, they lack views of the real world that may limit functional carryover. Augmented reality and mixed reality head-mount displays provide partially immersive environments to extend the virtual reality benefits of interacting with virtual objects but within an unobstructed view of the real world. Despite this potential advantage, the feasibility of using MR-HMD visual feedback to promote goal-directed changes in overground walking speed remains unclear. Thus, we developed and evaluated a novel mixed reality application using the Microsoft HoloLens MR-HMD that provided real-time walking speed targets and augmented visual feedback during overground walking. We tested the application in a group of adults not living with disability and examined if they could use the targets and visual feedback to walk at 85%, 100%, and 115% of each individual’s self-selected speed. We examined whether individuals were able to meet each target gait speed and explored differences in accuracy across repeated trials and at the different speeds. Additionally, given the importance of task-specificity to therapeutic interventions, we examined if walking speed adjustment strategies were consistent with those observed during usual overground walking, and if walking with the MR-HMD resulted in increased variability in gait parameters. Overall, participants matched their overground walking speed to the target speed of the MR-HMD visual feedback conditions. The percent inaccuracy was approximately 5% across all speed matching conditions and remained consistent across walking trials after the first overall walking trial. Walking with the MR-HMD did not result in more variability in walking speed, however, we observed more variability in stride length and time when walking with feedback from the MR-HMD compared to walking without feedback. The findings offer support for mixed reality-based visual feedback as a method to provoke goal-specific changes in overground walking behavior. Further studies are necessary to determine the clinical safety and efficacy of this MR-HMD technology to provide extrinsic sensory feedback in combination with traditional treatments in rehabilitation. (shrink)

This paper investigates the dilemma that has been projected upon Indian female dancers’ bodies by contemporary Indian audiences when female desire occupies the centrality of a performance and projects the female body as sexual, articulate and independent of the discipline and propriety of classicism. Locating this dilemma in the nationalist construction of Indian womanhood and femininity as ‘chaste’, this paper adopts Victor Turner's notions of liminal and liminoid phenomenon and Brechtian defamiliarization technique as a feminist strategy to construct a framework (...) within which the contemporary Indian dancer can reclaim her sexuality in performance. To investigate the complex nationalist trope of chaste Indian womanhood, and to analyse the subversion of this trope by placing agency on the female body as sexual, I locate my argument in the discussion of The Silk Route: Memory of a Journey by Kinaetma Theatre, UK, which was performed in Kolkata in August 2004. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

Cinematic virtual reality (CVR) offers filmmakers a wide range of possibilities to explore new techniques regarding movie scripting, shooting and editing. Despite the many experiments performed so far both with both live action and computer-generated movies, just a few studies focused on analyzing how the various techniques actually affect the viewers’ experience. Like in traditional cinema, a key step for CVR screenwriters and directors is to choose from which perspective the viewers will see the scene, the so-called point (...) of view (POV). The aim of this paper is to understand to what extent watching an immersive movie from a specific POV could impact the narrative engagement (NE), i.e., the viewers’ sensation of being immersed in the movie environment and being connected with its characters and story. Two POVs that are typically used in CVR, i.e., first-person perspective (1-PP) and external perspective (EP), are investigated through a user study in which both objective and subjective metrics were collected. The user study was carried out by leveraging two live action 360° short films with distinct scripts. The results suggest that the 1-PP experience could be more pleasant than the EP one in terms of overall NE and narrative presence, or even for all the NE dimensions if the potential of that POV is specifically exploited. (shrink)

Can shifting to tidal time potentially slow the catastrophic realities of sea-level rise? Sarah Cameron Sunde’s 36.5 / A Durational Performance with the Sea is a site-specific performance during which Sunde stands in a tidal bay for a full cycle as water engulfs her body and then reveals it again. The public participates. What began in 2013 as a poetic impulse has grown into a complex series of nine durational performances involving communities around the world. In this article, durational (...) performance artist and scholar Raegan Truax gleans insight from Indigenous feminist scholars and Indigenous women-led movements to analyse the choreographic and temporal dynamics of 36.5. Co-writing with the artist, and focusing specifically on Sunde’s durational shift to tidal time, Truax proposes a phenomenological undoing: ‘becoming Sea-swallowed’ as essential to the speculative possibility of ‘becoming otherwise’. (shrink)

The perceptual-cognitive ability to track multiple moving objects and its contribution to team sports performance has traditionally been studied in the laboratory under non-sports specific conditions. It is thus questionable whether the measured visual tracking performance and the underlying gaze activity reflected the actual ability of team sports players to track teammates and opponents on a real field. Using a Virtual Reality-based visual tracking task, the ability of participants to track multiple moving virtual players as they would (...) do on a soccer field was observed to pursue two objectives. See the influence of different scenario types on the visual tracking performance of soccer compared to non-soccer players. Observe the influence of spatial features of the simulated situations on gaze activity between soccer players and non-soccer players. The linear mixed model regression revealed a significant main effect of the group but no interaction effect between group and the type of trajectories, suggesting that the visual tracking ability of soccer players did not benefit from their specific knowledge when they faced scenarios with real game trajectories. Virtual players’ spatial dispersion and crowding affected the participants’ gaze activity and their visual tracking performance. Furthermore, the gaze activity of soccer players differed in some aspects from the gaze activity of non-soccer players. Assumptions are formulated as to the implication of these results in the difference in visual tracking performance between soccer players and non-soccer players. Overall, using soccer-specific trajectories might not be enough to replicate the representativeness of the field conditions in the study of visual tracking performance. Multitasking constraints should be considered along with motor-cognitive dual-tasks in future research to develop the representativeness of visual exploration conditions. (shrink)

