Ever since Facebook appeared circa 2004, social network sites have gained more and more presence and importance in our daily lives. At the very core of SNS lies the necessity to create a profile; this profile becomes our digital persona or our digital avatar. Since what we do online matters and ever increasingly affects the offline world, our online identity becomes in turn increasingly important. But how does our personal identity—how do we—relate to our digital avatars? (...) This paper explores the possible form and extent of the connection in between both identities. For this purpose, I propose to think about personal identity in terms of a narrative theory of the self, as well as in a relational manner through the concept of recognition. Employing this framework I intend to pinpoint the elements of our digital avatars, and the SNS dynamics as a whole, that can be related to the process of becoming who we are. (shrink)

This paper explores the perversion of reality in the context of advanced technologies, such as AI, VR, and AR, through the lens of Jean Baudrillard’s theory of hyperreality and the precession of simulacra. By examining the transformative effects of these technologies on our perception of reality, with a particular focus on the usage of digital avatars, the paper highlights the blurred distinction between the real and the simulated, where the copy becomes more ‘real’ than the original. Drawing on Baudrillard’s (...) concept of hyperreality, the paper delves into the perversion of reality as individuals seek refuge in virtual pleasure paradises and embrace artificial pleasures through their digital avatars, disconnecting from genuine human experiences. The convergence of AI, VR, and AR technologies amplifies this hyperreal condition, where digital avatars mimic or surpass the depth of human relationships, challenging our understanding of what is real. In line with Baudrillard’s theory, the paper explores the objectification and commodification of reality within digital spaces, specifically examining the digital avatars’ role in the erosion of genuine human connections. It explores the implications of these avatars in terms of consent, exploitation, and loss of authenticity, echoing Baudrillard’s concerns about the distortion of reality in contemporary society. Recognizing the implications of these technologies, the paper calls for a critical reflection on their transformative power. It emphasizes the need for a nuanced understanding of the hyperreal condition and ethical responsibility in engaging with AI, VR, and AR, particularly in relation to the usage of digital avatars. By resisting the seductive allure of digital escapism and preserving genuine human connections, we can navigate the perversion of reality and cultivate empathy, compassion, and meaningful interactions that transcend the simulated experiences offered by technology. (shrink)

The notion of authorship has been widely discussed since the proclamation of the Death of the Author in mid 20th century. Authors are still writing, but a variety of new forms of authorship and new kinds of relations between authors, texts and readers have emerged. Many new forms of authorship are enabled by the use of digital media, which provide a new layer of hypertextual and interactive software in between the ‘author’ as a representation of the human creator and (...) the author as an indexical reference to a text. The paper present a number of these forms which are based on the use of ‘avatars’ as intermediaries between the human individuals and the stories told. It is argued that the use of digital media opens for new trajectories in the development of authorship forms, and that such new trajectories calls for new sorts of research questions and development of new methods. (shrink)

Avatar draws us into the beautiful and exciting world of Pandora, with its fantastic locations and its exotic and dangerous creatures. The experience of watching Avatar in 3D is like looking into a cabinet of curiosities, a pastime that was particularly popular during the Victorian era. Avatar's incredible special effects make Pandora seem as believable and real as our everyday world. Most of the creatures and plants of Pandora, including the Na'vi, are designed using computers. These (...) class='Hi'>digital special effects deliver a level of detail far beyond what was possible before computers started creating alien worlds and their inhabitants. Avatar offers an ecological warning, telling us that something is going terribly wrong on planet Earth and encouraging us to be kind to our planet. A phenomenological view of Avatar allows us to see how its special effects can have a positive influence on how we view our own world. (shrink)

Des premiers jeux vidéo aux jeux actuels, les interfaces numériques tout autant que les genres de jeux vidéo se sont diversifiés, multipliant les modalités d’identification du joueur et de manipulation des personnages . Intermédiaire entre le monde du joueur et le monde du jeu, l’avatar est devenu un dispositif complexe et hybride : les limites entre le joueur et le personnage tendent à s’atténuer. Afin de mettre en évidence les lignes directrices de cette évolution des avatars dans les jeux (...) vidéo, cette contribution, s’appuie sur un état de la recherche des travaux portant sur l’avatar et l’identification du joueur, et propose une typologie des avatars sous l’angle des moda- lités d’identification du joueur à son personnage : l’avatar-marionnette, l’avatar-masque et l’avatar-mouvement.Since the first video games, digital interfaces as well as video game genres have become greatly diversified, with many different methods for identifying with and manipulating game characters . The avatar, the intermediary between the world of the gamer and the world of the game itself, has become a complex, hybrid figure where the boundaries between player and character are increasingly blurred. To highlight the main trends in the changing figure of the avatar in video games, this paper draws on cur- rent research on avatars and player identification to put for- ward a typology based on different means used by players to identify with their characters: puppet avatars, mask avatars and motion-based avatars. (shrink)

In the last few years, avatars have been increasingly used in treating persistent persecutory auditory verbal hallucinations. The digital representation (an avatar) of persecutory hallucinations is voiced by the therapist and engages the patient in a dialogue, progressively conceding its power and, hence, reducing the stress experienced by the patient. Such attempts at integrating digital representations and cognitive behavior therapy raise a range of philosophical questions, which this chapter tackles along two trajectories. From an epistemological standpoint, we (...) inquire what notion of mental disorder can underlie the use of avatar therapy, and how our understanding of psychiatric diseases can be affected by the implementation of such a therapy. Relatedly, from an ethical standpoint, we reflect on some of the controversial issues posed by such therapeutic strategies. Discussing selected epistemological and ethical aspects stemming from the latest relevant literature both in philosophy and in psychiatry, the chapter aims to provide a tentative evaluation of trade-offs between the promises of and the limits to this therapeutic option. (shrink)

