Locative Media

Objective: we aimed to reflect on the Actor-Network Theory as a theoretical-methodological framework in health and nursing research. Method: reflexive study, in which principles and concepts of the Actor-Network Theory were used as a theoretical-methodological framework. Results: the Theory can be put in practice based on the mapping of controversies as its method, defined by the following movements: 1) seeking an entry door in the network; 2) identifying the spokespersons; 3) accessing the inscription devices; 4) mapping the associations between the actants. It corresponds to a set of techniques to explore and visualize polemics and controversies, observing and mapping the social debate, especially, but not exclusively, addressing technical-scientific problems. Hence, in the scope of health and nursing, more precisely in the sphere of the complex practices where the nurses and health technologies operate, the Actor-Network Theory has emerged as a relevant and noteworthy theoretical...

A partire dagli anni Novanta del secolo scorso, l’era dei media mobili e dei dispositivi portatili di geolocalizzazione ha introdotto un nuovo approccio alla digitalizzazione dello spazio e alla sua rappresentazione in tempo reale, permettendo di includere la fisicità performativa dell’artista come elemento di un sistema complesso e situato. L’articolo propone un’indagine del Locative Media Workshop tenuto a Karosta, una piccola località lettone sul mar Baltico, nell’estate del 2003. La tendenza creativa dei locative media, attraverso questo primo workshop, pone le sue basi su pratiche collaborative nello spazio pubblico. Nel testo, oltre a ricostruire la messa in opera dell’evento negli ambienti del RIXC Center for New Media Culture di Riga, si pone l’attenzione su come un tale agire laboratoriale, esplorativo e partecipato, segnerà un’evoluzione sostanziale rispetto a precedenti forme di media art che hanno fatto uso delle reti.

La geolocalizzazione, originariamente sviluppata come tecnologia a uso militare e oggi parte integrante della vita quotidiana, ha trasformato radicalmente il rapporto con lo spazio pubblico. Partendo da questo presupposto, il libro esplora la genesi e l’evoluzione dei locative media, forme di comunicazione digitale legate alla posizione geografica, analizzandone la metamorfosi in uno strumento di mediazione artistica emerso parallelamente ai primi utilizzi civili del tracciamento satellitare. La tendenza si consolida nei primi anni Duemila come risposta post-desktop alla net art, sfruttando il potenziale performativo delle reti mobili. Ricevitori e dispositivi personali ridefiniscono l’idea stessa di spazio di vita, modulando la percezione di scala tra distanze geografiche e rappresentazione mediata del territorio; un ambito in cui si aprono riflessioni sul corpo dell’artista come elemento attivo di misurazione, connessione e mappatura critica di sistemi di controllo.

Günümüzde interaktif medya hayatımızı ve yaşam biçimimizi önemli ölçüde şekillendirmektedir. Teknolojik gelişmeler doğrultusunda interaktif dijital medyanın ve bununla bağlantılı olarak dijital medya araçlarının bugüne oranla hayatımızda daha çok yer alacağı öngörülmektedir. Bu doğrultuda ilk çıkış noktası ATM cihazları olsa da kiosk teknolojisi de her geçen gün gelişmektedir, şu anda kamusal alanlarda kullandığımız birçok etkileşimli medya aracı günlük pratiklerimizi kolaylaştıran dijital kiosklardır. Bu çalışmayla dijital bir medya aracı olan kioskun, örnekler üzerinden incelenmesiyle sosyal etkileşimin şekillenmesinde nasıl bir role sahip olduğunu göstermek amaçlanmaktadır. Bu doğrultuda literatür taraması yapılarak kuramsal bölüm oluşturulmuştur. Amaç çerçevesinde, kiosk örnekleri ve ilgili internet siteleri incelenerek sosyal etkileşim örnekleri içeren video ve haber kaynaklarına, ilgili metinlere ulaşılmıştır. Araştırmalar sonucu kamusal alanlarda bulunan kiosk cihazlarının kullanımı sonucu davranış değişikliğine neden olduğu ortaya koyulmuştur. İnteraktif bir medya aracı olan kioskun mekânın etkisi üzerinden sosyal etkileşimdeki rolünün incelenmesi bu makale ile ilk defa gerçekleştirilmiştir.

This study examines how queer spaces in Seoul are shaped by ongoing spatial (re)organization and digitalization, highlighting how queer residents navigate and transform urban space through strategic (in)visibility. Based on ethnographic fieldwork (between 2022 and 2024) and 48 semistructured interviews with 29 Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, Asexual, and other identities (LGBTQIA+) residents, it analyzes Seoul Plaza during the 2022 Seoul Queer Parade, the "Gay Building" in Jongno, and Instagram accounts of lesbian clubs in Hongdae. Using hybrid mapping, the study shows how physical threshold spaces, combined with controlled digital visibility on local map apps and Instagram, reduce exposure in a dense, heteronormative cityscape. Even when these strategies fail, queer patrons flexibly engage with multiple spatialities to mitigate risks. By conceptualizing queer threshold spaces within South Korea's rapid urban refiguration, this study offers insights into lesser-discussed East Asian queer geographies.