In this paper, I aim to articulate, at least in part, what makes Sara Ahmed’s uses and analyses of metaphors fruitful for thinking about problems in the social world. I argue that Ahmed’s these metaphorical concepts perform three functions. First, her analyses improve our understanding of the social world precisely because we already understand the world through metaphors. They draw out the metaphors we use to think about ourselves and others and, in doing so, allow us to think more carefully (...) about those metaphors. To support this claim, I will draw on the insights of George Lakoff and Mark Johnson in their seminal Metaphors We Live By. Second, one thing that Ahmed’s analyses of metaphors often allow us to see is that the movement and arrangement of bodies in the social world can be analyzed in poetic terms. To be clear, it is not just that we linguistically express and understand bodies through metaphor, metonymy, synecdoche, and the like, but also that the movement, arrangement, and reactions of our bodies are themselves experienced as metaphorical and metonymical, and that they provide the foundation for understanding social reality in metaphorical terms. Finally, as a result of the first two functions, Ahmed helps us imagine ways to intervene so that we can change how we live and interact with others. Specifically, to work toward positive social change, we might both rework the metaphorical concepts we use to understand the social world and alter our practices of movement that, all too often, reify existing social boundaries and inequalities. (shrink)

While many scholars have decried the erasure of the body in virtual reality (VR), this paper focuses on the body – and the physical reality for which it stands – as a critical component of any experience of virtual reality. Specifically, studying VR from the perspective of the physical body allows for a more nuanced appreciation of the unique reality of this «virtual» reality. Moreover, this paper argues that the body should not (...) be seen as a distraction from the immersive potential of VR, but rather as a potential tool for augmenting what virtual reality can currently offer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women in TibetRae Erin DachilleWomen in Tibet. Edited by Janet Gyatso and Hanna Havnevik. New York: Columbia University Press, 2005. 436 pp.Empowerment, transcendence, and the performance of identity are common themes in the study of gender and religion across cultures. As these themes are elucidated across cultures and in different historical moments, they are troubled by a persistent refusal of gender as a category of enduring symbolic and (...) real meaning by both historical and contemporary cultural actors. In the cases of Tibetan and Buddhist studies, the approach to womanhood as a category is repeatedly subsumed by concerns with religious or ethnic and political identity. This trend has forced many scholars to appeal to the symbolic realm of the iconic female or the construction of womanhood from sparse individual accounts as representative of an artificial subcultural entity. In response to the impasse created by these methods, the editors of Women in Tibet have chosen an approach that seeks to level the field. In doing so, they have produced a work that combines textual and anthropological projects aimed at recovering the specificities of lived womanhood across a range of historical moments. Allying themselves with a historical versus a feminist agenda, they succeed in laying the groundwork for a new approach to the study of womanhood.This approach surveys the vast artillery of historically embedded social dynamics available for Tibetan women to emulate, embody, or resist. In the diversity of their selections, Gyatso and Havnevik intentionally leave room for the possibility that women continue to perform as historical actors in spite of as well as because of their association with womanhood and the disempowering social and religious stereotypes attached to it. In leaving this issue open-ended, the editors sustain the tension between approaches that locate "specifically female" elements within traditions and those that posit the category of womanhood to be subservient to other cultural categories and phenomena. Exploring the participation of women in lineages as diverse as the oracular described by Hildegard Diemberger, the medical addressed by Tashi Tsering, and the imperial aristocratic presented by Helga Uebach, the essays in this volume represent an oscillation in the perceived relevance of femaleness. Inconsistency in the priority of the category of womanhood in historical interpretation reflects fluctuating attitudes on the part of Tibetans themselves as well as of European and American scholars as interpreters of the region's religious, social, and political realities.Asceticism in particular has been a highly charged site for the exploration of these themes in both Buddhist and Christian studies, along with determining the specific nature of female monasticism. As an instance of the deliberate embrace of a social category thriving upon the confluence of the ideal and the marginal, asceticism provides a lens for considering the ways in which women exploited opportunities to survive and excel spiritually and socially, often in spite [End Page 172] of female embodiment. Several of the authors in this volume address the tension between the socially sanctioned spaces for female asceticism within the nunnery or hermitage and the identities that individuals and communities of female ascetics strive to inhabit. Kurtis Schaeffer, for example, presents the tensions operating within acts of ascetic self-clarification in the autobiography of the medieval Tibetan hermitess Orgyan Chokyi. This account provides a rare glimpse of a historical woman defining her marginality and femaleness in relationship to Buddhist notions of suffering. Schaeffer reminds the reader that even from the hermetically sealed space of the cave, social, geographic, and historical elements play a fundamental role in constructing an individual's narrative identity and conditioning the terms of her self-realization.Charlene Makley's astute observations on the identity of nuns in contemporary Amdo taps into the various power dynamics at play in the social construction of nuns as parasitic, marginal, and dispensable members of the Labrang community. These acts of identification occur in the enduring and influential discursive field of gossip centered upon the "inappropriate otherness" of female monastics and their rumored failure to perfectly embody what Makley, following Charles Keyes, terms the "third gender" of celibate monasticism. Makley uncovers the powerful signifiers of the body of the nun in this geographical and historical context as... (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)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Our access to computer-generated worlds changes the way we feel, how we think, and how we solve problems. In this review, we explore the utility of different types of virtual reality, immersive or non-immersive, for providing controllable, safe environments that enable individual training, neurorehabilitation, or even replacement of lost functions. The neurobiological effects of virtual reality on neuronal plasticity have been shown to result in increased cortical gray matter volumes, higher concentration of electroencephalographic beta-waves, and enhanced (...) cognitive performance. Clinical application of virtual reality is aided by innovative brain-computer interfaces, which allow direct tapping into the electric activity generated by different brain cortical areas for precise voluntary control of connected robotic devices. Virtual reality is also valuable to healthy individuals as a narrative medium for redesigning their individual stories in an integrative process of self-improvement and personal development. Future upgrades of virtual reality-based technologies promise to help humans transcend the limitations of their biological bodies and augment their capacity to mold physical reality to better meet the needs of a globalized world. (shrink)

