Virtual Art & Virtual Reality

Soft skills are socio-emotional and transversal skills that are considered essential for managing social change and the labour market of the 21st century. The aim of this research was to collaboratively develop strategies that promote the learning of soft skills in the design education. The focus was on the skills of communication, empathy and teamwork. This was an applied research with a predominantly qualitative approach. It involved 25 professors and design students through co-design workshops. As a result, we obtained a pedagogical model that includes 16 teaching strategies that guide teachers' actions to promote these skills. The strategies developed start from the paradigm of studentcentered learning and integrate the concepts of contextualization in reality, sharing and reflection.

Du langage jusqu'à la chair! Pour terminer et avant de faire un modeste retour plénier sur les interventions, j'aimerais attirer votre attention sur une opposition qui a fait tradition, celle entre l'image et la parole. Je la conteste. On dit qu'une image vaut mille mots. Pourquoi? Est-ce à dire qu'on arrive plus facilement à communiquer, à se faire comprendre au moyen d'une image que par le discours? N'est-il pas vrai aussi que l'image nécessite parfois la parole pour l'éclairer? Est-ce que le langage est si abstrait qu'il n'entretient aucun lien avec l'image, est-il simplement un ensemble complexe de signes sans lien mimétique à la chose? Est-il pure convention? Le désir d'une langue universelle mathématisée semble aujourd'hui faire le dur constat d'un échec. Soustraite de son rapport changeant et situationnel à l'image, mais plus précisément au voir en général, la parole perd en perspective et devient unilatérale, elle se fige dans une visée unique : disposer de la chose, la connaître, en savoir la loi de façon universelle et nécessaire. C'est la même chose pour l'image si elle n'engendre pas le dialogue intérieur la reliant à l'être de celui qui la considère : on se l'applique sans discernement, on s'engage dans une voie qui peut nous travestir dans un autre que nous ne sommes pas, c'est là que commence la mascarade. Où je veux en venir avec ces questions, c'est de l'interdépendance du voir et de l'entendre. La parole est d'abord faite pour être entendue, l'image pour être vue. Mais c'est la parole qui fait voir et l'image qui fait entendre. Si je vous montre une chose, vous vous empresserez de la nommer, d'entendre ce que vous voyez dans son être, de la connaître si tel n'est pas le cas. Si je vous adresse une parole, vous me cherchez du regard, si je vous raconte quelque chose, vous vous efforcez de le voir pour vous-mêmes, de le comprendre-de vous en faire une idée. Or, avoir une idée de quelque chose, c'est la voir, c'est l'idée qui ouvre et détermine le regard, l'être de ce qui est vu comme effectivement vu. On peut par contre faire facilement la différence entre une image et une chose vue, même si on s'y laisse prendre quelques fois. On sait aussi faire la différence entre la chose dite et la chose sentie. Cette différence ne concerne cependant pas réalité de la chose, mais sa vérité. La chose sentie n'est dévoilée que lorsqu'elle est nommée dans son être. Dans le langage, la chose n'est donc ni plus ni moins réelle, elle est vraie, tandis que seulement sentie, elle n'est que là. Vous me direz, je ne sais pas ce que j'ai senti, mais c'est vrai, je l'ai senti. C'est vrai parce que c'est vous qui l'avez senti, mais c'est la sensation qui est vraie, pas encore la chose, la cause, c'est-à-dire le pourquoi de votre sensation. Mais ce pourquoi même, il ne peut se réfléchir que dans le langage : c'est une fois qu'il est dit qu'il est connu. Devant l'oeuvre d'art, on est cependant autrement que devant une simple chose, on est plutôt devant un dévoilement et donc devant une prétention à la vérité. L'image est plus qu'une copie, l'image est la présentation même du représenté dans le regard d'un autre. Et parce qu'elle est présentation, elle est une effectuation, elle est un processus d'advenir dans le regard de celui qui la considère. C'est pourquoi l'on peut dire que le lieu de l'image n'est pas dans l'oeuvre comme telle, mais dans son regardant. Bien entendu qu'elle continue d'exister même si elle n'est pas considérée, mais elle est oeuvre de présentation seulement lorsqu'elle se présente à quelqu'un. Un tableau dans un musée est matériellement toujours existant, mais il est oeuvre d'art, il est à l'oeuvre lorsque je le regarde ou lorsque je m'en souviens. L'art aussi est un savoir-faire tout autant que les métiers, mais un savoir-faire qui ne vise pas une utilisation à proprement parler. On dira maladroitement que l'art a une utilité, bien sûr, mais pas dans le sens où elle répondrait à une fin en dehors de soi comme une chose qui répond à une fonction. L'art n'a pourtant pas sa fin pour lui-même, car il est pour quelqu'un d'autre. L'art est une humanité, une humanité absolue