Today, avatars often represent users in digital worlds such as in video games or workplace applications. Avatars embody the user and perform their actions in these artificial environments. As a result, users sometimes develop the feeling that their self merges with their avatar. The user realizes that they are the avatar, but the avatar is also the user—meaning that avatar’s appearance, character, and actions also affect their self. In the present paper, we first introduce the (...) event-coding approach of the self and then argue based on the reviewed literature on human-avatar interaction that a self-controlled avatar can lead to avatar-self merging: the user sets their own goals in the virtual environment, plans and executes the avatar’s actions, and compares the predicted with the actual motion outcomes of the avatar. This makes the user feel body ownership and agency over the avatar’s action. Following the event-coding account, avatar-self merging should not be seen as an all-or-nothing process, but rather as a continuous process to which various factors contribute, including successfully taking the perspective of the avatar. Against this background, we discuss affective, cognitive, and visuo-spatial perspective taking of the avatar. As evidence for avatar-self merging, we present findings showing that when users take the avatar’s perspective, they can show spontaneous behavioral tendencies that run counter to their own. (shrink)

Social media is full of dead people. Untold millions of dead users haunt the online world where we increasingly live our lives. What do we do with all these digital souls? Can we simply delete them, or do they have a right to persist? Philosophers have been almost entirely silent on the topic, despite their perennial focus on death as a unique dimension of human existence. Until now. -/- Drawing on ongoing philosophical debates, Digital Souls claims that the (...) digital dead are objects that should be treated with loving regard and that we have a moral duty towards. Modern technology helps them to persist in various ways, while also making them vulnerable to new forms of exploitation and abuse. This provocative book explores a range of questions about the nature of death, identity, grief, the moral status of digital remains and the threat posed by AI-driven avatars of dead people. In the digital era, it seems we must all re-learn how to live with the dead. (shrink)

Nothing seems as certain as death. However, what if life continues digitally after death? Companies and initiatives such as Amazon, Storyfile, Here After AI, Forever Identity and LifeNaut are dedicated to precisely this objective: using avatars, records, and other digital content of the deceased, they strive to enable a digital continuation of life. The deceased live on digitally, and at times, these can even appear very much alive-perhaps too alive? This article explores the ethical implications of these technologies, (...) commonly known as Death Tech. With the advancement of artificial intelligence, Death Tech will inevitably transform mourning practices, our perception of death, and how we cope with its reality in the coming years. In this article, it is demonstrated that Death Tech can contribute to individual grief support, education, and a vibrant culture of remembrance. However, it is crucial to recognise that the Digital Afterlife is not a paradise but necessitates active designing and ethical deliberation. (shrink)

Les mondes virtuels sont issus des MMORPG, Massively Multiplayer Online Role-Playing Games qui sont eux-mêmes issus du monde du jeu vidéo. À ce titre, il existe une filiation « ludique » entre ces différents dispositifs. Les travaux de Steinkuehler suggèrent que les mécanismes de l’apprentissage générés par les jeux issus des mondes virtuels dépendent « certes de la nature du jeu mais aussi des pratiques sociales qu’ils engendrent ». Dans cette continuité, nous avons démontré dans nos travaux que ces environnements (...) immersifs permettaient de créer du lien social et donnaient lieu à des formes de rites numériques entre sphère privée et publique. Dans cet article nous nous intéressons aux controverses des environnements immer- sifs en questionnant la place du corps virtuel au sein de ces dispositifs qui pourraient se situer selon nous, entre lieux de spectacle, de loisir et d’apprentissage médiatisé. Le cas des serious games sera évoqué à titre d’illustration.Virtual worlds started with the MMORPG who emerged from the video gaming world, thus indicating their play-related origins. Steinkuehler’s work suggests that the learning mechanisms triggered by games in the virtual world depend “on the nature of the game obviously, but also on the social practices they give rise to”. Continuing this line of study, our work shows that these immersive environments actually forge social ties and generate digital rites of various kinds between the public and private spheres. In this article, we explore the controversies around immersive environments through an investigation of the virtual body within these systems, which we believe function as venues partly for entertainment, partly for leisure and partly as mediated learning spaces. The case of “serious games” is discussed here as an illustration. (shrink)

Digital Health Technologies (DHTs) are currently the subject of much debate both in terms of their technological frontiers as well as their ethical, legal and societal implications (ELSI). Regulation of such technologies as medical devices currently lacks behind their level of adoption. Digital Twins are the next evolution step of such DHTs and provide an opportunity to anticipate and act on ELSI before adoption again leaps before the necessary review. This paper introduces the concept and use cases of (...) digital twins in medicine, then frames the debate through the lens of related technologies, machine learning and personalized medicine, and maps ethical challenges stemming from those. Finally, we lay out how digital twins may change and challenge the future practice of medicine. (shrink)

The recent and dramatic emergence of digital and other electronic technology in social work?such as online counseling, video counseling, avatar therapy, and e-mail therapy?has tested and challenged the profession's longstanding and widely accepted perspectives on the nature of both clinical relationships and core ethics concepts. These developments have transformed key elements of social work practice and require critical examination of the meaning and application of relevant ethical concepts in diverse cultures. This article explores pertinent ethical implications related to (...) social workers' commitment to clients; privacy/confidentiality; client self-determination and professional paternalism; informed consent; and professional?client boundaries and dual relationships. The author discusses the need for social workers to re-examine time-honored ethics concepts and explore their implications for the profession's ethical standards pertaining to the practitioner?client relationship. (shrink)

Hip hop artists are early adopters of digital media in the township areas of Grahamstown. This article describes the emergence of particular media ecologies that depend on a do-it-yourself ethic where young people are always ‘hustling’ to get hold of data bundles, software and computer parts, and assembling them in novel ways. This mobile-first generation are increasingly adopting desktop and laptop computers to supplement their media production, and could provide insights into the evolution of low-income digital media practices (...) and the transition from mobile-only to mobile-first (computer-second) practices, as well as how the computer’s increased affordances for production influence such digital media practices. Living in backyard shacks made from corrugated iron and mud, where there are makeshift electrical connections criss-crossing the roof and no flowing water inside, here there is indeed Internet connectivity, although exclusively through the mobile phone. These hip hop artists are supported by various digital service providers, such as WAP-site designers who hack together sites that function both to promote and distribute local media as well as pirated content, to backyard computer repairers who cannibalize parts from discarded old PCs to create workable township machines. This article will provide a digital ethnography of these young people and how they work collectively to record and mix music, design posters, album covers and avatars, and then distribute these through their phones via Bluetooth and online social media. The article will tie these digital practices to the identity formation of these young people, who resist ­succumbing to the despair of unemployment through embracing notions of themselves as artists, hustlers and ‘explorers of technology’, identities they attribute to the local culture of hip hop music production and its values of consciousness, creativity and resilience. (shrink)