Desde 1962, precisamente, pesquisadores da Comunicação vêm discutindo sobre as fortes influências do desenvolvimento tecnológico sobre a humanidade, mesmo antes da origem da internet (a grande percursora da nova realidade técnico-comunicacional) e hoje o ser humano vem demostrando, com fidelidade, tudo o que foi apresentado. Conceitos como aldeia global,19 cibercultura20 e sociedade em rede21, por exemplo, nunca estiveram tão contemporâneos.

The proliferation of global positioning systems (GPS) has made it affordable to find out exactly where you are, plan routes and even draw pictures on the Earth's surface. The integration of GPS with other forms of digital technology has further extended the quantitative spatial and temporal characteristics of the system to support social dimensions. This paper focuses upon the capacity for locative media to support the social discussion of place, and identifies a technical 'hitch' in established approaches that inhibits aspects of discussion so that they only take place within given environmental contexts.

Pokémon Go, the popular Augmented Reality based mobile application, launched in July of 2016. The game's meteoric rise in usage since that time has had an impact on not just the mobile gaming industry, but also the physical activity of players, where they travel, where they spend their money, and possibly how they interact with other social media applications. In this paper, we studied the impact of Pokémon Go on Yelp reviews. We separated restaurants by those that had PokéStops near them and those that did not. For restaurants near PokéStops, we found a slight drop in the number of reviews. • Human-centered computing → Collaborative and social computing → Empirical studies in collaborative and social computing.

Bireylerin ekran süresi, 2025 verilerine göre Güney Afrika’da ortalama 10 saat 46 dakika, Amerika’da 6 saat 59 dakika ve Türkiye’de 7 saat 24 dakika olarak ölçüldü. Bu, Türkiye’de uyanık olduğumuz sürenin yarısına yakınını parlak camlara bakarak geçirdiğimiz anlamına geliyor.
Bu yazıda, didaktik bir “Ekrana uzun süre bakmak zararlıdır” ezberini tekrar üretme amacında değilim zira bu durumdan rahatsızlık duyan herkes için –ironik olarak- baktığımız cihazlardan ulaşabileceğimiz çeşitli çözümler mevcut.

Daha çok, tüm dünya toplumlarının devasa bir vakit ayırdığı olgunun politik ve psikolojik sonuçlarının tartışılması gerektiği ile ilgiliyim. Ekran süresinin, biyolojik bir alışkanlık ya da davranışsal sapma olmanın ötesinde, bireyin gündelik yaşamını kuşatan sistemsel bir tasarımın sonucu olduğu iddia edilebilir.
Bu tasarımın arkasında teknoloji şirketleri ve kapitalin olduğu iddia edilmesi en kolay argüman elbette ancak dikkat ekonomisi, gözetim, algoritmik tahakküm ve enformasyon kapitalizmi gibi söz konusu sürecin yapı taşlarına hâkim olmadan faile odaklanmanın olguyu betimlemekten başka fayda sağlamayacağı açıktır.

Urban sound has a huge influence over how we perceive places. Yet, city planning is concerned mainly with noise, simply because annoying sounds come to the attention of city officials in the form of complaints, whereas general urban sounds do not come to the attention as they cannot be easily captured at city scale. To capture both unpleasant and pleasant sounds, we applied a new methodology that relies on tagging information of georeferenced pictures to the cities of London and Barcelona. To begin with, we compiled the first urban sound dictionary and compared it with the one produced by collating insights from the literature: ours was experimentally more valid (if correlated with official noise pollution levels) and offered a wider geographical coverage. From picture tags, we then studied the relationship between soundscapes and emotions. We learned that streets with music sounds were associated with strong emotions of joy or sadness, whereas those with human sounds were associate...

The main aim of this paper is to explore the manifold planes of possible communication between various fields of expertise triggered by two specific conditions: Artifact and Affect. The relation between the conditions is described by the application of computer numerical control and the artifacts of the process grinded into the surface condition. Resulting in opulent novel conditions which can be read in multiplicious ways.

Lorena Busto-Salinas es doctora con premio extraordinario por la Universidad de Burgos con una tesis sobre las relaciones públicas en el ámbito sanitario y profesora de investigación en comunicación, relaciones públicas y comunicación digital en la Universidad de Cádiz. Sus líneas de investigación giran en torno a las relaciones públicas, la comunicación sanitaria, la comunicación institucional y el análisis de prensa.