This essay analyzes South Korean film director Gina Kim's two virtual reality (VR) films—Bloodless (2017) and Tearless (2021)—and how the film director aesthetically engages new media technology as an ethical tool to represent the events of historical violence. While the greater majority of contemporary Asian and Asian American literature and visual media use the mode of speculative fiction to voice the lost testimonies of past victims, predominantly in the form of a ghost, Kim’s VR films close the gap between voyeuristic audiences and the spectacle of historical victims by inviting the audiences to become  instead of seeing the ghost. Instrumentalizing VR media to open new technologically possibilities for representing history, the films surpasses conventional documentaries’ retrospective modes and instead renders the historical event alive, allowing for the audience to vicariously experience reality in a newtro-spective way. 
In doing so, the films respond to two of the persistent dilemmas in Holocaust studies: trauma studies, and memory studies. The first concerns how one might accurately record historical violence when the testimonies of first-hand witnesses are either permanently lost or subject to suspicion due to PTSD. The second involves how to avoid the reproduction of harm by accurately representing the socio-historical implications of the incident without literally and visually reproducing the violent experience of the victims’ bodies. While revisiting the violent crimes in the US camp town in South Korea from decades ago, Kim shows the discursive and artistic potential of VR media to sublate the mirror dynamic of violence in representing the victims’ violated bodies.

Virtual thought experiments represent an evolution of traditional mental experiments, leveraging digital technologies to create new forms of inquiry. This paper proposes a semiotic typology, arguing that for a mental experiment to be truly 'experimental,' it must exhibit fallibility-defined as the potential to fail through resistance that generates a logical interpretant capable of assessing success or failure. Building on Peirce's semiotics, fallibility is articulated in three forms: indexical, where hypotheses confront observable data; symbolical, emerging from tensions with cultural conventions; and iconic, specific to simulative environments, manifesting through unforeseen or counterintuitive interactions. The study classifies thought experiments into five types-conceptual, narrative indexical, virtual simulative, interactive ontological, and performative-each varying by semiotic domain, fallibility mode, interactivity, and epistemological goals. It concludes that virtual thought experiments require intentionally designed resistance to facilitate the emergence of logical interpretants, simulating conditions that enable users to construct meaningful insights. This reconceptualization integrates empirical and semiotic fallibility, providing a foundation for a rigorous epistemology of digital experimentation.

Intervento nell'ambito del convegno internazionale "Lo studio dell'artista. Entrare nella creatività: tradizioni e trasformazioni" a cura di Lucia Corrain e Martina Cataldo (Ravenna, 5-6 dicembre 2024)
Alma Mater Studiorum Università di Bologna e Cross- Centro di Ricerca Omar Calabrese di Semiotica e Scienza delle Immagini
L’intento del convegno è quello di indagare le radicali trasformazioni di cui è stato oggetto negli ultimi anni l’atelier dell’artista. Da luogo chiuso, quasi esclusivo, di riflessione e concentrazione si è aperto, infatti, a una dimensione mondana e relazionale: da Courbert a Fluxus, da Anselm Kiefer alla video arte, dal tablet all’arte virtuale.

This essay examines the innovative film and theatrical spaces proposed and designed in the 1920s and 1930s by the Austrian-American architect and stage designer Frederick Kiesler, including the Optophon and the Film Arts Guild Cinema. Within a context in which both theatrical designers and science fiction authors postulated increasingly immersive entertainment environments, Kiesler's designs brought to the fore complex interfaces between the human body, sensory experience, and modern entertainment technologies for the architectural interior. Kiesler's ideas, along with those of his contemporaries, predicted the virtual reality spaces of today.

SUMMARY Research in virtual reality (VR) is a relatively young field, which has shown considerable growth in recent years, as the development of new interactive technologies has inevitably impacted the more traditional sciences and arts. This is more evident in the case of novel interactive technologies that fascinate the broad public, as has always been the case with virtual reality. The increasing development of VR technologies has matured enough to expand research from the military and scientific visualization realm into more ...

This world tableau on memory politics is a continuation of the volume of social remembrance, which I have made available on the academia.edu portal in several world languages, as I do with this one. The knowledge and information for this venture could only have been gathered in years without the knowledge mining of ChatGPT with the help of a whole research team, but it could be compiled in a few weeks. Meticulously going through the countries of Europe, North America, Latin America, Asia and Africa, this volume reveals the debates and struggles of memory politics in each country, and where the unified identity underlying them is also disputed, such as the question of Catalans and Basques in Spain, these debates were also covered in the volume.