This paper analyzes from a pragmatic postphenomenological point of view the performative practice of CREW, a multi-disciplinary team of artists and researchers. It is our argument that this company, in its use of new immersive technologies in the context of a live stage, gives rise to a dialectics between an embodied and a disembodied perspective towards the perceived world. We will focus on W (Double U), a collaborative interactive performance, where immersive technology is used for live exchange of vision. By (...) means of a head mounted omni-directional camera and display the fields of vision of two participants are swapped, which enables the participants to perceive the world through another person’s point of view. This intermedial experience brings a classic dichotomic perception of space to falter: material reality as a ‘live’ condition can no longer be opposed to a virtual mediated reality. In the shifting moment between the embodied and the perceived world, on the fracture between what one sees and what one feels, the distinction between live and mediated is blurred, moreover, can no longer be made. The perception of the body is pushed to the extreme, causing a most confusing corporal awareness, a condition that intensifies the experience and causes an altered sense of presence. In a dynamic cognitive negotiation, one tends, however, to unify the divergent ontologies of the ‘real’ and the ‘virtual’ to a meaningful experience. In this respect, we refer to recent neurological experiments such as the ‘rubber hand illusion’ in order to clarify the spectator’s tendency to fuse both ontologies and to embody a coherent image-world. (shrink)

The author of this paper discusses the theme of the "simulated body", that is the sense of "being there” in a body that is not one's own, or that does not exist in the way one perceives it. He addresses this issue by comparing Immersive Virtual Reality technology, the phenomenological approach, and Gerald Edelman's theory of Neural Darwinism. Virtual Reality has been used to throw light on some phenomena that cannot be studied experimentally in real life, (...) and the results of its simulations enrich the phenomenological discourse on the lived body. Virtual “Reality” seems to replicate—at least in part—the simulation mechanisms of our mind, thus favoring developments in the field of philosophy of mind. (shrink)

IntroductionCognition generally declines gradually over time due to progressive degeneration of the brain, leading to dementia and eventual loss of independent functions. The rate of regression varies among the six cognitive domains. Current modality of cognitive assessment using neuropsychological paper-and-pencil screening tools for cognitive impairment such as the Montreal Cognitive Assessment has limitations and is influenced by age. Virtual reality is considered as a potential alternative tool to assess cognition. A novel, fully immersive automated VR system has been (...) developed to assess the six cognitive domains. As cognition is associated with age, VR performance is postulated to vary with age using this system.AimsThis is a feasibility study to evaluate the VR performance of cognitively healthy adults aged between 35 and 74 years old, based on the performance score and completion time using the CAVIRE system.MethodsConducted in a public primary care clinic in Singapore, 25 multi-ethnic Asian adults were recruited in each of the four age groups in years: 35–44; 45–54; 55–64, and 65–74. The eligibility criteria included a MoCA score of 26 or higher to reflect normal cognition and understanding English instructions. They completed common daily activities ranging from brushing teething to shopping, across 13 VR segments. Their performances scores and completion time were automatically computed by the CAVIRE system. These VR performance indices were compared across the four age groups using one-way ANOVA, F-test of the hypothesis, followed by pair-wise comparisons in the event of a significant F-test.ResultsOne participant dropped out from Group 1. The demographic characteristics of 99 participants were similar across the 4 age groups. Overall, younger participants in Groups 1 and 2 attained higher VR performance scores and shorter completion time, compared to those in Groups 3 and 4, in all six cognitive domains.ConclusionThe CAVIRE VR performance scores and completion time significantly differ between the younger and older Asian participants with normal cognition. Enhancements to the system are needed to establish the age-group specific normal performance indices. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when (...) a performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

The problem of aesthetic experience in a virtual environment could be reformulated as: what can we learn about aesthetics from the perspective of ‘aesthetic experience in virtual environments’, given the specific nature of such an environment? The discourse goes in circles, because it is always from theories elaborated in the field of the so-called ‘real’ that we develop the difference, but it is a process typically philosophical, that, on the other hand, can make sense only if it can (...) be shown that the virtual is an existent being that has an ontological structure of its own. The ontology of this strange object–event, and of its relationship to space–time, must therefore be addressed: what are the conditions of identity for a virtual body? What are its limits? In what sense does it have borders? Also, its specific temporality and its connection to human and computer memories are arguable dimensions that deserve analysis, as they directly affect an ontology of the virtual body, the difference between the virtual and the possible, and the relationship between the human body and the virtual body. However, the specific character of the virtual is to be an intermediate entity between object and event, between thing and image, so that virtual bodies represent a hybrid, interactive world which can be visualized as synthetic image, an immersive hybrid engaging the corporeality of the user and merging with the virtual body’s image; this hybridization, between the body of the spectator–actor and the virtual space in which it is immersed, is difficult to define with singularity. (shrink)

Sensorimotor learning refers to improvements that occur through practice in the performance of sensory-guided motor behaviors. Leveraging novel technical capabilities of an immersive virtual environment, we probed the component kinematic processes that mediate sensorimotor learning. Twenty naïve subjects performed a simulated marksmanship task modeled after Olympic Trap Shooting standards. We measured movement kinematics and shooting performance as participants practiced 350 trials while receiving trial-by-trial feedback about shooting success. Spatiotemporal analysis of motion tracking elucidated the ballistic and refinement phases of (...) hand movements. We found systematic changes in movement kinematics that accompanied improvements in shot accuracy during training, though reaction and response times did not change over blocks. In particular, we observed longer, slower, and more precise ballistic movements that replaced effort spent on corrections and refinement. Collectively, these results leverage developments in immersive virtual reality technology to quantify and compare the kinematics of movement during early learning of full-body sensorimotor orienting. (shrink)