One of the prominent debates of the current era of increasingly networked economy and sociality relates to the concept of 'connectedness' . On the one hand, technologies extend, mediate, and reduce the need for physical spaces for social interaction; on the other hand, there has also been a resurgence in community hubs as existing and new forms of critical resources for diverse individuals and communities. This paper provides a comparative analysis of three creative community hubs in South East Queensland, each representing a case of bottom-up, middle-out, and top-down driven initiatives. By applying the transdisciplinary lens of Urban Informatics, it explores the juxtaposed values of physical space and digital technologies for connectedness within the context of creative communities. It then opens questions about how Human-Computer Interaction (HCI) might add to tactics of connection for meaningful and impactful community engagement.

El arte, ¿dónde empieza y dónde termina? ¿Dónde está el límite del arte? ¿Hay un límite físico entre el arte y el espectador? Estas son cuestiones que vemos de forma muy frecuente en el arte contemporáneo, y en la obra presentada por Janet Cardiff y George Bures Miller, en la exposición The Killing Machine y otras historias, realizada en el Macba -Museo de arte contemporánea de Barcelona. Todo es obra, desde el primero momento que se encuentra con ella, o simplemente la espera para ver la obra, la interacción con el espectador, la forma con que está montada la obra, la forma con que el espectador actúa con ella. Todo es obra, aguardar en la cola, abrir la puerta, apretar el botón. El público se confronta con la obra, participa de ella, está dentro de ella. Si todo es obra, ¿dónde se inicia la obra? Cuando se está aguardando en la cola, cuando se coloca los auriculares o cuándo se aprieta el botón. En esta exposición se puede decir que todo hace parte de las instalaciones. Podemos percibir esto al entrar en la sala en que la obra es una preformase de robos, que sólo se inicia cuando alguien sale de su posición de observador y pasa a ser un agente, apretando el botón de inicio. El espectador es parte fundamental de la obra, sin su actuación no existe la obra, sin él la obra no está completa, no se realiza. Las instalaciones llevan al espectador a entrar en su mundo, participando de él, sea por esta relación espectador/obra, sea por el aspecto teatral que los trabajos de Cardiff y Miller proporcionan. Un aspecto teatral que trae al espectador más para adentro de la obra por el espacio. Un espacio que por ser más conocido por el público, como un teatro, un cine, una sala, hace que el espectador tenga sus referencias mas cerca de él, reconociendo el espacio en torno a él y permitiéndole relacionarse con él y así como con la obra. Utilizando este artificio, los artistas logran integrar obra y espectador. De

Gender-based violence in Tlaxcala, Mexico is mapped by its wouldbe targets: feminized bodies. Using the concept of body territory, the paper explores how those targeted draw themselves and their surroundings when plotting gender-based violence. It does so in conversation with the geophilosophy of Gilles Deleuze and Félix Guattari to plot body territory as traversed by lines of longitude and latitude. These lines are not mere grid coordinates that locate a body 'in' territory. They are embodied. Lines of longitude plot how the mapper connects with her violent surroundings, while those of latitude draw a resulting increased/ decreased ability to act..

Gender-based violence in Tlaxcala, Mexico is mapped by its wouldbe targets: feminized bodies. Using the concept of body territory, the paper explores how those targeted draw themselves and their surroundings when plotting gender-based violence. It does so in conversation with the geophilosophy of Gilles Deleuze and Félix Guattari to plot body territory as traversed by lines of longitude and latitude. These lines are not mere grid coordinates that locate a body 'in' territory. They are embodied. Lines of longitude plot how the mapper connects with her violent surroundings, while those of latitude draw a resulting increased/ decreased ability to act..

*LA PRIMA PARTE DEL PAPER SONO GLI APPUNTI DELLE LEZIONI, LA SECONDA IL CASO STUDIO*
Negli ultimi anni il quartiere di Tor Bella Monaca è stato oggetto di svariati progetti e processi di rigenerazione e riqualificazione. L'obiettivo del progetto è quello di analizzare il recupero dello spazio e del contesto urbano attraverso diversi strumenti, focalizzandosi su quelli visuali, come ad esempio la Street Art.

