The Post-Screen through Virtual Reality, Holograms and Light Projections

2021 ◽  
Author(s):  
Jenna Ng
Keyword(s):  
Virtual Reality ◽  
Case Studies ◽  
Mobile Networks ◽  
The Real ◽  
Truth Values ◽  
Media Technologies ◽  
Screen Media ◽  
New Space ◽  
Presence And Absence ◽  
Critical Lines

Screens are ubiquitous today. They display information; present image worlds; are portable; connect to mobile networks; mesmerize. However, contemporary screen media also seek to eliminate the presence of the screen and the visibilities of its boundaries. As what is image becomes increasingly indistinguishable against the viewer's actual surroundings, this unsettling prompts re-examination about not only what is the screen, but also how the screen demarcates and what it stands for in relation to our understanding of our realities in, outside and against images. Through case studies drawn from three media technologies - Virtual Reality; holograms; and light projections - this book develops new theories of the surfaces on and spaces in which images are displayed today, interrogating critical lines between art and life; virtuality and actuality; truth and lies. What we have today is not just the contestation of the real against illusion or the unreal, but the disappearance itself of difference and a gluttony of the unreal which both connect up to current politics of distorted truth values and corrupted terms of information. <i>The Post-Screen through Virtual Reality, Holograms and Light Projections: Where Screen Boundaries Lie</i> is thus about not only where the image's borders and demarcations are established, but also the screen boundary as the instrumentation of today's intense virtualizations that do not tell the truth. In all this, a new imagination for images emerges, with a new space for cultures of presence and absence, definitions of object and representation, and understandings of dis- and re-placement - the post-screen.

scholarly journals The Post-Screen Through Virtual Reality, Holograms and Light Projections

2021 ◽  
Author(s):  
Jenna Ng
Keyword(s):  
Virtual Reality ◽  
Case Studies ◽  
Mobile Networks ◽  
The Real ◽  
Truth Values ◽  
Media Technologies ◽  
Screen Media ◽  
New Space ◽  
Presence And Absence ◽  
Critical Lines

Screens are ubiquitous today. They display information; present image worlds; are portable; connect to mobile networks; mesmerize. However, contemporary screen media also seek to eliminate the presence of the screen and the visibilities of its boundaries. As what is image becomes increasingly indistinguishable against the viewer’s actual surroundings, this unsettling prompts re-examination about not only what is the screen, but also how the screen demarcates and what it stands for in relation to our understanding of our realities in, outside and against images. Through case studies drawn from three media technologies – Virtual Reality; holograms; and light projections – this book develops new theories of the surfaces on and spaces in which images are displayed today, interrogating critical lines between art and life; virtuality and actuality; truth and lies. What we have today is not just the contestation of the real against illusion or the unreal, but the disappearance itself of difference and a gluttony of the unreal which both connect up to current politics of distorted truth values and corrupted terms of information. The Post-Screen Through Virtual Reality, Holograms and Light Projections: Where Screen Boundaries Lie is thus about not only where the image’s borders and demarcations are established, but also the screen boundary as the instrumentation of today’s intense virtualizations that do not tell the truth. In all this, a new imagination for images emerges, with a new space for cultures of presence and absence, definitions of object and representation, and understandings of dis- and re-placement – the post-screen.

scholarly journals Constructing a Buddhist-Inspired Framework for Examining Tulkus’ use of Cyberspace

2021 ◽  
Author(s):  
◽  
Catherine Elizabeth Soper
Keyword(s):  
Social Media ◽  
Virtual Reality ◽  
Case Studies ◽  
The Body ◽  
Buddhist Tradition ◽  
Social Media Platforms ◽  
General Potential ◽  
Presence And Absence ◽  
Use Of Social Media

