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This article engages with the fabrication of experiences in first-person shooter video games. On one hand, it explores the forms of affective and cognitive engagement this novel type of immersive imagery demands of the player. On the other hand, the article speculates on how video games images resonate and coincide with other key practices and imaginations defining the political reality of life today. What (at least according to some accounts) matters most in the politics of life today is a particular locus of mediation – the brain. The ways we imagine ourselves are today characterized by a figure of the 'cerebral subject'. The article presents an attempt to chart video games imagery in relation to this key contemporary image of who we are, and to consider how the rhythms of the console screen might be seen as emblematic of a more general anthropology of subjectivity today.

Abstract
In this article I mobilize Deleuze to explore transformative relationships between filmic and urban space in Secret Cinema's pop-up screening of Carol Reed's The Third Man (1949). Secret Cinema is a company that turns urban sites into dramatized versions of the films they screen, and this unusual practice of exhibition raises fascinating questions about how film texts and urban sites come into contact. In particular, I respond to two crucial questions that are provoked by Secret Cinema's 'immersive' screening of The Third Man. First, I consider the impact this kind of filmic experience has on ways of seeing the urban, drawing on the Deleuzian concept of the any-space-whatever. Second, I take up Deleuze's ideas about the out-of-field and its differing functions within the movement-image and the time-image to address how Secret Cinema's dramatized site of spectatorship reciprocally transforms the meaning of film text and urban space. By addressing these two questions, and with comparative reference to early cinema's practices of exhibition, I develop a nuanced reading of Secret Cinema's screening as a co-production of filmic and urban space.

This chapter aims to discuss everyday aesthetics related to the growing presence of the digital world in the urban lifestyle and its cultural and political effects. In this regard, the meaning of the term "aesthetics," associated with daily experiences, ethically and aesthetically concerns an individual's perceptions through their senses related to things in their urban environment. Involvement with culture or politics does not form discourse independent of the aesthetics discourse, considering cultural activity and technology as part of aesthetic reality since sensitive aspects encompass the content, and thus, the political issue. The best empirical example to discuss this theme, given cultural and political diversity, is activities through increased digital technologies made possible by cultural projects. One of these projects is the Berlin Cultural Project, which uses augmented reality. Therefore, the discussion focuses on the daily sociocultural relations as a single reality encompassing the physical and virtual world of the "system of objects," "hyperreality," "simulacrum," and "simulation" (Baudrillard 1968, 1972, 1982). Hence, spaces are recognized as political and cultural structures forming the individual in society and having an established and determined acceptance through symbolic images. Finally, this chapter addresses the individual's daily life experience under the effect of the sign value. ; Yearbook of Moving Image Studies, nº 6 Common boundaries between the physical reality and rising digital media technologies are fading. The age of hyper-reality becomes an age of hyper-aesthetics. Immersive media and image technologies – like augmented reality – enable a completely novel form of interaction and corporeal relation to and with the virtual image structures and the different screen technologies. Augmented Images contributes to the wide range of the hyper-aesthetic image discourse to connect the concept of dynamic augmented images with the approaches in modern media theory, philosophy, perceptual ...

This paper reports on a weekend performance event at the Tate Modern that explored how the senses of sound and movement can be used to apprehend geometrical and topological shapes and mathematical concepts. The sound sculpture Knots and Donuts spatialized sound and sonified space. It attuned the 'mind's ear' and the auditory imagination to conceive of a Borromean Knot and a torus within an immersive three-dimensional sound field. Through dance movement, the choreography of Ordinal 5 actualized the specific mathematical entity as understood in category theory. Both parts of the programme are considered as a performance as research experiment with an audience. Its aim was to understand how the sensory experience of the embodied mind might provide a basis of rationality in which meaning is not restricted to text and image, that is, an embodied topology.

