Do digital hugs work? Re-embodying our social lives online with digital tact

The COVID-19 pandemic led to social restrictions that often prevented us from hugging the ones we love. This absence helped some realize just how important these interactions are to our sense of care and connection. Many turned to digitally mediated social interactions to address these absences, but often unsatisfactorily. Some theorists might blame this on the disembodied character of our digital spaces, e.g., that interpersonal touch is excluded from our lives online. However, others continued to find care and connection in their digitally mediated interactions despite not being able to touch. Inspired by such contrasting cases, we ask if ‘digital hugs’ can work? We use the Mixed Reality Interaction Matrix to examine hugging as a social practice. This leads us to several claims about the nature of our embodied social interactions and their digital mediation: (1) all social interaction is mediated; (2) all virtual experiences are embodied; (3) technology has become richer and more supportive of embodiment; and (4) expertise plays a role. These claims help make the case that quality social connections online are substantially dependent upon the dynamic skilful resourcing of multiple mediating components, what we term digital tact. By introducing and developing this concept, we hope to contribute to a better understanding of our digital embodied sociality and the possibilities for caring connections online.journal articl

Do digital hugs work? Re-embodying our social lives online with digital tact

The COVID-19 pandemic led to social restrictions that often prevented us from hugging the ones we love. This absence helped some realize just how important these interactions are to our sense of care and connection. Many turned to digitally mediated social interactions to address these absences, but often unsatisfactorily. Some theorists might blame this on the disembodied character of our digital spaces, e.g., that interpersonal touch is excluded from our lives online. However, others continued to find care and connection in their digitally mediated interactions despite not being able to touch. Inspired by such contrasting cases, we ask if ‘digital hugs’ can work? We use the Mixed Reality Interaction Matrix to examine hugging as a social practice. This leads us to several claims about the nature of our embodied social interactions and their digital mediation: (1) all social interaction is mediated; (2) all virtual experiences are embodied; (3) technology has become richer and more supportive of embodiment; and (4) expertise plays a role. These claims help make the case that quality social connections online are substantially dependent upon the dynamic skilful resourcing of multiple mediating components, what we term digital tact. By introducing and developing this concept, we hope to contribute to a better understanding of our digital embodied sociality and the possibilities for caring connections online

Academic Affairs Report, Fall 2013

Inside this issue: -- UNI: New Beginnings on a Strong Foundation-- New Faces at UNI -- Re-Envisioning Rod Library -- Information Technology Services-- Lippens Joins Office of Executive Vice President and Provost-- Office of Academic Affairs Initiatives: Communication-- Lamberti Appointed Administrative Fellow-- Office of Academic Affairs Initiatives: Diversity-- The Return of the Center for Excellence in Teaching and Learning-- Office of Academic Affairs Initiatives: Funding-- SEEDing the Future-- The National Coalition Building Institute-- Bridging American Indians and Taiwan\u27s Indigenous Tribes-- Award-Winning Innovations in Teaching, Scholarship, and Creative Activityhttps://scholarworks.uni.edu/provostnews/1003/thumbnail.jp

Time-sculptures of Terrifying Ambiguity: Staging Inner Space and Migrating Realities in Analogue's Living Film Set

This article examines Analogue’s Living Film Set, an interactive theatre piece which uses miniature film sets, multi-touch surface technology and live video feeds to reframe my semi-remembered memories from the mid-1980s as a collective participatory experience. Drawing on new wave novelist J. G. Ballard’s notion of childhood memory as ‘time-sculptures of terrifying ambiguity’ [Ballard, J. G. 1963. “Time, Memory and Inner Space.” J. G. Ballard website (originally published in The Woman Journalist Magazine). Accessed August 6, 2015. http://www.jgballard.ca/non_fiction/jgb_time_memory_innerspace.html], I will demonstrate how my childhood town of Shepperton has been overwritten in both Ballardian literary fiction and the incursion of cinematic artifice from the neighbouring activities of Shepperton Film Studios. I argue that the ambiguity of my recollections and the contamination of my lived history with ‘prosthetic memories’ [Landsberg, Alison. 2004. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York, NY: Columbia UP, 20–21.] has provided a creative space to re-enact the blended hyperreality of my early childhood through the work’s intermedial form. I will conclude by examining how the shifting reality status of the media used within the performance intersects with the notion of ‘time-sculptures’ and problematises what Carol Martin [(2013). Theatre of the Real. Basingstoke: Palgrave Macmillan.] has identified as ‘theatre of the real’