We live in the digital age where our sense of self and identity has moved beyond the body to encompass hardware and software. Cyborgs, online representations in social media, avatars, and virtual reality extend our notion of what it means to be human. This approachable book looks at the progression of self from the biological to the technological using a multidisciplinary approach. It examines the notion of personhood from philosophical, psychological, neuroscience, robotics, and artificial intelligence perspectives, showing how the (...) interface between bodies, brains, and technology can give rise to new forms of human identity. Jay Friedenberg presents the content in an organized and easy-to-understand fashion to facilitate learning. A gifted researcher, author, and classroom teacher, he is one of the most influential voices in the field of artificial psychology. (shrink)

This original and interdisciplinary volume explores the contemporary semiotic dimensions of the face from both scientific and socio-cultural perspectives, putting forward several traditions, aspects, and signs of the human utopia of creating a hybrid face. The book semiotically delves into the multifaceted realm of the digital face, exploring its biological and social functions, the concept of masks, the impact of COVID-19, AI systems, digital portraiture, symbolic faces in films, viral communication, alien depictions, personhood in video games, online intimacy, (...) and digital memorials. The human face is increasingly living a life that is not only that of the biological body but also that of its digital avatar, spread through a myriad of new channels and transformable through filters, post-productions, digital cosmetics, all the way to the creation of deepfakes. The digital face expresses new and largely unknown meanings, which this book explores and analyzes through an interdisciplinary but systematic approach. The volume will interest researchers, scholars and advanced students who are interested in digital humanities, communication studies, semiotics, visual studies, visual anthropology, cultural studies, and, broadly speaking, in innovative approaches about the meaning of the face in present-day digital societies. (shrink)

Many frameworks exist that explain how people interact with avatars. Our core argument is that the primary theoretical mechanisms of a user-avatar bond rest with the way people engage avatars and, thereby, the broader digital environment. To understand and predict such engagement, we identify a person’s skill in handling/engaging the avatar in the digital environment as an ordering parameter. Accordingly, we define skill as a person’s ability to enact their agency successfully to achieve desired states. To (...) explain how skill orders experience, we ground our theorizing in ecological perception and systems theory. In our explication, we describe how stable action coupling enables a state of embeddedness in the digital environment. Then, we explain how embeddedness promotes motivational attunement and what the digital environment affords to users at different levels of skill. Throughout, we consider how our theoretical scaffolding generates tractable contentions regarding how skill influences UABs. (shrink)

Character customization is a prominent feature in digital games, affording users the ability to tailor one’s virtual self-representation to match aspects of their actual or ideal self, influencing psychological well-being. The mental health implications of character customization can be partially explained by self-discrepancy theory, which argues that achieving congruence with one’s avatar reduces cognitive dissonance. However, the role of undesirable self-concepts such as mental health ailments have largely been overlooked in this context despite forming part of one’s identity. (...) In theory, customization of an avatar representing undesirable self-concepts presents a self-regulatory paradox: individuals desire to reduce discrepancies with a self-representation, yet they also desire to enlarge discrepancies with a disliked-self. To reconcile this, two experiments explored the psychological implications of imbuing avatars with undesirable self-concepts. In Study 1, participants customized an avatar to represent anxiety within themselves. Customization significantly reduced state anxiety compared to a control group, supporting the proposed discrepancy-reduction mechanism. Study 2 employed a 2 × 2 between-subjects design, with participants either destroying or observing an anxiety avatar. Destruction of customized anxiety avatars resulted in the largest reduction in anxiety among all conditions, supporting the proposed discrepancy-enlargement mechanism. Theoretical and practical implications for the use of avatar-based e-mental health interventions are discussed. (shrink)

Qu'ils soient en ligne ou hors ligne, les mondes virtuels cristallisent nombre d'espoirs, de craintes, de fantasmes liés à l'innovation technologique, à la gestion et aux formes de l'identité contemporaine, et à l'évolution des médias de communication. Les emplois désordonnés de la notion d'avatar et les projections associées témoignent des paradoxes à l'oeuvre dès lors que l'on tente de comprendre des pratiques et des technologies nouvelles. Mais l'avatar ne représentant qu'une partie du mode opératoire d'une personne dans un (...) monde virtuel, il conviendra, dans une approche systémique, de préciser l'étendue de la présence du sujet dans ces mondes pour mieux informer la notion de données personnelles dans ce contexte spécifique.Comment ces identités et données virtuelles sont-elles gérées, traitées, appréhendées individuellement et collectivement, tant par les internautes que par les acteurs techniques et industriels?Virtual worlds, whether multiplayer online games or three-dimensional virtual worlds like Second Life, crystallize a multitude of hopes, fears and fantasies that are linked with technological innovation, with contemporary forms of identity and their management, and with developments in communication media. Today s unregulated uses of the avatar concept and associated projections reveal the paradoxes that arise when we attempt to understand new practices and technologies. However, the avatar only partially represents the way people function in a digital world, and any systemic study therefore needs to specify the extent of the subject's presence in a virtual world, in order to give a clearer idea of what is personal data in this specific context. How are these virtual identities and items of information managed, treated and individually and collectively apprehended, by Web surfers themselves and by the technical and industrial spheres concerned? (shrink)

