Academic literature on the topic 'Digital dream space'
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Journal articles on the topic "Digital dream space"
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Bommarito, Concetta, and Kathryn Dunlap. "Dream Lucidity." International Journal of Gaming and Computer-Mediated Simulations 6, no. 3 (July 2014): 35–49. http://dx.doi.org/10.4018/ijgcms.2014070103.
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In this paper, the authors examine digital environments as a learning spaces and site of extended cognition by demonstrating the presence of active learning in both video games and their linked online collaborative communities. The authors use Shaun Gallagher's theory of extended mind to posit the notion that the shared cognitive space created in the game between creator and player can be extend to include many others through the digital communities of those players though gaming literacy. The authors conducted a think-aloud protocol with participants playing Yume Nikki, a minimalist Japanese indie game, then reading materials on hikikomori, a condition the creator is believed to have. They conclude from their results that active and creative learning of human communities should not be undervalued when designing virtual environments even when the environment is single-player.
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Younan, Sarah, and Cathy Treadaway. "Digital 3D models of heritage artefacts: Towards a digital dream space." Digital Applications in Archaeology and Cultural Heritage 2, no. 4 (2015): 240–47. http://dx.doi.org/10.1016/j.daach.2015.11.001.
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Shea, Kristina. "Digital canopy: high-end computation/low-tech construction." Architectural Research Quarterly 6, no. 3 (September 2002): 230–45. http://dx.doi.org/10.1017/s1359135503001738.
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The design and construction of this canopy and landscape for a small courtyard [1] took the form of an adventure in digital design and low-tech construction. The installation was for the end of year party in June 2002 at the Academie van Bouwkunst in Amsterdam. The courtyard occupies a central space in the school adjacent to the main lecture hall and contains a historic cobblestone court [2]. One of the design team, Neil Leach, proposed that it should be transformed into an enchanted garden suggestive of Dutch greenhouses and Shakespeare's A Midsummer Night's Dream.
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Novikov, Vasily N. "VR cinema. Virtual spectacle as a dream." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 43–52. http://dx.doi.org/10.17816/vgik11243-52.
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The essay analyzes the meaning of the term immersion in relation to its application in modern cinema, explores the significance of physiological sensations in the perception of artistic and entertaining VR content, and discusses the main features of the aesthetics of 360 spherical video.
In a state of immersion, a person ceases to psychologically perceive the screen as a repeater of an artificially created world, actually merging with the surrounding space. This technology, embodied in VR films, poses many still unresolved issues: the management of the subjects attention, the role of editing, the quality of sound, the use of music, film narration, the participation of the viewer in a film's events, work with light and color.
The VR video format with a 360 overview is used in many areas: music videos, virtual tours, documentary travels, independent dives into art works, digital painting, and installations. In all these cases, the viewer feels like an observer, finding himself in the very center of an infinite, all-encompassing virtuality.
In contrast to the traditional film that appeals to the mass consciousness of the audience, the viewing of VR content is aimed at the personal self-awareness of the individual. Images perceived in this format have a potentially higher impact on the human psyche and the human unconscious because they are remembered more vividly as a result of the complex involvement in the personalized experience here and now. The ability of the author-artist to create for the viewer an emotionally saturated dream with the psychological fusion of the subject and the space takes place is a qualitatively new quality of VR dives, a feature uncharacteristic of traditional visual arts.
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Pestovska, Zoia S. "TOKENIZATION OF UKRAINE’S ECONOMY: DREAM OR REALITY." Academic Review 1, no. 56 (June 2022): 24–34. http://dx.doi.org/10.32342/2074-5354-2022-1-56-3.
