Enabling Sociability When Using Virtual Reality Applications : A Design Science Research Approach

Peer reviewe

The Routledge Handbook of Museums, Media and Communication

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today’s world

FinBook: literary content as digital commodity

This short essay explains the significance of the FinBook intervention, and invites the reader to participate. We have associated each chapter within this book with a financial robot (FinBot), and created a market whereby book content will be traded with financial securities. As human labour increasingly consists of unstable and uncertain work practices and as algorithms replace people on the virtual trading floors of the worlds markets, we see members of society taking advantage of FinBots to invest and make extra funds. Bots of all kinds are making financial decisions for us, searching online on our behalf to help us invest, to consume products and services. Our contribution to this compilation is to turn the collection of chapters in this book into a dynamic investment portfolio, and thereby play out what might happen to the process of buying and consuming literature in the not-so-distant future. By attaching identities (through QR codes) to each chapter, we create a market in which the chapter can ‘perform’. Our FinBots will trade based on features extracted from the authors’ words in this book: the political, ethical and cultural values embedded in the work, and the extent to which the FinBots share authors’ concerns; and the performance of chapters amongst those human and non-human actors that make up the market, and readership. In short, the FinBook model turns our work and the work of our co-authors into an investment portfolio, mediated by the market and the attention of readers. By creating a digital economy specifically around the content of online texts, our chapter and the FinBook platform aims to challenge the reader to consider how their personal values align them with individual articles, and how these become contested as they perform different value judgements about the financial performance of each chapter and the book as a whole. At the same time, by introducing ‘autonomous’ trading bots, we also explore the different ‘network’ affordances that differ between paper based books that’s scarcity is developed through analogue form, and digital forms of books whose uniqueness is reached through encryption. We thereby speak to wider questions about the conditions of an aggressive market in which algorithms subject cultural and intellectual items – books – to economic parameters, and the increasing ubiquity of data bots as actors in our social, political, economic and cultural lives. We understand that our marketization of literature may be an uncomfortable juxtaposition against the conventionally-imagined way a book is created, enjoyed and shared: it is intended to be

European Distance and E-Learning Network (EDEN). Conference Proceedings

Erasmus+ Programme of the European UnionThe powerful combination of the information age and the consequent disruption caused by these unstable environments provides the impetus to look afresh and identify new models and approaches for education (e.g. OERs, MOOCs, PLEs, Learning Analytics etc.). For learners this has taken a fantastic leap into aggregating, curating and co-curating and co-producing outside the boundaries of formal learning environments – the networked learner is sharing voluntarily and for free, spontaneously with billions of people.Supported by Erasmus+ Programme of the European Unioninfo:eu-repo/semantics/publishedVersio

Storyscape, a new medium of media

A storyscape is the new medium of storytelling. It originates in the model of transmedia storytelling defined by Henry Jenkins (2006a) in Convergence Culture and applied to The Matrix franchise. The storyscape medium is conceptualized from the author/designer perspective as four gestalts that create a whole from stand-alone parts. The four gestalts are mythopoeia, character, canon, and genre. This approach frames the authoring of this story-centric model in opposition to the design approaches of world-building or storyworlds. The four gestalts also provide an academic approach that unites theory and practice with a unified design vocabulary and an orientation toward the creation of a cultural and creative product that is defined as the storyscape medium. Storyscapes, such as The Star Wars franchise or the Marvel Universe, consume the lion’s share of our cultural capital (Johnson 2014). Therefore, the development of a consistent vocabulary, a design approach, and an understanding of how they create meaning and define worldviews is critical to our understanding and practice of a new medium (Dena 2009). Starting with the frame of storytelling as a practice and previous aesthetic models such as The Poetics, this research charts the evolution of the storyscape medium across topics of academic transmedia approaches, principles, affordances, and the connecting or conceptualizing principles that act as gestalts.Ph.D

Artists Re:Thinking the Blockchain

This book is the result a 12 month research process, in which editors commissioned new works and sought out a range of active international practitioners addressing the question: what does the blockchain mean to art? and how can artists shape and intervene in this emerging technology? Contributions from a range of world-leading and emerging voices in the fields of blockchain theory and art practice were newly commissioned by editors and developed in conversations held at Furtherfield gallery in London during 2016 and 2017. It is the first book of its kind, addressing the meaning of nascent blockchain technologies to art production and dissemination. Continuing Torque Edition's commitment to hybridity in their published editions, the book's thirty chapters are split into three sections: "Documents" presents a range of extant landmark artworks and events; "Fictions" presents newly commissioned creative text and image works; and "Theories" which opens with a essay by Hito Steyerl, includes a number of original essays addressing how blockchain is, and can be, used and thought. The book's release was accompanied by a newly commissioned digital portal developed by Design Informatics at Edinburgh University: using the unique "Finbook" portal, readers can interact with Financial bots based on chapters within the book as they "trade themselves". In their introduction to the book (c. 5000 words) Jones and Skinner place a focus on the "janus faced" quality of the blockchain, as a speculative tool with liberating potential, and an already hyper-financialised entity. They frame the book's unique importance as presenting an alternative range of discourse around the blockchain -- outside of from Fin-tech disciplines -- and express an intention that the contents of the book will open the way for newer and more progressive uses of this technology. This purpose has been widely referenced and acknowledged in reviews and profiles of the book. The book is on its third printed edition, and has been released as a free PDF available on the Torque Editions website. It has been reviewed and profiled in a number of specialist industry and public journals and magazines, including Art Review, Art Monthly, Hyperallergic, We Make Money Not Art, Rhizome and the 2P2Foundation. Further impact for the project includes launch events and invited talks at ArtReview in London, Foundation for Art and Creative Technology in Liverpool, Transmediale in Berlin and Institute of Network Cultures in Amsterdam, each of which Jones has prepared new material for. It was funded by the European Union via the State Machines project, The Culture Capital Exchange, and Arts Council England