Sanat tarihsel ve teknolojik değişimlerle kendini sürekli yeniler. Antik Yunan'ın mimesis odaklı sanatı, doğayı taklit ederek gerçeklikle sanat arasında sınır çizerken, 20. yüzyılda bu sınırlar belirsizleşmiştir. Andy Warhol'un "Brillo Kutuları" eseri, gerçeklikle sanat arasındaki farkı muğlaklaştırırken, bilgisayar ve yapay zekânın sanata dahil olması bu ayrımı daha da karmaşık hale getirmiştir. Turing'in "Makineler düşünebilir mi?" sorusu ve Turing Testi, yapay zekânın temellerini atmış, Mc-Carthy'nin "yapay zekâ" terimini tanıtmasıyla bu alandaki çalışmalar hız kazanmıştır. Dijital sanat, insan ve makine iş birliğiyle ortaya çıkan eserlerle sanatsal ifadenin sınırlarını genişletmiş ve sanatçının rolünde değişime neden olmuştur. 2000'lerden itibaren algoritmaların gelişimiyle yapay zekâ, özellikle Üretken YZ, sanatın tanımını ve üretim süreçlerini yeniden şekillendirmiştir. Bu makale, yapay zekâ programları, yerli ve yabancı kaynaklar aracılığıyla doğal ve yapay kavramlarının değişimini, sanat akımları ve teknolojik gelişmelerin bu kavramlara etkisini ve yapay zekâ teknolojisinin bu kavramların yeniden tanımlanmasını gerektirdiği tartışacaktır. Bu doğrultuda sanatta yeni teknolojilerin doğal ve yapay kavramlarına yarattığı etki tespit edilerek sanatın dönüşümü analiz edilecektir.

The article explores and discusses the doctoral research's creative, digital, and visual representation through the "RADICANT 003" virtual reality experience. Grounded in visual methods and the arts sciences, the article outlines its overall structure and contextualizes it within the broader research that in/forms it. It introduces Guma Joana, the Brazilian artist at the centre of this phase of the project. The article articulates theory and practice, ethnography and data presentation. And it is the experience we offer of the work of the artist and of our own view of her that accounts for this dual operation. The paper details two digital mechanisms designed to engage users within the virtual reality environment: one mechanism deconstructs Instagram posts, while the other immerses the user in 360° videos.

This paper discusses the Petra Anamnetic acoustic mapping project. Juxtaposing audio recordings made in the World Heritage Site of Petra and the neighbouring tourist town of Wadi Musa, Jordan, the piece interrogates how sound might provide insights into the complex frictions existing between the native Bedouins and the foreign travelers they have become dependent upon for their economic survival.

Background: The learning styles and personality traits of millennial nursing students are different from those of previous generations, presenting a challenge in teaching as these differences affect academic motivation, knowledge, and clinical skills. Alternative models of teaching that are more interactive, technology-based, practical, and observational are needed. This study aimed to examine the effectiveness of virtual reality head-mounted display (VRHMD) on academic motivation and skills of millennial nursing students in teaching prevention and control of catheter-associated urinary tract infections (CAUTIs).
Methods: This quasi-experimental study employed a nonequivalent control group pretest-posttest design and involved 64 nursing students who participated in the research. They were randomly divided into two groups using purposive sampling. The intervention group used VRHMD method, while the control group followed the routine method (the practice laboratory using mannequins). In this study, the inclusion criteria consisted of bachelor's and associate degree nursing students in their third semester who completed the course of fundamental nursing practicum and were able to operate VR devices. They performed a 20-minute exercise three times. After the complete practice, data were collected using Academic Motivation Scale (AMS)-Short Indonesian Language Version questionnaire to measure Academic Motivation and the assessment of clinical skills to prevent CAUTIs questionnaire to measure clinical skills. The assessment was done immediately before the intervention and immediately after the intervention. Data were analyzed using independent T-test and Chi-square test.
Results: The mean levels of academic motivation in the experimental group during the pre-test and post-test were 73.53 ± 3.100 and 84.09 ± 3.286. Moreover, VRHMD led to higher academic motivation in students compared to those who utilized traditional methods. This difference was statistically significant (p=0.004).
Conclusion: According to the findings of the present study, VRHMD is effective in improving the skills and academic motivation levels of millennial nursing students. This method is recommended as a teaching method for millennial nursing students.

Like a great many others at the turn of the millennium, questioning the essence of perception, knowledge and our very outlook on the world, we stumble upon  so many theories that we can but humbly restate them: everything has been said, thought out and committed to writing. But if Everything is false and everything is permitted and if, above anything else, we “(…) must prize strength over truth, creative, simplifying, ordaining, generative truth”, isn’t this the proper goad to begin with Nietzsche’s theorization and probe deeper into our concerns, that we may test our own creative and interpretive skills?
Edgar Morin, his stance somewhat similar to Nietzsche’s, maintains that knowledge is always translation and construction.  António Marques, drawing on Nietzsche, infers that “perspectivism” stands on a set of theses, or claims. The third claim is of particular relevance to us: all perspective is interpretation and a regulatory fiction.  This informs the questions before us when, in the scope of artistic creation and analysis, of knowledge and education in general, we are faced with differing ways of representing, creating, perceiving and conceiving what human beings have made use of over the centuries. We question the way Man gazes upon, creates, simplifies and ordains the world, as well as a knowledge which is systematically translation and construction. We probe into the vision of the creator and the understanding of they who enjoy. Which is to say, we investigate the gaze that develops forms through which representation, expression and communication are made possible, as well as the gaze of those who decode and interpret such communication. We investigate the mind that builds conceits and theories and the mind that decyphers, systematizes and internalizes such conceits. Likewise, the words that are given in explanation as well as the understanding that captures and apprehends such words. Throughout is a unique process, the same lonely trail, one despairing to convey or capture a single dimension, one’s own perspective. Perhaps this occurs because even at the instinctual level we are bound to recognize that all simplification mutilates, and all value judgments, as Finkielkraut pointed out (1988: 70) carry the seed of violence.