Urban educational research, practice, and policy is preoccupied with problems, brokenness, stigma, and blame. As a result, too many people are unable to recognize the capacities and desires of children and youth growing up in working-class communities. This book offers an alternative angle of vision—animated by young people's own photographs, videos, and perspectives over time. It shows how a racially, ethnically, and linguistically diverse community of young people in Worcester, MA used cameras at different ages (10, 12, 16 and 18) to capture and value the centrality of care in their lives, homes, and classrooms. Luttrell's immersive, creative, and layered analysis of the young people's images and narratives boldly refutes biased assumptions about working-class childhoods and re-envisions schools as inclusive, imaginative, and care-ful spaces. With an accompanying website featuring additional digital resources (childrenframingchildhoods.com), this book challenges us to see differently and, thus, set our sights on a better future

Urban educational research, practice, and policy is preoccupied with problems, brokenness, stigma, and blame. As a result, too many people are unable to recognize the capacities and desires of children and youth growing up in working-class communities. This book offers an alternative angle of vision-animated by young people's own photographs, videos, and perspectives over time. It shows how a racially, ethnically, and linguistically diverse community of young people in Worcester, MA used cameras at different ages (10, 12, 16 and 18) to capture and value the centrality of care in their lives, homes, and classrooms. Luttrell's immersive, creative, and layered analysis of the young people's images and narratives boldly refutes biased assumptions about working-class childhoods and re-envisions schools as inclusive, imaginative, and care-ful spaces. With an accompanying website featuring additional digital resources (childrenframingchildhoods.com), this book challenges us to see differently and, thus, set our sights on a better future.

Contents -- Editors and Contributors -- List of Figures -- Introduction -- Chapter 1 Technologies, Possibilities, Emergence and an Ethics of Responsibility: Refiguring Techniques -- Abstract -- 1.1 Introduction -- 1.2 What Does the 'Technological Possible' Mean for Digital Visual Research? -- 1.3 What are the Implications of Seeing Researcher Engagement with New and Emerging Technologies as Improvisation Rather Than Innovation? -- 1.4 What Does This Mean for an Ethics of Responsibility in Digital Visual Research? -- 1.5 How Can We Harness Techniques that Involve Digital Visual Technologies for Making or Ensuring Better Futures? -- 1.6 How Can Digital Visual Technologies and Techniques Benefit Collaborations with External Research Partners and Stakeholders to Gain Understandings that Will Enable Us and Them to Better Judge How We Move on into Our Digital Futures? -- 1.7 Summing up -- References -- Chapter 2 Non-human Sensing: New Methodologies for the Drone Assemblage -- Abstract -- 2.1 Introduction -- 2.2 The Drone Body -- 2.3 Drone Piloting and the Wayward Object -- 2.4 Conclusions -- References -- Chapter 3 Immersive Reflexivity: Using 360° Cameras in Ethnographic Fieldwork -- Abstract -- 3.1 Introduction -- 3.2 Visual Practices and Digital Affordances -- 3.3 Locating 360° Cameras Within Photographic History -- 3.4 Sensing the Emplacement of Doing Fieldwork with 360° Images -- 3.5 360° Images: Sharing Fieldwork Experiences -- 3.6 360° Images as Visual Fieldnotes -- 3.7 Concluding Remarks -- References -- Chapter 4 Empathetic Visuality: GoPros and the Video Trace -- Abstract -- 4.1 Introduction -- 4.2 Cameras on Our Bodies: Situating the GoPro -- 4.3 The Video Trace -- 4.4 Cycling with GoPros -- 4.5 Empathy and the Video Trace -- 4.6 The Video Trace and Auto-Ethnography at a Public Event -- 4.7 Conclusion -- References

