This article is about the Virtual Reality-Head Mounted Display (VR-HMD) as a model for contemporary ways of disciplining. The VR-HMD makes the observer discipline herself through the triggering of performance. Through specific strategies the VR-HMD addresses the body of the observer to perform in the mixed reality that is constructed in the interaction between the body and the VR-HMD. These strategies consist of approaches by the hardware developers and content creators to manage the subjectivity and visuality of the observer. Today’s body is not disciplined through formatted technics of the VR-HMD, but through self-disciplining of the observer’s active performance. This article will unravel the strategies within the game The Elder Scrolls V: Skyrim VR on the Playstation VR that are used to control the visuality and subjectivity. Through her interaction in the game the observer also becomes aware of her body and the ways that it is disciplined in. In the end, this article will argue that the VR-HMD should not only be understood as a strategic device that can discipline a neoliberal subject, but that the VR-HMD is a supercomplex intervention that could help us to become more corporeal literate of our bodies in the age of digital media.
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There has been limited adoption of Immersive Journalism (IJ) by the audience; simultaneously, the audience’s perspective is rarely considered in the production and research of IJ. At this point, however, it is crucial to incorporate an audience perspective to identify potentially unintended effects of IJ and improve on the innovation of IJ. This study investigates the audience’s experience and evaluation of IJ by qualitatively analyzing their thoughts after viewing two IJ cases. Our results indicate that the audience may pick up on intended effects, such as a sense of presence and an intense emotional experience, but some also express unease towards these effects. Furthermore, the audience struggles to comprehend this study’s two immersive journalistic cases as part of the journalistic genre. These findings provide insight into the gap between the initial hype and the current reality of IJ and provide the basis for propositions for future IJ productions.
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Op 16 maart sloten alle opleiding in het Hoger Onderwijs hun deuren in verband met de maatregelen als gevolg van de COVID-19 pandemie. Dit was ook het geval voor de opleiding Medische Beeldvormende en Radiotherapeutische Technieken (MBRT) van de Hogeschool Inholland in Haarlem. Deze vier jarige hbo-opleiding leidt studenten op voor het werk als Medisch Beeldvormings- en Bestralingsdeskundigen (MBB-er) in de Medische Beeldvormende vakgebieden en in de Radiotherapie. Voor dit onderwijs heeft de opleiding een skills lab met daarin diverse beeldvormende apparatuur en een virtuele versneller. Deze virtuele versneller is ontwikkeld door het Britse bedrijf Vertual en wordt naast de MBRT-opleiding van Hogeschool Inholland ook door vergelijkbare opleidingen gebruikt.
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Whitepaper about Immersive Technologies in Tourism and state of the art application cases and best practices within the field of museums, art, destination marketing, virtual events and much more.
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Immersive journalism (IJ) is often assumed to be inherently emotion-inducing. Through using inclusive technology, interaction possibilities and immersive narratives, the audience should ideally experience what feels like to be in a certain situation. However, for the most part we do not know to which extent and in what form IJ influences the experience of emotions. We wanted to investigate, whether, and if so, which characteristics of IJ are related to the experience of emotions, and which role the personality trait empathy tendency plays in this respect. This is important, as the evaluation of IJ often relies on the emotion-inducing assumption thereof. Four different experiments comparing one immersive journalistic characteristic (level of inclusion, interaction possibilities, immersive narratives) to the respective non-immersive counterpart were conducted. Results indicate that while the level of inclusion and interaction possibility increase the intensity of the experience, the immersive narrative influences the valence dimension of emotions. Additionally, empathy tendency is found to be a relevant moderator for these effects. Conclusions are threefold. First, the narrative form of IJ is key; second, the analysis of IJ needs to go beyond the level of inclusion; third, including emotions when assessing IJ is fundamental to understand its impact.
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