This article traces the emergence of one particular genre of discourse, the genre of "new realism" in the Dutch public debates on multicultural society from the early 1990s till Spring 2002. The focus upon different "genres" implies an interest in the performative power of discourse, i.e. the way in which any discourse, in or by its descriptions of reality, (co)produces that reality. Four distinctive characteristics of "new realism" are detected in three subsequent public debates, culminating in the genre of "hyper-realism", of which the immensely successful and recently murdered politician Pim Fortuyn proved to be the consummate champion. Cet article explique le développement d'un genre particulier de discours, le "nouveau réalisme", au sein du débat public sur la société multiculturelle aux Pays Bas. La période étudidée s'étale du début des années 1990 jusqu'au printemps 2002. L'importance attribuée aux différents "genres" reflète un intérêt pour le pouvoir performatif du discours, notamment la facon dont le discours (co)produit la réalité qu'il décrit. On décèle quatre traits distinctifs du "nouveau réalisme" dans trois débats publics qui débouchent sur le "hyper-réalisme" genre dont Pim Fortuyn, homme politique ayant connu un grand succès et victime récente d'un meurtre,s'était fait le champion attitré.
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Positivism has been criticized on legitimate grounds for its absolutist and universalist claims. The tightening methodological binds that accompanied Positivism have been adequately criticized in the tourism academy. However, since the fruitful and enriching reaction of the interpretive, linguistic and critical turns another imbalance seems to penetrate tourism knowledge production, the disappearance of reality and the concomitant spread of a paralyzing relativism. Critical realism will be proposed as the route to regain ontological awareness within tourism scholarship, with the mild reservation that reality is not completely rational. Hegel's equation of reality with rationality will be rejected through an analysis of the irrational in the social world and by reference to the Dionysian impulse.
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New immersive technologies and COVID lockdowns increase the attention for Virtual Reality Pornography (VRP). In this study, heterosexual women were interviewed about the effect of realism in VRP, using a new VRP Role-framework based on six dimensions. Results showed that VRP evokes strong negative and positive emotions. Different types of realism evoked confusion around fidelity and pornography and triggered different relationship boundaries, roles, and rules. Feelings of betrayal and fidelity seemed less when the partner experiences 360° recorded VRP (VR-type-dimension) alone (companion-dimension). Acceptance and confusion appear high around shared computer-generated experiences with control over avatars (interactive-dimension) that look like the self (resemblance-dimension). Feelings of doubt and betrayal seem high when the partner experiences VRP with strangers using realistic-looking avatars (realism-dimension) that resemble (well)known persons or the partner. This study helps companies explore ways to improve VRP content while considering ethical questions society raises concerning VRP’s impact on relationships.
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This work investigates the connection among optical aspects of photographic composition and the quality, perception and interpretation of the level of realism of images. Therefore, to investigate this connection, an experiment was carried out in two steps: The first step consisted of performing analyzes of the optical or photographic contrasts of previously selected images. The second step was the elaboration of a questionnaire with 19 images selected in the first step, aiming to collect data about the perception and opinion of the users. Finally, the objective data from the first step was crossed with the subjective data from the second. The conclusion indicates evidence of the connection or convergence between images that obey the principles of photographic composition that are perceived as having better realism by the users. It is plausible to consider the importance of photo-graphic theory to image design for the users perceive the images as more realistic.
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The topic of this paper is the constructivism-realism debate, construed as an example of the intrusion of philosophy into science. Against this intrusion I maintain that philosophical problems are not only different from scientific and practical ones. They are also problematic in themselves. That is why their import into our scientific and practical work only creates confusions that hinder us in our work. The aim of the paper is to show that the philosophical problems that create those confusions need a Wittgensteinian therapeutic treatment. The method of the paper consists in comparing what philosophers (or philosophising scientists) say we do with what we actually do. After giving an example of what happens when a rightly respected scientist starts philosophizing, the method is applied, first, to the relation between language and the world and, second, to the relation between theories and the world. In the first application a story about three umpires is used to distinguish language and discourse, between questions of meaning (of the words we use) and questions of truth (of the things we say). In the second application a comparison between maps and theories is used to show the difference between assessing the truth of descriptive statements and explanatory theories. The examples of the umpires and maps are introduced by Weick and in both cases I show that neither constructivist nor metaphysical realist conclusions follow.
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Within a short period of time, the Netherlands transformed itself from a relatively tolerant country to a nation that called for cultural assimilation, tough measures and neo-patriotism. The discursive genre of 'new realism' played a crucial role in this retreat from multiculturalism, and that had a dual effect for immigrant women. Whereas formerly they were virtually ignored by both the integration and the emancipation policy, since the triumph of new realism they are in the centre of both policy lines and there is now more policy attention for their needs and interests. Yet in the public debate the culture card is drawn frequently and immigrant women are portrayed as either victims or accomplices of their oppressive cultures. Policy makers and practitioners in the field, however, succeeded in avoiding cultural stereotyping by developing cultural-sensitive measures, while naming them in culture-blind terms.
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There has been significant progress in the graphical realism of digital humans in recent years. This work investigates the realistic portrayal of emotions beyond facial expressions by analysing how skin colour changes when expressing different emotional states. The study combines existing knowledge from old painters, photogrammetry data, thermal imaging, and skin colouration maps to create an artistic guideline to portray emotions realistically, resulting in the proposal of a set of colour maps representing the six basic emotions. By using skin colour changes to represent emotional states, the proposed colour maps offer an alternative workflow for portraying emotions. During the experiment of this research four of these proposed colour maps, which represent neutrality, anger, disgust, and happiness, were preferred over traditional alternatives in terms of realism perception and likeability. The findings have implications for the development of digital human technology, particularly in the creation of more realistic and expressive digital characters.
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