Digital games can be considered as composed of two main components: the props, i.e. visual, textual, and aural elements such as codes, 3D models and animations; and the form, specially the interaction between players and games, the act of playing itself. This dichotomy thus begs the question whether digital games are indeed games if nobody plays them, and ultimately: who is the owner of the gameplay and any by-product of the interaction between the game and the players? This (...) paper explores the copyright status of content created by users with digital games, such as gameplay videos and images, for example art based on digital game assets, namely virtual photography; as well as customized in-game objects. Many modern digital games offer considerable freedom to players, in terms of how the action on screen evolves and the visual outcomes that the game can produce. Scholars have asserted that digital games avatars, the characters created in games, should be considered a joint work between players and the game developers and some game companies allow the commercial use of videos created from their games. Conversely, other companies expressly prohibit such use, and issue DMCA takedown notices to infringers. Attention will be devoted to specific games as authorial tools, such as _SpaceEngine_ and _Townscaper_, where there are neither objectives nor challenges, but they are rather tools that enable players’ creativity. (shrink)

J. J. OʼDonnell is one those scholars whose learning is assumed rather than displayed. As a result, his brief approach to the long-terms effects of the computer revolution onreading and higher education feels like a bracing, sophisticated exchange of ideas. Like conversation, O'Donnellʼs thesis is not terribly unified or orderly. He often makessidetracks from his focus on high technology and literacy into explaining such interestingthings as how we choose our cultural ancestry instead of merely evolving out of it, the errors (...) of current education, and perhaps more than you ever wanted to know aboutother avatars of the word such as St. Jerome, St. Augustine, and Cassiodorus. Greatcover too. (shrink)

We live in the Digital Era, where national frontiers are vanishing. In light of cultural globalization and digital identity, a contemporary re-interpretation of classical notions like citizenship is imperative. What does it mean to be a citizen in the Digital Era? To whom can we assign digital citizenship status? In order to discuss these questions we introduce the notion of hybrid beings. Our hypothesis is that the dynamical feedback relation between the physical and digital individual’s (...) experience promotes the embodiment of a hybrid identity from which the hybrid being emerges. It is important to stress that the hybrid identities of hybrid beings are not just alter egos or avatars created in the digital world, but that they express a new dynamic around the impossibility of distinguishing between “physical” and “digital” sides of an individuals’ actions. It is precisely because of a hybrid being’s participation in a merged physical/digital world that we believe the notion of hybrid beings is the most suitable paradigm to exemplify the role of the digital citizen and digital citizenship. (shrink)

Social relationships are essential for humans; neglecting our social needs can reduce wellbeing or even lead to the development of more severe issues such as depression or substance dependency. Although essential, some individuals face major challenges in forming and maintaining social relationships due to the experience of social anxiety. The burden of social anxiety can be reduced through accessible assessment that leads to treatment. However, socially anxious individuals who seek help face many barriers stemming from geography, fear, or disparities in (...) access to systems of care. But recent research suggested digital behavioral markers as a way to deliver cheap and easily accessible digital assessment for social anxiety: As earlier work shows, players with social anxiety show similar behaviors in virtual worlds as in the physical world, including tending to walk farther around other avatars and standing farther away from other avatars. The characteristics of the movement behavior in-game can be harnessed for the development of digital behavioral markers for the assessment of social anxiety. In this paper, we investigate whether implicit as well as explicit digital behavioral markers, proposed by prior work, for social anxiety can be used for predicting the level of social anxiety. We show that both, explicit and implicit digital behavioral markers can be harnessed for the assessment. Our findings provide further insights about how game-based digital behavioral markers can be used for the assessment of social anxiety. (shrink)

This article argues that while modes of scholarship stressing structural insights into the digital divide and ethnographic insights into online communities each give us important information about current uses of the internet, for the sake of a unified social justice principle it is necessary to interpret these forms of knowledge in terms of what could be. Marx’s formula ‘the development of each as a condition for the development of all’ is put forward as the principle of a socially-just internet (...) actualized from the ground up. It is argued that the most rapidly emerging and important form of constraint upon ‘the development of each’ is the for profit online social media industry in which moments of human communicative creativity become packaged as commodities for commercial purposes. Creative, cultural agency becomes an imposition rather than a liberation as represented in the industry ideology. It is argued therefore that groups that use the internet for serious play – the use of avatars in virtual worlds is discussed as an example – present us with a form of online subjectivity that is rising in importance as a form of cultural agency inasmuch as the play component is premised upon the rejection of pre-packaged forms of agency. Support for a socially-just internet would thus mean supporting the online communities formed in this process. Thus the argument is put forward that the importance of serious online play groups is not due to their potential for forming communities per se but is rather due to their potential for resisting the imposition of agency. Inasmuch as online communities in the midst of such groups can bolster that goal, they can represent the development of human capabilities in a way that expands the theme of social justice. (shrink)

In the article, the author analyzes the problems of human-computer communication in the context of artificial intelligence, augmented reality and a Turing methodology for comparing the capabilities of artificial and natural intelligence in a dialogue. It is argued that the tool with which the computer and humans communicate is of no less importance than the computer program with which the dialogue is conducted. As an example of the implementation of such visualization, the project “E.LENA” of a digital television anchor (...) created at the Sberbank Robotics Laboratory was considered. The author gives his own version of Turing's specific test to study the features of non- verbal communication interfaces between a person and a computer. The key idea formulated by the author for further discussion is to provide artificial intelligence with visual avatar in order to avoid the alienation of man and computer and the loss of semantic information during its transmission from computer to person. (shrink)

This paper examines digital avatars as an advanced form of the virtual self in a digital environment of three and more dimensions. With this definition, we proceed to a post-phenomenological analysis of Avatar's space of action, i.e. the cyberspace and Avatar's dependence on its user. The writers will try to prove that Avatars are incomplete consciousness that cannot be emancipated by its user. Also, by studying the user's immersion in the digital environment, this process will (...) be presented as a kind of self-identification with his avatar. Thus, it will help the reader to understand the relationship between the physical and the digital reality by presenting the function of human consciousness in the digital environment as Avatar´s consciousness during the stage of meta-vithisis. (shrink)

