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Critical Analysis Paper

Suzuki, R., Karim, A., Xia, T., Hedayati, H. and Marquardt, N. (2022) ‘Augmented Reality and Robotics: A Survey and Taxonomy for AR-enhanced Human-Robot Interaction and Robotic Interfaces’

The authors of my selected article are Ryo Suzuki, Adnan Karim, Tian Xia, Hooman Hedayati, and Nicolai Marquardt, the five faculty members involved. It is a large review article covering 460 cutting-edge papers in the field of AR-enhanced human-robot interaction, summarising the eight key dimensions of the design space, suggesting that AR proves that research on better interaction between HCI/HRI and robots focuses mainly on personal exploration and design strategies, the authors suggest that research questions should be analysed systematically as well as augmented reality approaches, among others.

The research from this thesis is evaluated through the use of eight strategies respectively. The significance of the derived roles is to point out the problem with the current state of research: common practices and open research questions from an interaction design perspective are rarely analysed systematically. Providing common ground and understanding can help researchers explore the vast design space for locating human-computer interaction in AR. Helps readers find AR technologies that can be used more quickly.

I chose to analyse the design components and strategies of visual enhancement, which the authors divide into three design points. I chose to analyse this chapter because it struck me that the author's spatial visualisation is similar to the game UI framework, the same logic as the UI framework we enter when we play a game, where visual enhancement is achieved through the enhancement of menus, information panels and tabs. Control is provided through menus and information panels that present visual information. With AR it made me reflect on why there are still too few VR games and it's not hard to imagine why more companies aren't developing VR games. Perhaps just as the first 3D TVs didn't sustain consumer interest over the long term, the odds are that it's due to factors such as a lack of content, high production costs, and an inconvenient experience at too high a price. Aside from being limited by the inconvenience of headsets and the cost of developing games, all we have to do is make the hardware popular first. By studying AR and human-computer interaction, we can find practical design strategies for visual enhancement. Also, these strategies apply to UI development in-game art. It gives me some new perceptions and reference factors.

Spatial referencing and visualisation in AR involves embedding data directly on top of corresponding physical references, determining coordinates and positioning, paths and trajectories, areas and boundaries, and other visualisations. Added to my understanding of VR full-colour tours. When you put on VR and create a safe area, you can also see your room at the same time. And you can also circle a safe area within the room with the VR handle. At this point, the scene as you see it in your eyes, the fusion of the real scene with the virtual world is precisely realised through Vast. Users are no longer confined to a narrow safety zone, and can freely choose the activity space in the room, which turns out to be a protective zone formed by embedding data into the corresponding physical reference using heat map visualisation.

Seeing anthropomorphic effects about embedded visuals: robotic bodies, faces and facial expressions, characterisation, character animation, virtual replicas and phantom effects. This not only reminds me of how monsters track people in Hollywood sci-fi blockbusters. Perhaps virtual replicas are robots, as the literature suggests, and by combining them with spatial references, virtual replicas help to visualise simulated behaviour. But what are virtual replicas in special effects films? Perhaps it is what the literature refers to as texture mapping of physical objects, where interactive content is superimposed on physical objects to increase expressiveness.

In Interaction, the authors emphasise the hierarchical structure of interaction and the way it is performed. In particular, I would like to analyse implicit interaction: implicit movement of the user as an input, in which the user is not aware of the correlation between his or her action and the effect. Since I did not understand before what implicit interaction means, it can be simply understood as a form of human-computer interaction that does not require explicit commands from the user, where the input to the system is usually the context of the system. user's activities and can autonomously take appropriate actions to support the user's primary or related tasks. So I guess the two elements of implicit interaction are perception and reasoning, so how do perception and reasoning come about and do they have a sense of autonomy like a human? How do they follow the logic of the user's behaviour, just like AppleWatch lifting the hand to see the time of the act automatically wakes up the screen display, this kind of implicit interaction could also be a natural reality of unconscious behaviours and effects? Behind the powerful artificial intelligence and big data software algorithms to achieve perception, based on the user's interactive behaviour to reason out the potential purpose of the behaviour, achieve more targeted content and enhance the immersive experience.