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The two most common blockchain-based digital assets are cryptocurrencies and tokens. This paper is devoted to investigation of the nature and purpose of tokens, their relationship with the blockchain, cryptocurrencies and digital assets, as well as the study of legal aspects of Ukrainian economy tokenization. Tokenization is the replacement of true values with virtual ones, a way to protect personal data with tokens (combinations of symbols on the Internet that do not valuable to fraudsters). The purpose of tokenization is to protect sensitive data. Obstacles to the transition of real assets into the digital space: unlimited access to assets and excessive ease of registration and closing of accounts; there is no single approach to tokenization that affects other aspects (asset management and role allocation, security, integration with traditional payment systems). Therefore, state regulation is necessary. Ukraine adopts the law project #3637 “On Virtual Assets”, which determines the legal status of virtual assets, provides legal protection to users and market participants, allows foreign and Ukrainian crypto exchanges to operate officially, gives banks the right to open accounts for crypto companies, allows Ukrainians to declare their profits in virtual assets. A detailed study of the bill #3637 raised a number of questions: - what is the legal meaning of the term “token” (the definition of virtual assets is given, but their variants are not there, virtual assets are considered as property and not as a financial instrument); - who will actually be the regulator of the virtual assets market; - classification of tokens (there is only a division of virtual assets into secured and unsecured, although, depending on asset which is the basis for token, it may be difficult to determine its type, which may lead to incorrect regulation or lack thereof where necessary); - establishment of types of secured tokens, regulation of the order of their issuance and turnover, set of requirements to issuers and token issuance system; - providing legal mechanisms to protect the rights of investors, ensuring the security of the underlying asset (unclear legal status of tokenized assets carries a risk for market participants, i.e. it is necessary to ensure guarantees of issued tokens connection with real objects); - determining the legal status of smart contracts, as they are the basis of token agreements, but are not considered legal agreements; - interaction with other jurisdictions, harmonization of legislation. Therefore, the bill needs to be finalized and supplemented with relevant bylaws - so that domestic and foreign potential investors can take advantage of assets tokenization: inclusiveness; justice; transparency; liquidity; accountability; reduction in price; security (entry in the register in the form of a unique code); efficiency (speed); flexibility (crushing); availability (online without physical presence). Therefore, any investor and issuer of tokenized assets must act with reasonable caution and taking into account possible inaccuracies in the law, assess legal and financial risks, and only then decide on tokenization.
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Griffiths, Alison. "The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media." Journal of Visual Culture 20, no. 1 (April 2021): 85–112. http://dx.doi.org/10.1177/1470412921994617.
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This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.
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Samuel, Ben, James Ryan, Adam Summerville, Michael Mateas, and Noah Wardrip-Fruin. "Computatrum Personae: Toward a Role-Based Taxonomy of (Computationally Assisted) Performance." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 12, no. 2 (June 25, 2021): 79–85. http://dx.doi.org/10.1609/aiide.v12i2.12900.
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Computationally assisted performance is a burgeoning area for AI applications, and an important stepping stone toward the dream of generative and personalized narrative experiences. As more pieces of computationally assisted performance are developed, it will become ever more important to develop a vocabulary with which to describe them. Inspired by previous work in creating taxonomies for other related domains, this paper outlines a taxonomy for performance-based experiences, drawn from digital games, traditional theatre, and the hybrid of the two. Having such a taxonomy not only creates a common language with which to discuss such experiences, but reveals unexplored design space in the field, and the particular applications of artificial intelligence necessary to realize them.
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Loza, Susana. "Sampling (hetero)sexuality: diva-ness and discipline in electronic dance music." Popular Music 20, no. 3 (October 2001): 349–57. http://dx.doi.org/10.1017/s0261143001001544.
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Cyborgs, fembots and posthumans: electronic dance music and the biopolitics of fucking machinesIn the technophilic West, netizens, infomorphs and the audio digerati triumphantly-if-precociously herald this as the dawn of disembodiment. These reality hackers dream in binary code. They yearn to manufacture human-alien hybrids, ethical androids and genetically programmed clones. They already engineer digital soul divas, aural cyborgs, Nintendo's voluptuously overdrawn robo-bimbos, and the supernaturally and surgically perfect bodies purchased at Lasers R' US. They share the meat-hating philosophies of the cyber-protagonists of Neuromancer, Snow Crash and Software. They willingly computerise their passions via text sex, MUD-based gender masquerades, naughty newsgroups, techno-fetishistic video games, virtual reality-based erotic escapades, and pornosonic digital samples. Nonetheless, it seems that for the rest of us to join these intrepid cybernauts in their Age of immaterial Information, our too-solid bodies must first be anaesthetised with utopian visions and sounds of an incorporeal future. So electronic dance music, popular culture and modern science inject the flesh with fantasies of immortality, limitless pleasures, and unadulterated agency. With their tax-funded market research and their potent techno-imaginings, entertainment systems, netters, digital dance music producers, and radically hopeful scientists prepare human matter to be dematerialised and devoured byte by agonising byte. In other words, they passionately fabricate the human-machine hybrid also known as the cyborg, the fembot and the posthuman. These techno-organic entities traverse the space between desire and dread; their indeterminate forms simultaneously destabilise and reconfigure the dualistic limits of liberal humanist subjectivity. Each incarnation plots the feared consequences and perplexing possibilities of boundary transgressions between the human and the machine quite differently.