<p>This thesis is both, an examination of tulkus’ use of cyberspace (with a particular focus on social media); and a methodological experiment. In this thesis I construct a framework for examining tulkus’ use of social media platforms, such as: Facebook, Twitter, and YouTube. However rather than using “alien” ideas to construct the framework (such as, the ideas of Virtual Reality, and telepresence), I draw on concepts and doctrines found within the Buddhist tradition. The four ideas I draw on are: nirmāṇakāya; the yamakaprātihārya; ideas surrounding presence and absence in the Buddhist tradition; and visualization meditation. The four ideas are then applied to case studies in order to demonstrate how these ideas could potentially offer a way to view tulkus’ use of cyberspace from a “Buddhist” perspective. One of the aims of this framework is to investigate the potential (from a Buddhist perspective) for cyberspace to be sacralised by the presence of a being such as a tulku, and consider how religious functions and activities seem to be carried out “in” cyberspace. This framework is also a methodological experiment. Rather than using an “off the shelf” theory I plan to construct my methodology using ideas from within the Buddhist tradition. As far as I’m aware, the method of considering material from within the tradition being studied is relatively rare. I hope that this project will demonstrate the general potential for such an approach being used more widely in academia. NB: When I submitted this thesis for examination, I was informed that I should have obscured the names of the Facebook users in the screenshots included in this work. I have done my best to rectify this problem, by obscuring all the names of the followers of the tulkus studied, and removed any reference to them by name in the body of the thesis.</p>

Conclusion/Coda

2021 ◽  
Author(s):  
Jenna Ng
Keyword(s):  
Virtual Reality ◽  
Visual Media ◽  
Media History ◽  
The Real ◽  
Screen Media ◽  
Visual Phenomenon

This Conclusion/Coda summarizes the book’s key argument: the postscreen as a visual phenomenon which, through contemporary instantiations via Virtual Reality, holographic and light projections, blurs boundaries between virtuality and actuality, and re-formulates conditions of media, reality, death, life, matter and history. The Conclusion also points the post-screen towards two further ideas which drive its concept: difference, in terms of screen boundaries demarcating image against surroundings, and on difference without positive terms; and gluttony of visual media, specifically in relation to play between the real and the unreal. Both ideas not only serve the diminished boundaries of the post-screen in terms of the book’s analyses, but also render the post-screen a framework for today’s politics of post-truth, misinformation and deepfakes as a moment of media history. Finally, the Conclusion extends the post-screen to the (as of writing) current Covid-19 pandemic as a mirror of the internalization that is of both post-screen media and virus – both are in us, and inescapable.

scholarly journals Constructing a Buddhist-Inspired Framework for Examining Tulkus’ use of Cyberspace

2021 ◽  
Author(s):  
◽  
Catherine Elizabeth Soper
Keyword(s):  
Social Media ◽  
Virtual Reality ◽  
Case Studies ◽  
The Body ◽  
Buddhist Tradition ◽  
Social Media Platforms ◽  
General Potential ◽  
Presence And Absence ◽  
Use Of Social Media

<p>This thesis is both, an examination of tulkus’ use of cyberspace (with a particular focus on social media); and a methodological experiment. In this thesis I construct a framework for examining tulkus’ use of social media platforms, such as: Facebook, Twitter, and YouTube. However rather than using “alien” ideas to construct the framework (such as, the ideas of Virtual Reality, and telepresence), I draw on concepts and doctrines found within the Buddhist tradition. The four ideas I draw on are: nirmāṇakāya; the yamakaprātihārya; ideas surrounding presence and absence in the Buddhist tradition; and visualization meditation. The four ideas are then applied to case studies in order to demonstrate how these ideas could potentially offer a way to view tulkus’ use of cyberspace from a “Buddhist” perspective. One of the aims of this framework is to investigate the potential (from a Buddhist perspective) for cyberspace to be sacralised by the presence of a being such as a tulku, and consider how religious functions and activities seem to be carried out “in” cyberspace. This framework is also a methodological experiment. Rather than using an “off the shelf” theory I plan to construct my methodology using ideas from within the Buddhist tradition. As far as I’m aware, the method of considering material from within the tradition being studied is relatively rare. I hope that this project will demonstrate the general potential for such an approach being used more widely in academia. NB: When I submitted this thesis for examination, I was informed that I should have obscured the names of the Facebook users in the screenshots included in this work. I have done my best to rectify this problem, by obscuring all the names of the followers of the tulkus studied, and removed any reference to them by name in the body of the thesis.</p>