Engaging in physical exercise in a virtual reality (VR) environment has been reported to improve physical effort and affective states. However, these conclusions might be influenced by experimental design factors, such as comparing VR environments against a non-VR environment without actively controlling for the presence of visual input in non-VR conditions. The present study addressed this issue to examine affective and attentional states in a virtual running task. Participants (n = 40), completed a 21 min run on a treadmill at 70% of Vmax. One group of participants ran in a computer-generated VR environment that included other virtual runners while another group ran while viewing neutral images. Participants in both conditions showed a pattern of reduced positive affect and increased tension during the run with a return to high positive affect after the run. In the VR condition, higher levels of immersive tendencies and attention/absorption in the virtual environment were associated with more positive affect after the run. In addition, participants in the VR condition focused attention more on external task-relevant stimuli and less to internal states than participants in the neutral images condition. However, the neutral images condition produced less negative affect and more enjoyment after the run than the VR condition. The finding suggest that the effects of exercising in a VR environment will depend on individual difference factors (e.g., attention/absorption in the virtual world) but it may not always be better than distracting attention away from exercise-related cues.

Intro -- Contents -- Preface -- Figures and Tables -- Figures -- Tables -- Notes on Contributors -- Introduction -- 1 The Drama of Christian Images: Art, Liturgy, Sacred Theatre -- 1 Art, a Sign of Salvation -- 2 Jesus and Art -- 3 The Sacraments as Images -- 4 Rite as Image -- 5 Liturgy as Theatre -- 6 Awaiting Transformation -- 2 A 'Dramatic Turn': The Revolution of Christian Representation -- 1 The Show: 'Seeing from Afar' -- 2 The Dramatic Turn: Seeing Up Close -- 3 Conclusion: The Spectacula Christianorum between Memory and Mimesis -- 3 No Drama Please, We're Greek: Sacred Plays from a Greek Orthodox Perspective -- 1 Hellenistic Jews and Antitheatrical Culture -- 2 Enter the Archbishop -- 3 The Service of the Furnace -- 4 Conclusion -- 4 Enacting Sacred Narrative: Biblical, Liturgical, and Sacramental Practices in the Latin West -- 1 The Notions of 'Liturgical Drama' and 'Sacrament' -- 2 The Fleury Raising of Lazarus -- 5 Mary in the Scriptures as Container and Way: Henry Adams and the Virgin of Chartres -- 6 The Power of Images of Passion: Animated Sculptures of the Crucified Christ -- 7 Women as Performers of the Bible: Female Preaching in Premodern Europe -- 1 Introduction -- 2 Women and Preaching in Premodern Europe -- 3 Tommasina Fieschi (ca. 1448-1534) Preaching in Private -- 4 Juana de la Cruz (1481-1534) -- 5 María de Santo Domingo (1486-ca. 1524) -- 6 Stefana Quinzani (1457-1530) -- 7 Conclusion -- 8 Dramatic Action and the Participatory Spectator at the Sacro Monte di Varallo: Frozen Theatre -- 1 The Sacro Monte as Immersive Installation -- 2 Activation -- 3 Self-Referential Politics of Space -- 4 De-centering -- 5 Conclusion -- 9 The Paradox of the Saint Actress: Church and Commedia Dell'Arte during the Counter-Reformation -- 1 Church, Theatre, and Performance: A Complex Relationship -- 2 The Fascination of the Stage.

Envisioning the Future of Learning for Creativity, Innovation and Entrepreneurship outlines the work and findings of the Erasmus+ VISION research project. Education is changing and teachers and students around the world are reshaping it. This book is designed to help educators, policy makers and stakeholders from industry and society at large navigate the changing landscape of education for creativity, innovation, and entrepreneurship (CIE). Built on insights from more than 250 experts, the book presents a learning landscape that captures today's shifts within CIE education and proposes guidance and potential pathways for those involved in the field. The book shows that the landscape of education for CIE is influenced by: Learning as an immersive experience driven by play and experimentation The rise in on the job education and learning by doing as part of life-long upskilling Teachers' roles evolve to be coaches and mentors developing hard and soft skills Numerous images are included in the book using the technique of visual thinking, stimulating imagination, creativity and innovation