It has been reported that behavior of experts and novices in various sporting tasks is impervious to the introduction of blur. However, studies have used diverse methods of blurring the visual stimulus, and tasks that did not always preserve the normal perception-action coupling. In the current study, we developed a novel experimental protocol to examine the effect of different levels of Gaussian blur on interception performance and eye gaze data using an immersive VR task. Importantly, this provided a realistic simulation (...) of a real-world boxing scenario in which expert combat athletes experienced a first-person, adaptive viewpoint of the visual environment, which could be blurred according to their gaze location. We found that participants exhibited similar interception performance in the presence of central blur or peripheral blur compared to a control condition with no blur. However, interception performance was significantly better with a central blur compared to peripheral blur. Eye gaze data indicated that although participants fixated at similar areas of interest irrespective of the presence of blur, fixation duration was significantly longer with a strong level of blur in the peripheral viewing condition than all levels of central blur and the control condition. These findings can be explained by relocating attention to different areas of the environment, which thereby influenced the perception of salient information. Participants also performed better on the first punch of a sequence preceded by a foot feint compared to arm feint or no feint. Still, irrespective of feint type, performance was significantly better on the second and third punch compared to the first punch. These findings are consistent with participants using additional information from the opponent's body movements and situational probabilities to increase performance as the sequence of punches developed. Overall, these are the first evidence for the use of VR as a means to examine gaze-contingent manipulations of the environment, and hence highlight the potential for facilitating learning and transfer to a real sporting situations. (shrink)

A leading philosopher takes a mind-bending journey through virtual worlds, illuminating the nature of reality and our place within it. Virtual reality is genuine reality; that's the central thesis of Reality+. In a highly original work of "technophilosophy," David J. Chalmers gives a compelling analysis of our technological future. He argues that virtual worlds are not second-class worlds, and that we can live a meaningful life in virtual reality. We may even (...) be in a virtual world already. Along the way, Chalmers conducts a grand tour of big ideas in philosophy and science. He uses virtual reality technology to offer a new perspective on long-established philosophical questions. How do we know that there's an external world? Is there a god? What is the nature of reality? What's the relation between mind and body? How can we lead a good life? All of these questions are illuminated or transformed by Chalmers' mind-bending analysis. Studded with illustrations that bring philosophical issues to life, Reality+ is a major statement that will shape discussion of philosophy, science, and technology for years to come. (shrink)

At the focal point of contemporary biopolitical knowledge and power is human life in its contingent, evolutionary and emergent properties: the living as adaptive and affective beings, characterized in particular by their capacity to experience stress and fear that works together with vital survival mechanisms. This article addresses new techniques of psychiatric power and therapeutic epistemologies that have emerged in present-day military-scientific as well as media technological assemblages to define and capture the human in its psychobiological states of emergency. Specifically, (...) the focus of this article is on one special kind of screen medium, called Virtual Iraq, a virtual reality device designed to treat post-traumatic stress disorder among war veterans. The article analyses Virtual Iraq as an example of new forms and strategies for the management of affectivity and memory that have been developed in conjunction with contemporary neuroscientific discourses on the evolutionary origins of emotional life and its neurobiological functionality among humans qua species. Furthermore, it discusses Virtual Iraq as an example of the biopolitical work of contemporary screen media in which the reality of images starts to concern the organism’s internal functioning instead of being anthropological or communicative, tapping into the brain’s capacity of self-organization as well as contributing to the production and maintenance of psychological immunity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Affective Spaces: Architecture and the Living Body by Federico de MatteisJasna SersicAffective Spaces: Architecture and the Living Body BY FEDERICO DE MATTEIS New York, NY: Routledge, 2021What is architectural space? For architects, urban planners, and all involved in the design and transformation of the environment, space is a central subject. However, despite this fact, nobody accurately states what space is all about. As a result, the concept of (...) space remains ambiguous, challenging to transmit, and a point of fundamental misunderstandings, with consequences on how we move, inhabit, and transform the world around us (1).In the attempt to provide order in today’s theory of space in architecture, De Matteis’ Affective Spaces invites the reader to explore the question of space from the subject’s point of view by asking what the encounter with architecture is like, and how do I feel, here, now?, borrowed from Eugene Minkowski (7). De Matteis offers an interconnected yet clear and instructive way to explore further what first-hand, direct experience with architecture can tell us about the effects it produces on us. Through this exciting intellectual journey, De Matteis thus shows how architecture, generally understood as an art of building space, does not regard the built environment alone. As people are also emotionally affected by the (built) world they live in, this book can ultimately be read as a quest to understand the relation between the feelings and moods arising from the bodily, corporeal experience of the built environment and the way they invite us to respond and act within environments we inhabit and modify (130).To accept De Matteis’ invitation to join him on his quest entails two things. The first is to take the position that the root of the emergence of sense and feelings is the subject’s corporeity. We must thus acknowledge the primacy of feeling (130). The second, by extension, is to put aside preconceived notions and conceptual tools for representing space inherited from modernity, as they are grounded in dualistic contraposition between physical reality, which is seen as objective (9). In contrast, experience and feeling are seen as subjective (9). Consequently, [End Page 142] they cannot adequately grasp the non- measurable dimensions of the lived space and thus the experience that the subject makes of it.Instead, De Matteis argues that one cannot describe space as a thing separate from us and that we are always a part of the space we inhabit. For this purpose, the book derives its theoretical model of space from phenomenology, which considers the felt body as a sounding board for the built environment and human experience of the world.The book is arranged into fourteen chapters that show the thematic progression of the argument, and is structured in three parts that explore space, the living body and corporeal dynamics, and the experiential character of some specific families of space. Titles of the chapters provide clear signposts to the reader about where the story is going and are much appreciated in this unique exploration. They also show that the author carefully weaves the conceptual intersections between phenomenology and its model of space with investigations in several fields of knowledge. Drawing across a multitude of disciplines, ranging from geography, anthropology, psychology, philosophy of mind, and aesthetics to neurosciences, and offering many examples from art, literature, film, and everyday life, the book helps the reader visualize the content discussed. This panoramic character and accessible language and format make it an engaging read for experts in the field and to a broader audience interested in topics addressed in the book.Perhaps one of the most compelling arguments the book brings forward is that the corporeal dynamics of space enable understanding of space as a thing that is not separate from us. It is from the coming together of persons and things that atmospheres arise. They are not objective, yet they exist as the natural qualities of things; neither are they subjective, yet they belong to sensing beings. This understanding implies a possible workable definition with no boundary between the subject and object. However, it also clearly points out that the book emerged in response to our modern understanding and critique... (shrink)