“Tradition,” Vernacularism, and Learning to Be a Folk Musician With Social Media

2020 ◽  
pp. 442-466
Author(s):  
Simon Keegan-Phipps ◽  
Lucy Wright
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Case Studies ◽  
Folk Music ◽  
Learning Mechanisms ◽  
Media Technologies ◽  
Arts And Humanities ◽  
The Arts ◽  
The Social ◽  
Social Shaping

This chapter considers the role of social media (broadly conceived) in the learning experiences of folk musicians in the Anglophone West. The chapter draws on the findings of the Digital Folk project, funded by the Arts and Humanities Research Council (UK), and begins by summarizing and problematizing the nature of learning as a concept in the folk music context. It briefly explicates the instructive, appropriative, and locative impacts of digital media for folk music learning before exploring in detail two case studies of folk-oriented social media: (1) the phenomenon of abc notation as a transmissive media and (2) the Mudcat Café website as an example of the folk-oriented discussion forum. These case studies are shown to exemplify and illuminate the constructs of traditional transmission and vernacularism as significant influences on the social shaping and deployment of folk-related media technologies. The chapter concludes by reflecting on the need to understand the musical learning process as a culturally performative act and to recognize online learning mechanisms as sites for the (re)negotiation of musical, cultural, local, and personal identities.

scholarly journals Revealing Hidden Local Cultural Heritage through a Serious Escape Game in Outdoor Settings

Information ◽  
2020 ◽  
Vol 12 (1) ◽  
pp. 10
Author(s):  
Stavroula Tzima ◽  
Georgios Styliaras ◽  
Athanasios Bassounas
Keyword(s):  
Virtual Reality ◽  
Augmented Reality ◽  
Cultural Heritage ◽  
Physical Environment ◽  
Local History ◽  
Educational Context ◽  
Virtual Reality Technology ◽  
The Real ◽  
Hybrid Type ◽  
Game Mechanics

Escape Rooms are presently considered a very popular social entertainment activity, with increasing popularity in education field, since they are considered capable of stimulating the interest of players/students and enhancing learning. The combined game mechanics have led to blended forms of Escape Rooms, the Serious Escape Games (SEGs) and the hybrid type of Escape Rooms that uses Augmented Reality (AR)/Virtual Reality technology, a type that is expected to be widely used in the future. In the current study, the MillSecret is presented, a multi-player Serious Escape Game about local cultural heritage, where the players must solve a riddle about the cultural asset of watermills. MillSecret uses AR technology and it was designed to be conducted in the real-physical environment and in an informal educational context. The paper describes the game, its implementation, the playing process, and its evaluation, which aimed to study the feasibility of game conduction in outdoor settings and the views and experience of players with the game, the local cultural heritage and local history. Evaluation results reveal, among other findings, a very positive first feedback from players that allows us to further evolve the development of the game.

Applying the Systems Evaluation Protocol in the real world: Six case studies

2021 ◽  
Vol 2021 (169) ◽  
pp. 65-77
Author(s):  
Jennifer Brown Urban ◽  
Miriam R. Linver ◽  
Lisa M. Chauveron ◽  
Thomas Archibald ◽  
Monica Hargraves ◽  
...  
Keyword(s):  
Case Studies ◽  
Real World ◽  
The Real ◽  
Evaluation Protocol

scholarly journals How to train your robot with deep reinforcement learning: lessons we have learned

2021 ◽  
pp. 027836492098785
Author(s):  
Julian Ibarz ◽  
Jie Tan ◽  
Chelsea Finn ◽  
Mrinal Kalakrishnan ◽  
Peter Pastor ◽  
...  
Keyword(s):  
Machine Learning ◽  
Reinforcement Learning ◽  
Case Studies ◽  
Real World ◽  
Review Article ◽  
The Real ◽  
Complex Skills ◽  
Real World Learning ◽  
Level Sensor ◽  
Embodied Agent