The author shows the enhancement of abstract and “sterile” VRML-scenes by integration of panoramas, made from stitched photographs or special panorama cameras. The problem of having only one point of view in a photograph taken from a fixed point can be solved by using a defined, invisible “box” in vrml, which allows a movement of just a few meters, but also turning around and getting a kind of Augmented Reality. The next development of interaction not only in movement is the interactive integration of vr-objects by using EAI-Java-Tools.

In this doctoral dissertation we aim to contribute to a theoretical framework for cyberformance, live performance taking place in virtual worlds, platforms and environments. This emerging genre is intermedial, multimodal, hybrid, liminal, collaborative, low cost, low tech and interventive, both aesthetically and socially. Through the Internet, connecting remote performers and audiences, this kind of performance has been developing for the last two decades. Chat rooms and Multi User Dungeons where the first cyberspaces where this artistic practice happened. However, soon it transited into graphic environments and virtual worlds, even creating its own platforms and festivals.

An earlier paper of FIQIR Road Safety had been published in Journal of Technology whilst in this paper; FIQIR is focusing on technical aspects evaluation from the expert’s view. The experts were one from multimedia industry and three academicians from Multimedia School. The feedback from experts collected through a questionnaire set. The questionnaire includes contents, navigation or interactivity, presentation of the prototype and the use of animations as aspects to be observed by selected experts. According to multiple previous studies, they are important criteria to be considered during evaluation of usability. Results obtained shown that ten (10) aspects over fourteen (14) observed by the reviewers were above the average score of 4.00 according to the Likert scale. Further enhancements will be carried out towards the prototype based on the findings of this study

Virtual reality (VR) storytelling offers immersive experiences that engage viewers in unique and interactive ways. This study investigates the viewer’s role within animated narrative-based VR and explores strategies and techniques employed to facilitate this engagement. Using thematic analysis, the authors examined 22 animated VR experiences and identified six key themes: viewer interaction, virtual body, viewer’s spatial perspective, voice of the narrator, directed viewing and providing options. These themes encompass various strategies used to activate the viewer’s role and enhance their immersion in the narrative. The findings reveal that interactive elements, such as viewer interactions and decision-making opportunities, contribute to a heightened sense of agency and immersion. Additionally, the incorporation of a visible and functional virtual body, strategic placement of the viewer and guidance from a narrator potentially shape the viewer’s experience and understanding of the narrative. However, it is essential to strike a balance between directed viewing and viewer agency to ensure a satisfying and engaging storytelling encounter. The implications of these findings provide valuable insights for VR creators, highlighting the importance of considering these strategies when designing narrative-based VR experiences. By utilizing these techniques effectively, creators can craft immersive and engaging VR narratives that captivate and involve viewers in dynamic and meaningful ways.

The Marquis of Benicarlo’s House is a prime example of 18th-century Baroque civil architecture in the Valencian region. Inside, it preserves ceramic panels from this period of great historical and heritage value. However, prior to its designation as a Cultural Heritage Site, the building lost some of its most architecturally significant elements, such as the flooring in one of the main rooms, which was decorated with rich iconography. Fortunately, the original tiles from this flooring have been located in the collections of the National Museum of Ceramics. This study presents the recovery and graphic restitution of the flooring based on the pieces found in the museum’s collections. This work allows us to understand the original appearance of the flooring before its dismantling and may enable its in situ restoration through digital ceramic printing techniques, thus returning one of its most unique architectural elements to the building. It also details the process of digitally restoring the flooring to its original location using advanced digitization techniques. This enables the visualization of the hall in its authentic state using virtual reality methods, thereby facilitating its appreciation and dissemination as a heritage architectural space.

Deux pistes pour discuter l'article de Chalmers ressortent particulièrement et structurent le déroulement de ce qui suit. La première concerne la perception experte du virtuel : selon Chalmers l’expert percevrait davantage l’objet numérique que le non-expert, dont la perception serait davantage illusoire. La seconde piste est moins explicite, mais sous-tend de nombreuses positions en ce qu’elle concerne le présupposé selon lequel il y aurait des conditions normales de perception. Chalmers a besoin de cela pour donner une définition des propriétés des objets – physiques ou virtuels – et pour donner une définition de l’illusion. Par conséquent, même si le terme n’est pas souvent présent dans ce qui suit, les deux points qui sont discutés engagent à repenser l’illusion en général et la relation du virtuel à l’illusion en particulier.

