The architectures of seeing and going:or, are cities shaped by bodies or minds? And is there a syntax ofspatial cognition?

In my first paper to this Symposium, it was argued that the human cognitive subjectplayed a key part the shaping and working of the city. The key mechanism was thesynchronisation of diachronically experienced (and usually diachronically created)information into higher order pictures of spatial relations, the guiding form for whichwas an abstracted notion of a grid formed by linearised spaces. This notion wasargued to be both perceptual and conceptual, serving at once as an abstractedrepresentation of the space of the city and as a means of solving problems, such asnavigational problems. In this paper, the question addressed is where the notion ofthe ideal grid comes from, why it has the properties it does, and what it has to dowith the real grids of cities, which are commonly of the 'deformed' or 'interrupted'rather than 'ideal' kinds (Hillier, 1996). The answer, it is proposed, lies in the verynature of complex spaces, defining these as spaces in which objects are placed so asto partially block seeing and going, and, in particular, in certain divergences in thelogics of metric and visual accessibility in such spaces. The real grid, deformed orinterrupted, is, it is argued the practical resolution of these divergent logics, and theideal grid its abstract resolution. In both resolutions, however, the resolution is moreon the terms of the visual than the metric, suggesting that cognitive factors are morepowerful than metric factors in shaping the space of the city. The question is thanraised: do people have or acquire the concept of the grid, perhaps as some kind ofperceptual-conceptual invariance of spatial experience in complex spaces, and dothey use it as a model to interact with complex spatial patterns of the urban kind?This possibility is examined against the background of current opinion in the cognitivesciences

Game Transfer Phenomena in video game playing: a qualitative interview study

Video game playing is a popular activity and its enjoyment among frequent players has been associated with absorption and immersion experiences. This paper examines how immersion in the video game environment can influence the player during the game and afterwards (including fantasies, thoughts, and actions). This is what we describe as Game Transfer Phenomena (GTP). GTP occurs when video game elements are associated with real life elements triggering subsequent thoughts, sensations and/or player actions. To investigate this further, a total of 42 frequent video game players aged between 15 and 21 years old were interviewed. Thematic analysis showed that many players experienced GTP, where players appeared to integrate elements of video game playing into their real lives. These GTP were then classified as either intentional or automatic experiences. Results also showed that players used video games for interacting with others as a form of amusement, modeling or mimicking video game content, and daydreaming about video games. Furthermore, the findings demonstrate how video games sometimes triggered intrusive thoughts, sensations, impulses, reflexes, optical illusions, and dissociations

Art museums and the incorporation of virtual reality: Examining the impact of VR on spatial and social norms

Art museums implicate established spatial and social norms. The norms that shape these behaviours are not fixed, but rather subject to change as the sociality and physicality of these spaces continues to develop. In recent years, the re-emergence of virtual reality (VR) has led to this technology being incorporated into art museums in the form of VR-based exhibits. While a growing body of research now explores the various applications, uses and effects of VR, there is a notable dearth of studies examining the impact VR might be having on the spatial and social experience of art museums. This article, therefore, reports on an original research project designed to address these concerns. The project was conducted at Anise Gallery in London, United Kingdom, between June and July 2018 and focused on the multisensory, and VR-based, exhibition, Scents of Shad Thames. The research involved 19 semi-structured interviews with participants who had just experienced this exhibition. Drawing on scholarly literature that surrounds the spatial and social norms pertaining to art museums, this study advances along three lines. First, the research explores whether the inclusion of VR might alter the practice of people watching, which is endemic of this setting. Second, the research explores whether established ways of navigating the physical setting of art museums might influence how users approach the digital space of VR. Third, the research examines whether the incorporation of VR might produce a qualitatively different experience of the art museum as a shared social space

Becoming Angels: women writing cyberspace

As virtual technology evolves and its uses become more widespread, particularly in western communities, women are moving from the virtual spaces of their cultural bodies to the virtual habitats of their cyber-bodies. What makes this migration interesting is the familiarity with which women begin to inhabit their virtual bodies. What seems to be occurring here is the recognition of a virtual existence and of women's learned capacity to inhabit absence. In virtual spaces virtual bodies are downloaded, mirrored, uplinked, morphed and mutated. Their existence as information strings makes them amenable to all kinds of virtual manipulations and manifestations which, in the external/real world are impossible. Perhaps what makes this less confronting for female subjects is their learned capacity to inhabit culture - where their subjectivity has long been overwritten by the male subject - from a position which is not of their own devising. In a culture which renders them as objects women have long since learned many and varied ways of subverting their liminal cultural positions. While male users often express a fear of the dissolution of the body/self, women have known all along what it means to be only virtually real (Wise). We know, furthermore, how to participate in a culture which is the site of our negation

Moveable worlds/digital scenographies

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The ‘Moveable Worlds’ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the Japan Foundation

A Content-Analysis Approach for Exploring Usability Problems in a Collaborative Virtual Environment

As Virtual Reality (VR) products are becoming more widely available in the consumer market, improving the usability of these devices and environments is crucial. In this paper, we are going to introduce a framework for the usability evaluation of collaborative 3D virtual environments based on a large-scale usability study of a mixedmodality collaborative VR system. We first review previous literature about important usability issues related to collaborative 3D virtual environments, supplemented with our research in which we conducted 122 interviews after participants solved a collaborative virtual reality task. Then, building on the literature review and our results, we extend previous usability frameworks. We identified twelve different usability problems, and based on the causes of the problems, we grouped them into three main categories: VR environment-, device interaction-, and task-specific problems. The framework can be used to guide the usability evaluation of collaborative VR environments

The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind

E-topia: Utopia after the Mediated Body

open access journalA custom-made media installation, diplorasis, will be used to explore the body in digital media. This mediated body attempts to re-think how the Deleuzian time-image is translated from its cinematic confinement to the space of new media. In diplorasis the digitized time-image becomes more directly incorporated with-in the bodily schema. Consequently, the thinking of the virtual and actual space of the body in diplorasis enables a questioning of bodily space-time, and particularly the relation between self and digitized self-image. It is thus crucial to re-frame how this digitized mediated body is distinct from a conventional notion of a metric and habitual space—one that is reinforced by, for example, the medium of linear perspective. The articulation of the mediated body will be used to in-form and extend Elizabeth Grosz’s paradoxical reading of embodiment and utopia, by revisiting the notions of utopia as eu-topic/ou-topic. The spatio-temporality of the topos must be re-considered before utopia. Foucault’s analogy of the mirror will then serve to superimpose the dual and slippery relations between utopia and the heterotopic. The digitized mediated body will thus seek to explore emerging ways by which to consider the utopic by conflating embodiment, time and space within an electronic topos. It is argued that as the sensing and cognitive body becomes increasingly pliable in relation to technological mediations, our very understanding of space-time is changing