A Seeing Place – Connecting Physical and Virtual Spaces

In the experience and design of spaces today, we meet both reality and virtuality. But how is the relation between real and virtual construed? How can we as researchers and designers contribute to resolving the physical-virtual divide regarding spaces? This thesis explores the relations between the physical and the virtual and investigates ways of connecting physical and virtual space, both in theory and practice.\ua0The basic concepts of the thesis are Space, Place, and Stage. The central idea is that the stage is a strong conceptual metaphor that has the capacity to work as a unifying concept relating physical and virtual spaces and forming a place for attention, agreements, and experience – A Seeing Place. The concept of seeing place comes from the Greek word theatre, meaning a “place for seeing”, both in the sense of looking at and understanding.\ua0In certain situations, the relations between physical and virtual spaces become important for users’ experience and understanding of these situations. This thesis presents seven cases of physical-virtual spaces, in the field of architectural and exhibition design. The method of these studies is research by design. The discussion then focuses on how each setting works as a stage, and how conceptual metaphors can contribute to the connection between physical and virtual spaces.\ua0Building upon the explorations and experiments in different domains, the thesis contains a collection of seven papers concerning the relations between physical and virtual space in different contexts outside the world of theatre. These papers range from more technical about Virtual Reality (design of networked collaborative spaces) to more conceptual about staging (methods in interaction design) and virtual space (using a transdisciplinary approach).\ua0The results of those studies suggest that the Stage metaphor of a physical-virtual space can contribute to the elucidating of relations between physical and virtual spaces in number of ways. Conceptually, the stage metaphor links together the semiotic and the hermeneutic views of space and place. And, from a practice-based perspective, A Seeing Place view opens up the way to creating contemporary spaces and resolving the physical-virtual divide

The posthuman body in performance

Abstract available: p.1

Innovative Experimental Methods in Human-Robot Interaction

User studies in human-robot interaction and social robotics in general involve human participants and their reactions, observations and expectations of robots. This thesis presents two innovative experimental methods aimed at gaining access to high-stakes social data not typically collectable with traditional user studies. The Actor Method provides access to data that would not typically be approved by the experimental research board (privacy and data use in human-robot interaction) and the VR Method allows us to collect data about robot physical designs, without actually building all the robot variants. As a methods paper, this thesis presents the utilization of these two methods in two different HRI experiments and highlights the significance of this approach to both the experiments. Not only were both the methods successful at gaining access to the desired data, but they also helped elicit participants’ emotions and mental models about the robots and their interactions with the robots. Future work can extend the VR Method to create immersive extended reality story-like experiences that explore human-robot interactions with virtual robots and real-world haptics like water, wind and heat

Global Citizen, Global Consumer: Study Abroad, Neoliberal Convergence, and the Eat, Pray, Love Phenomenon

This thesis examines the convergence of neoliberal rhetoric across popular media, academic, and institutional discourses, and draws connections between contemporary women's travel literature and common scripts in study abroad promotion. Finding such narratives to be freighted with ethnocentric constructs and tacit endorsements of market-based globalization, I critique the mainstreaming of neoliberal attitudes that depict travel as a commodity primarily valuable for its role in increasing the worth of U.S. American personhood. I question both the prevailing definitions of "global citizenship" and the ubiquitous claims that study abroad prepares students for "success in the global economy" as ideological signifiers of a higher education system that is increasingly corporatized. Utilizing a postcolonial and transnational feminist theoretical framework, the thesis offers a literary analysis of contemporary women's travel memoirs, examining patterns of narcissism and "othering" in their depictions of cross-cultural encounter, and connects these neoliberal trends to consumerism in higher education, study abroad, and post-second wave feminism. Shared themes in the representation of privileged U.S./Western women abroad and the student-consumer model in higher education bespeak a movement toward individual international engagements that reinforce corporate motives for travel and endorse the commodification of global environments, cultures, and people. In hopes of contesting this paradigm, I argue for the reassertion of a social justice-oriented definition of global citizenship and for educational models that foster self-criticism and the decolonization of knowledge