This study explores the potential of metaverse technologies in the field of engineering training, aiming to assess their feasibility and acceptance. The research methodology involved the development and evaluation of the "Design and Manufacturing Future Lab" application, which served as a testbed for incorporating metaverse technologies into engineering education. The application's features include 3D sketching, primitive building, voxel sculpting, and parametric CAD tools, all accessible through Meta Quest glasses. A sample of 20 trainees, consisting of mechanical engineering and architectural engineering students, participated in the experiment. Their feedback, collected through interviews, provided valuable insights into the application's usability and potential improvements. Additionally, XR developers from Meta company reviewed the feedback, adding their perspectives on the application's performance and user experience. The results indicated that the application showcased promise in engineering education, enabling trainees to visualize and design three-dimensional models effectively. While the trainees appreciated the application, feedback emphasized the need for higher precision features, particularly for mechanical engineering students. The study acknowledges the limitations of the research sample and the specific perspectives of the XR developers from Meta. It concludes by highlighting the ongoing development plans for the application, including the transition from virtual reality (VR) to mixed reality (MR) through the incorporation of "pass-through" functionality. The study contributes to the growing body of knowledge on integrating metaverse technologies into engineering training, paving the way for future advancements in digital transformation within the field.

Estimado lector, usted sostiene en sus manos un libro que quita una auréola de misterio y reticencia profunda de un juego fascinante llamado "Vida". Sí, es precisamente "juego", porque todos nosotros, a pesar de todo el enfoque serio de este fenómeno de nuestro ser como Vida, inventamos sus eventos para nosotros mismos, lo que significa que representamos los papeles que optamos nosotros mismos. "Toda nuestra vida es un juego y las personas que participan son actores." (W. Shakespeare)

This demonstration presents the development of a virtual reality (VR) research project for the VR interaction and digitization of "Sodeisha Sculptural Ceramics", a transmedia approach showcases photogrammetry scanned Japanese ceramic artworks in an educational and public VR exhibition setting. The early prototype has involved the photogrammetry scanning of 10 sculptural ceramic works of art. These works were created by the innovative Japanese postwar artist group, known as 'Sodeisha'. Newcastle Art Gallery holds one of the largest collections of Sodeisha ceramics outside of Japan and recently featured the collection in a large-scale exhibition titled SODEISHA: connected to Australia from March-May 2019. The audience used controllers to interact with objects in a virtual environment, with the option of seeing a pair of VR hands or full VR arms.

Technoshamanism combines traditional shamanic technologies with emerging technologies based in silicon (dry), biology (wet) and hybrid (moist), in the service of healing and sustaining life. This paper explores how contemporary artists pursue expanded forms of consciousness by symbiotically joining technoscientific tools and shamanic techniques

Current real-time applications feature rivers that are pre-calculated off-line and present static animations and behaviours. These pre-calculated approaches have several limitations when used in real-time applications such as video games as they usually do not react to changes performed by the user. Due to the continuous pursue for better realism, the techniques used to simulate rivers have not only to improve the appearance of rivers but also allow them to adapt to dynamic changes performed in real-time. The approach presented in this work allows the dynamic generation of the river given any riverbed. The algorithm is also flexible enough to adapt the river flow in real-time. This approach not only accelerates the creation of realistic rivers but also increases the realism as the river is able to react to dynamic objects that come in contact with the flow, by properly adjusting its course.

El universo de Kalki: Prólogo Este trabajo nació como una herramienta para vigilar la coherencia de la acción en mi novela ¿Sueña Kalki con vacas virtuales? pero al acabar vi que era una narración con entidad propia. No lo suficientemente completa como para ser un libro pero sí un relato interesante tanto para quien haya leido la novela como para quien se plantee si leerla o no.

The advent of technology and the COVID-19 pandemic has altered the higher education landscape by highlighting online education platforms, thus bringing transformation to the teaching and learning process. Drawing from the dynamic capability theory, this study examines whether institutional, technology and human resources are determinants for the performance of Open and Distance Learning (ODL) in Higher Education Institutions (HEIs) in Malaysia. A quantitative approach was employed in this study, specifically utilising a structured questionnaire to collect data from a sample of 217 educators in Malaysian public and private HEIs. Data were analysed using the SmartPLS software. The empirical results reveal that institutional and technology resources significantly influence the performance of ODL in the HEIs. These results suggest that the ODL practices could be improved with dynamic resources supported by the HEIs. A sustainable ODL implementation would increase access to academic advancement for educators and students. The study's findings underscore the importance of sustainable education for HEIs, emphasising the need for robust policies and standards, efficient procedures, modern infrastructure, advanced information systems, and strong management support to ensure the long-term success of ODL.

En el 2014, durante la realización de un seguimiento arqueológico ordinario por la reapertura de las zanjas para la nueva estación de bombeo de agua potable de la ciudad de Toledo, en el jardín existente entre la Puerta del Cambrón y San Juan de los Reyes se localizó un potente muro que claramente se correspondía, tanto por materiales como por morfología, con una estructura defensiva de entidad. Su posición urbana nos hizo plantear, prácticamente desde el primer momento, que podía estar relacionada con la cerca de la Judería Mayor de la ciudad. Esta construcción, por los datos obtenidos en el proceso de estudio, debió ser edificada a partir de la segunda mitad del siglo XIII, mientras que su proceso de amortización comenzó en la segunda mitad del siglo XIV, posiblemente a consecuencia de los asedios acontecidos en el marco de la guerra civil castellana. De tal forma que ya estaría completamente sellada en el siglo XV.

