Immersive Environments

This investigation studies the deployment of Artificial Intelligence-facilitated curricular drama as a mechanism designed to elevate the proficiency of Englishspeaking abilities. The study examines the pedagogical affordances and impediments involved in integrating AI-constructed dramatic activities into the language-learning context. Qualitative interviews were conducted with a purposive sample of eight Palestinian English teachers to assess the merits and demerits of integrating artificial intelligence with dramatic pedagogy. Analyses reveal instances where AI reduces learner anxiety, cultivates self-esteem, situates latent learner identities in a productive light, and facilitates the digitization of the Palestinian English curriculum. Constraining factors such as limited infrastructure, high costs, teachers' hesitation, and ongoing shortages in specialized training have also been widely reported. Empirical data were gathered through semi-structured interviews, and a qualitative thematic analysis procedure identified recurrent motifs, dominant themes, and pedagogical ramifications. The analytic returns demonstrate that AI-enriched dramatic pedagogy engenders intensified learner involvement, improved levels of communicative competence, and elevated self-competence; yet, unresolved evidence of technological breakdowns and uneven teacher preparation persists as binding structural limitations. The inquiry presents empirically grounded recommendations for curricular adaptation and identifies productive avenues for further scholarly investigation.

This chapter explores the transformative potential of Artificial Intelligence (AI) in personalizing accounting education. It begins by introducing AI and personalized learning, highlighting their intersection and the advantages of tailoring educational experiences to individual student needs. The chapter delves into the limitations of traditional one-size-fits-all approaches and the benefits of personalized learning, such as increased engagement, improved learning outcomes, and enhanced student satisfaction. Key sections discuss AI-driven assessment and feedback mechanisms, including adaptive testing, real-time feedback, and personalized learning paths. The chapter also examines AI-powered content delivery systems, which utilize intelligent content recommendations, gamification, and interactive learning experiences to enhance student engagement. Additionally, it addresses AIenabled collaboration and peer learning, emphasizing the role of AI in facilitating group work, matching students with similar learning styles, and providing tools for peer feedback. The chapter concludes with a critical analysis of ethical considerations and challenges associated with using AI in education, such as privacy concerns, algorithmic bias, and ensuring equitable access to personalized learning. By leveraging AI, accounting educators can create more effective, engaging, and inclusive learning environments, better preparing students for the complexities of the modern accounting profession.

The reason is that with the incredible pace of development of AR and VR, both are going to revolutionize educational practices in a manner that will bring about drastic changes in traditional teaching and the ways in which students are prepared against challenges. Augmented Reality adds digital overlays to the real world, enhancing it by giving students interactive and visually enriched content for the simplest comprehension of complex ideas. VR can fully place you inside other environments, taking students to different scenes for real-life learning opportunities that are impossible to replicate within a classroom. This research surveys concrete applications of AR and VR in educational settings-for example, virtual labs for laboratory work on experiments without danger and field trips that animate history and geography lessons. Implementation into professional training programs, such as medical and engineering education, shows the effectiveness of technologies in enhancing learning experiences and developing basic skills. The findings conclude that AR and VR significantly improve learning outcomes based on active learning approaches. It improves learners' retention, critical thinking, and problem-solving abilities. However, applying these technologies is more likely to be coupled with such challenges as high costs for technical infrastructure or specially trained teachers.

The present chapter highlights the interlinkages between pedagogy and
assessment, as well as the importance of learning pedagogy of assessment
for student teachers. Pedagogy and assessment are often viewed at terminal
ends, but actually inform each other for a heightened learning experience.
The chapter argues that both, assessment for learning and assessment of
learning play pivotal roles in developing pedagogical reasoning among
teachers and assisting learners in their authentic assessment as well as
learning. Also, both kinds of assessment can be adopted for re-appraising
and interweaving their role in pedagogy rather than as stand-alone
processes. The chapter further delineates the different ways of linking and
weaving pedagogy with assessment, seamlessly. Some of the case studies
presented in the paper would provide practical inputs for pre-service
teachers, in-service teachers and teacher educators to conduct their
classroom sessions. The educational implications are drawn at the end for
teachers, teacher educators, researchers in the field and curriculum
developers.

This essay intervenes in contemporary discourse on the philosophy of education by reframing the city as an educational space. It argues that Walter Benjamin's city writing presents a methodology of critique that triangulates post-critical immanent engagement and critical dialectic. This essay explores Benjamin's method in relation to a central tension in educational theory: how to balance the immediacy of lived experience and author's individual identity with the structural demands of historical critique. The argument unfolds in three theoretical acts: first, by staging the dialectical tension between post-critical immanence and Jameson's totalizing mode of critical theory, with Benjamin as a mediating figure between the two; second, by presenting Benjamin's philosophy of the city as a model for the educational force of critique; and third, by offering a comparative analysis of Jameson's reading of John Portman's Bonaventure Hotel alongside Benjamin's depiction of Naples, to reveal how these urban forms produce divergent pedagogical models. The essay concludes by underscoring the relevance of Benjamin's philosophy to contemporary post-critical discourse. Between post-critical immanence and historical dialectics For Jameson, the postmodern crisis of legibility demands a strategy of orientation. He argues that the disorientation produced by late capitalism cannot be addressed without "locating the individual in the global system" (Jameson, 1991, p. 52). Borrowing the term "cognitive mapping" from urban planner Kevin Lynch (1960), Jameson defines his pedagogical imperative: to render the invisible totality of global capital perceptible. Just as the strategic placement of landmarks and pathways makes the city intelligible, so too must global systems be diagramed to become legible. As Toscano and Kinkle state, Jameson's searches for "a representational practice adequate to the highly ambitious task of depicting social space and class relations in our epoch of late capitalism" (Toscano & Kinkle, 2015, p. 2). Architectural language plays a privileged role in this context, forming the template for cognitive mapping. As Jameson explains, architecture is paradigmatic in postmodern cultural production due to its immediate proximity to the economic base (Jameson, 1991, p. 36). As a superstructural expression directly connected to land values and material costs, the built environment reflects economic forces in the organization of social space. Architectural language thus can play a potentially critical role in promoting cognitive legibility because it reflects the role of capitalist forces within the social field by revealing ideological contradictions in spatial forms. Jameson concedes that the "highly ambitious" representational goal of cognitive mapping may be ultimately unachievable, given the scale of global capital (Toscano & Kinkle, 2015, p. 2). However, his pedagogical imperative rests upon this very ambition, because education, for Jameson, is a field of mediation that must expose the role of structural forces in the unfolding of historical processes. Jameson asserts that human nature itself is not given but "the consequence and projected afterimage of a certain state or structure of production and appropriation" (Jameson, 1991, p. 367). Thus, understanding the role of these economic patterns equips learners with the cognitive tools necessary for orienting within the systemic totality-as the very condition of coherent individual formation.