Bu araştırmada, bilişsel önyargılar ve ikna edici teknolojiler kullanılarak hazırlanan karanlık örüntülerin, aciliyet ve kıtlık algısıyla kullanıcıların tutum ve davranışları üzerindeki etkilerinin incelenmesi amaçlanmıştır. Bu amaç doğrultusunda, karanlık örüntülerin oluşum süreci, grafik arayüz tasarımlarındaki fiziksel ve yapısal dönüşümlerden başlanarak tüm bağlantıları ile incelenmiştir. Bu inceleme sonucunda, iyi tasarımın en önemli niteliği olan ikna ediciliğin etik çerçevesi araştırılmış ve günümüzde bu sınırların ötesine geçen ikna edici tasarımlar tespit edilmiştir. Tasarımlar, evrensel etik anlayışı doğrultusunda incelenmiş ve kullanıcıların rasyonel kararlarını manipüle eden karanlık örüntü tekniklerine hangi ölçülerde maruz kaldıkları araştırılmıştır. Araştırma bulgularına göre, katılımcıların büyük çoğunluğunun birçok platformda aciliyet ve kıtlık algısı oluşturan karanlık örüntülere maruz kaldığı belirlenmiştir. Ağırlıklı olarak web sayfaları ve mobil uygulamalar olmak üzere; kullanıcıların oyun konsolları, televizyon, gazete, mağaza vitrinleri ve basılı yayınlarda karanlık örüntüleri deneyimledikleri sonucuna ulaşılmıştır. Katılımcıların karanlık örüntülerde sunulan içerik bilgisine yönelik görüşleri değerlendirilmiş ve sunulan bilgilerin doğruluğuna yönelik eğilimin kararsız olma yönünde olduğu görülmüştür. Takip eden eğilimler ise, önce bilgilerin doğruluğuna inanmamak, ardından inanmak şeklinde olmuştur. Aciliyet ve kıtlık etkisi veren karanlık örüntülerin, katılımcıların kararlarını etkileme durumlarına yönelik sonuçlar değerlendirildiğinde ise, çoğu katılımcının kararlarının etkilendiği sonucuna ulaşılmıştır. Bu bağlamda, bu çalışmanın temel problemi olan “karanlık örüntülere karşı kullanıcılara farkındalık kazandırılması” gerekliliği araştırma sonuçlarına göre nicel bulgularla desteklenmiştir.

Short reviews of articles about net art and net conditions (published on the net without paywalls). The reviews in chronological order were a part of IASLonline Lessons in NetArt.
Links refer to texts with informations on the history of NetArt and web specific, for NetArt relevant problems since April 2002. The list was expanded in March 2003 with links to platforms, portals, mailing lists and newsgroups with actual informations on NetArt, net conditions and activism, databases for Intermedia Art and book reviews in "IASLonline Rezensionen". Subject-oriented websites are considered as platforms if they are more than curated links and contain artistic projects in their database. The links to articles on actual aspects of NetArt are added since February 2004. The dates of the entries are listed in brackets (month/year). Since May 2015 the links are not only listed in alphabetical order, but in chronological order, too. The last reviews are from September 2022.
If you download the PDF then you can use the links.
URL: https://iasl.uni-muenchen.de/links/NALinkechron.html

A representação de estruturas urbanas, seja por meio de metáforas ou por analogia aos elementos e funções das cidades, tem sido a principal forma de elaboração dos projetos de cidades digitais, caracterizadas por reunir pessoas e instituições conectadas via rede de computadores, tendo como referência uma cidade real. A partir de 1990 se verifica uma quantidade significativa de exemplos de CDs, concentrada na Europa, Estados Unidos e no Japão, nas quais se observavam variados propósitos. Esta dissertação procura identificar como alguns projetos de cidades digitais permitiram a elaboração de novas alternativas de organização da vida coletiva e de representação da coletividade no ciberespaço, por meio dos elementos que estruturam o espaço público. Para tanto, procede com uma identificação conceitual das estruturas que caracterizam o Espaço Público e a Cidade Digital e com uma análise de doze projetos de cidades digitais. Os resultados deste estudo são apresentados numa matriz-síntese que reúne um conjunto de cinco propósitos associados a quinze características que definem o Espaço Público Virtual e que indica, de modo comparativo, os casos que melhor respondem a sua caracterização. Este estudo vem a favorecer o conhecimento e a compreensão dos processos e fatores de socialização nas redes de comunicação, que se fazem presentes de maneira cotidiana na dinâmica da cidade. Contribui também para revelar a importância do desenvolvimento de um projeto para a cidade digital que permita a construção de uma boa rede de comunicação e de novas possibilidades de desenvolvimento local para as cidades nos dias de hoje.

The main objective of this research was to analyse the spatial representation constructed in the fiction TV series Antidisturbios (Riot Police) (Movistar+, 2020). It sought to look at how space is constructed in the narrative, consider the role it plays in it, and assess whether space reflects a specific sense of location related to Spanish identity. A methodology based on textual analysis was used, with emphasis on spatial representation. An analysis tool was applied to evaluate a variety of scenes from the series. The analysis found that narrative space was of crucial importance for the background of the story and that Madrid played a prominent role in the narrative. Antidisturbios portrays a city that represents the symbolic centre of the Spanish state, understood as a space of hegemonic power that brings together the political and economic elites. At the same time, it presents a contemporary, recognisable, and inclusive geography, which contrasts with the image of the capital in...