En este texto queremos presentar un avance preliminar de la investigación que estamos desarrollando para la reconstrucción de la judería y, en especial, de su recinto fortificado. Para ello nos basamos en los datos provenientes de la excavación arqueológica, los análisis arqueométricos y los estudios de paramentos de la cerca, combinados con la información aportada por las fuentes escritas y la bibliografía previa. Con base en esto, y por primera vez, planteamos a través de una reconstrucción virtual la hipótesis que planteamos sobre el trazado esta muralla.

This work compares the metaverse, a new society created with the help of technology, with one of the most recognized allegories of the classical philosophy "El Mito de la Caverna'' made by Platón, Socrates's disciple, where a debate about reality takes place. In turn, an analysis is made of Kantian ethics within the metaverse and how the decisions we make can impact our stay inside and outside the metaverse. In-depth research is carried out and a vision is shared of a virtual universe where the human being will be able to make decisions, besides taking into account the dangers that occur within the metaverse. To conclude with a didactic proposal inspired by ancient Greece where everyone who has knowledge about the subject, in this case, metaverse and philosophy, can contribute to the growth of knowledge, being this a way of learning based on the interest of each individual and thus being able to maintain a "cloud" of knowledge where everyone can learn and teach autonomously.

Collaboration between partners in universities and museums is increasingly viewed as an important means of demonstrating the societal relevance of both research and practice in the GLAM sector (galleries, libraries, archives and museums). Recent studies have shown the significance of university-museum research collaborations in the context of advancing visitors' cognitive development in museum settings (Sobel & Lipson, 2016), fostering the democratisation of knowledge through citizen projects in archives (Hetland et al., 2020), and producing novel experiences of art, science and cultural heritage through the co-design of innovative exhibition technologies in galleries (Drotner et al., 2019; Kenderdine, 2020). Approaches to modelling and implementing such partnerships has thus emerged as a topic in museum studies, with experimental museology conceptualised as mutually beneficial alignments between professional practices and academic discourses, balancing both museum curators and university researchers' interests and contributions. A particular challenge in experimental museology, as we see it, is identifying and supporting partners' different aims and motivations as these unfold during various phases of a university-museum research collaboration. In her review of university-museum collaborations, Gaskins (2016) identified differing priorities, time frames, interaction styles and tensions in reconciling the implications and communication of research findings as sources of potential cultural conflicts. In museums, for example, directors, curators and educators may participate in research projects with universities to prioritise building new audiences, enhancing the quality of visitor experiences, developing visitors' knowledge, and advancing academic insights and professional expertise that keep their institutions relevant (Simon, 2016). In universities, researchers prioritise museums as powerful settings for studying informal learning (Sobel & Lipson, 2016), but also an ideal space for developing theoretical concepts of embodied experience and meaning-making in the domains of science, art, architecture and other forms of cultural heritage

La société tribale péninsulaire est communément envisagée comme ayant transmis, oralement, les récits de son passé antéislamique, tous ancrés comme des grelots à chaque maillon d’une mémoire généalogique dont les Arabes, forcément nomades, auraient été les experts jaloux, au contraire des sujets des grands empires
sédentaires voisins.
Pourtant, la confrontation de plusieurs études de cas parallèles laisse supposer que si, en effet, certaines figures très anciennes ont été préservées dans la généalogie et la mythographie d’époque abbasside, elles pourraient bien être passées par des rapports et des chroniques plus classiques : celles, justement, des empires romains, sassanides et himyarites de l’Antiquité. Certaines inscriptions fournissent un échantillon à même de recouper et reconstituer ce que devaient receler ces archives, à l’époque omeyyade. Inversement, il est surprenant qu’une dynastie comme celle des phylarques jafnide de Syrie, au VI e siècle, ou celle des condottieres d’al-Ḥīra soit sujette à de si profondes approximations, tandis que, plus grave ou plus surprenant encore, les figures de la tardive historiographie arabo-musulmane de la conquête (futūḥāt) et des premières guerres civiles sont au contraire à peu près complètement ignorées de leurs contemporains non-arabes.
C’est ainsi que Zénobie de Palmyre, ʿAmr de Lakhm, Jadhīma de Tanūkh et l’Imru-l-Qays de la tabula ansata de Namara sont tous bien connus : ils appartiennent à des historiographies impériales perdues, dont nous ne connaissons que ceux que les auteurs abbassides ont identifié comme des « Arabes antiques ». Bien souvent, l’historiographie islamique brode en accordant d’une part ces échantillons, patiemment récoltés à la mode positiviste, par exemple en Irak dans le Khwaday-Nameh sassanide perdu, et d’autre part des légendes au sens propre, inventées en marge de morceaux poétiques compilés au VIII e siècle afin de leur donner du sens, sans que, la plupart du temps, la date de leur première déclamation ne soit connue.
Enfin, c’est finalement avec les personnages qui sont sensés avoir interagi avec les conquérants et les tous premiers califes que le mystère est le plus entier : les figures comme celles de Jabala b. al-Ayham de Ghassān, de Rabīʿa b. Bujayr de Taghlib, de ʿAqqa des al-Namir entre autres nombreuses sont pratiquement anhistoriques, alternant entre antagoniste d’héroïsme, archétype jurisprudentiel et ancêtre ad hoc de figures de l’entre-deux, à l’instar des mawālī arabes.