Higher education is experiencing a profound pedagogical transformation through the integration of Artificial Intelligence and Metaverse technologies, a development that demands careful evaluation. This paper offers an initial step in that process. Drawing on a feminist pedagogical framework, we propose guidelines for the responsible and inclusive implementation of these emerging technologies. As a thought experiment, we envision a digital learning environment grounded in feminist principles, designed to foster equal participation, collaborative learning, and reflective practice. Within this system, AI tutors identify and address participation gaps, virtual spaces incorporate safety features and reflect diverse user communities, and gamified elements emphasize group learning over individual competition. This research translates its speculative model into practical applications for both educational practice and institutional policy by introducing collaborative assessment methods, conducting equity audits of AI systems, and engaging students within virtual learning environments. We argue that feminist pedagogy should be recognized as a fundamental requirement for designing learning spaces that integrate technological innovation with social transformation.

This work aims to critically explore the potentialities of sound art within environments such as the metaverse, adopting a perspective that investigates the new configurations of the digital public sphere and its entanglement with sound. Through a non-linear, relational, and performative essayistic methodology, the text offers a situated reflection that weaves together critical theory, aesthetics, politics, and contemporary artistic practices. The metaverse is approached as an emergent, rhizomatic, and nonneutral space, where sound art may unfold as a critical, expanded, and multisensory practice. The essay argues that sound within the metaverse does not merely serve an ambient function but actively reshapes perception, space, and subjectivity, operating as an ontological agent capable of subverting hegemonic logics. One potential line of inquiry for future exploration is the redefinition of sound art as net sound art: a practice that integrates virtual spaces, networked interaction, and sonic production, functioning simultaneously as a political and aesthetic dispositif. In conclusion, the essay suggests that sound art, when enacted within the metaverse, not only expands the scope of contemporary artistic practice but also offers conceptual and experiential tools to rethink the digital public sphere through listening, resistance, and collective experience.

In recent years, the integration of Artificial Intelligence (AI), Augmented Reality (AR), and Virtual Reality (VR) has revolutionized many industries, and education is no exception. For both high school and collegiate classrooms, these emerging technologies offer the opportunity to transform traditional teaching methods into more realistic, innovative, informative, and interactive experiences. By blending digital tools with pedagogy, students can engage with their subjects on deeper levels, while teachers can create more personalized, adaptive, and effective learning environments. Artificial Intelligence has the potential to improve the educational experience by tailoring instruction to individual student needs. AI-powered platforms can assess performance, identify strengths and weaknesses, and provide real-time feedback. This helps students stay on track and

The metaverse offers immersive and adaptive learning environments for neurodivergent students to thrive and reach their full potential. In this paper, we propose a generic framework that leverages metaverse services as an evolution beyond traditional service-oriented computing, enabling more interactive, personalized, and engaging educational experiences. By integrating AI-driven adaptability, multimodal interaction, and privacy-first service design, the framework ensures that learning remains accessible, inclusive, and secure. Additionally, we explore the challenges associated with scalability, data privacy, and ethical considerations while highlighting opportunities for fostering safe and student-centered virtual spaces. Our analysis underscores the potential of metaverse-based learning to bridge accessibility gaps, support social-emotional development, and empower neurodivergent learners in both digital and realworld settings. We also provide recommendations and policy considerations for creating a secure, inclusive, and scalable metaverse learning ecosystem for neurodivergent students.

The extensive implementation of digital technologies has generated significant cybersecurity risks for students in secondary education, highlighting substantial shortcomings in structured cybersecurity instruction, inadequate preparation of educators and limited institutional resources. Through comprehensive research conducted across Welsh secondary schools from 2022 to 2024, a comprehensive methodology for cybersecurity curriculum design and development was established using Design Science Research Methodology (DSRM). The study addresses the five key cybersecurity knowledge areas and integrated pedagogical frameworks, including CyBOK and Digital Competence Framework into a structured curriculum development approach with supporting technological tools for curriculum customization. This paper describes the DSRM-based study, presents the systematic curriculum development methodology, and evaluates the framework's effectiveness in addressing identified gaps in cybersecurity education standardization and teacher preparation challenges. The paper also suggests recommendations for future implementation, scalability considerations, and continued development, emphasizing the need for as potential worldwide implementation and sustained institutional commitment to comprehensive cybersecurity education initiatives.

The Industry 5.0 concept for emerging sustainable education involves transforming every lesson into an interactive Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR) experimental gamification. By producing immersive and engaging experiences that were previously unthinkable, Extended Reality (XR) technology is transforming a number of sectors, including education. The present

The modern metaphysical considerations being entertained with the advenient technological framework in virtual reality (VR) attempt to propose fundamental reconceptualizations of some ontological and epistemological factors surrounding existence, embodiment, and consciousness. The investigation lies in the area of metaphysics but transposed to experiential terrain ranges strange to those familiar with immersive digital environments. It employs a conceptual-analytical methodology, thereby systematically inquiring into how VR unfolds as a pressure upon the classical bifurcations of real/virtual, physical/simulated, self/avatar. It engages very closely with metaphysical categories: beings, identity, agency, and truth. Clearly, VR does not merely engender a crisis for conventional metaphysical binaries; it rather offers a hybridized modality of existence in which simulation can engender epistemically and morally significant outcomes. Most importantly, this latest study concludes that VR does build an uncanny profile of ontological ambiguity and perceptual fluidity, requiring a broadened ontology to incorporate digitally mediated phenomena. Among other proofs to be derived explicitly from the most recent philosophical, psychological, and neuroscientific discussions, the paper establishes that simulated experience can induce states of consciousness and moral accountability disturbing the classical faith-reality division. In effect, the study posits that VR constitutes the philosophical implement advanced ends.