This chapter explores the ethics of Robert Daly's actions in the episode “USS Callister”. We consider issues of privacy that relate to him stealing his co‐workers DNA in order to scan them into the game, as well as the ethics of how he treats the digital avatars of his co‐workers within the game. Examining Daly's actions from a few different approaches, we argue that Daly's actions towards his co‐workers avatars are very likely immoral, though ultimately we cannot know without (...) knowing Daly's thoughts. Finally, we end the chapter with some considerations relating to video games in general and the ways in which we must act when we play video games. (shrink)

Après avoir revisité les résistances culturelles qui ont retardé son étude scientifique, le rappel des différentes genèses parallèles du jeu vidéo et de son mode de propagation aide à comprendre sa puissance originelle. Si les ressorts de la communication ludique semblent expliquer une telle dynamique d’expansion, sa nature cybermédiatique s’est quant à elle nettement révélée avec la mise en réseau des humains et des machines via l’image interactive. Pour intégrer théoriquement les propriétés fondamentales du jeu vidéo, une modélisation des conditions (...) de la pratique vidéoludique est proposée grâce aux concepts d’instanciation et de réflexivité. Elle met notamment en valeur la figure centrale de l’avatar numérique, laquelle invite à interroger autrement l’intimité croissante des rapports entre l’être humain et sa technologie.After reviewing the cultural resistance that has delayed scientific studies of video games, we discuss their different parallel origins and patterns of propagation in order to better understand their novel predominance. While the driving factors of communication through play seem to explain the dynamics of video game expansion, their cyber-nature was clearly revealed when networks emerged between humans and machines via interactive images. In order to theoretically integrate the fundamental properties of video games into theory, the patterns of video gaming practice were modelled through the concepts of instantiation and reflex- ivity. This emphasized, in particular, the importance of the central digital avatar, which has prompted a different way of exploring the increasingly close relationships between humans and their technology. (shrink)

There has recently been a surge of development in augmented reality (AR) technologies that has led to an ecosystem of hardware and software for AR, including tools for artists and designers to accelerate the design of AR content and experiences without requiring complex programming. AR is viewed as a key “disruptive technology” and future display technologies (such as digital eyewear) will provide seamless continuity between reality and the digitally augmented. This article will argue that the technologization of human perception (...) and experience of reality, coupled with the development of artificial intelligence (AI)–based natural language assistants, may lead to a secular re‐enchantment of the world, in the sense outlined by Charles Taylor, where human existence is shaped through AR inhabited by advanced personal and social AI agents in the form of digital avatars and daemons, and that enchantment has been persistent throughout the formation of modernity and is being rekindled by the integration of AI in the plane of AR. (shrink)

The object of the study is artificial intelligence technology in Chinese show business. The subject of the study is the following technologies of Chinese show business, at the basis of which we can find an artificial intelligence: virtual idols, digital avatars, virtual influencers. The following aspects of these technologies are considered in detail: making a profit, strengthening national identity. Special attention is focused on the fact that the development of artificial intelligence technology is part of the state policy of (...) the People's Republic of China, which is reflected in the country's regulatory legal acts. The theoretical basis of the study is the work of the following authors: A.M. Gridnev, G. A. Ioakimidi, M. D. Pysin, K. F. Lee, H. Khan and others. The following methods are used in the article: analysis of special literature, publications of mass media, normative legal acts, synthesis, deduction. The study showed that virtual idols and influencers such as "Xiangwan Big Devil", digital copies of celebrities (B. Sa, S. Zhu, B. Gao, Ya. Long) and presenter Xiao Xi bring additional profits and attract an audience, as well as strengthen the national image and unity of China. The scientific novelty of this study lies in the detailed systematization of information and cultural analysis of the phenomenon of "virtual influencer", which is gaining popularity in the modern digital world. The results of the study provide valuable data for the development and implementation of artificial intelligence strategies in China, especially in such areas as industry, defense, social sphere and show business. These findings contribute to the formation of standards and ethical principles for artificial intelligence, which is critically important for the successful digital transformation of the country. The study highlights China's strategic goals of using AI as a driver of modernization of the national economy by 2030. The document identifies key stages of development and goals, including the development of standards and the widespread introduction of AI in various sectors. China views AI as an important tool to strengthen its position on the world stage, striving to become a leader in high technology, which will undoubtedly have a significant impact on the global economy and the development of technological innovations. (shrink)

Some people wrongly believe that A. Turing’s works that underlie all modern computer science never discussed “physical” robots. This is not so, since Turing did speak about such machines, though making a reservation that this discussion was still premature. In particular, in his 1948 report [8], he suggested that a physical intelligent machine equipped with motors, cameras and loudspeakers, when wandering through the fields of England, would present “the danger to the ordinary citizen would be serious.” [8, ]. Due to (...) this imperfection of technology in the field of knowledge that we now call robotics, the methodology that he proposed was based on human speech, or rather on text. Other natural human skills were too difficult to implement, while the exchange of cues via written messages was much more accessible for engineering implementation in Turing’s time. Nevertheless, since then, the progress of computer technology has taken forms that the founder of artificial intelligence could not have foreseen. (shrink)

Are digital subjects in virtual reality morally equivalent to human subjects? We divide this problem into two questions bearing, respectively, on cognitive and emotional equivalence. Typically, cognitive equivalence does not hold due to the lack of substantialist indistinguishability, but emotional equivalence applies: digital subjects endowed with face or language elicit emotional responses on a par with real-world pleasure, desire, horror, or fear. This is sufficient for projecting moral traits on avatars in the metaverse or on dialog systems based (...) on large language models. Our main case study is a chatbot trained on the chat history between a Canadian man and his deceased fiancée. To demonstrate emotional equivalence and the mechanism of moral transfer, we compare digital devices with the functioning of oracles in a story by Plutarch and in a narrative that draws on the book of Genesis. Finally, we note that, along with the projections of ethical issues, humans also tend to bring real-world solutions of moral conundrums into extended reality. We argue that the lack of cognitive equivalence makes such projections problematic as they lead to overpolicing and a sanitized metaverse. (shrink)