Este artigo tem como objetivo tentar identificar que novas qualidades do lugar são hoje reveladas. No momento atual, em que a arquitetura real, a rede virtual e novas práticas sociais parecem se fundir, precisamos elaborar novas configurações do lugar no território. Para tanto, partiremos de algumas acepções definidoras da essência do lugar e de exemplos recentes de práticas sociais do espaço e da arquitetura, analisados à luz dessas teorias e do ponto de vista das suas relações com as novas tecnologias de comunicação e informação.

The intuitive starting point for this project was the idea that one could use the voice interaction capacities of smart speakers to interface with oral history and audio documentary collections. In this paper we present an empirical design case study, COVID Memories Project. The COVID Memories Project is a curated collection of personal narratives and reflections about the early pre-vaccine lockdown days of the pandemic. Built to run on the Alexa smart speaker, we explore how voice interaction can be used to navigate 'linked' audio playlists. We use the term hyper-audio to describe the use of voice interface to navigate linked-audio collections. We provide a brief narrative description of the project, along with links to video documentation, followed by a discussion of the design process, touching on the project's information architecture, sound design, use of voice interaction, and the benefits and limitations of working in the Alexa environment. And finally, we conclude the paper by addressing the tension that exists between the narrow and prescriptive quality of voice interfaces, and the open-ended and expressive potential of conversation. CCS CONCEPTS • Human-centered computing • Interaction design • Empirical studies in interaction design

The following essay focuses upon my experience of fieldwork within the context of a creative-cultural media project called 'Mapping and Sewing Together Mythologies'. This reflective text applies a series of lenses to elaborate aspects of the ethnographic 'self ' and researcher in the field; to consider the documentation and representation which was produced during and after the fieldwork. The ethnographic lenses that will form the thematic sections of this text are explicitly guided and relate to fieldwork: biography, physical and emotional, situated, relational and conversational work, and the recognition of issues of representation, memory and commitment. As a reflective exercise on the practice undertaken in field, cross-reference is made to 'consequences and commitments ' themes concluded in The Ethnographic Self:

Loca (Location Oriented Critical Arts) is an artist-led interdisciplinary project on mobile media and surveillance. It forms part of an AHRB funded research programme exploring the shifting boundaries between art practice, the event and data systems. ... Projects and debates ...

The piece explores the intersection of McLuhan’s media theory and contemporary digital practices through the project Ubiquitous Pompei, an experiment in augmented writing and participatory media. While acknowledging McLuhan’s emphasis on media’s formal aspects, the article critiques his disregard for content, advocating for a more integrated approach. The Ubiquitous Pompeii project, launched in 2011 by Oriana Persico and Salvatore Iaconesi, engaged students in ubiquitous publishing, augmented reality, and QR-coded narratives, transforming Pompeii into an interactive, digital space. Through workshops and collaborative experimentation, participants reimagined historical narratives, technological interaction, and urban storytelling in an ever-evolving media landscape.

Language: English and Italian

Este trabajo explora la combinación del aprendizaje formal e informal junto con los principios de los medios locativos; hemos observado el potencial de este tipo específico de medios para reforzar y expandir los objetivos de aprendizaje fuera del tiempo de clase, dotando a los estudiantes de actitudes de aprendizaje permanente. Presentamos los hallazgos y las observaciones sobre cómo una clase de estudiantes de licenciatura utilizó medios locativos por primera vez para aprender acerca de los efectos de la segregación espacial en un área específica desatendida de Austin, Texas (ee. uu.). Pedimos a los estudiantes que visitasen varios lugares y que produjesen historias multimedia centradas en la historia local. Los resultados del estudio muestran que el uso de medios locativos es altamente eficiente para fines de aprendizaje. Los estudiantes pueden experimentar el contenido aprendido en la clase en un entorno físico, lo que fomenta el ‘aprendizaje situado’, una teoría que utilizamos c...

La agonía del sol en el ocaso sobre el negro verdor de las encinas de su lecho detrás de las cortinas de leves nubes de purpúreo raso. Y allá en levante, ya de luz escaso, en el luto agonizan las colinas mientras del cielo en cúpula y pechinas se asienta el polvo del febeo paso 1 (Miguel de Unamuno, p. 531) El entorno, la escultura, la arquitectura, el paisaje… son en esta investigación las raíces epistemológicas que escarbando bajo la tierra proyectan unas sombras intramuros, dinámicas pero que súbitamente, aprisionadas avanzan queriendo captar alguna lucecilla, alguna idea del destino de la metrópolis o de su propia supervivencia.