The perception of space plays a vital role in architectural design by shaping functional and sustainable environments centered on user experience. Integrating user feedback on spatial perception and interaction has become essential for creating responsive, usercentered design solutions (Sterk, 2006). Spatial perception arises from the dynamic interaction between individuals and their environment, involving observation, evaluation, and interpretation through various physical cues (Wei et al., 2021). This study investigates how architects and non-architects differ in perceiving space by analyzing their visual attention and interpretive processes. Images used in the study were selected based on the presence of architectural elements, greenery, and color. Employing a mixedmethods approach, the study combines quantitative eye-tracking data with qualitative verbalizations to offer a nuanced understanding of spatial perception. To address the limitations of conventional eye-tracking-which lacks contextual interpretation-this research examines the link between visual attention and cognitive perception. The study was conducted in controlled settings using targeted visual stimuli to objectively assess participants' gaze patterns and cognitive responses. Findings reveal that architects tend to identify design intentions, while non-architects focus more on natural elements and sensory impressions, influenced by personal spatial experiences. Differences may stem from the absence of a design task during perception.

Japanese artist Yoshitomo Nara (b. 1959) is one of the most celebrated artists of his generation. He earned international acclaim for his Angry Girls, mostly large-format portraits with captivating eyes that are now considered icons of contemporary painting. In the exhibition Yoshitomo Nara, the artist's first major retrospective in Germany, the Museum Frieder Burda presents paintings, drawings, sculptures, and installations spanning four decades.

Immersive-learning technologies-virtual reality (VR), augmented reality (AR), and digital-twin simulation-enable U.S. Navy submariners to rehearse rare, high-risk scenarios without jeopardizing crews or billion-dollar platforms. Unlike conventional classroom or desktop methods, immersive environments deliver multisensory cues, adaptive feedback, and social fidelity that closely mirror control-room conditions. A synthesis of 15 peer-reviewed studies published between 2020 and 2025 reveals medium-to-large improvements in procedural accuracy, decision speed, teamwork coordination, and learner confidence when immersive modules supplement-or partially replace-legacy "wet-trainer" drills. These effects cluster around three themes: (a) operational readiness rises when task logic and feedback replicate shipboard reality, (b) safety and cost efficiency improve as VR scenarios reduce live-exercise risks, consumables, and maintenance downtime, and (c) learning gains depend on optimizing cognitive load through haptic cues, visual design, and spaced-practice schedules. Situated learning theory frames immersion as legitimate peripheral participation, while social-cognitive constructs explain self-efficacy gains from adaptive mastery experiences. Remaining gaps include longitudinal skill-decay data, underexplored multisensory realism, and limited randomized trials in classified environments. A biblical worldview positions technological stewardship within ethical obligations to protect sailors' lives, conserve resources, and foster servant leadership. Collectively, the evidence supports deliberate, theory-informed integration of immersive systems across the submarine training pipeline.

Modelling, simulation and visualisation of forest cover is a very important aim for the sylviculture. Now the development of different techniques in tree and forest modelling, in GIS is sufficient to develop specific software used in forest simulation. Now, having a better way to represent and to interact with large models like forests are topics of high interest. After a short presentation of the project SILVES, we resent in this paper the design and implementation of a visualisation program that involves two main features. It is based on the central data model, in order to display in real time the modifications caused by the modeler. Furthermore, it benefits from the different immersive environments which give the user a much more accurate insight of the model than a regular computer screen. Then, we focus on the difficulties that come in the way of performance.

Background: Anxiety is a prevalent mental health concern among undergraduate students, adversely affecting academic performance, social functioning and emotional well-being. Its multifactorial causes and coping strategies, particularly in the context of global disruptions such as the COVID-19 pandemic, warrant a comprehensive synthesis. Purpose: This systematic review aims to analyse empirical studies on the causes of anxiety and the effectiveness of coping strategies among undergraduate students from 2010 to 2025. Methods: A systematic review was conducted using Scispace.ai, selecting 40 empirical studies published between 2010 and 2025. Keywords used included 'anxiety', 'undergraduate students' and 'coping strategies'. Thematic analysis was performed to categorise findings into major focus areas. Results: Seven key themes emerged: Prevalence (16%), academic stress (18%), social anxiety (16%), emotional comorbidities (16%), demographic differences (12%), coping mechanisms (14%) and contextual stressors such as COVID-19 (8%). Social judgement, academic pressure and fear of failure were primary causes of anxiety, often co-occurring with depression and emotional dysregulation. Female students and first-year undergraduates were identified as more vulnerable groups. Effective coping strategies included mindfulness practices, yoga, peer support and biofeedback; however, utilisation was limited by stigma and inadequate mental health services. The COVID-19 pandemic further intensified anxiety levels due to social isolation and academic uncertainty. Conclusion: This review underscores the urgent need for inclusive support systems, integration of digital mental health tools and culturally sensitive interventions within educational institutions. Future research should explore longitudinal trends and develop context-specific strategies to improve mental health outcomes among undergraduate students.

Stroke is a disease with very high socio-economic impact. In average, the healthcare expenditure cost for Strokes across different countries in Europe and USA exceeds 3% of their entire healthcare expenditure, including inpatient treatments, outpatient hospital visits and long-term rehabilitation and care. Therefore, there is an urgent need for devising an effective long-term care and rehabilitation strategy for stroke patients, which would actively involve patients in the rehabilitation process while minimizing costly human support. This paper reports on the ongoing developments of the serious gaming approach to an integrated rehabilitation training for post-stroke patients employing the Unity3D virtual reality environment combined with a hybrid of advanced media technologies and immersive user interfaces. The proposed approach empowers the patients and their caretakers for effective application of rehabilitation protocols in their home settings, while leading physicians are enabled to supervise the progress of the rehabilitation (and intervene if needed) through the use of Personal Health Record (PHR) system. The increased rehabilitation speed and ability to perform training at home directly improves quality of life of patients. The work described herein has been performed in the "StrokeBack" project co-funded by the European Commission under the Framework 7 Program in the ICT domain. Acidentes vasculares são incidentes com um alto impacto socioeconômico. Em média, tratamentos na Europa e nos EUA para pacientes com este problema pode ultrapassar 3% de todo o orçamento de uma seguradora, incluindo atendimento em hospitais, visitas a domicílios e tratamentos de reabilitação. Assim sendo, há uma grande urgência para encontrar tratamentos e estratégias de atendimento de longo tempo que sejam capazes de reduzir os recursos humanos e custos necessários. Este trabalho apresenta o desenvolvimento de jogos sérios como uma estratégia para integrar tratamentos de reabilitação para pacientes que tiveram derrames. A solução utiliza um cenário de realidade virtual combinado com tecnologias avançadas de mídias e interfaces imersivas. A proposta potencializa a reabilitação dos pacientes, possibilitando-os que permaneçam em suas casas, ao mesmo tempo permitindo que os médicos tenham a capacidade de supervisionar o progresso de suas atividades (e se necessário também interfiram), através do uso do sistema PHR (Armazenamento de Saúde Pessoal). O aumento da velocidade obtida na reabilitação e a habilidade de realizar treinamentos em casa impacta diretamente na qualidade de vida dos pacientes. O trabalho apresentado foi desenvolvido dentro do contexto do projeto "StrokeBack", que foi co-financiado pela comissão Europeia dentro do Programa Framework 7, no domínio da ICT.