Deep reinforcement learning (RL) has emerged as a promising approach for autonomously acquiring complex behaviors from low-level sensor observations. Although a large portion of deep RL research has focused on applications in video games and simulated control, which does not connect with the constraints of learning in real environments, deep RL has also demonstrated promise in enabling physical robots to learn complex skills in the real world. At the same time, real-world robotics provides an appealing domain for evaluating such algorithms, as it connects directly to how humans learn: as an embodied agent in the real world. Learning to perceive and move in the real world presents numerous challenges, some of which are easier to address than others, and some of which are often not considered in RL research that focuses only on simulated domains. In this review article, we present a number of case studies involving robotic deep RL. Building off of these case studies, we discuss commonly perceived challenges in deep RL and how they have been addressed in these works. We also provide an overview of other outstanding challenges, many of which are unique to the real-world robotics setting and are not often the focus of mainstream RL research. Our goal is to provide a resource both for roboticists and machine learning researchers who are interested in furthering the progress of deep RL in the real world.

scholarly journals ‘You wouldn’t get that from watching TV!’: Exploring audience responses to virtual reality non-fiction in the home

2020 ◽  
pp. 135485652097996
Author(s):  
David Philip Green ◽  
Mandy Rose ◽  
Chris Bevan ◽  
Harry Farmer ◽  
Kirsten Cater ◽  
...  
Keyword(s):  
Virtual Reality ◽  
New Media ◽  
Home Setting ◽  
Media Technologies ◽  
Non Fiction ◽  
Audience Responses ◽  
The Media ◽  
The Cost ◽  
Watching Tv ◽  
At Home

Consumer virtual reality (VR) headsets (e.g. Oculus Go) have brought VR non-fiction (VRNF) within reach of at-home audiences. However, despite increase in VR hardware sales and enthusiasm for the platform among niche audiences at festivals, mainstream audience interest in VRNF is not yet proven. This is despite a growing body of critically acclaimed VRNF, some of which is freely available. In seeking to understand a lack of engagement with VRNF by mainstream audiences, we need to be aware of challenges relating to the discovery of content and bear in mind the cost, inaccessibility and known limitations of consumer VR technology. However, we also need to set these issues within the context of the wider relationships between technology, society and the media, which have influenced the uptake of new media technologies in the past. To address this work, this article provides accounts by members of the public of their responses to VRNF as experienced within their households. We present an empirical study – one of the first of its kind – exploring these questions through qualitative research facilitating diverse households to experience VRNF at home, over several months. We find considerable enthusiasm for VR as a platform for non-fiction, but we also find this enthusiasm tempered by ethical concerns relating to both the platform and the content, and a pervasive tension between the platform and the home setting. Reflecting on our findings, we suggest that VRNF currently fails to meet any ‘supervening social necessity’ (Winston, 1996, Technologies of Seeing: Photography, Cinematography and Television. British: BFI.) that would pave the way for widespread domestic uptake, and we reflect on future directions for VR in the home.

Immersion, interactivity and three-dimensionality: virtual reality documentation of media art installations

2021 ◽  
Author(s):  
Kira A. Brown
Keyword(s):  
Virtual Reality ◽  
Case Studies ◽  
Three Dimensional ◽  
Research Paper ◽  
Sensory Experience ◽  
Three Dimensions ◽  
Media Art ◽  
Essential Information ◽  
Art Installation ◽  
High Level

This research paper explores the possibilities for virtual reality (VR) documentation of media art installations. Based on an analysis of the characteristics of media art, and a survey of current documentation strategies, this paper investigates the viability of three-dimensional documentation. Four cross-disciplinary case studies are presented and analysed to demonstrate that VR documentation provides an immersive and richer reconstruction of a media art installation in three dimensions. In addition, the interactive components can be simulated within the VR environment, offering the possibility for curators and visitors to virtually re-experience the artwork. The case studies show that, although the creation of VR documentation can be costly and time-consuming, and currently requires a high-level of expertise, it can be a useful addition to established documentation strategies by providing essential information about the visual aspects of the artwork, its environment and the user’s multi-sensory experience.

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