Finally, it discusses interaction modes, and Apple previously released a short film about VisionOS that supports spatial gestures by default to focus on object interactions more quickly. One of the big headlines on Apple's official VisionOS page is Immersive Experiences, which points out that people can interact with your apps while staying connected to their surroundings, or fully immerse themselves in the worlds you create, and it all starts with the blocks in the Spatial Computing building VisionOS. I can't do spatial computing with my current abilities, but what inspired me was this: could we walk through a room with screens on all sides, enter the room and start the game, and enter and exit the game scene without having to put on the VR glasses, or maybe just a simple maze game when you're actually making choices at each intersection instead of from God's point of view.

This concludes my breakdown of the points made by AR-enhanced Human-Robot Interaction in my chosen text section. I will now continue to analyse his arguments and methods. The need for designing visuals as a constituent element and strategy for realistic AR content is first outlined. The ideas presented in the paper serve this argument well as he establishes a clear definition of design vision and then explains the classification of design practices in visual augmentation through design frames and spatial visualisations.

The need for human-robot interaction is first outlined as a way of visualising the visual outputs that make up a robot's capabilities in AR. The ideas presented in the text serve this argument well as he establishes a clear definition of interaction and then explains the level of interaction through visual outputs and actions independent of the user.

Overall, this article is a high-quality source of information that provides a strong case for categorising augmented reality and robotics. Rather than making bold generalisations, this article connects many high-quality articles. This article examines and analyses many interesting aspects of augmented realisation and robotics. I found this relevant to my practice and research, VR, similar to AR, is often discussed and I realised that VR is achieved through VR gaming and VR painting.AR uses Augmented Reality to augment reality on top of reality. Through the superimposition of digital information, a person interacts with the information to enrich the visual experience. VR, on the other hand, is a virtual reality technology that transcends reality through the virtual. The focus is on the realm of consciousness and immersive gaming experiences. By analysing how AR enhances visual interaction, I found that this is the same in VR gaming. It is all about exploring how the immersive experience can be better. The author's categorisation of interaction roles and modalities also made me jump from 2D awareness to 3D and even implicit interaction.

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Academic Blog #10

The Singularity is Near:When Humans Transcend Biology

Ray Kurzweil

In the this blog I would like to share a book that I've been interested in lately, The Singularity is Near: When Humans Transcend Biology, by American author Ray Kurzweil, one of whose most famous personal achievements is called "Kurzweil's Law" (also known as the Law of Accelerated Cycling). The idea is that the power of technology is expanding outward at an exponential rate. In this book, he writes about artificial intelligence as the latest achievement of technological development in the 21st century and the enormous impact that technological development has brought to human society. He demonstrates the wide impact of the technological phenomenon represented by artificial intelligence as a "singularity" trend in the world.

I will analyse the impact of the book as a medium for the transmission of knowledge and culture. Whenever humans read, they perceive the text as a 'graphic' trace of a medium that is essentially an experiential-associative encounter modelled by Stewart's composite word (p. 11). (Cayley, J. (2023))

Ray Kurzweil divides this era into six eras, first, my mind forms six different images. Secondly, it is then filled in one by one with the author's opinions. When it comes to 5. the convergence of technology and human intelligence, we have now reached the fifth stage. The book mentions that the manifestation of these technological advances is centred on the development of three major technologies:

Gene technology: the convergence of information and biology

Nanotechnology: the intersection of the information and physical worlds

Machine Intelligence: Strong Artificial Intelligence

I have to say that all three of these have happened or are happening, having read about the Japanese science of printing 3D hearts to be transplanted into human bodies via nanotechnology and what Musk is doing now about human-machine interfaces. It makes me brave to believe and imagine the future. This is the integrated message that this book tells me through its narrative and then I combine it with some of my other sources to integrate it, I love the way books are narrated in such a way that whenever you read a fiction book it takes you to another world. Your imagination is at its best when you are trying to see things in your own mind in a new world.