The thought of creating a museum without walls, an open — and imaginary museum, as Malraux would say — has surfaced in every civilization which, for one reason or another, had to seduce and win over their believers, their faithful, in experiential contexts, calling upon them to actively (or passively) take part in rituals of reception, sharing, and appropriation of beliefs and ideologies. In any case, the aesthetic that pushed or facilitated reception of said beliefs and ideologies has always been imbued with the principles and values underlying the societies or groups that promoted and nourished its development and implementation. Clearly, no aesthetic creation exists, either architectural or in the visual arts — in any artistic domain — that does not find itself framed by the strategies of the dominant power, although it may apparently convey anti-power or counter-power messaging.
When the aesthetic breaks out of palaces and temples to find display in streets and town squares, winning over passersby, whether they belong to the unwashed masses or the middle class, decision-makers as they are, and constituting the majority of any society, it is always through ritualistic displays of wealth that its conquest materializes. Sometimes, seduction works through the economic value of raw materials. Sometimes through virtuosity in execution and the arresting character of the aesthetic accomplishment. Other times it operates via the depth, knowledge and mastery of aesthetic-artistic discourse. This happens even if such discourse eludes the understanding of almost all audiences. In fact, these works, apparently available to perception, are truly designed and enjoyed by intellectual and artistic elites who hold the keys to the cipher and turn present aesthetic-artistic discourse into a parlance of knowledge as power, even if it is less esoteric than baroque or renaissance discourse, so often imbued with a near-Kabbalistic degree of duality. In that light, the current power of aesthetic-artistic discourse lies with the concepting stage rather than with execution, as its nature is eminently conceptual.

This study aimed to examine the impact of immersive experiences on Gen-Z in Indonesia and their repurchase intention of virtual heritage tours. Based on a recent suggestion to explore the effects of Mixed Reality on visitor experience, an e-questionnaire was distributed digitally through platforms such as WhatsApp, Instagram, Facebook, and TikTok. Convenience sampling method was used to collect data from 128 respondents. The findings indicated that Gen-Z in Indonesia expressed an intention to repurchase virtual heritage tours after experiencing at least one high-quality tour. The quality of the virtual heritage tour was determined by its ability to create a virtual environment that mimics a real environment and stimulates users' physical senses, as well as the quality of its content. These two factors were found to be the most significant indicators of a successful virtual heritage tour. The findings have practical implications for heritage management, including the use of immer...

Il manuale esplora e valorizza l’intrattenimento esperienziale, offrendo un quadro teorico e pratico per progettare eventi capaci di coinvolgere, emozionare e stupire. In un contesto in cui il pubblico ricerca esperienze autentiche, immersive e multisensoriali, lo spettacolo diventa uno strumento di connessione emotiva e culturale. Basato sui principi esperienziali, il volume approfondisce il ruolo del coinvolgimento sensoriale ed emozionale, fornendo strumenti concreti per ideare eventi che risveglino i sensi, creino legami con luoghi e storie, e stimolino partecipazione e meraviglia. Definisce l’Entertainment and Show Experience e ne illustra le principali tipologie, integrando esempi, buone pratiche e spunti operativi. È una risorsa per professionisti dello spettacolo, progettisti culturali, operatori turistici e creativi che desiderano innovare l’offerta in chiave esperienziale, trasformando ogni evento in un’esperienza memorabile.

Mit dem Begriff Hyperrealismus erfasst die Hermeneutik eine spezifische Art der Ästhetik – und zwar die einer übertriebenen Realitätssimulation. Insbesondere im 21. Jahrhundert tritt diese Erscheinungsform in diversen populärkulturellen Artefakten wie auch in Malerei, Theater, Film und Fernsehen auf und liefert damit Fallbeispiele, die an den philosophischen Diskurs (Baudrillard etc.) anknüpfen. Allerdings finden sich ästhetische auch dramaturgische Vorreiter dieser Strömung bereits im Naturalismus des 19. Jahrhunderts oder im Fotorealismus des 20. Jahrhunderts, die allesamt ihre Arbeiten mit idealistischen Zielen verknüpfen. Welche Ziele verfolgt diesbezüglich der Hyperrealismus des 21. Jahrhunderts? Um derartigen Fragen auf den Grund zu gehen, wählt dieser Artikel die Herangehensweise, den Hyperrealismus als distribuierte Ästhetik aufzufassen. Hyperrealität oder Hyperrealismus? Hyperrealität sollte uns allen ein Begriff sein, denn innerhalb dieser spielt sich mittlerweile der größ...

Cinema has continued its quest to construct its own aesthetic and narrative forms since the first film screening in Paris in the late 19th century. At the center of this quest are the possibilities offered by the technological developments of the period. Cinema's tendency to explore and experience technological innovations has led to formal and narrative transformations over time, resulting in its evolution into different genres and subcategories. Although some film theorists have argued that this technological orientation threatens the essence of cinema as a young art form, today it is seen that the relationship between cinema and technology has reached a point of no return. Since the first film screenings, the cinematic experience has been based on the viewer witnessing images created by sequential movements in a rectangular frame on a two-dimensional plane from a fixed position. However, since the beginning of the 21st century, rapidly developing information technologies, digitalization processes and especially interactive systems specific to the gaming industry have led to radical transformations in the production, distribution and screening practices of visual arts; thus, bringing out a new form to the cinema narrative: VR Film. Positioned at the intersection of cinema and contemporary technologies, VR film goes beyond traditional viewing practices and involves the viewer in a real-time spatial experience in a three-dimensional virtual space through wearable technologies. To consider VR cinema only as a technical innovation or instrumental development would be to ignore the epistemological and aesthetic possibilities offered by this narrative form. In this framework, following the technological evolutionary line from the dark box to the invention of the cinematograph, from sound and color technologies to digital cinema, conceptualizing the interactional relationship between cinema and technology is of decisive importance in order to develop a theoretical perspective on the future of VR cinema.