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Landolfi, Claudia. "Beyond the Society of Judgement: Deleuze and the Social Transitivity of Affects." Deleuze and Guattari Studies 13, no. 4 (November 2019): 541–51. http://dx.doi.org/10.3366/dlgs.2019.0379.
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Legal apparatus looks like a set of norms which rely on a rational project of life, yet it is possible, following Deleuze but also Hume and Kafka, to recognise the irrational aspect of this system. Is the law a dream? In what relation is the law with the subject? If the legal subject acts in a dream, what are the results? This paper develops around such questions with the aim of critically reflecting on the foundations of subjectivity and its connections with the legal normativity that requires obedience as the main form of respect and adherence. In this apparently free and creative present, which is unfolded on a digital codex of information, it seems relevant to be highly suspicious of the barriers that are going to be tightened more and more around thought and its potential creative evolutions. Can we think of – beyond the legal/illegal, obedient/disobedient dichotomy – a system of social relations that, instead of giving space to the permanent and repetitive features of subjects, discovers a wider margin of affective, innovative and creative connections in response to the behavioral exemplifications of diktats?
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Ali, Salah Hamed Ramadan, and Gehan A. Ebrahim. "The Impact of 3D Coordinate Technology Using Nanomaterials on Architecture Engineering Industry." Applied Mechanics and Materials 904 (January 4, 2022): 7–15. http://dx.doi.org/10.4028/www.scientific.net/amm.904.7.
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Coordinate technologies play an important role in many industrial applications, especially for eco nanobuildings and spaces. Lately, the global new architecture seems to be more automated as appeared in the parametric architecture, topological, animate, metamorphic, and isomorphic and per formative architecture. They all depend on the visualization, the high precision techniques, and the 4th dimension all within sustainability. But till now, there is no main environmental space code, unit or standards to deal with to insure that the environmental design became in a form of an easier one to be the design of the era as all the global calls aware us to preserve the nature from pollution. Mainly within the call for the nanotechnology, if there is found a least architectural volumetric unit which can fulfill all the environmental sustainable systems within the visionary and the 4th dimensional acts, then we can act with the environment with easier spaces that can be duplicated in a uniform way, to work easily for measure and estimate the budget of his supposed built space. Therefore, the main liable issue concerns the research for the least architectural volumetric unit, and we can call it the nanoarchitectural unit. As nanoarchitecture is a virtual and proposed kind of architecture, which the architects aim to create it or follow it the nanotechnology to insure that the 3D technology is to submit as an application in all branches of science, to achieve a dream of the present-day from sustainability and environment for future generations. Accordingly, recent studies have confirmed that 3D coordinate technology using digital printing has an important subtle impact on industry, especially for green buildings and spaces.
Dissertations / Theses on the topic "Digital dream space"
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Warpas, Katarzyna Bogusława. "Designing for dream spaces : exploring digitally enhanced space for children's engagement with museum objects." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/304817.
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This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographicallyinformed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. This led to the development of the Social Dream Spaces Model. This model, which describes how visitors engage with museum objects, was used as the basis for a design intervention aimed at enhancing children’s engagement with exhibited artefacts. In-gallery participant observations were carried out in Bantock House Museum, Wolverhampton. Insights, based on data analysed from the perspective of the Social Dream Spaces Model, were used to develop a prototype of a digitally enhanced space, which was implemented into the existing exhibition. Data gathered in observations before and after the design intervention were compared in order to determine any changes in visitors’ responses to the exhibition. This study demonstrates the benefit of using the Social Dream Spaces Model for designing digitally enhanced exhibition spaces that promote children’s engagement with artefacts and social contact around them. The findings also confirm that designing subtle and nonintrusive digital enhancement can facilitate intergenerational interaction in exhibition spaces.
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Younan, Sarah. "Towards a digital dream space : how can the use of digital 3D scanning, editing and print technologies foster new forms of creative engagement with museum artefacts?" Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/7994.