With the advancement of technology, digital gadgets have progressively become tools for educational pedagogy, enabling the widespread application of virtual reality(VR) and augmented reality (AR) in healthcare education. Neurological rehabilitation, telemedicine, psychotherapy, medical education, and surgical simulation are among the fields in which VR and AR are used. Studies have shown that VR and AR can reduce medical errors resulting from incompetent medical personnel, lessen the inconvenience of traditional medical care, and save medical education and training costs. The application has improved the quality of diagnosis and treatment, raised the bar for medical education and training, and strengthened the bond between clinicians and patients. In an effort to assist clinical professionals in enhancing the standard of care they provide, this study integrates VR and AR technologies into medical-clinical practice, utilizing Actor Network(ANT) model to develop a conceptual framework for the implementation of AR/VR pedagogy simulation on artificial intelligence training platform.

Resumen: Del mismo modo en que el ser humano ha sentido la necesidad de inventar mundos ficticios y virtuales, también siempre experimentó una atracción por las ideas amenazadoras y fascinantes del doble (doppelgänger), de los autómatas, y por fenómenos tales como la ubicuidad, incorporeidad (disembodiement), la visión a distancia, la bilocación y las personalidades múltiples. El fenómeno de la bi-locación, por ejemplo, ha sido mencionado extensamente en diferentes sistemas religiosos y filosóficos como el chamanismo, el hinduismo, el misticismo cristiano, el paganismo y otros, como la habilidad que tendrían ciertos individuos (generalmente santos, monjes o místicos) de encontrarse en dos o más lugares al mismo tiempo. El advenimiento de Internet, las nuevas tecnologías y las redes sociales han abierto nuevas posibilidades respecto a esto, permitiendo la expansión del «yo» en cuerpos virtuales teledirigidos. Si no mucho tiempo atrás, experiencias de este tipo debían ser vividas a través del cine o la literatura, hoy es posible atravesarlas en primera persona: todo el mundo es capaz de crearse extensiones virtuales del «yo», otros perfiles, avatares, entidades o doppelgängers que pueden operar (controlados de manera remota) como extensiones de uno mismo. Como consecuencia, la imagen ha sufrido un cambio en su función y estatus, al mismo tiempo que se abren nuevas posibilidades a través de los procesos de digitalización. El presente trabajo intenta explorar la actual relación entre la presencia, la tele-presencia, las imágenes y las extensiones del yo.

Human body has limitations in its organs in order to perceive the world; technology has been a resource to permit a sensorial expansion, solving some issues and creating new ones. The State, as a guard for collective aims, tends to regulate both technology and perception, establishing policies for sensation and for the use of devices and substances. Invention of artificial body parts, or even of an artificial human, has conducted to a tensioned circumstance, since our senses can be more precise and rich but, in the other hand, there is a possible substitution of natural beings by machines. This paper deals with that tension analyzing three levels of aesthetical capacities in perspective of the State and use of technology.

Human body has limitations in its organs in order to perceive the world; technology has been a resource to permit a sensorial expansion, solving some issues and creating new ones. The State, as a guard for collective aims, tends to regulate both technology and perception, establishing policies for sensation and for the use of devices and substances. Invention of artificial body parts, or even of an artificial human, has conducted to a tensioned circumstance, since our senses can be more precise and rich but, in the other hand, there is a possible substitution of natural beings by machines. This paper deals with that tension analyzing three levels of aesthetical capacities in perspective of the State and use of technology.

There has been done little research to validate the utility and usability of virtual and augmented reality environments. The evaluation of usability of these new technologies is very important to design systems that are more intuitive than a traditional method. Such an evaluation is also important for future development of applications that can gain from this new technology. The augmented reality (AR) is a technology that embedded virtual object (video, picture and 3D object) to the user view the real world. The combination of AR technology with the educational content creates new type of automated applications and acts to enhance the effectiveness and attractiveness of teaching and learning for students in real life scenarios. The study aims to improve the teaching methods used in secondary school by employing modern educational technology and thus assess the effectiveness of AR apps in teaching students the physics experiments. Therefore, in this study we took the challenge of adapting this technology to facilitate physics subject in secondary school.