As the technological phenomenon known as the worldwide web permeates civilization, it creates some cultures and destroys others. In this pioneering book, philosopher Thomas Langan explores "virtual reality"Can inherently contradictory phrase"and the effects of technology on our very being. In our present-day high- technology environment, making simple, everyday decisions is difficult because the virtual world we've created doesn't necessarily operate according to the old "common sense." To retain our intellectual fitness, we must, Langan argues, consider these essential (...) questions: If virtual reality is, in fact, reality, what is this life that we are caught up in? What is _being_ within the context of virtual reality? How can we establish a system for distinguishing truth from fiction? Although technology minimizes distances between people and makes the information they seek more accessible, it simultaneously blurs the line dividing fact from falsehood and real from virtual. An individual's intellectual survival is threatened as technological advancement challenges our collective understanding of what reality is. Because much of the information that is presented as fact simply works to fulfill a specific agenda, we cannot accept as truth everything that appears on the internet or in the media. To survive, we must learn to manage our lives and resources despite the flood of information we are bombarded with daily. Addressing the general educated reader, _Surviving the Age of Virtual Reality_ expertly interweaves the worlds of technology and philosophy, pushing the analysis of this technological and human phenomenon to new depths. (shrink)

Stroke is one of the most common causes of acquired disability, leaving numerous adults with cognitive and motor impairments, and affecting patients’ capability to live independently. Virtual Reality (VR) based methods for stroke rehabilitation have mainly focused on motor rehabilitation but there is increasing interest toward the integration of cognitive training for providing more effective solutions. Here we investigate the feasibility for stroke recovery of a virtual cognitive-motor task, the Reh@Task, which combines adapted arm reaching, and attention (...) and memory training. 24 participants in the chronic stage of stroke, with cognitive and motor deficits, were allocated to one of two groups (VR, Control). Both groups were enrolled in conventional occupational therapy, which mostly involves motor training. Additionally, the VR group underwent training with the Reh@Task and the control group performed time-matched conventional occupational therapy. Motor and cognitive competences were assessed at baseline, end of treatment (1 month) and at a 1-month follow-up through the Montreal Cognitive Assessment, Single Letter Cancelation, Digit Cancelation, Bells Test, Fugl-Meyer Assessment Test, Chedoke Arm and Hand Activity Inventory, Modified Ashworth Scale, and Barthel Index. Our results show that both groups improved in motor function over time, but the Reh@Task group displayed significantly higher between-group outcomes in the arm subpart of the Fugl-Meyer Assessment Test. Improvements in cognitive function were significant and similar in both groups. Overall, these results are supportive of the viability of VR tools that combine motor and cognitive training, such as the Reh@Task. Trial Registration: This trial was not registered because it is a small clinical study that addresses the feasibility of a prototype device. (shrink)

Visuospatial (VS) skills, or one’s ability to mentally manipulate spatial information about objects, are critical to STEM enrollment, retention, and achievement. Low level of VS skills may deter some people from joining the STEM workforce or complicate their learning experience. While there is plenty of evidence suggesting that VS skills can be improved through training, few accessible training programs exist as of now, particularly for younger students. The current study proposes a new direction of VS training focusing on the development (...) of visuospatial self-efficacy (VSSE), or one’s confidence that they can complete specific VS tasks. The collaborative, desktop/mobile Virtual Reality game called [hidden for peer review] (available for download at [hidden for peer review]) was designed to improve VSSE in middle school students. A total of 169 students across 11 classrooms in 3 middle schools in a mid-western city in the United States participated in the intervention. The participants in the experimental condition (n=96, 6 classrooms) played the intervention game during 4 sessions over the course of 2 weeks, while the participants in the control condition (n=73, 5 classrooms) engaged in typical class activities. The results revealed that the intervention significantly increased students’ VS self-efficacy but not their VS performance or STEM performance. The implications and significance of the findings are discussed along with suggestions for further research. (shrink)

ABSTRACT The current article deals with the correlation between virtual and physical reality as they concern the body. The thesis of this article is that the lived body transposed into virtual reality becomes a body without organs in Deleuze’s terms, i.e. the lived body, a sensitive field of sensorial events immersed in a lived space, becomes a virtual body made up of intensities, of pure forces or magnitudes within a vector space, thereby (...) losing its affective qualities. Furthermore, lived and virtual bodies build up a correlation bridged not by intentionality, as phenomenology would maintain, but by sensation. Virtuality is thus characterised by both the loss of corporeality and the simulation of the lifeworld. But how can the split between the real and the virtual body be bridged? On the one hand, in Deleuze’s conception of sensation, real and virtual collapse into one another so that the real world ‘resonates’ with its virtual double. On the other hand, Merleau-Ponty’s concept of form relates both realities in terms of a correlation of signification between the physical and the existential realms. With recourse to the notion of structure or form, I will argue that the phenomenal and the virtual do not represent different modes of being, but are bound by a correlation ruled by sensation as a system of intensive forces. (shrink)

This paper presents a gamified motor imagery brain-computer interface (MI-BCI) training in immersive virtual reality. Aim of the proposed training method is to increase engagement, attention, and motivation in co-adaptive event-driven MI-BCI training. This was achieved using gamification, progressive increase of the training pace, and virtual reality design reinforcing the body ownership transfer (embodiment) into the avatar. From the 20 healthy participants performing 6 runs of 2-class MI-BCI training (left/right hand), 19 were trained for a basic (...) level of MI-BCI operation, with average peak accuracy in the session equal to 75.84\%. This confirms the proposed training method succeeded in improvement of the MI-BCI skills; moreover, participants were leaving the session in high positive affect. Although the performance was not directly correlated to the degree of embodiment, subjective magnitude of the body ownership transfer illusion correlated with the abilities to modulate the sensorimotor rhythm. (shrink)