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This thesis describes research into the creative use of digital three-dimensional (3D) technologies in museums. It examines how digital 3D reproductions of museum artefacts support creative engagement and enhance museum experience. Digital 3D models of museum artefacts are malleable; they allow users to create new artworks through digital manipulation and transformation. 3D printing technologies enable users to translate digital 3D models directly into physical forms. This research investigates how these technologies can impact on museum engagement and makes recommendations for museums exploring the possible uses of digital 3D technologies. A contextual review, informed by ongoing developments in the field of digital heritage and a critical review of published literature, identifies key issues examined in the research. These include the ways in which reproductive digital 3D technologies can foster unprecedented audience access to museum collections, democratise art interventions in museums and engage with the museum ‘dream space’. The rationale for the use of qualitative research methods in the study is explained and the case studies undertaken during the research are described. The investigation of artworks created by participants in the case studies; data from interviews with artists, museum staff and museum visitors, provide insights into how digital 3D reproductions foster new experiences with museum artefacts. In this research, reproductive digital 3D technologies are shown to support creative forms of museum engagement, to democratise museum interventions and increase public access to museum collections. They engage users with personal and subrational forms of museum experience. Furthermore, the use of digital technologies in museums has been shown, in this research, to trigger learning experiences and increase historical awareness and digital literacy. Recommendations are made for institutional approaches to the use of digital 3D technologies and for future research in the area of creative engagement with digital heritage.
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Melia, Michael. "One startup's dream : an ethnography of a vision." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:bdad8068-57b1-47bd-b22c-1b93130b9fcb.
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This is the story of how four people invented a whole new world and way of life - and how they attempted to establish it across the globe. Copass, a Parisian startup consisting of four cofounders, aimed to connect hundreds of the world's shared workspaces under their new global federation. But the main objective of this startup, in contrast to most, was not to build capital. It was to build a universe: a future where white-collar workers would be liberated from the shackles of office life to work anywhere in the world, to meet exciting people and to have amazing experiences. Here, workdays were permanently mixed with holidays. Work was fun, workplaces were play-places and workers were adventurers. The ambition of these four cofounders was to turn the way they wanted things to be for them into the way things ought to be for everyone else. To turn their desired lifestyle into a global social movement that enrolled, as they saw it, hundreds of cities and thousands, tens of thousands, even millions of people. In short, they created a company to fulfil a dream. This is an ethnography of that one startup's dream, analysed at length to demonstrate innovative ways of worldmaking employed by an ambitious tech company seeking success. A company dissatisfied with the world that, instead of changing it, decided to create a new one.
Book chapters on the topic "Digital dream space"
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Graßl, Hartmut, Stefan Bauberger, Johann Behrens, Paula Bleckmann, Rainer Engels, Eberhard Göpel, Dieter Korczak, Ralf Lankau, and Frank Schmiedchen. "The Ambivalences of the Digital—Humans and Technology Between New Dreams/Spaces of Possibility and (Un)Noticeable Losses." In Studies in History and Philosophy of Science, 221–32. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91597-1_11.
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AbstractEvery new technology is used by us humans almost without hesitation. Usually the military use comes first. Examples from recent history are the use of chemical weapons by Germany in the First World War and of atomic bombs in the Second World War by the US. Now, with the rapid advances in microelectronics over the past few decades, a wave of its application, called digitization, is spreading around the world with barely any control mechanisms. In many areas this has simplified and enriched our lives, but it has also encouraged abuse. The adaptation of legislation to contain the obvious excesses of “digitization” such as hate mail and anonymous threats is lagging behind massively. We hear almost nothing about technology assessment through systematic research; it is demanded at most by a few, usually small groups in civil society, which draw attention to the threats to humankind—future and present—and the Earth's ecosystem. One such group, the Federation of German Scientists (VDW) e.V., in the spirit of the responsibility of science for the peaceful and considered application of the possibilities it creates, asked three of its study groups to jointly organize its 2019 Annual Conference. The study groups “Health in Social Change,” “Education and Digitization,” and “Technology Assessment of Digitization” formulated the following position paper for the 2019 VDW Annual Conference, entitled “Ambivalences of the Digital.”
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Caro-González, A., A. Serra, X. Albala, C. E. Borges, D. Casado-Mansilla, J. Colobrans, E. Iñigo, J. Millard, A. Mugarra-Elorriaga, and Renata Petrevska Nechkoska. "The Three MuskEUteers." In Contributions to Management Science, 3–28. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11065-8_1.