How does ADA continuously adapt to address changing needs of researchers and artists? After the last research phase the focus was on further development of the social media functions of the living community, uploading and tool development for data analysis and visualization in AR, the next phase is a.) on the pros and cons of AI in a living archive, b.) the development of a transcontinental network of leading archives, c.) a federal initiative to integrate digital art into the museum world and d.) transfer of ADA to institutions in (smaller) countries with difficulties to afford many years of archive development but have a lively media art scene.

Questo manuale esplora le componenti esperienziali e interpretative della qualità espositiva.
Pur nascendo nell’ambito dell’Art Experience e della Heritage Interpretation, i principi descritti sono applicabili a qualsiasi tipologia espositiva.
Attraverso un solido impianto teorico e numerosi esempi operativi, il testo offre una guida pratica alla progettazione di mostre capaci di coinvolgere il visitatore in modo integrato, attivando sensi, emozioni e comunicazione.
È rivolto sia agli Specialisti delle Esperienze, sia agli Specialisti dell’Interpretazione del Patrimonio Culturale, per i quali la padronanza dei concetti interpretativi è essenziale. Tuttavia, anche per i primi, l’integrazione dei principi della Heritage Interpretation rappresenta un valore aggiunto, in grado di accrescere la profondità, l’efficacia e il significato dell’esperienza.

The article explores the revolutionary impact of digital archives, focusing on performative interfaces, as demonstrated through the authors' extensive work on the netzspannung.org platform for media art and digital culture. Advocating for experiential engagement over conventional searching, the authors introduce a paradigm shift that encourages active participation and a symbiotic relationship between human thought and machine intelligence. Central to this exploration is the concept of Thinking Space, drawing inspiration from psychoanalyst Wilfred Bion and philosopher Hannah Arendt. This vision aligns with Aby Warburg's Mnemosyne Atlas, emphasizing both spatial and temporal dimensions featuring dynamic interfaces like Semantic Map and Media Flow. These performative Knowledge Discovery Interfaces transcend traditional lists, offering intuitive and visual access to extensive data archives. The Semantic Map, utilizing Self-Organizing Maps, transforms static archives into navigable knowledge networks, ushering in a novel form of learning. Inspired by Aby Warburg's Denkraum, the Media Flow Interface provides a visually dynamic experience, akin to a walk-in data room. Both interfaces act as visual search and browsing tools, transforming digital archives into accessible Thinking Spaces for the public. The article outlines various applications for teaching and learning that promote a comprehensive understanding of contemporary media art. In summary, performative interfaces serve not only as tools, but as media that shape cognitive and sensory encounters. They invite us to get involved, to raise our awareness, and to make us think. Authors Wolfgang Strauss and Monika Fleischmann envision these interfaces as models for the future of archiving, emphasizing interconnectivity and the development of AI language models to enhance the next generation of digital archives.

This paper introduces a tool set consisting of open source libraries that are being developed to facilitate the quick and easy implementation of collaborative VR applications. It describes functionality that can be used for generating and displaying a Virtual Environment (VE) on varied VR platforms. This is enhanced to provide collaboration support through additional modules such as networking. Two existing VR applications which make use of these tools are described. Both were developed effortlessly over a short period of time, and demonstrate the power of these tools for implementing a diverse range of applications. Designing tools for collaborative VR application development requires the consideration of several key areas, most of which have existing implementations.

This book offers an academic analysis of the concept of heritage within the realm of oil-related urban development. It focuses on the term 'heritage', with a specific emphasis on 'oil heritage', exploring its varied implications for urban futures. The book provides a nuanced understanding of heritage, discussing its different interpretations and values across cultural and environmental contexts.

It examines the legacy of oil, assessing its role and impact on societies. It presents a balanced view, acknowledging both the economic benefits of oil in urban growth and the environmental and socio-economic issues it poses. This approach places oil heritage within a broader heritage context, critically evaluating its unique characteristics. The book also investigates how various cultures perceive and engage with the idea of oil heritage. It highlights the contrast between the political debates over oil in Western countries and the developmental challenges faced by emerging economies, showcasing the global variance in the concept of 'oil heritage'. Additionally, the narrative considers the changing role and meaning of oil over time, reflecting on its historical importance and the challenges it poses for the future, especially in transitioning to a post-oil era. Through its chapters, the book provides a critical examination of the interplay between oil, urban development, and heritage studies. It is designed to contribute to scholarly discourse in these areas, targeting academics, students, policymakers, and professionals interested in the intricate relationship between oil heritage and urban dynamics.

In developing our ideas for an interdisciplinary team-taught course on Tropical Ecology and Ecopsychology, we decided to first immerse our students experientially by screening and viewing films together such as Microcosmos (1996) and My Octopus Teacher (2020) to introduce them to
von Uexküll's "Umwelt" research by "entering into animal worlds." Students were required to keep a journal of their weekly immersive film experiences, while being introduced to films documenting the work of Jane Goodall, David Attenborough, and marine biologist Sylvia Earle, among others.
Providing them with such impressive and dedicated individuals to identify with, our students were able to discover their own motivations for wanting to preserve nature. Student journaling would continue on a more daily basis once we embarked on our journey into the tropical rain forests and
cloud forests of Costa Rica during spring break. We came to recognize the advantage of these immersion experiences, insofar as such opportunities for personal reflection became educational and life-transforming for both ourselves and our students. This became the principle upon which our
current and future students would learn about their connection to the environment, as students examined their own emotions and connection to the plants and animals that surrounded them in other locations from Belize to Big Bend National Park. As revealed in their reflective journals, this examination would eventually lead our students to discover their own motivation for conservation practices. Watching the capuchin monkeys trying to steal and eat human food while at a beach nature reserve enabled students to realize firsthand their human impact on the environment and
begin to consider their own ethics in their dealings with all animals and the environment. Photographic images from our travels juxtaposed with quotations from journals and assigned texts demonstrate the impact that these kinds of immersive and personal experiences can have.

The 360o panorama is studied as a new form of representation that emerged in the 18th century, which anticipated photography and, as the latter evolved, used it to obtain increasingly reliable representations of reality, even incorporating movement and sound. Nevertheless, the invention of the cinematograph in the late 19th century marked the beginning of the end of the popularity of this new form of representation, which, however, continued to be produced punctually, above all to represent historical events, such as the battle of Gettysburg, or simply for an artistic purpose. The techniques and even the mechanisms, including photography, used to make them and the architecture that housed them are also analyzed. Finally, as the culmination of two centuries of evolution, virtual reality is discussed, through which, although it has not yet been extensively consolidated, we can return to the point of view of a circular or spherical landscape. Based on these new digital panoramas, we co...