A prominent critique of cognitive or athletic enhancement claims that certain performance‐improving drugs or technologies may ‘cheapen’ resulting achievements. Considerably less attention has been paid to the impact of enhancement on the value of moral achievements. Would the use of moral enhancement (bio)technologies, rather than (solely) ‘traditional’ means of moral development like schooling and socialization, cheapen the ‘achievement’ of morally improving oneself? We argue that, to the extent that the ‘cheapened achievement’ objection succeeds in the domains of cognitive or athletic (...) enhancement, it could plausibly also succeed in the domain of moral enhancement—but only regarding certain forms. Specifically, although the value of moral self‐improvement may be diminished by some of the more speculative and impractical forms of moral enhancement proposed in the literature, this worry has less force when applied to more plausibly viable forms of moral enhancement: forms in which drugs or technologies play an adjunctive or facilitative, rather than a determinative, role in moral improvement. We illustrate this idea with three examples from recent literature: the possible use of psychedelic drugs in certain moral‐learning contexts, ‘Socratic Al’ (a proposed Al‐driven moral enhancer) and empathy enhancement through virtual reality (VR). We argue that if one assumes that these technologies work roughly as advertised (which is an open empirical question), the ‘cheapened achievement’ objection loses much of its bite. The takeaway lesson is that moral enhancement in its most promising and practical forms ultimately evades a leading critique of cognitive and athletic enhancement. We end by reflecting on the potential upshot of our analysis for enhancement debates more widely. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extra Ear:Ear on the Arm BlenderStelarc Click for larger view View full resolutionFigure 1.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Collaborator Nina Sellars stands with the Blender during an installation photograph. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 2.Blender (3D Model). Teknikunst—Meat Market, Melbourne 2005. Image: Adam Fiannaca. The installation itself stands at just over 1.6 meters high and is anthropomorphic in (...) scale and structure. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 3.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Every few minutes the Blender automatically circulates or "blends" its contents via a system of compressed air pumps and a pneumatic actuator. Text credit: K. Conden and A. Douglas.[End Page 117] Click for larger view View full resolutionFigure 4.Ear Scaffold. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. The preoperative scaffolding that was surgically placed below the skin's surface of performance artist Stelarc. Text credit: R. Ferro. Click for larger view View full resolutionFigure 5.Blender (Biomaterial). Teknikunst—Meat Market, Melbourne 2005. Photograph: Cameron Jones. Both artists, Stelarc and Nina Sellars, undertook liposuction operations specifically for the purpose of this new work and have succeeded in securing the sanitized isolation and, most importantly, the legal ownership of the remnants of the procedures. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 6.Hole Hooks Forceps. As a guest at Cornell University's conference "Digital Bodies" in 2001, Stelarc spoke of his desire to implant an ear that could pick up sound. His plans become a reality in the photograph taken during surgery. Text credit: R. Ferro. Click for larger view View full resolutionFigure 7.Extra Ear: Ear on the Arm. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. Stelarc's future plans are to implant Bluetooth technology into the Ear on the Arm in a subsequent surgery so that the ear will pick up sound which will be transmitted via the Internet. Text credit: R. Ferro. Click for larger view View full resolutionFigure 8.Blender (Sterile Hood). Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. The biomaterials are now housed within the Blender's industrial casing, on exhibition at the Meat Market Gallery B in North Melbourne until August 18. Text credit: K. Conden and A. Douglas.[End Page 118]Stelarc- Biographical NotesStelarc is an Australian artist who has performed extensively in Japan, Europe, and the USA—including new music, dance festivals, and experimental theater. He has used medical instruments, prosthetics, robotics, Virtual Reality systems, and the Internet to explore alternate, intimate, and involuntary interfaces with the body. He has performed with a THIRD HAND, a VIRTUAL ARM, a VIRTUAL BODY and a STOMACH SCULPTURE. He has acoustically and visually probed the body—having amplified brainwaves, blood-flow and muscle signals and filmed the inside of his lungs, stomach, and colon, approximately two meters of internal space. He has done twenty-five body SUSPENSIONS with insertions into the skin, in different positions and varying situations in private gallery spaces and in remote locations.For FRACTAL FLESH, as part of Telepolis in 1995, he developed a touch-screen interfaced Muscle Stimulation System, enabling remote access, actuation, and choreography of the body. Performances such as PING BODY and PARASITE (1996, 1997) probe notions of telematic scaling and the engineering of external, extended, and virtual nervous systems for the body using the Internet. In 1998 for Kampnagel, he completed EXOSKELETON—a pneumatically powered six-legged walking machine actuated by arm gestures. During 2000, he completed an EXTENDED ARM—a manipulator with eleven degrees-of-freedom that extends his arm to primate proportions and a MOTION PROSTHESIS—an intelligent, compliant servo-mechanism that enables the performance of precise, repetitive, and accelerated prompting or programming of the arms in real time. In 2002, with the collaboration of the Evolutionary and Adaptive Systems Group, COGs, University of Sussex, and TNTU, the HEXAPOD robot prototype was developed. The six-legged MUSCLE MACHINE was constructed with the assistance of The Nottingham Trent University Engineering team, using fluidic rubber muscle actuators. The PROSTHETIC... (shrink)

Abstract:Making works in isolation often in very remote or isolated environments, Jarvis's intimate series of landscape embodiment rituals raise the dichotomy of site-specific practice as potential platform for increased environmental awareness. Reviewing her recent environmental works in a framework of deconstructive ecopsychology, Beatrice will address through theoretical and practice based models how far the artist and landscape form a dynamic synthesis within the collaborative experience of landscape. Jarvis will debate how far site specific performance and the practice of (...) long distance walking offers an embodied landscape narrative. This paper raises the seminal question how can the body can become mirror to its surroundings, asking through embodied practice, photography, film and writing; how does the body become a living archive? (shrink)