I found an experimental paper on the interface between organs and specific tissues in 2021 that Prof. Warwick had his nervous system wired to a robotic hand allowing its remote control. (A) A 100-electrode array surgically implanted into the median nerve fibres of the left arm allowed the electrical reading of nerve signals. (B) The robotic hand was remotely controlled by signals from the researcher's nervous system. (Photos A and B were kindly provided by Prof. Kevin Warwick, University of Reading, UK published in reference48) with permission from Wiley. (C) Brain-machine interface demonstrating a Rat-robot hybrid that involves implanted neural electrodes using the rat's brain signals to control a motorized vehicle. (Photo was kindly provided by Prof. Kunihiko Mabuchi and Dr. Osamu Fukayama, The University of Tokyo, Japan. to reference48), adapted with permission from Wiley. (D) Synthetic telepathy, will the next step be wireless communication between human brains? Image adapted from the Smithsonian magazine website, published by Corinne Iozzio SMITHSONIANMAG.COM October 2, 2014. Image credit: PASIEKA/Science Photo Library/Corbis.（Prof. Lital Alfonta，2021）

This paper had pictures attached to illustrate its experimental method or process, allowing me to better understand or verify consistency with the picture I had formed in my mind. This saw graphics as an element of self-perception. Just like the cover of this book is also an addition to the imagination and content of the future. And these pictures are formed after my self-perception, so the book gives me the meaning to refine my self-perception.

Additionally through the Miller-Goldwater study of the impact of children's shared book reading on young children's science learning this study highlights the importance of the textual features of books and social interactions during shared book reading in facilitating early science learning.

Of course, many think that what the author says is exaggerated in the past, but The Singularity is Near gives us a glimpse of where the world is headed, and no matter how long the predictions in it are away from us, with technology changing so rapidly these days, let's wait and see!

References

Alfonta, L. (2021) ‘Bioelectrochemistry and the Singularity Point “I Robot”？’, Israel journal of chemistry, 61(1-2), pp. 60–67.

Krevel, M. (2014) ‘“BACK TO THE FUTURE”: TECHNOLOGICAL SINGULARITY IN GIBSON”S SPRAWL TRILOGY’, British and American studies : B.A.S, 20(20), pp. 27–35.

Davies, P. (2006) ‘When computers take over’, Nature, 440(7083), pp. 421–422.

Miller-Goldwater, H.E., Cronin-Golomb, L.M., Hanft, M.H. and Bauer, P.J. (2023) ‘The Influence of Books” Textual Features and Caregivers” Extratextual Talk on Children”s Science Learning in the Context of Shared Book Reading’, Developmental psychology, 59(2), pp. 390–411.

Cayley, J. (2023) ‘Book, Text, Medium: Cross-Sectional Reading for a Digital Age’, Critical inquiry, 50(1), pp. 179–181.

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Academic Blog #9

Creating a Stylized Character Animation w/ Bozo Balov Your next project starts here. Learn how to create a stunning stylized character animation in this new Studio Sessions tutorial series hosted by talented digital artist Bozo Balov.

By reproducing the virtual with the real, I chose to change the way painting is done through VR as an example of virtual reality. Whilst mobile technology has helped us solve the problem of human-to-human communication and human-to-computer interaction, the arrival of 5G is connecting everything for greater coverage and faster perception. I'm going to think about VR, where Mr's creations are paving the way for us to link souls and consciousness.

VR is an interactive, immersive creative process that allows us to create with extreme freedom in a virtual three-dimensional space.VR painting breaks the limitations of two-dimensional space and makes painting more like digital sculpture. In this digital age, the expression of art is undergoing a huge transformation, is VR painting a transformation of art or not? Is VR painting art or not? What does it reveal and enhance?

VR integrates virtual space into bodily space, continually widening the range of perception and treating our eyes as a sense in addition to hearing and smell. Surface-based 3D paintings are created in virtual space. In particular, haptic interfaces provide responsive feedback to VR paintings by enabling physical interaction between the brush and the painting in a virtual space. This can help improve the user's spatial awareness in virtual space and compensate for the lack of visual feedback. Users can reduce unnecessary repetitive drawing tasks, increase drawing efficiency, improve drawing results, and ultimately experience more realistic VR drawing. (Minyoung Kim and Young J. Kim, 2020) I think this paper answers my question about VR enhancement.

The message I was surprised to receive in Extended Reality was about the fun of VR. Perceived pleasure is a subjective experience that exists between the user and IT; it is transient and unconstrained. Thus, the hedonistic use of technology requires users to focus on self-actualisation value rather than instrumental value and to experience happiness and enjoyment. PP is often measured using a single degree of emotional pleasure. It refers to a state of play in human-computer interaction characterised by concentration, enjoyment and curiosity. But with a little risk about the distinction between real and virtual worlds, can we do it?