The effect of a personalized technology-based warning on compliance was assessed using an immersive virtual environment (IVE). Sixty university students performed an end-of-day routine security check in the IVE. Participants were asked to search for and activate safety-related devices, which involved entering several rooms. Just prior to abandoning the first room, participants were incidentally exposed to a posted warning (mandatory to disconnect the music generator) consisting of either a personal warning (i.e., a speech message with the participant's first name) or an impersonal warning (i.e., a auditory beep signal). Compliance was determined by observing whether or not the participants pressed the button-switch as directed by the warning. Results reveal that compliance rate was significantly greater when the warning was personalized. No significant gender differences were found. Implications of these results are discussed in terms of the benefits of effective warnings.

Über das Spektakel mechanischer Attraktionen. Die kulturelle Spezifik des Mechanischen Theaters

Der Beitrag untersucht das Mechanische Theater als eigenständige Aufführungsform innerhalb der populären Kultur des 19. Jahrhunderts, insbesondere im Kontext mitteleuropäischer Jahrmärkte. Anhand überlieferter Artefakte – Puppen, Bühnenbilder, Mechanismen und Werbematerialien – argumentiert der Autor, dass das Mechanische Theater weder als primitive Vorstufe des Kinos noch als bloße Variante des Puppenspiels verstanden werden sollte. Vielmehr handelt es sich um ein autonomes Genre mit eigener ästhetischer und technologischer Logik. Diese Aufführungen erzeugten die Illusion von Leben ohne menschliche Darsteller, basierend auf präzise choreografierten Bewegungen mechanischer Figuren und Szenerien. Der Artikel hinterfragt die binäre Unterscheidung zwischen „live“ und „medial vermittelt“ und beleuchtet die kulturelle Relevanz des Mechanischen Theaters innerhalb der wettbewerbsorientierten Attraktionskultur des 19. Jahrhunderts. Im Zentrum steht das Spannungsverhältnis zwischen Illusion und der bewussten Offenlegung der zugrunde liegenden Mechanik.

Spektakl bez aktorów - o mechanicznych teatrach XIX wieku

Artykuł poświęcony jest teatrowi mechanicznemu – formie widowiska popularnej w XIX wieku, zwłaszcza na jarmarkach Europy Środkowej. Autor analizuje zachowane artefakty (lalki, dekoracje, mechanizmy, plakaty) i dowodzi, że teatr mechaniczny nie był jedynie prymitywnym poprzednikiem kina ani odmianą teatru lalek, lecz stanowił odrębną formę przedstawieniową, opartą na własnej logice estetycznej i technologicznej. Teatry te operowały ruchem, inscenizacją i przestrzenią, tworząc iluzję życia bez udziału aktorów. Artykuł podważa binarny podział na przedstawienia „na żywo” i „zapośredniczone”, proponując ujęcie teatru mechanicznego jako widowiska opartego na precyzyjnie zaprogramowanej choreografii obiektów. Szczególny nacisk położono na napięcie między iluzją a demaskacją mechaniki oraz na znaczenie tej formy jako elementu konkurencyjnej kultury atrakcji XIX wieku.

A Spectacle Without Actors: On the Mechanical Theatres of the 19th Century

This article explores mechanical theatre as a distinct performative genre within 19th-century popular culture, particularly in the context of Central European fairgrounds. Drawing on surviving artifacts—puppets, scenic backdrops, mechanisms, and promotional materials—the study argues that mechanical theatres were not mere precursors to cinema or variants of puppet theatre, but rather autonomous forms of performance with their own aesthetic and technological logic. These shows produced the illusion of life without human actors, relying instead on precisely programmed choreographies of animated objects. The article challenges the conventional binary between “live” and “mediated” performance and emphasizes the cultural relevance of mechanical theatre within the competitive visual economy of 19th-century attractions. At its core, the study highlights the tension between illusion and mechanical revelation as key to the audience's experience.

Medical education is increasingly in need of assessing how well emerging immersive technologies stack up against traditional teaching methods. This chapter offers a comparative look at spatial understanding in anatomy education across three approaches: traditional learning (TL), augmented reality (AR), and virtual reality (VR). We examined these teaching methods through a two-phase assessment: pre-test baselines and immediate post-test results. Students were divided into three distinct groups: one following traditional learning methods, another working with an AR anatomy mobile app, and a third using our Immersive Virtual Anatomy Laboratory (IVAL) virtual reality system. This structured evaluation lets us track initial learning gains across all three methods. Our findings show that while both AR and VR outperform TL in immediate knowledge acquisition, VR demonstrates greater effectiveness in our context of spatial learning; however, AR may be better suited for particular use cases requiring portability or layered visualization. These insights offer evidence-based advice for effectively incorporating immersive technologies into medical curricula, taking into account resource limitations and educational goals.

This book explores the impacts of a desire that has motivated human beings since prehistory: the desire to enter an image. Over the centuries, every culture has tried to realize this wish with whatever visual resources were available at the time, and today's virtual reality technologies seem close to fulfilling it. The image in VR becomes an immersive 360-degree environment and the frame that used to confine it to a world apart disappears. Even the physical medium in which the image materializes appears to be transparent. However, once the border between the real world and the iconic world becomes permeable, we are faced with a troubling two-way passage: we penetrate the world of the image, but the image floods into our world. The desire for being encompassed by the image is accompanied by fear of this overflowing. In its analysis of this desire/fear, "At the Threshold of the Image" takes the reader on a journey from the myths of Narcissus and Pygmalion to contemporary VR headsets, passing through the pictorial traditions of trompe l'oeil and living sculptures, the mirrors in Alice in Wonderland, illusionistic architecture, panoramas and phantasmagorias, and 3D cinema.

This article investigates the dual function of garden inscriptions from the Renaissance to modern times, interpreting them both as instruments of aesthetic stylization and as means of ethical regulation. Starting with Petrarch's conflicted experience of nature and drawing on Foucault’s concept of heterotopia, the essay explores how early modern gardens were conceived as counter-spaces that allowed visitors to temporarily escape societal norms. Inscriptions played a key role in negotiating this tension by simultaneously enhancing the symbolic identity of gardens as arcadian retreats and prescribing behavior through codified visitation rules—the so-called Lex hortorum. Through historical examples ranging from Roman villa gardens to Enlightenment landscape parks and public city gardens of the 19th and 20th centuries, the article shows how inscriptions reflected changing attitudes toward social inclusion, aesthetic education, and public space. Ultimately, the study concludes that only in postmodern artistic gardens, such as Ian Hamilton Finlay’s Little Sparta, do garden inscriptions recover a subversive, reflective function that addresses the historical interplay of text, space, and cultural memory.