There can be little doubt that informatics and communication technologies have transformed, and some would say rendered problematic, not just such ways of thinking about relations and authenticity between human subjects, but also the very question of the possibility of such relations, especially given the global phenomenon of simulation, social media, avatars, and technologically mediated communication at almost every point of our personal, interpersonal and professional relationships in the digital age. The following questions will be explored: What are the (...) changes to and effects of ICTs on our communicative relations in the 21st century? Is it still possible to speak of authentic interpersonal encounters in the light of the emergence of informatics and communication technologies and their proliferation in the digital age, in the paths opened up by thinkers like Buber and Heidegger (for example, 2017, 2016, 2013, 2002A, 2002B, 1998, 1984, 1982, 1976A, 1976B, 1973, 1971, 1967, 1966, 1955, among many others)? And what should one do, given the acceleration and intensification of the advent of technologism in our time? (shrink)

This paper argues that there are value and design-based problems in current ambitions for the Metaverse. With the Metaverse deepening longstanding commercial surveillance practices, the paper focuses on data protection harms from biometric and emotion data, the gauging of first-person perspectives, and sensitivities around profiling of avatars. The paper advances two notions to address harms and data protection: _surveillant physics_ and _virtual realist governance_. _Surveillant physics_ refers to surveillance informing the laws of how that reality operates: this is a useful (...) concept given the granular control that platforms have over virtual worlds and the laws by which they function. _Virtual realist governance_ builds on the longstanding principle of virtual realism and David Chalmer’s recent theorising of Reality+ that demands that the virtual is taken to be real, meaning that experiences of virtual objects and what occurs in-world are treated as meaningful. The paper progresses to further consider governance questions, both around technical and ethical standards, but also data protection ideas such as personal data stores, and data trusts, that were not conceived as Metaverse-based ideas, but have greater chance of being realised as basic premises of the Metaverse are being designed. Although this paper is regretfully pessimistic, finding that a root problem of current ambitions for the Metaverse is that the public good and the commons are missing, it sees virtual realist scope for modes of resistance unseen in other digital realms. (shrink)

Postdigital Play and Global Education: Reconfiguring Research is a re-turn to a large-scale, international project on children's digital play. Adopting postqualitative and posthumanist theories, research practices are reconfigured, all the way down from what counts as 'data', 'tools', 'instruments', 'transcription', research sites', 'researchers', to notions of responsibility and accountability in qualitative research. Through a series of vignettes involving complex human and more-than-human collaborators (e.g., GoPros, octopus, avatars, diaries, sack ball, LEGO bricks), the authors challenge who and what can be (...) playful and creative across contexts in the global north and south. The diffractive methodology enacted interrupts western developmental notions of agency that are dominant in research involving young children. The concept of 'postdigital' offers fresh opportunities to disrupt dominant understandings of children's play. Play emerges as an enigmatic and shape-shifting human and more-than-human agentic force that operates beyond digital/non-digital, online/offline binaries. By attuning to race, gender, age and language, invisible and colonising aspects of postdigital worldings the authors show how global education research can be reimagined through a posthumanist decentering of children without erasure. Postdigital Play and Global Education puts into practice Karen Barad's agential realism, but also a range of postdevelopmental and posthumanist writings from diverse fields. The book will be of particular interest to researchers looking for guidance to enact agential realist and posthumanist philosophies in research involving young children. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the (...) human self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

The metaverse is equivocal. It is a science-fictional concept from the past; it is the present’s rough implementations; and it is the Promised Cyberland, expected to manifest some time in the future. The metaverse first emerged as a techno-capitalist network in a 1992 science fiction novel by Neal Stephenson. Our article thus marks the metaverse’s thirtieth anniversary. We revisit Stephenson’s original concept plus three sophisticated antecedents from 1972 to 1984: Jean Baudrillard’s simulation, Sherry Turkle’s networked identities, and Jacques Lacan’s schema (...) of suggestible consumers hooked up to a Matrix-like capitalist network. We gauge the relevance of these three antecedents following Meta’s recent promise to deliver a metaverse for the mainstream and the emergence of blockchain-oriented metaverse projects. We examine empirical data from 2021 and 2022, sourced from journalistic and social media (BuzzSumo, Google Trends, Reddit, and Twitter) as well as the United States Patent and Trademark Office. This latest chapter of the metaverse’s convoluted history reveals a focus not on virtual reality goggles but rather on techno-capitalist notions like digital wallets, crypto-assets, and targeted advertisements. The metaverse’s wallet-holders collect status symbols like limited-edition profile pictures, fashion items for avatars, tradable pets and companions, and real estate. Motivated by the metaverse’s sophisticated antecedents and our empirical findings, we propose a subtle conceptual re-orientation that respects the metaverse’s equivocal nature and rejects sanitised solutionism. Do not let the phantasmagorical goggles distract you too much: Big Meta is watching you, and it expects you to become a wallet-holder. Blockchain proponents want this as well. (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and TV presenter. He compiled and produced four (...) double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom and ABC TV’s hit documentary series/CD/DVD Long Way to the Top. In 2006, a new US edition of his first book Inner City Sound was published. His Golden Miles: Sex, Speed and the Australian Muscle Car has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