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AbstractUnder the inspiring and aspiring title: Paving the way for pushing and pursuing a “one for all, all for one” triple transition: social, green, and digital: The Three MuskEUteers, a group of remarkable co-authors and contributors have developed radically new forward-looking visions, principles, approaches, and action recommendations for an attuned indivisible social, green, and digital transition.The triple transition is aimed at helping humanity gather around a life-sustaining purpose, as opposed to life-destroying one in terms of wars of all kinds (military, economic, political, etc.); nature decay and wreckage (carbon footprint, plastic pollution, soil poisoning, etc.); human alienation (favelas, homeless persons, refugee camps, child malnutrition, poverty, exclusion of any kind); and geographic imbalances with empty rural spaces and overcrowded megacities (creating difficult access of rural and/or remote population to care, health, and other essential services; difficulty of urban population to contact with natural environments).The work highlights the urgent need to speed up a third social transition (Within this social transition dimension we understand the socio-cultural scope as any social shift implies a cultural transition and vice versa, with its very deep implications.), in addition to the green and digital transitions more widely recognised by the international community. Innovation, or a European industry-led twin transition aiming for climate neutrality and digital leadership, cannot be supported without a firm, responsive, responsible social and environmental engagement. Neither is it possible to tackle a JUST triple transition which is not firmly rooted in worthwhile human development, underpinned by the Sustainable Development Goals. And none of these transitions can go separately and/or isolated; they all need to intertwine around the notion of (more, firmer, and determined) just transition.European society is presented as a huge “co-laboratory” for this “all for one, one for all” boundaryless triple transition to respond to the urgent radical changes demanded by humanity and by the planet. The chapter proposes a radically new vision to pursue a non-explored transformative way to ideate, design, develop, and deliver science, innovation, and collaboration through experimentation and learning, and throughout multi-stakeholder engagement from the n-helix spectrum. It proposes systemic innovation tactics for the “how” (green, techno-digital), for the strategic “what” (green, social), for the purposeful “why” (green, social), and for the operational “how best” (green, social, techno-digital) within the governing principles of eco-centric society. This encompasses: Courageous goal-aligned alternatives, as a shift to new (yet ancient) principles of eco-centric rather than ego-centric behaviour. The adoption of a “complex system mind-set” to build up dynamic, context-sensitive, and holistic approaches to co-design mission and purpose-driven actions, outcomes, outputs, and no-harm impacts. The ignition of the transformative capacity of all forms of collaboration (international, interdisciplinary, intersectoral, intergenerational, inter-institutional, inter-genders) vs hierarchy as alternative governance and distribution models to overcome the unjust and unsustainable biased status quo within evolving, adaptable, flexible, and transformational n-helix ecosystems. The Three MuskEUteers, deeply anchored in European values (human dignity, freedom, democracy, equality, rule of law, and human rights), will pave the way and drive humanity towards the achievement of the ambitious, but achievable, targets of the United Nations 2030 Global Agenda, the Sustainable Development Goals.Europe can be the initiator of co-laboratory experiments where social change drives the “all for one, one for all” dream into transforming this three-prong transition into possible real good ecosystems working.
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Bommarito, Concetta, and Kathryn Dunlap. "Dream Lucidity." In Gamification, 113–28. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8200-9.ch006.
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In this chapter, the authors examine digital environments as a learning spaces and site of extended cognition by demonstrating the presence of active learning in both video games and their linked online collaborative communities. The authors use Shaun Gallagher's theory of extended mind to posit the notion that the shared cognitive space created in the game between creator and player can be extend to include many others through the digital communities of those players though gaming literacy. The authors conducted a think-aloud protocol with participants playing Yume Nikki, a minimalist Japanese indie game, then reading materials on hikikomori, a condition the creator is believed to have. They conclude from their results that active and creative learning of human communities should not be undervalued when designing virtual environments even when the environment is single-player.
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Beacham, Richard. "“I dreamt I dwelt in marble halls”." In Digital Cities, 42–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190498900.003.0003.
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This chapter discusses the houses of the Roman elite as a locus for theatricality within a deliberated “staged environment.” Domestic architecture and decor drew upon complex visual strategies to evoke in visitors a wide range of powerful sensual and emotional and reactions. The mise en scène of such dwellings was calculated and coordinated to create constructed identities that signaled such things as a sense of the power and prestige of the domestic patron; an imaginative access to fantasy realms of mythology or exotic landscapes; and a distortion of space through the painted suggestion of grandiose, often impossible architecture. Computer visualization and representation of such spaces has the potential, particularly when configured in a virtual-world format, to evoke in users a sense not just of the physical structure of such spaces but of their sensory qualities as well. This chapter surveys both the challenges addressed by such applications and their scope and limitations; it is illustrated by a discussion of two major projects undertaken by the King’s College Visualisation Lab.
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Earlie, Paul. "The Archive." In Derrida and the Legacy of Psychoanalysis, 113–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869276.003.0005.