Smartphones have ushered in new forms of locative media through the overlay of global positioning system digital media onto physical places. Whereas mobile communication research has focused on corporate, hierarchical, or government surveillance, emerging studies examine the ways locative media practices relate to privacy and surveillance in everyday, intimate contexts. Studies of same-sex forms of intimacy in and through locative media practices have largely attended to the growth and use of male hook-up apps, but have overlooked same-sex female relationships. Beyond hook-up apps, mundane forms of intimacy in same-sex relationships have also received scant attention. This article draws from a broader ethnographic study in Australia over three years exploring the use (and nonuse) of locative media in households as part of their management of privacy, connection, and intimacy with family and friends. By moving the discussion about intimacy beyond hook-up apps, this article focuses on...

The COVID-19 pandemic has been explored from different standpoints and, like many preceding pandemics, often interpreted as a rupture, undermining faith in human progress and exploring human vulnerability. Literature has also traditionally reflected pandemics in this light. However, with the rise of posthuman studies, new ways of thinking about pandemics have emerged, inviting a re-evaluation of what it means to be human. As a situation of, and metaphor for, transformation, pandemics challenge traditional humanist narratives, offering new forms of identity, agency, and consciousness and providing new ways to reflect the human/non-human entanglement and the relationship between humanity, technology, and the environment. This article focuses on The Silent History, originally published as a touchscreen serialized novel that depicts a pandemic that renders children unable to use and understand language and challenges restricted definitions of what counts as human. The novel explores a post-anthropocentric world-view, questioning the centrality of language to human identity and experience as well as the conception of life as a continuous line of enhancement. The Silent History challenges entrenched notions of humanity and conventional forms of storytelling as it combines the technological affordances of iPhones and iPads through images, interactive maps, sounds, videos, presentations, and GPS technology, with a string of serialized character "testimonials." The pandemic is not presented as a rupture but, rather, as a gateway into a new human condition akin to a networked existence, where human identity is redefined through its entanglement with technology, the environment, and other non-human entities.

This article aims to discuss the application of Augmented Reality (AR) for visualizing cultural heritage, through the case study of the Elixir de Nogueira building. Located in the Glória neighborhood in Rio de Janeiro, this building was designed by the Italian architect Antônio Virzi in 1916 and was demolished in 1970 to make way for a commercial building. Concepts related to virtual heritage and augmented reality were used to provide a theoretical framework for the work. A virtual reconstruction of the building had been created, alongside the development of two augmented reality experiences: one using the JavaScript AR.js library and the other using the Unity + AR Foundation game engine. This work aims to discuss how the use of augmented reality applied to virtual heritage can enhance curiosity about the heritage object, as well as debating the possibilities and limitations of each of the frameworks.

Digital domains render possible new forms of narrative creativity. This article explores to what extent it is practicable to inform the invention of new storytelling techniques in location-based media, such as augmented reality (AR). When carrying out research and development with explorative storytelling in indirect AR one often encounters a recurring problem. When digitally reconstructing and displaying sequences of historical events in situ, a paradox tends to emerge. While the linear sequence of actions and events might often benefit from in-depth information on historical contexts of various sorts, the moment the user embarks on a contextual digression to seek a better understanding, the sequence itself is abandoned and/or fragmented. This is a type of conflict where the designer must make difficult choices to provide a prolific story experience. How may we best combine and balance sequence and access, storytelling and in-depth exploration to the benefit of rich locative perceptions and adventures? In the following article we consult narrative theory to find a design and implement the solution in three different simulations of on-site historical events. These are selected from antiquity and the Second World War. We discuss the challenges and elucidations so far, as well as feedback from visitors testing the situated simulation AR applications on location.

редакционная коллегия серии: с.и. Берил, д-р физ.-мат. наук, проф. (ответственный редактор) в.р. окушко, д-р мед. наук, проф. (зам. ответственного редактора) к.д. ляхомская, канд. физ.-мат. наук, доц. (ответственный секретарь) е.а. погорелая, д-р филол. наук, проф. и.н. галинский, канд. филос. наук, доц. и.м. Благодатских, канд. ист. наук, доц. л.и. васильева, канд. пед. наук, доц. н.в. щукина, канд. юрид. наук, доц. приднестровский государственный университет им. т.г. Шевченко. вестник приднестровского государственного университета / приднестровский гос. ун-т. -тирасполь: изд-во приднестр. ун-та, 2012 сер.: гуманитарные науки: № 1 (40), 2012. -192 с.

Bu makale metropol ve metropol dışı şehirlerinde yaşayan ve konum tabanlı tanışma uygulamalarını kullanan genç yetişkinlerin mekânsal stratejileri hakkında bir değerlendirme sunmaktadır. Çalışma kapsamında, Türkiye’nin 6 farklı şehrinde yaşayan,18-30 yaş arası, 64 genç kullanıcının konum tabanlı tanışma uygulamaları aracılığıyla tanıştıkları partnerleriyle ilk buluşma mekân seçimleri bulanık bilişsel haritalama yöntemi (Kosko, 1986) ile incelenmiştir. Araştırmanın sonuçları toplumsal cinsiyetin ve kültürel ortama özgü coğrafi kalıpların (metropol ve metropol dışı) konum tabanlı tanışma uygulama kullanıcılarının mekânsal stratejilerini ve partner adayları ile buluşurken başvurdukları taktikleri önemli ölçüde belirlediğini göstermektedir.