This thesis examines the concepts and ideas that pervade my body of work in painting. These concepts include immersion and scale, interactions in space, harmony and disunity, flat and dimensional space and perhaps most importantly, ambiguity. I intentionally use these formal devices to create immersive environments that appear as a familiar but skewed version of reality. By forcing together disparate languages of visual representation into the theoretical space of a painting, I strive to expose some of the humor and decay of our social institutions. In using the format of collage, my paintings have the opportunity to incorporate a wide array of iconography and imagery, while adding commentary through their juxtapositions. This thesis further explores the notion of oversaturation of images in media and how it has resulted in a clashing of imagery in the public space, akin to the format of collage in art-making. By using more easily readable or accessible iconography like cartoons or digital images to draw viewers in to the work on a visceral level, I discuss how the audience becomes witness to something sinister or something in the process of decay. Since I do not fully understand my own position as an artist and consumer of images, painting serves as a way to examine and question my relationship to society and culture as a whole. The artworks are inevitably questions in themselves: Who is to blame? What does it mean to be American? What is my duty as an artist? ; 2019-05-01 ; M.F.A. ; Arts and Humanities, School of Visual Arts and Design ; Masters ; This record was generated from author submitted information.

Chapter 1. Mobile Storytelling in an Age of Smartphones -- Section I. Mobile Storytelling: Imperative Concepts and Innovative Cases -- Chapter 2. Mobile Storytelling: Changes, Challenges and Chances -- Chapter 3. Mobile Storytelling: Elements, Evolution and Experience -- Chapter 4. Mapping through Mobile Filming: An iPhone Mapper's Flirtation with Google's Artificial Intelligence (AI) -- Chapter 5. Shoes and Taxis as Mobile Storytelling Tools: Stories from the Frontline about Immigration and Integration in Canada -- Section II. Mobile News Storytelling -- Chapter 6. Multimodal Framing Covid-19 Stories: The case of Douyin -- Chapter 7. Twittering China Image: The Case of Xinhua News Agency -- Chapter 8. Citizen News Going Mobile: Opportunities and Challenges -- Section III. Vulnerable Communities and Social Innovation -- Chapter 9. Mobile Storytelling With Seniors: Co-Designing Smartphone Productions & Mobile -- Chapter 10. Engagement With Mhealth: Experiences Of Young Women In Bangladesh -- Chapter 11. Mobile & Digital Stories from Down Under: Tales from Rural Australia -- Section IV. Creative Practice Research -- Chapter 12. Performative Storytelling: The Model Of Setting-Based Mobile Music Creation -- Chapter 13. Cine-Writing The Everyday: Walking With Agnes -- Chapter 14. Embodied Interaction and Immersive Film Experiences on Smartphones -- Section V. Mobile Education and Screen Storytelling -- Chapter 15. Students' Technology Acceptance And Beliefs Towards Smart Mobile Devices -- Chapter 16. The Role of Learner Self-Regulation in Mobile-Assisted Language Learning -- Chapter 17. The Multi-Specialist Moving Image Practitioner: Reframing Film School For The 21st Century.

Virtual reality is a new phenomenon that has rapidly developed over the past few years, while studies on the development of virtual reality in cultural objects such as sultanate palaces are still very few, so further studies are needed. This research aims to develop virtual reality as a guiding and promotional media for cultural tourism of the sultanate palace in North Maluku, especially the sultanate palace of Ternate and Bacan. The steps in developing Virtual reality consist of 3 steps. First, take the original image of the palace using drones and cameras. The second step is the development of 3D objects of the sultanate palace using Blender. The third step is application development using Unity and Virtual Reality tools: Smartphones and Cardboard. This research uses the SDLC Waterfall method. Testing in this study uses four stages of the testing process: (1) black box test, (2) media expert test, (3) expert test, and (4) UEQ (User Experience Questionnaire) test. The result of this research is that the availability of virtual guiding applications for the Bacan and Ternate Palaces has created an immersive cultural virtual tourism experience.