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This chapter examines Derrida’s writings on the archive and, more particularly, his reflections on the archive of psychoanalysis. Although texts such as Mal d’archive (Archive Fever) have often been held as heralding a ‘theoretical’ turn in archival studies, Derrida’s writings on the archive continually question the limitations of any theory, concept, or science of the archive. Part of the archive’s resistance to conceptualization lies in its relationship to what calls Derrida ‘originary technicity’, a structure which concerns not only the material space of paper but also the psyche as a mnemic archive and the virtual or digital archive. If a firm distinction between these three types of archive can never be guaranteed, this indistinction has important consequences for psychoanalytic therapy and for the ‘positive’ science of history. The latter is explored here through Derrida’s reading of Yosef Hayim Yerushalmi’s Freud’s Moses: Judaism Terminable and Interminable. For Derrida, the archive’s structural resistance to interpretation—what he elsewhere calls its ‘absolute secrecy’—means that it is always the site of passionate investments. Freud’s account of the psyche as a space of archival preservation already suggests this imbrication of affect and technicity, as Derrida shows in his reading of Freud’s Delusion and Dream in Jensen’s Gradiva.
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Carbonell, Curtis D. "Introduction." In Dread Trident, 1–55. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620573.003.0001.
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This chapter introduces key concepts that help theorize the modern fantastic and its relationship to tabletop role-playing games (TRPGs). In particular, it provides a foundation so that the analysis of the individual case studies is clear. It uses literary studies and modern studies to read core TRPG gametexts, such as those of Dungeons and Dragons or Warhammer 40k. It also focuses on how fantastic space emerges during gameplay. Key also is how humanism and posthumanism can be rethought through a focus on what this books considers to be ‘realized worlds’. These are spaces of enchantment that occur at the intersection of the analog and digital, two elements critical in a process of posthumanization, or a way to rethink the discourses of trans-and-posthumanism.
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Šisler, Vít. "Virtual Worlds, Digital Dreams." In Digital Middle East, 59–84. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190859329.003.0003.
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Video games are inherently transnational by virtue of their industrial, textual and player practices. Until recently, the focus of research on the social and cultural aspects of video games has been on the traditional centers of the video game industry consumption, while the international flows of digital gaming remained largely underexplored. This chapter analyzes the cultural dynamics and technological processes influencing both video game development and the gaming culture in the Middle East. It conceptualizes Middle Eastern video games as imaginary spaces that entangle diverse and contradictory processes: global cultural flows, media policies of nation states, visions and engagements of private entrepreneurs, and migration and appropriation of Western game genres and rule systems. By mapping out dominant trends, the chapter offers the opportunity to think about processes and flows influencing the video game industry in the Middle East during the first fifteen years of its existence
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Whissel, Kristen. "Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D." In Screen Space Reconfigured. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089649928_ch03.
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This essay analyzes how parallax effects in Cave of Forgotten Dreams 3D (2010) and Tangled 3D (2010) effectively blur the boundaries between the past and present, sight and touch, and diegetic space and the space of reception in order to give form to themes concerning the dimensionality of the moving image. I show how these films function as ideal case studies for demonstrating digital 3D’s transformation of film space by organizing seeing, knowing, and feeling along the screen’s z-axis.
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Woldoff, Rachael A., and Robert C. Litchfield. "Not on Holiday: Making Money and Building Dreams." In Digital Nomads, 113–51. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931780.003.0005.
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Digital nomads have come to Bali to work. Chapter 4 unpacks nomads’ sources of earned income through entrepreneurship, freelancing, and full-time employment. It also details their occupations, which tend to cluster in marketing, e-commerce, coaching, and technology. It then explains the role of coworking spaces in the digital nomad ecosystem and the processes through which digital nomads build and sustain their work-centric community. Many of the more successful nomads continue to work side-by-side with those who are just starting out in this lifestyle. The informal social environment of coworking is supplemented by formal skill share events on topics like quitting one’s job, blogging, coding, podcasting, social media, outsourcing, team-building, partnering, getting investors, and finance that give nascent entrepreneurs opportunities to learn from the community. Bali is a place where people easily find cheerleaders, advisors, and helpers as they pursue their professional dreams.
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Whissel, Kristen. "Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D." In Screen Space Reconfigured, 77–104. Amsterdam University Press, 2020. http://dx.doi.org/10.2307/j.ctv12pnt9c.7.
Full textConference papers on the topic "Digital dream space"
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Younan, Sarah. "Towards a Digital Museum Dream Space." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.58.
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