Prendiamo Pozzallo, un piccolo paese in riva al mare dove viviamo.
Qui c’è il Sole, c’è il mare, e la temperatura è mite anche d’inverno.
Anche se non è un posto famoso come Capri, Portofino, o Taormina, qui l’aria è pulita e il vento di ponente spazza via i virus che invece abbondano nella ricca Milano, oppressa dalla nebbia, dallo smog, e dall’inquinamento industriale. Qui viviamo felici e abbiamo molti amici.
Noi siamo ricchi di felicità e di amicizia. Come valuti la felicità e l’amicizia in termini di dollari?

Quando a tv vai aléM da sala de estaR: poR uMa análise cultuRal dos usos de novos dispositivos tecnolóGicos caRlos eduaRdo MaRQuioni Professor do programa de pós-graduação em Comunicação e Linguagens da Universidade Tuiuti do Paraná (UTP). Doutor (2012) e Mestre (2008) em Comunicação e Linguagens pela mesma instituição. É ainda membro do grupo de pesquisa Imagens, sentidos e regimes de interação/CNPQ da UTP.

When busy urban areas are pedestrianised, the relationship these places have with those using them changes. Most obviousis the topographical increase in theavailabilityof spacefor those traversing it on foot or bicycle. Nevertheless, there are more subtle changes as well. Regular users of pedestrianisedspacesbegin to forge routes, habits and responses, shaping the way the (newly) available space is used in practice. In this paper, we describe a project at King's College London whichsought to explore this in the context of the newly pedestrianised area of the Strand, one of Central London’s main thoroughfares, which abuts KCL’s campus estate. We used methods drawn from deep mapping combined with quanti-tative and qualitative observations of research participants' walking experiences. Through GPS traces of their walking routes and qualitative interviews, we focused on understanding the benefits of pedestria-nisation, the impact of new street furniture on pedestrian habits, and the transformation of the space into an area for both dwelling and traversing. Such spaces give rise to conceptual and intangible "laby-rinths" constructed and mediated through people's individual experiences andthroughdigital locative media. This study demonstratesthe potential of the deep mapping paradigmin enhancingour under-standing of the pedestrian walking experience in newly pedestrianised areas such as the Strand. We showhow deep mapping can support spatial analysis and contribute to developing a comprehensive research and  design  strategy  for  urban  areas  by  integrating  geospatial  technologies  and  participatory  research methods

Kişisel deneyimlerin görüntü ve ses yoluyla aktarılmasının en önemli yolu olan bloglar, içerikleri bakımından oldukça çeşitlidir. Bloglar, bilgi teknolojisinin ilerlemesi ve sosyal medya platformlarının gelişmesiyle özellikle 2000 sonrası nesil için bir tür bilgi edinme aracıdır (Chen vd.,2020). Dijital dönüşüm çağında kullanıcıların kendi deneyimlerine ilişkin sundukları, bilgi satın alma ve seçim süreçlerinde önemli bir role sahiptir. Günümüzde gelişen teknolojinin sağladığı imkânlarla girişimci ruha sahip insanlar çok çeşitli içerikler üreterek ilham olan ya da ilham veren özellikleriyle turizmde dikkat çekmektedirler. Bu anlamda seyahat blogları, turizm faaliyetlerini yönlendirici bir etkiye sahip olmaya başlamış, tüketici davranışını ve seyahat niyetini etkileyen önemli unsurlardan biri haline gelmiştir.
Seyahat blogları; birçok konaklama ve turizm kuruluşu için hedef kitlelere ulaşmanın bir yolu olarak görülmekte aynı zamanda destinasyon pazarlamasında ve kendi markalarını oluşturmada etkili bir rol oynamakta, seyahat davranışlarını ve motivasyonlarını, destinasyona karar verme süreçlerini şekillendirmekte, çeşitli özgün, yaratıcı turistlik faaliyetleri teşvik etmektedir (Rellores vd., 2022).

Summonses are a crucial resource for prospective participants attempting to establish contact in the opening phase of an interaction. In conversation analysis, they have been studied predominantly as the first pair part of the summons-answer sequence, functioning as "attention-getting devices." We show that summonses can also be instrumental for achieving a more fundamental task: locating a prospective coparticipant in space. Indeed, coparticipants may rely on summons-answer sequences in order to look for their future interlocutors and identify where they are. Our study focuses on stand-alone first-name summonses in the opening phase of interactions involving a recruiting activity and considers locating the prospective coparticipant and recruitee as a preliminary to it. This article contributes to the understanding of summonses and recruitment in face-to-face "on the move" interactions. The data are video recordings of staff corridor interactions in a hospital outpatient clinic in the French-speaking part of Switzerland.