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Table of Contents -- List of illustrations -- Acknowledgements -- Introduction to the second edition -- 1. Studying media -- Aims -- Mediation -- Why Study Media? -- Starting Points -- What are Media? -- Effects -- Ideology -- Cultural Studies -- Structuralism -- New Media? -- How to Study Media -- Who are the Media? -- Media Economics -- Digital Literacy -- Immersive Media -- Summary -- Further Reading -- 2. Reading media -- Aims -- Media Language: Still Image Analysis -- Question - Why Take a Photograph in Front of this Sign? -- Question - Why Does a Boy From Birmingham Want to Wear the Barcelona Kit? -- Question - What's the Meaning of the Hat? -- Question - What's the Meaning of 'Més Que Un Club'? -- Media Language: Moving Image Analysis -- Film Studies -- Representation -- Narrative -- Narratology vs Ludology -- Time and Space -- Metaverse Studies -- Putting it all Together: 'This is America' -- Summary -- Further Reading -- 3. Powerful media: people, politics and democracy -- Aims -- The Matrix -- Powerful Media: Micro And Macro -- Democracy -- The Republic -- Liberty -- Dewey's Yardstick -- News Agendas -- Hegemony -- The War of the Worlds -- Colonial Media -- Critical Discourse Analysis -- Feminist Theories of Power -- Lady Gaga -- Postmodernist Theories of Power -- Back to the Internet -- Media Regulation -- Reality and Talent TV -- Power and Globalisation -- Summary -- Further Reading -- 4. Global media -- Aims -- International Media Studies -- Global Media Business -- Global Citizens -- The Global Public Sphere -- Postcolonialism -- Arab Spring/Russian Winter -- Why is my (Media) Curriculum White? -- Post-Humanism -- Summary -- Further Reading -- 5. Evolving media -- Aims -- Media Studies 2.0 -- Fandom and Paratexts -- Where are We Now?.

A THEOLOGY FOR A MEDIATED GOD- FRONT COVER -- A THEOLOGY FOR A MEDIATED GOD -- TITLE PAGE -- COPYRIGHT PAGE -- DEDICATION -- CONTENTS -- PREFACE: WHY THEOLOGY? -- Does God Exist? -- Notes -- Bibliography -- CHAPTER 1: INTRODUCTION: GOD, MEDIATION, AND THEOLOGY -- When Christ Became the Message -- Two Forms of Mediation -- Religion, God, and Theology -- Four Comments, Including Two Cautions -- An Outline of the Project -- Notes -- Bibliography -- CHAPTER 2: GOD AND THE MEDIATION OF ORALITY -- Orality -- The Mnemonic Tools of Language -- A Ritualized Context -- Personification -- At Once Concrete, Visible, and Pluralistic -- Faith and Belief -- God in an Oral Culture -- What is Being Transcended? -- Notes -- Bibliography -- CHAPTER 3: GOD AND THE MEDIATION OF LITERACY -- From Concrete Reference to Abstract Idea -- The "Objectification" of Language -- Literacy and the Emergence of the Self -- The God of Literacy -- What is Being Transcended? -- From Verbal to Nonverbal Media: Looking Forward -- Notes -- Bibliography -- CHAPTER 4: GOD AND THE MEDIATION OF THE FIGURATIVE IMAGE -- Writing with Light -- The Dilemma of a Mute Theology -- Theology as Interpretation -- An Image-mediated God -- What is Transcended? -- Notes -- Bibliography -- CHAPTER 5: GOD AND THE MEDIATION OF THE BODY -- The Mediations of the Body -- Cognitive Science and the Body -- The Body of Experience -- Five Aspects of Bodily Experience -- When Our Bodies Become a Choice -- A God of the Body -- What is Transcended? -- Notes -- Bibliography -- CHAPTER 6: GOD AND THE MEDIATION OF ONES AND ZEROS -- Abundant -- Interactive -- Immersive -- Enabler of Social Networks -- A Digital God -- Transcendence -- Notes -- Bibliography -- CHAPTER 7: CONCLUSION: FROM MEDIUM TO METAPHOR -- Notes -- Bibliography -- INDEX.