In this article, we introduce our interactive art installation Neuro Mirror that was developed in 2017 for the Cybernetic Consciousness [?] exhibition that was held in 2017 at the ITAU Cultural in Sao Paulo. This artwork enables participants to interact with their own images and those of their alter egos with the help of digital mirrors. The installation consists of three screens. The middle one shows a live image of the participant that is somewhat distorted. The one on the (...) left side also displays an image of the interacting person, but with a time delay of a few seconds. On the right screen, however, another person is shown – a young man, who is acting and moving his head. In fact, this person is programmed to be an avatar or an alter ego who reacts to the participant. He ‘learns’ new behaviours by observing and imitating the participant and reacts accordingly. A neural network programme was developed to enable him to predict the participant’s next actions from his previous ones. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Contemplative Classroom, or Learning by Heart in the Age of GoogleBarbara NewmanIn his provocative essay “Slow Knowledge,” David Orr outlines the countervailing assumptions of what he calls “the culture of fast knowledge.” Among these are the widely shared, though rarely examined, beliefs that “only that which can be measured is true knowledge; the more knowledge we have, the better; there are no significant distinctions between information and knowledge; (...) and wisdom is an undefinable, hence unimportant category.”1 If all this were true, it would follow that computers are fast overtaking humans as the next intelligent species. Or, to put it differently, the two species have been colluding for some time to produce smarter machines and dumber people, as we humans abdicate more and more of our mental tasks. Moreover, when it comes time to weigh values—to ask not how quickly or efficiently some task can be done, but whether it ought to be done at all—we are strangely disinclined to challenge digital fatalism, which has become the default logic of late capitalism. Whenever a new digital option appears, we assume that if it can be done and someone somewhere is doing it, then it should be done and we ought to do it too. So even the local hardware store has to be on Facebook so customers can “like” it, and the AAR needs a Twitter account to send weekly tweets. We seldom pause to ask questions about means and ends, unintended consequences, or the sheer mindless clutter of our lives—let alone the implications of this or that new app for our descendants down to the seventh generation, or the enlightenment of all sentient beings. Surface obliterates depth; instant stimulation trumps mature reflection; short-term profit overrules the long-range good.Computers themselves are of course morally neutral. Nonetheless, it is useful to recall why contemplation is the antithesis of the fast knowledge they promote. Contemplative practice is grounded in such values as presence, mindfulness, inwardness, and the integration of mind and body. The last point is worth stressing, for all knowledge, even the most spiritual, is embodied; we are still biological beings, not cyborgs. Though contemplatives of the past have often been fierce ascetics, even the most emaciated hermit could scarcely despise the body to the degree that we find in [End Page 3] some contemporary Internet addicts. Consider the following, reported in July 2012 in Newsweek:When the new DSM [Diagnostic and Statistical Manual of Mental Disorders] is released next year, Internet Addiction Disorder will be included for the first time, albeit in an appendix tagged for “further study.” China, Taiwan, and Korea recently accepted the diagnosis, and began treating problematic Web use as a grave national health crisis. In those countries,... the story is sensational front-page news. One young couple neglected its infant to death while nourishing a virtual baby online. A young man fatally bludgeoned his mother for suggesting he log off (and then used her credit card to rack up more hours). At least 10 ultra-Web users, serviced by one-click noodle delivery, have died of blood clots from sitting too long.2Even short of such extremes, numerous studies have linked excessive Internet use in the United States with increased rates of depression, anxiety, suicidal thoughts, and obsessive-compulsive behavior. Teens admit to being exhausted by the constant need to update their Facebook status and answer countless texts, yet they are afraid to log off for fear that some excitement may pass them by. There is even a new acronym, FOMO, for the fear of missing out. If a central aim of contemplative practice is to dismantle and disengage from the “false self,” there is no better tool for constructing false selves than social media. In her book Alone Together, the social psychologist Sherry Turkle quotes a young man who told her, “What I learned in high school was profiles, profiles, profiles, how to make a me.”3 Another student said he maintained four avatars onscreen at all times, along with his email, video games, and—yes—coursework. His “real life,” he said, was “just one more window,... not usually my best one.”4But social... (shrink)

In the same way that humans have always had the need for inventing fictional and virtual worlds, they have also experimented an attraction for the threatening and fascinating ideas of the doppelgänger, automata, and by the related phenomena of desembodiment, ubiquity, remote viewing, bilocation, splitting personalities. The phenomenon of bilocation, for instance, has been widely mentioned in different philosophical and religious systems such as Shamanism, Christian mysticism, Hinduism, Paganism and others as the ability that some individuals (often saints, monks or (...) mystics) would have of being in two, or more, places at the same time. The advent of the Internet, new technologies and social networks has opened up new and unexpected possibilities in this respect, enabling one to expand oneself. If not long ago, these experiences had to be ‘lived’ through cinema and literature; today, it is possible to undergo them in first person: everyone is allowed to create other selves, other profiles, avatars, entities or doppelgängers that can operate in the world (remotely) as extensions of him or her. Consequently, the image has also undergone a change in function and status, opening new possibilities through its digitalization. The present work intends to explore the relationship between presence, telepresence, images and the self. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:If “Reality is the Best Metaphor,” It Must Be VirtualMarguerite R. Waller (bio)What is the search for the next great compelling application but a search for the human identity?—Doug Coupland, Microserfs... we can look forward to a richly textured and complex cyberspace, where we are at all times human, and can become bits of pixel dust flying through a virtual landscape.—3-D, multiuser, interactive, on-line virtual reality producer“Avatars are Next,” (...) the June 1996 issue of Wired announces on its cover, above a glossy foldout of Bill Gates in bathing trunks floating on a lemon yellow air mattress in a sensuous Hockney-blue swimming pool. “Mr. Bill goes Hollywood! Special Gatesfold Issue,” reads the caption underneath the (photomontaged) naked torso. The United States Congress’s attempt in February 1996 to conceptualize the Internet as an incitement to indecent sexual conduct (in Section 507 of the 1996 Telecommunications Act, the so-called Computer Decency Act) is clearly the lampooned subtext of this juxtaposition of sexualized body with the concept of the avatar. The antithesis of sensuous, avatars are bandwidth-conserving, virtual figures that take the place of users’ physical bodies in the three-dimensional, interactive, multiuser virtual environments that software developers in 1996 insist will be the telos of the development of the World Wide Web. The Wired cover implies that the nerd community finds Congress’s association of digital media with sex ridiculous (however flattering they may find it to be constructed as sexually dangerous). Not unusually, sexuality is being invoked by the state as a justification for extending its own reach (and the corporate interests it represents).But the sex/gender politics of Net free speech advocates are not necessarily more progressive. As feminist commentator Laura Miller argues in “Women and Children First: Gender and the Settling of the Electronic Frontier,” the metaphor of a frontier beyond the jurisdiction of Congress, deployed by opponents of federal regulation, draws upon a conventional construction of gender that threatens to reinscribe women as victims, reinforcing “the power imbalance between the sexes, with its roots in the concept of women as property, constantly under siege and requiring the vigilant protection of their male owners” [53]. The unintended consequence of this conceptualization, she worries, is that “the threat of regulation is built into the very mythos used to conceptualize the Net by its defenders” [50].My worry, therefore, embraces both sides of the debate over free speech on the Net. The skirmish between Big Brother and the software pioneers seems to be shaping up rhetorically as a classic fraternal competition “between men” (Sedgwick). We may read it as a contest between fundamentally congruent “male” subject positions, both of which incline to disempower “female” subject positions and both of which stand to increase their [End Page 90] own political and economic capital by the appearance of a conflict. The power-producing relationality at play in this turf war, however, simultaneously threatens to subvert the claims of each position to its own, independent ontology. Both parties, therefore, can be expected compulsively to deny their relational status. John Perry Barlowe insists, in his “Declaration of Independence in Cyberspace”: “Your legal concepts of property, expression, identity, movement, and context do not apply to us. They are based on matter. There is no matter here.”It is this more subtle metaphysical issue, the occlusion of relation, implicated in but not reducible to, the constructions of sexuality and gender deployed by both Netizens and Congresspeople, that I find the most pressing issue in designs, uses, and discussions of cyberspace. I will argue that, in fact, the current wave of Internet development (both practically and discursively) is in some sense driven by a desire to make cyberspace safe for essentialist subjectivities of whatever ideological/political persuasion. I will unfold this argument in terms of a certain notion of addiction. My interest is not “cyberaddiction” per se, in the sense of individuals who spend what they or their associates consider too much time on-line, but rather the construction of cyberspace—both rhetorically and electronically—as a clean, clear realm in which we can transcend positionality while remaining (or becoming more fully) “ourselves.” I am not, that... (shrink)