Este artículo tiene como objetivo explorar, a través de la obra de Dinah Diwan y Stéphanie Saadé, el impacto a largo plazo y a pequeña escala de la partida del hogar. En una apuesta que se aleja de las grandes narrativas del viaje, el análisis de las obras se centra en el impulso a recordar, restaurar y recorrer el paisaje nativo aprendido en la rutina y la repetición. En esta aproximación a la tierra natal, el arte se convierte en un territorio donde explorar otras maneras de habitar y ser en el mundo en una época de tránsito intensificado. Más que ser la travesía la morada del arte, este emerge como espacio para errar y desplegar relatos del lugar que, desde la experiencia personal, desafían definiciones y representaciones más convencionales del mismo.

The aim of this article is to explore the long-term and small scale effect of home departure through the work of Dinah Diwan and Stéphanie Saadé. In an approach that moves away from great narratives of travel, the analysis of the pieces focuses on the impulse to remember, restore and traverse the native landscape, learnt from routine and reiteration. In this homecoming, art becomes a territory to explore other ways of inhabiting and being in the world in an era of intensified transit. Rather than the journey being art’s home, art itself emerges as a space to wander in and for stories of places to unfold. These stories of place take personal experience as a point of departure to challenge more conventional definitions and representations.

A definição de informação líquida e de seus atributos,  assim como a recontextualização do sujeito da informação no contexto líquido no contexto da Cência da Informação e da Organização do Conhecimento foram realizadas e apresentadas. A informação líquida define-se como uma informação disforme, atemporal e desmaterializada. É híbrida, ubíqua, aberta, rizomática e incomensurável. A informação líquida é de produção e de interesse de todo indivíduo e sujeito da informação, pós-humano e líquido. Em sua organização, fechamentos ou restrições classistas, físicos e semânticos são inadmissíveis. A informação líquida visa representar o conhecimento e a informação nos movimentos e fluxos da sociedade em todo espaço, lugar e não lugar que possa ocupar, tem elevada capilaridade e penetração social. Sua condição é temporária, instável, flexível e fugidia. Está essencialmente no polo virtual, é uma entidade sem corpo, maquinicamente hibridizada, desterritorializada e desmaterializada. Seus atributos são: híbrida, ubíqua, aberta, rizomática e incomensurável.  A informação líquida foi refletida em teorias e práticas da Ciência da Informação e da Organização do Conhecimento, no que foi evidenciado ações calcadas em processos, sistemas e instrumentos convencionais utilizados para organizar o conhecimento e a informação que não podem e/ou não conseguem realizar a mesma ação no polo virtual de objetos desmaterializados. A inferência que se faz é que as áreas necessitam desenvolver novas práticas, processos, sistemas e instrumentos para organizar o conhecimento e a informação no polo virtual, sob tecnologias de ponta, em condições pós-humanas e, sobretudo, na informação líquida. É altamente necessário que a comunidade da Ciência da Informação revise preconceitos e busque compreender um contexto de ressignificações líquidas, do qual não se pode escapar

La recensione esamina il catalogo del progetto fotografico “Mappa-mondo. Fotografie di dieci paesi in Sicilia”, curato da Roberta Valtorta e ideato da Sandro Scalia, che esplora il paesaggio siciliano come prodotto culturale. Attraverso il lavoro di sei fotografi, l’iniziativa rilegge il territorio contemporaneo in dialogo con le antiche mappe settecentesche di Palazzo Butera. La narrazione visiva indaga trasformazioni, memorie e complessità identitarie del paesaggio, sottolineando l’interazione tra potere, cultura e spazio. Vincitore del Bando Strategia Fotografia 2023, il progetto stimola una riflessione sulla percezione e rappresentazione territoriale.


Papireto è una rivista accademica internazionale indicizzata nei più importanti database, tra cui DOAJ, ROAD, EBSCO, MIAR, ROMEO, Copernicus, DRJI, BASE e diversi altri, peer-review e open access, che ha sottoscritto la Budapest Open Access Initiative (BOAI), frutto di un progetto scientifico-editoriale dei professori Luigi Agus e Giancarlo Germanà Bozza. L’iniziativa si propone di contribuire allo studio e all’approfondimento dei prodotti di ricerca nel campo delle arti visive, dell’estetica, della storia dell’arte, della comunicazione e didattica artistica, dell’archeologia e dell’antropologia, sia con l’apporto di autori riconosciuti, sia valorizzando il contributo di studiosi giovani e promettenti che sappiano approfondire specifiche tematiche entro gli stessi campi disciplinari.