Regarding whether VR painting is considered art or not? I would definitely say yes. We are just challenging a different medium. I found a paper about Chinese ink painting and VR painting, and it says: In terms of picture composition, more reference is made to the concept of black and white planning and the combination of reality and emptiness in traditional Chinese ink painting. Some specific scenes, such as those of landscapes and lotus fields, refer to many classical ink paintings and draw on the composition of paintings. In the construction of the three-dimensional scene, we try to give up the concept of the objective idea of three-dimensional space, pay more attention to the compositional structure of the rendered flat screen, and use the law of unity of opposites to consider comprehensively The rhythm of the layout of the scene is grasped in terms of the degree of the distance between the subject and the object, the reality of the ink, the sparseness of the layout, and the relationship between black and white, and it is applied more clearly and intuitively. The close-up embellishment of the picture is rich in details, striving to achieve the desired artistic effect and theme. (Meng Han, 2020)

Breaking down the demo, I think this is a first for us. Not in a picture book, not on any physical object. Instead, we feel the world with our whole body and mind, with our senses, and paint on the canvas with our senses. Maybe we humans are a multi-sensory being, and I think that's virtual versus real.

References

Ho, L.-H., Sun, H. and Tsai, T.-H. (2019) ‘Research on 3D painting in virtual reality to improve students' motivation of 3D animation learning’, Sustainability (Basel, Switzerland), 11(6), p. 1605.

‘3D Surface Painting in VR using Force Feedback’ (no date) 컴퓨터그래픽스학회논문지 [Preprint].

Zhang, Y. (2015) ‘Painting Based Enterable Tunnel-Like VR Space’. IEEE, pp. 54–56.

Sun, J., Wang, Y., Miao, W., Wei, W., Yang, C., Chen, J., Yang, F., Ren, L. and Gu, C. (2023) ‘A study on how to improve users' perceived playfulness in and continuance intention with VR technology to paint in virtual natural landscapes’, Heliyon, 9(5), pp. e16201–e16201.

Han, M. (2020) ‘Innovative Application of Chinese Ink Image Representation Techniques in VR Animation Design’. IEEE, pp. 188–191.

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Goedhart, N.S., Verdonk, P. and Dedding, C. (2022) ‘“Never good enough.” A situated understanding of the impact of digitalization on citizens living in a low socioeconomic position’, Policy and internet, 14(4), pp. 824–844.

The aim of this paper is to demonstrate the impact and outcomes of digitisation on the lives of lower socio-economic and diverse groups through the experiences of citizens with little exposure to ICTs. Technological innovations have also been shown to carry a class dimension, masking the fact that they are used to accumulate capital. Reading this article got me thinking about structural questions about whether digital inequality should be seen as a class boundary. And how technological innovations can increase the visibility of social class. Is it a forced acceptance or an autonomous choice that each of us now owns a mobile phone and a computer？

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Bergstrom, K. (2019) ‘Barriers to play: accounting for non-participation in digital game play’, Feminist media studies, 19(6), pp. 841–857.

The central point of this paper is twofold. Firstly, we need to focus not only on women who play games, but also on women who never play games and quit. Secondly, women's failure to play games or their quitting cannot simply be attributed to a lack of enjoyment of the hobby, but to broader structural factors.

The author makes us think about why there is a phenomenon of women starting to play games or quitting in the middle of a game and combines leisure studies with feminist studies to explore the reasons why women do not play games or quit in the middle of a game. By analysing the limitations of gaming for women this article points out the potential limiting factors for women in society due to family, and lack of support and social environment even game design is more from a male perspective why? Are so-called female-oriented games also a hint of social cynicism？

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Darr, C.R. and Doss, E.F. (2022) ‘The Fake One is the Real One: Finstas, Authenticity, and Context Collapse in Teen Friend Groups’, Journal of computer-mediated communication, 27(4).

This paper investigates how adolescents create "fake" accounts to express themselves authentically. The authors chose Finstas as a study to address the tension between situational collapse and authenticity, and the use of Finstas demonstrates adolescents' desire for authenticity and their understanding of group norms of identity and expression. Not only do I think of myself, but my circle of friends has gone through my settings to push messages, and it will present itself after a few days, not immediately. My explanation for why I chose this was that I didn't want to show too much about myself but at the same time wanted people who cared about me to be able to click on my page and see the content.