Multiuser Immersive Virtual Reality (MIVR) tools democratize the design process by enabling equitable contributions from designers and non-designers. This fosters enhanced interdisciplinary cooperation and broadens participation, reflecting evolving and more inclusive landscape architectural practices. Our research focused on collaborative designers' and non-designers' interaction in MIVR during the design process, from initial site analysis and conceptualization until the final proposal presentation. We gathered participants' insights during the three-month experiment, which mimicked a real design process. The results show that MIVR holds significant promise for enhancing collaboration and efficiency in the landscape architecture design process.

We present a room-sized telepresence system for informal gatherings rather than conventional meetings. Unlike conventional systems which constrain participants to sit in fixed positions, our system aims to facilitate casual conversations between people in two sites. The system consists of a wall of large flat displays at each of the two sites, showing a panorama of the remote scene, constructed from a multiplicity of color and depth cameras. The main contribution of this paper is a solution that ameliorates the eye contact problem during conversation in typical scenarios while still maintaining a consistent view of the entire room for all participants. We achieve this by using two sets of cameras-a cluster of "Panorama Cameras" located at the center of the display wall and are used to capture a panoramic view of the entire room, and a set of "Personal Cameras" distributed along the display wall to capture front views of nearby participants. A robust segmentation algorithm with the assistance of depth cameras and an image synthesis algorithm work together to generate a consistent view of the entire scene. In our experience this new approach generates fewer distracting artifacts than conventional 3D reconstruction methods, while effectively correcting for eye gaze.

The metaverse is emerging as a technological possibility full of potential in the educational context. This article analyzes the use of the metaverse and digital media as tools for critical and creative learning. Based on a qualitative bibliographic study and a review of the use of ICTs, it examines the impact on teaching and learning, considering inclusive elements as well as the limitations resulting from the dependence on technological resources. The text addresses, from a socio-critical perspective and focusing on discourse analysis according to Wodak and Meyer, arguments regarding the adoption of the metaverse in a dialectical movement of innovation and the maintenance of power structures in education. It is evident that the metaverse, beyond being just a tool, has the potential to transform and expand the educational process through personalization, the expansion of reality, comparability, and creativity, provided that students engage in critical thinking.

This work focuses on the development of a software link interface tool between the Looxid Link Device coupled to the HTC Vive Pro VR HeadSets and the Unity platform, to generate real-time interactivity in virtual reality applications. The software incorporates a dynamic and parameterizable algorithm to be used as a core-engine in the real-time Biofeedback process, recognizing the values of the biological signals registered in each of the EEG channels of the Looxid Link device. The values of EEG frequencies detected in real time can be used to generate elements of interactivity, with different frequencies and intensities.

This article analyzes religion in the miniature parks of Madurodam in The Hague, the Netherlands, and Miniatürk in Istanbul, Turkey. I argue that miniature parks can be productively analyzed as sites that express how audiences are supposed to feel about religion, heritage and national identity. The article discusses how these parks reflect social dynamics with regard to religion and secularity. It concludes that theme parks such as Madurodam and Miniatürk are suitable sites for sustained ethnographic explorations of the 'imagineering' of religion in secular societies. In an epilogue, it discusses how miniature parks increasingly deploy new forms of immersive media like 4d cinema, augmented reality installations and 3-d printers to stage the parks' claims regarding culture and the nation in new ways.

The evolving landscape of higher education necessitates a nuanced approach to accommodating the diverse needs of neurodivergent students, including those identifying as having autism, dyslexia, dyspraxia, attention deficit hyperactivity disorder, dyscalculia or Tourette's syndrome. Traditional settings often fail to provide adequate support, with measures implemented without consulting those directly affected. This can lead to conditioned apologetic behaviour, thoughts of withdrawal from education and diminished student well-being. Recognising this gap, the well-being in student education (WISE) room was conceptualised to offer a tailored space conducive to neurodivergent students' academic journey. Given that approximately 20% of students within the Faculty of Health and Life Sciences at Northumbria University identify as neurodivergent, this explorative study examines their perspectives on shaping an inclusive environment. Using workshops and an in-situ trial involving 18 neurodivergent students as experts by experience, we coalesced individual insights with communal aspirations. Thematic analysis of the qualitative data revealed the key factors influencing the creation of an inclusive digital environment. Findings highlight a pervasive sense of disconnection among neurodivergent students due to the lack of dedicated spaces, exacerbating feelings of marginalisation and impeding integration into campus life. A one-month reflective follow-up revealed optimism and appreciation for efforts towards inclusiveness. This study contributes to broader discussions about accessibility in higher education. By foregrounding neurodivergent perspectives, initiatives like The WISE Room hold promise for fostering equitable educational environments. Our findings raise critical questions about providing accessible spaces that truly meet the needs of neurodivergent students.

This paper presents a cross-disciplinary research approach to designing new tools for sound spatialization in immersive music environments. It addresses issues of interaction design and interface design by pooling knowledge from music theory, music interfaces and design research. Spatialization is a rapidly evolving practice in need of specialized and democratic tools. Using a methodology inspired by grounded theory, the concept of a universal vocabulary to describe spatial structures emerged from a series of interviews with electronic music composers. The notion of universal language was further confirmed by Denis Smalley’s concept of spectromorphology. This realization required a deeper look into music theory and spatial music practices. Seeking a better understanding of practices and composition strategies provided a frame in which to search for design cues. This paper suggests that a cross-disciplinary processcentered approach rather than a techno-centric one is best suited to d...

Videodance, a form that hybridizes technology and audiovisual language with dance, and virtual reality come together in this Final Degree Project to highlight the innovative and creative potential of the new artistic format. Through the bibliographic review of technical and artistic aspects of the authors on videodance and virtual reality, specifically 360º videos, a creative proposal is proposed that converges in the creation of an original videodance recorded in 360º designed for viewing through an immersive device such as virtual reality glasses. This research is a starting point for new artistic creations in this format, highlighting the transformative potential of immersion in dance and the use of technology in favor of culture and art.