The article describes the postmodern features of Ukrainian language education and psycholinguistic term system, which is important for understanding the direction of optimizing the language situation among young people. Then, after careful selection and multimodal analysis, the authors cite about 30 key features of youth speech in the late postmodern era. The urgency of the topic is determined by postmodernist trends that are still observed in Ukraine, as well as their specific impact on youth speech. The authors used a body (...) of fragments of living youth discourse 2018 - 2020, as well as relevant methods of analysis: psycholinguistic, semantic, culturological, pragmatic ; the method of establishing correlations between cultural, social and speech phenomena, as well as the method of generalization. The authors came to an important generalization: contemporary youth uses their speech in such a way that it can be decoded differently only in the current discourse - among other carriers of postmodern linguistic consciousness. And this is also a manifestation of the general game, performance and even the way of existence of the individual in a real or hyperreal society that is constantly communicating. (shrink)

In this essay, I do not want to focus on performativity as such and understand it as an aesthetic expression; instead, I would like to illustrate how performativity takes on the role consequential to an aesthetic experience. Specifically, I want to highlight how aesthetic experience takes place in the spatial contexts of the city. In this regard, I want to define the aesthetic-practical-sensory relationship of the soma, understood as a paradigm of a living body, that is, a body that moves (...) and acts in space, by declining three historical moments that tell the story. I want to define three historical moments from the early twentieth century to the present through the soma-city relationship: 1) The first moment is inscribed in the emergence of the Baudelairian concept of the flâneur, a symbolic figure who introduces a relationship with the city characterized by a disenchanted gaze and a slow, wandering movement picked up, especially by Walter Benjamin in the Paris Passages; 2) The second moment is that of Situationism, in which Guy Debord introduces the concept of dérive, understood as an approach to the city marked by the experiential and emotional relationship; 3) The third and most recent moment concerns Richard Shusterman's embodiment of the somaesthetic exercise, in which the Avatar of the Man in Gold, enters into a relationship with the city, aspiring to reconnect urban spheres and not to a pure somaesthetic experience of the city. The last point to be made is that these three historical and aesthetic experience-based moments of the body in the city are marked by the body moving in space. In the case of the flâneur, the body wanders in an unresolved manner without a precise destination; in the case of the drift, the body is propelled by the many sensations and expressions of the city that are expressed through walking (urban Walkscapes); finally, in the case of the Man in Gold, there is a movement totally absorbed in the experience of places. (shrink)

The performance intentions that interfene into public spaces− ‘site-specific performances' – can raise several issues, and this article will debate some of them. From artistic, sociological, cultural and geographic perspectives, urban interventions and performances take place in the artistic scenario and in the development of contemporary space. This article starts with the experience of the Danish group 'Udflugt', that has been in Rio de Janeiro presenting the methodologies and processes which arose after the birth of the concept of 'The (...) Invisible Reality Show' which is used in their work. Through this article I intend to make connections between the perceptive changes of daily space, the processes of sociability, and the artistic experience in the urban context. (shrink)

This essay investigates the impact of the digital age on corporality as a constitutive condition of experience. Rather than just considering the multitude of phenomena at the surface of digitalization, the essay uncovers the conceptual development that underlies them. I apply Edmund Husserl’s concept of the “mathematization of nature” to digitalization, and, more specifically, digitization of data from experience. This leads to an explanation of some of the reasons for the apparent and the factual loss of corporality. Building on ideas (...) of Gnther Anders and Martin Heidegger, I then show how the use of humans as a source of data deepens the incorporation of the human body into the digital world. Yet, other recent developments of the digital age, such as “virtual reality” and other forms of “extended reality,” rediscover not only the human body but also corporality. I again make use of Husserl’s insights into digitization, this time inverting them to explain the computation of “extended reality.”. (shrink)

Today, new artistic practices incorporate scientific techniques linked to medical research that modify the body’s biological performance in vivo, transforming it into a singular laboratory object. In this way, some artists are making works of their bodies by subjecting them to various biotechnological procedures, often invasive. Augmented, the biological body of these performance artists becomes a site for experimentation. DIY (Do It Yourself) enthusiasts or accompanied by biologists and doctors, are these ‘bio-artists’ evidence of the changes brought about by (...) a new mechanisation of the human body, the complexity of which we are only just beginning to understand? Could there be, in the name of art, reasons that justify the creation of utopian bodies that are not eschatological, and that could make us believe in the worst or the best of all worlds? Based on performances by Stelarc, Yann Marussich, Marion Laval-Jeantet and the Quimera Rosa duo, our aim is to analyse what is at stake in this new fabrication of the body outside its biological limits. (shrink)

Motion pose capture technology can effectively solve the problem of difficulty in defining character motion in the process of 3D animation production and greatly reduce the workload of character motion control, thereby improving the efficiency of animation development and the fidelity of character motion. Motion gesture capture technology is widely used in virtual reality systems, virtual training grounds, and real-time tracking of the motion trajectories of general objects. This paper proposes an attitude estimation algorithm adapted to be (...) embedded. The previous centralized Kalman filter is divided into two-step Kalman filtering. According to the different characteristics of the sensors, they are processed separately to isolate the cross-influence between sensors. An adaptive adjustment method based on fuzzy logic is proposed. The acceleration, angular velocity, and geomagnetic field strength of the environment are used as the input of fuzzy logic to judge the motion state of the carrier and then adjust the covariance matrix of the filter. The adaptive adjustment of the sensor is converted to the recognition of the motion state. For the study of human motion posture capture, this paper designs a verification experiment based on the existing robotic arm in the laboratory. The experiment shows that the studied motion posture capture method has better performance. The human body motion gesture is designed for capturing experiments, and the capture results show that the obtained pose angle information can better restore the human body motion. A visual model of human motion posture capture was established, and after comparing and analyzing with the real situation, it was found that the simulation approach reproduced the motion process of human motion well. For the research of human motion recognition, this paper designs a two-classification model and human daily behaviors for experiments. Experiments show that the accuracy of the two-category human motion gesture capture and recognition has achieved good results. The experimental effect of SVC on the recognition of two classifications is excellent. In the case of using all optimization algorithms, the accuracy rate is higher than 90%, and the final recognition accuracy rate is also higher than 90%. In terms of recognition time, the time required for human motion gesture capture and recognition is less than 2 s. (shrink)