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Academic Blog #8

The Impact of Emotional Engagement in Video Games

A video game, also known as a computer game, is a type of electronic game that requires interaction with a user interface or an input device, such as a joystick, controller, keyboard, or motion-sensing device (Tosca, 2019). I will analyse how video games are represented in media objects and whether they share similar modes of aesthetic representation.

Video games have evolved from simple pixelated pastimes to immersive experiences capable of triggering a wide range of emotions. At the heart of this evolution is the ability of video games to create emotional engagement. This process involves the complex interplay of various elements to engage the player and evoke a deep emotional response (Nikunen, 2019).

Its embodiment and effectiveness lie in a combination of storytelling, interactive game mechanics, audiovisual stimulation and player agency. These elements work together to create an emotional connection between me and the game world, leading to a deeper level of engagement that goes beyond mere entertainment. As I play the game, form attachments, empathise with the character's struggles, and experience emotional highs and lows with my virtual companions. Witnessing the growth of my character has a profound effect on me and fosters a sense of emotional engagement. I am empowered and make important decisions when I am given meaningful choices that affect narrative outcomes or character arcs. This sense of responsibility for the outcome strengthens the emotional bond between me and the game, creating a personalised and immersive experience.

Emotional design elements, such as visually stunning graphics, emotionally rich music and evocative sound effects, play a crucial role in enhancing emotional engagement. What's more, aesthetics contribute significantly to immersion, triggering specific emotional responses. Cinematic elements, voice-overs and well-crafted soundtracks intensify the emotional experience, thus enhancing the overall impact of the game. Once incoming sensory input (e.g., graphics and music) reaches the appropriate sensory cortex (i.e., auditory, visual, gustatory, olfactory, or somatosensory), neural signals are rapidly and directly projected to brain regions primarily involved in generating emotional responses, such as For example, the amygdala, the insula cortex, and the orbital frontal cortex, which can help a person to quickly determine whether a stimulus is pleasant/safe or unpleasant/threatening (Rodriguez and Kross, 2023).

Emotionally charged game mechanics are another important aspect. Games that are deliberately designed to evoke emotion, such as fear in a horror game or excitement in an action sequence, appeal directly to the player's emotions, resulting in a more immersive and memorable experience.

The effectiveness of emotional engagement in video games is profound. It can increase player immersion, extend play time, increase attachment to the game, and increase the likelihood of replaying the game or recommending it to others (Granic, Lobel, & Engels, 2014). In addition, emotionally engaged games can leave a lasting impact on players, influencing their emotions, thoughts, and even behaviour outside of the game environment.

From a broader perspective, the domains of emotion and feeling are fundamental aspects of human cognition and behaviour. In video games, emotion is more than just entertainment. It shapes experiences, influences decisions and facilitates connections (Lafrenière et al., 2009). Understanding and utilising effects in game design is crucial as it directly affects my engagement, enjoyment and the long-term success of the game.

In summary, emotional engagement in video games is a complex process involving a variety of factors such as narrative depth, player agency, design elements, and effective game play. This approach is critical to creating immersive and emotionally resonant experiences for players. Emotional engagement is a powerful tool that can effectively influence player emotions and behaviours, resulting in a memorable and impactful gaming experience.

References:

Egenfeldt-Nielsen, S., Smith, J.H., & Tosca, S.P. (2019). Understanding Video Games: The Essential Introduction (4th ed.). Routledge. Available at: https://doi.org/10.4324/9780429431791

Granic, I., Lobel, A. and Engels, R.C.M.E. (2014) ‘The benefits of playing video games.’, American Psychologist, 69(1), pp. 66–78. Available at: https://doi.org/10.1037/a0034857.

Greitemeyer, T. and Mügge, D.O. (2014) ‘Video games do affect social outcomes: a meta-analytic review of the effects of violent and prosocial video game play’, Personality & Social Psychology Bulletin, 40(5), pp. 578–589. Available at: https://doi.org/10.1177/0146167213520459. Lafrenière, M.-A.K., Vallerand, R.J., Donahue, E.G. and Lavigne, G.L. (2009) ‘On the costs and benefits of gaming: the role of passion’, Cyberpsychology & Behavior: The Impact of the Internet, Multimedia and Virtual Reality on Behavior and Society, 12(3), pp. 285–290.