Development of new mediums affects the way humans think and create. This is happening in our era with audiovisual, digital, transport and telecommunications technologies. While some experts perceive this as a step towards utopia, others fear that it is leading us towards dystopia. Meanwhile, in our daily lives the changes do not seem so radical and are quickly assimilated. In either case, it seems to be confirmed that the digital age has altered the perception and creation of spaces, which might now be considered ‘augmented’. It is argued that we are confronted with new forms of spatiality that go beyond the limitations of traditional physical space. They are illusory and relational spaces that reflect the logic of the society of the spectacle, follow the aesthetic criteria of visual culture and, paradoxically, are materialised thanks to digital technology and the new physical implications it provides. This spatial reality has been expanding in the Western context since the end of the 20th century and seems to be consolidated in the 21st, especially in artistic creation, audiovisual spectacles and mass communication. The main objective of the research has been to establish a conceptual framework in order to understand the idea of contemporary space, assessing whether it is innovative and to what extent it continues its conceptual heritage. This required an interdisciplinary approach, based on the theory of contemporary architecture, space, aesthetics and philosophy, from which a diverse spectrum of study cases are analysed and grouped into the family of digital scenographic installations: constructions of/in space, with a distinct artistic intention, that make use of digital technology. The first part of the research presents the conceptual framework for discussing the idea of augmented space. From a theoretical perspective, it explores three interrelated dynamics (the cultural, aesthetic and spatial turns) that have transformed modern criteria, updated by the digital age. In this context, it is argued that space is no longer to be defined by criteria of orientation and stability. On the contrary, it is argued that augmented space is active, flexible and dynamic, all qualities derived from a shift in modern thinking and the use of digital technology. In the second part, the study cases are analysed and classified into five different categories of augmented space. Five modes of relationship between body, space (physical and virtual) and time. Three of them use the digital medium to illusorily alter the viewer’s perception. Projection distorts physical space through two-dimensional visual elements (projected or emitted). Immersion plunges the viewer into a digitised environment that transforms their spatio-temporal perception. And kinaesthesia places corporeality and its movement at the centre of the experience. The remaining two categories make use of the digital to –spatialy– shape a relational, social and participatory concern between the individual, their environment and other people. Interaction provokes an active engagement of the individual with their digital and physical environment, while interconnection explores the links between various individuals, whether acquaintances (us) or strangers (others). In conclusion, Augmented Space is both physical and virtual. This concept implies the superimposition on tangible space of digital elements in order to alter (augment) the perceived spatiality. Through the analysis of digital scenographic installations, it is discussed how space currently trends towards illusionistic and relational dynamism, where body, time and technology interact with each other, expanding the boundaries of spatial design and perception.

La aparición de nuevos medios modifica nuestra forma de pensar y crear. En nuestra era, esto sucede con la tecnología audiovisual, digital, de transporte y telecomunicaciones. Mientras algunos ven en esto un avance hacia la utopía, otros temen que nos encamina a la distopía. Entretanto, en nuestra vida cotidiana los cambios no parecen tan radicales y son rápidamente interiorizados. En cualquiera de los casos, parece confirmarse que la era digital ha alterado la percepción y creación de espacios, los cuales podrían considerarse “aumentados”. Se sostiene la tesis de que nos encontramos ante nuevas formas de espacialidad que superan las limitaciones del espacio físico tradicional. Son espacios ilusorios y relacionales, responden a la lógica de la sociedad del espectáculo, siguen los criterios estéticos de la cultura visual y, paradójicamente, se materializan gracias a las novedosas implicaciones físicas que trae consigo la tecnología digital. Esta realidad espacial ha estado en expansión en Occidente desde finales del siglo XX y parece consolidada en el XXI, especialmente en la creación artística, el espectáculo y la comunicación de masas. El objetivo principal de la investigación ha sido establecer un marco conceptual para comprender la idea de espacio contemporánea, evaluando si es novedosa y en qué medida continúa con su herencia conceptual. Para ello, era necesario un enfoque interdisciplinar, basado en la teoría de la arquitectura, el espacio, la estética y el pensamiento contemporáneos, desde el cual se analiza un espectro diverso de casos de estudio agrupados en la familia de las instalaciones escenográficas digitales: construcciones de/en el espacio, con una clara intención artística, que hacen uso de la tecnología digital. En la primera parte de la investigación se presenta el marco conceptual desde el que se analiza la idea de espacio aumentado. Desde una perspectiva teórica, se exploran tres dinámicas interrelacionadas (los giros cultural, estético y espacial) que han transformado los criterios modernos, actualizados por la era digital. En este contexto, se sostiene que el espacio ya no debe definirse por criterios de orientación ni estabilidad. Al contrario, el espacio aumentado es activo, flexible y dinámico, cualidades derivadas de un cambio de pensamiento y del uso del digital. En la segunda parte, se analizan y clasifican los casos de estudio en cinco categorías de espacio aumentado. Cinco modos de relación entre el cuerpo, el espacio (físico y virtual) y el tiempo. Tres de ellas utilizan el medio digital para alterar ilusoriamente la percepción del espectador. La proyección distorsiona el espacio físico mediante elementos visuales bidimensionales (proyectados o emitidos). La inmersión sumerge al espectador en un entorno digitalizado que transforma su percepción espacio-temporal. Y la cinestesia sitúa a la corporalidad y su movimiento como el centro de la experiencia. Las dos categorías restantes hacen uso del digital para dar forma –en el espacio– a una inquietud relacional, social y participativa entre el individuo, su entorno y otras personas. La interacción examina la participación activa del individuo con su entorno digital y físico, mientras que la interconexión explora los lazos de unión entre varios individuos, ya sean cercanos (nosotros) o desconocidos (otros). En conclusión, el espacio aumentado es tan físico como virtual. Este concepto implica la superposición en el espacio tangible de elementos digitales con el fin de alterar (aumentar) la espacialidad percibida. A través de las instalaciones escenográficas digitales, se ha analizado cómo actualmente el espacio tiende al dinamismo ilusionista y relacional, donde el cuerpo, el tiempo y la tecnología interactúan entre sí, expandiendo las fronteras del diseño y percepción espacial.

Among the ongoing critical response to how recent technological developments in digital media have expanded previous cultural frameworks for social and historical memory, there is little discussion of how virtual reality has and will influence testimonial art. This article examines how Alejandro González Iñárritu’s mixed media installation Carne y arena/Virtually Present, Physically Invisible (2017), depicting forced migration across the U.S-Mexico border, creates a poetics of testimony through a practice of distancing that allows the spectator to perform a personal and collective loss of citizenship.