The text examines the representations of relationships, intimacy and love in virtual reality, based on a thematic analysis of a corpus of keyword-selected YouTube videos. The interest in this topic is driven by its status as a new phenomenon that challenges the very boundaries of our cultural understanding. These boundaries are situated at the nexus of real and virtual, identity and belonging, trust and infidelity. Given that virtual reality is not yet a mainstream phenomenon, the (...) analysis is made at the level of representations rather than practices. In general, the data highlight specific forms of reimagining the body and its agency in online environments. (shrink)

The tone of its title notwithstanding, this book is not a self-help tract hawking glib recipes for success in the Cyber Age, nor even a contribution specifically to the philosophy of technology. Although Langan hopes for a broadly literate readership, his task is to understand “the Being of the epoch in which we are trying to survive” as requisite to deciding how best we should live. The problem of surviving the age of virtual reality thus rejoins the perennial (...) concerns of philosophy in a renewed gigantomachia over Being. (shrink)

To offer engaging neurorehabilitation training to neurologic patients, motor tasks are often visualized in virtual reality. Recently introduced head-mounted displays allow to realistically mimic the body of the user from a first-person perspective in a highly immersive VR environment. In this immersive environment, users may embody avatars with different body characteristics. Importantly, body characteristics impact how people perform actions. Therefore, alternating body perceptions using immersive VR may be a powerful tool to promote motor activity in neurologic patients. However, (...) the ability of the brain to adapt motor commands based on a perceived modified reality has not yet been fully explored. To fill this gap, we “tricked the brain” using immersive VR and investigated if multisensory feedback modulating the physical properties of an embodied avatar influences motor brain networks and control. Ten healthy participants were immersed in a virtual environment using an HMD, where they saw an avatar from first-person perspective. We slowly transformed the surface of the avatar from human to stone. We enforced this visual change by repetitively touching the real arm of the participant and the arm of the avatar with a hammer, while progressively replacing the sound of the hammer against skin with stone hitting sound via loudspeaker. We applied single-pulse transcranial magnetic simulation to evaluate changes in motor cortical excitability associated with the illusion. Further, to investigate if the “stone illusion” affected motor control, participants performed a reaching task with the human and stone avatar. Questionnaires assessed the subjectively reported strength of embodiment and illusion. Our results show that participants experienced the “stone arm illusion.” Particularly, they rated their arm as heavier, colder, stiffer, and more insensitive when immersed with the stone than human avatar, without the illusion affecting their experienced feeling of body ownership. Further, the reported illusion strength was associated with enhanced motor cortical excitability and faster movement initiations, indicating that participants may have physically mirrored and compensated for the embodied body characteristics of the stone avatar. Together, immersive VR has the potential to influence motor brain networks by subtly modifying the perception of reality, opening new perspectives for the motor recovery of patients. (shrink)

GoalThis paper presents an immersive Virtual Reality system to analyze and train Executive Functions of soccer players. EFs are important cognitive functions for athletes. They are a relevant quality that distinguishes amateurs from professionals.MethodThe system is based on immersive technology, hence, the user interacts naturally and experiences a training session in a virtual world. The proposed system has a modular design supporting the extension of various so-called game modes. Game modes combine selected game mechanics with specific simulation (...) content to target particular training aspects. The system architecture decouples selection/parameterization and analysis of training sessions via a coaching app from an Unity3D-based VR simulation core. Monitoring of user performance and progress is recorded by a database that sends the necessary feedback to the coaching app for analysis.ResultsThe system is tested for VR-critical performance criteria to reveal the usefulness of a new interaction paradigm in the cognitive training and analysis of EFs. Subjective ratings for overall usability show that the design as VR application enhances the user experience compared to a traditional desktop app; whereas the new, unfamiliar interaction paradigm does not negatively impact the effort for using the application.ConclusionThe system can provide immersive training of EF in a fully virtual environment, eliminating potential distraction. It further provides an easy-to-use analyzes tool to compare user but also an automatic, adaptive training mode. (shrink)

IntroductionGeneralized Anxiety Disorder is a prevalent emotional disorder associated with increased dysfunctionality, which has a lasting impact on the individual’s quality of life. Besides medication, Cognitive-Behavioral Therapy represents the golden standard psychotherapeutic approach for GAD, integrating multilevel techniques and various delivery formats that enable the development of tailored treatment protocols. The objective of this study was to compare the efficiency of a standard CBT protocol targeting worries, dysfunctional beliefs, and intolerance of uncertainty with an integrative and multimodal CBT intervention augmented (...) with Virtual Reality.Materials and methodsThis study included 66 participants with moderate GAD symptoms that were randomized to the standard CBT group and the Integrative and Multimodal CBT augmented with VR group. The interventions comprised 10 weekly sessions conducted by trained CBT therapists, including cognitive restructuring, problem-solving, behavioral exposure, and relaxation techniques. Baseline and post-assessments were conducted with both groups. Primary outcome measures included the Hamilton Anxiety Rating Scale and Penn-State Worry Questionnaire to evaluate the severity of GAD symptoms and worries, respectively. Secondary outcomes involved the administration of Automatic Thoughts Questionnaire, Dysfunctional Attitudes Scale and Unconditional Self-Acceptance Questionnaire.ResultsBoth interventions determined statistically significant effects on both primary and secondary outcomes in the expected direction. However, CBTs was associated with higher effect sizes for anxiety and worries, in contrast to IM-VRCBT. Also, secondary analyses revealed positive correlations between changes in anxiety and worries level and the reduction of dysfunctional cognitive processes.ConclusionThis research emphasized the effectiveness of CBT interventions for treating adults with moderate GAD symptomatology. Specifically, both interventions were efficient for reducing anxiety symptomatology present at individuals with GAD. However, regarding cognitive dysfunctions like worries, the standard CBT protocol performed better, as compared to the IM-VRCBT. In addition, we conclude that VR could be integrated within CBT interventions in a single protocol for GAD treatment. (shrink)