This artists’ text examines the relationship between photographic images and Massively Multiplayer Online (MMO) environments. We note that such scripted image worlds necessitate a fundamental reconsideration of the capacities of image, its formation, reproduction, storage and circulation. As an archaeologist would document an excavation, extending conventional methods through 3D visualization technology to work in new ways with the archaeological record, we chose to document a world built and razed digitally by a now dormant group of anonymous gamers called the Yung (...) Cum Bois (YCBs). We turn to some definitions of griefer as a subcultural phenomenon within online culture to attempt to contextualize our involvement some more, thinking through the forms of image-gathering that grief play has generated, such as scripted object attacks where image-objects spawn and self-replicate, continually spurting out copies of themselves, lagging the region, slowing down frame rates, consuming land resources. Here we witness images blockading network logistics. This was active fieldwork. We got involved. We applied visualization technology learnt from archaeological computing research to the avatars, temporary structures and abandoned ruins of an online world, Second Life (SL). We patched together a kind of virtual photogrammetry, enabling the monumentalization of avatars, objects and scenarios, recompiling these into new configurations and uploading them freely to be reused, detourned and weaponized by our virtual friends. We situate this endeavour within a cobbled history of imaging technology, the networked self and its pathologies, riffling through our own image dump. Here. (shrink)

What makes video games unique as an audiovisual medium is not just that they are interactive, but that this interactivity is rule bound and goal oriented. This means that player experience, including experience of the music, is somehow shaped or structured by these characteristics. Because of its emphasis on action in perception, James Gibson’s ecological approach to psychology—particularly his concept of affordances—is well suited to theorise the role of music in player experience. In a game, players perceive the environment and (...) gameplay situations in terms of the goal-oriented actions they afford. Nondiegetic music, not tied to any place in the digital game world, can play a unique role in the structuring of these affordances. Through a series of case studies, I will show that music creates and structures situations both in the game environment (such as the appearance of enemies in Unreal) and beyond the game environment (such as the death of an avatar and the restart of a level in Super Mario Bros.). (shrink)

Este artículo reflexiona sobre formas de acceder a la realidad social a través del uso de metodologías de investigación online que tienen características híbridas. Primero se dan algunas claves para la construcción y ejecución de grupos de discusión en un contexto online. Una de las características centrales de esta técnica es su composición híbrida, moviéndose entre lo que sería un grupo de discusión y un grupo focal. El paso de la mediación a la conducción marca fuertemente la transición de una (...) fase de grupos de discusión a una fase de grupo focal. Segundo, se reflexiona sobre Facebook y algunos posibles usos que se le puede dar a esta red social digital con la finalidad de llevar a cabo de mejor manera técnicas de investigación aplicadas al contexto online. En este sentido, se reflexiona sobre el avatar o perfil de Facebook en dos direcciones: para efectos de la composición muestral de un grupo de discusión online y como material que ayuda al análisis de las posiciones discursivas que tienen los sujetos estudiados. (shrink)

The recent developments in new media tools promise to improve our personal access to information management and our personalized abilities concerning i-communication. Rather than focusing on the practical implications of this evolution, I take a step back and address two underlying cultural phenomena in order to get a grip on the contemporary significance of ‘new media’. The first phenomenon (technotopia) concerns the place technology occupies in our psychological perception. ‘Technology’ is a concept on the move. In post-war culture, technology stands (...) for industrialization and mechanization. It is often associated withan external power, like capitalism (consumerism), military force (WW II, Cold War warfare) or ideology (the race for space travel, biotechnoscience). In post-wall culture, technology increasingly stands for new media and digital user-oriented innovations. The threat or fascination with respect to an external authority is replaced by a democratization of technology. New media constantly remediates our relation to the world, hence becoming immanent and ubiquitous. The second phenomenon (Cybertribes) concerns the function of new media in our society. From an anthropological point of view, it is worthwhile to conceive new media as acontemporary ‘totem’ that structures communities. Unlike ‘myths’ or ‘gods’, ‘totems’ are ideological organization principles that are conceptually ambiguous, heterogeneous, open and incomplete. Hence, it can fulfill plurality of functions. For instance, it intensively shapes our daily interaction, it allows for aspiration and identification (cf. Cyborg-mania, avatars in Second Life). Moreover, it is a device to express and revolt (cf. Hacktivism, Etoy‐war, Marx 2.0). (shrink)