Virtual reality (VR) technology often is associated with videogaming and cinema as a digital medium rendering synthetic worlds more believable. In this article, however, I explore its employment in nonfiction formats as an immersive tool to expose
Activating Empathy Through Virtual Reality
Visual Technology, Virtual Reality, and the Experience of War
Jose N. Vasquez
This article addresses the question of how visual technology—night vision, thermal imaging, and virtual reality—has changed the experience of war for both combatants and non-combatants. Video and still images are analyzed to draw out some of the phenomenological aspects of how technology mitigates the perception of combat and its resultant casualties. I argue that while visual technology makes the experience of war more intimate, it also generates psychological distance between the viewer and the viewed. Weapons equipped with visual technology facilitate war crimes by dehumanizing the individuals being targeted and filtering the carnage these weapons produce.
(Re)imagining Immigration Narratives and Surveillance Practices by Experiencing "Use of Force"
This article introduces the concept of “pseudo-sousveillance” as simulated sousveillance practices created by the sensory environments of immersive technologies. To advance this concept, I analyze the virtual reality (VR) experience “Use of Force” that immerses participants within the scene of the night during which immigrant Anastasio Hernandez Rojas was beaten by border patrol officers at the San Ysidro Port of Entry. I argue that the pseudo-sousveillance practices of cellphone recording and surveillance from above enlist users to be active participants in resisting dominant surveillance practices by constructing alternative narratives about immigrant experiences, exposing the overreach of the border patrol, and revealing the limits of surveillance in immigration control. I then discuss the implications that pseudo-sousveillance has for rethinking the rhetorical power of emerging technologies and sousveillance in a surveillant age.
The Affective Modalities of Media and Technology
Andrew J. Ball
through the strategic use of embodied affective experience. Three essays in the issue focus on new and emerging technology. In, “The iAnimal Film Series: Activating Empathy Through Virtual Reality,” Holly Cecil examines the potential power of virtual
Wyatt Moss-Wellington, Dooley Murphy, Robert Sinnerbrink, and Kirsten Moana Thompson
Martin P. Rossouw. Transformational Ethics of Film. Leiden: Brill, 2021, 316 pp., $150.00 (hardback), ISBN: 9789004459953.
Grant Tavinor. The Aesthetics of Virtual Reality. New York: Routledge, 2021, 163 pp., $160.00, ISBN: 9780367619251.
Rebecca A. Sheehan. American Avant-Garde Cinema’s Philosophy of the In Between. Oxford: Oxford University Press, 2020, 292 + xi pp., $41.95 (paperback), ISBN: 9780190949716.
Deborah Walker-Morrison. Classic French Noir: Gender and the Cinema of Fatal Desire. London: I.B. Tauris, 2019, 272 pp., $77.00, ISBN 9781350157446.
” (48), Plantinga extends the argument that stories have adaptive benefits to embrace novels and even virtual reality. Twice (on pages 23 and 48), he quotes literary scholar Jonathan Gottschall, who writes in The Storytelling Animal that “nature
Modernist Aesthetics and American Underground Film
will gesture toward a surprisingly compatible (though much more contemporary) topic: the military’s exploration of the possibility that virtual reality, in the form of video games, might help prepare soldiers for the physiological and neurological
New Players and New Pedagogies in Three-Dimensional Cultural Heritage
nontraditional methodologies relating to three-dimensional digital museum collections can renegotiate the material properties of objects, and allow for experimentation within heritage, anthropology, and archaeology. Yet while digital modeling, virtual reality
Pavel Pyś Reflects on The Body Electric
United Kingdom. Responding to this decision, Hansen created DICKGIRL 3D(X) (2016), a work that features EVA v3.0, a royalty-free avatar that the artist sourced through TurboSquid. Experienced via Oculus Rift in virtual reality (VR), the hypersexualized
Intergenerational Kinship in the Time of COVID-19
manoeuvres which add physical sensation to the experience of virtual reality. Here we are on the road to what David Howes (2004) has referred to as ‘hyperesthesia’, the enhancement of commodities and the experience of consumption by elaborating their