From the 1960s to the present day, the foundations of digital art have existed in many different forms, such as Computer Art, ASCII art, Robotic Art, Electronic Art, Cyber Art, and Software Art. The abstract electronic images of waveforms created by American mathematician and artist Ben Laposky in the early 1950s were among the first examples of painting with light in digital art. While Laposky used light limited to the screen surface to create the images, a year before him, Pablo Picasso and Henri Matisse were experimenting with a different form of painting with light by utilising the physiogram technique, a photographic technique. Picasso drew figures in the air with a small light source, and Gjon Mili captured the image of the drawing by layering the light on photographic film with his camera set to low light sensitivity and prolonged exposure. Innovative VR technology was being developed concurrently. Beginning with Morton Heiling's Sensorama, a virtual reality device introduced in 1956, seven years after Picasso painted figures in space with light in 1949, VR technologies today are sophisticated regarding display, audio, interaction, and network integration capabilities. The two approaches of painting with light, Laposky's creation in the digital environment and Picasso's creation of the drawing by the artist in physical space, are combined in VR. Virtual reality uses the illusion of replacing a computer-generated environment with our perception of the real world, creating a sense of presence in the virtual world and the exciting possibility of interacting with virtual objects. Artists can meet in VR's immersive environment and work on their artistic creations with innovative creation tools. Moreover, VR Technologies, have also become an alternative to traditional exhibition methods in art and design. This research investigates the possibilities of VR Painting as a form of artistic expression and the artists and their works with this technology in the context of digital art.

Keywords: Virtual-Reality, VR painting, digital art, immersive art, physiogram.

This paper interrogates the notion of “scopic regimes” as it has been employed by various scholars seeking to make sense of the visual practices prevalent in the conduct of war, most notably in the prominent employment of drone aircraft (Gregory 2011; Coward 2013; Grayson 2016). Originating in cultural theory (Jay 1988), the concept of the scopic regime was advanced to outline historical alternatives to Cartesian perspectivalism and its correlated rationalisation of vision and mathematisation of space. Such a disruption of dominant ways of seeing is what retains appeal to critical scholars keen to contest the military God’s eye view through an aesthetic “redistribution of the sensible” that showcases “other ways of seeing” (Grayson & Mawdsley 2018). From this perspective, visuality is primarily approached in terms of discursive practices and rhetorical exercises and scopic regimes apprehended in a culturalist and constructionist frame. The purpose of this chapter will be to argue that, notwithstanding the insights that this engagement with the visual in war, there exists an alternative approach more attentive to the functionalism and pragmatics of perceptual regimes. This distinction is not only an interpretative and theoretical issue but bears important consequences for the forms of counter-veiling praxis that follow from them which can be illustrated through corresponding modes of artistic engagement. Thus one can observe that for all the cultural significance of the alternative scopic regimes originally identified by Martin Jay with seventeenth century Dutch art and the baroque, these did little to arrest the ascendancy of a “visual nominalism” that uses “vision to capture the identity of individual objects and spaces by recording distances and shapes” and “create detailed maps of three-dimensional reality” (Manovich 2002). This visual nominalism has reliably served as the foundation of a “martial gaze” articulating the functions of sensing, imaging and mapping into a system of globalised targeting that finds one of its most paradigmatic contemporary expressions in the armed drone (Bousquet 2018). Yet an effective counter-conduct to the martial gaze can be found in the extensive practices of camouflage, decoy, and concealment employed to evade, misdirect, and bedazzle by exploiting identified biases, lacunae, and blind spots. This pursuit of invisibility – a purposeful becoming-imperceptible – thus enacts an immanent critique of the martial gaze that both frustrates its operation and impels its continuous development. The chapter concludes with a discussion of the Adam Harvey’s artistic practice, notably the works CV Dazzle (2010), Anti-Drone Hijab (2012), and HyperFace (2017) which exemplifies this form of immanent critique and some final thoughts on the wider implications of the suggested contrast in approaches to the logistics of military perception (Virilio 1983).

Film festivals are a reflection of trends, and they directly or indirectly opt for innovation in all areas, techniques and formats, including virtual reality, augmented reality, immersive reality, 360˚, and, ultimately and most novel, the metaverse. Moreover, regarding film festivals as cultural industries, the academic literature is almost anecdotal compared to that related

This research presents the results of experiments of techniques on heritage preservation using lighting computation in virtual environment. In this research, three traditional houses built in the early 1900s were reconstructed based on the captured data that included texturing and lighting. A thorough study on the lighting solution and its impact to the design aspects of photorealism and issues discovered in processing the digital data will be emphasized. This includes complexity of the modeling, rendering and reality, and real-time lighting techniques. This research will suggest effective lighting techniques for reconstruction of heritage preservation in virtual environment for architectural purposes.

The purpose of this paper is to describe insights gained from a collaboration project between RISE, an experimental research institute, and Borås Museum, a local cultural heritage institution, around the topic of how technology can be used in museums to encourage social interaction between visitors and between visitors and the museum staff. This is investigated through a case study of “Anyone Can Innovate!”, a multi-participatory game-like VR-installation, using a perspective of participatory design. The study was conducted through observations by the developers, formal user testing with externally recruited testers, and by an interview with the responsible project leader and curator from Borås Museum. The VR-installation was tested in two iterations with different levels of embedded guidance, and included different roles for the participants, as an attempt to boost collaboration and interaction. One conclusion of the study is that the use of technology in a museum doesn’t per se me...