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Bravo, V. (2021) ‘Modernidad y juego estético en Jorge Luis Borges’, Variaciones Borges, 51(51), pp. 101–110.

I want to analyze one of his poems. This is one of "Two English Poems" by Jorge Luis Borges. The first sentence deeply attracted me, What can I hold you with? I read the despair and self-desolation. With a touch of gentle reproach, you and I are swapping words from the very first sentence. I have given you everything I have, my romance and loneliness, my stories and harbour, and I have even given you a belief beyond the scope of my belief. A family history is added in the middle, giving this love poem an epic nature. Ultimately, I don’t want to keep you, I want to defeat you with my confusion and failure. It is a kind of self-contradiction and antagonism. What seems like a game of chance is actually a form of reconciliation. It's Borges about the infinity of time, about a future rose.

Behind the ultimate romance is infinite weariness; in the infinite void, there is an infinite abundance of neurons communicating within. Perhaps we are in a world of black holes, where some of us emit flames and Borges Borges burns all over.

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Academic Blog #7

Why does holding hands between two boys feel weird. I think this film has the same question as me. Through this film, I will analyse the problem of gender bias that exists.

The story centres around two 13-year-old boys who have long been very close, but suspicions about their relationship with their classmates have forced them to go their separate ways. When tragedy strikes one of the boys, the other is forced to confront the question of why he is estranged from his closest friend.

How do we define intimacy? In this film, two close friends go to high school together and are confronted with the stigma of female classmates asking "Are you a couple" when they see Leo and Remi inseparable. There are also intangible comments and taunts, but can the complexity of their relationship really be defined by the adult perspective of "couple" or "friends"? Such comments create a different kind of relationship between them. Is intimacy optional depending on age and gender？

Intimacy seems to be something that is not allowed by the public when it happens to boys, and there are more surprised expressions and sarcastic words. I wonder why society has a stereotype that boys should not show weakness and love. When did we start to fear intimacy with others? You can't hold hands, you can't lean on others gently, and when someone approaches you, you should rush back.

Most parents in China will always say that as a boy you shouldn't cry, you shouldn't eat too slowly, and you should choose black more often. Or you are a girl, you shouldn't do some actions, you need to learn to do housework. I have to say I really resent this kind of irrigation education, where do adults get these theories and requirements from. Can these worldly views really be more important than the healthy growth of a child? To this day I still don't understand what gender bias and separation are all about？

The major twist in the film's plot is pushed aside by Leo, Remi chooses one day to kill herself inside her room, leaving behind a dismayed family, and a guilt-ridden Leo. I think as children we should all be the same, there's a lot of things, a lot of things that you recognise and encounter before you even know what they are. Like death or love. Malar believes that intimacy is a necessary part of a fulfilling life. However, we shouldn't take for granted that we know what it is and how to access it. A better understanding of this powerful experience and the many obstacles to its realisation may help us to be courageous in our search for it.

In the film, Leo is so desperate to fit in with the boys that he goes to play hockey, deliberately keeping his distance from Remy, not wanting to be labelled "feminine", but when Remy asks him if he is okay with him joining in, Leo remains silent. According to an article published in the Asian Journal of Kinesiology, "Overcoming Stereotypes of Masculinity in Singapore's Elite Male Gymnasts", the concept of gender is initially learned and ultimately personalised according to what it means to the individual. When you're in love or in a special relationship, you don't care what it is, you just want to simply have him. Remy's proximity makes Leo choose between the public eye and their intimacy, and he loses Remy. Remy's death reminds Leo that he's lost everything, and that intimacy is something many people never get back.

Such a secular statement is not only reacting to the question of whether or not two boys have a friendship with each other, but it is asking why friendships between boys can't have soft feelings. When I was looking for information, I looked for intimacy to show more of the same, cool kids and feminist intimacy, why is it that even intimacy is labelled as gendered. Isn't intimacy needed by all of us? Can't boys have tears between them apart from blood and sweat？

Leo's avoidance of cold violence puts Remi's emotions in a depressing stage and finally, she can't find a way out and chooses to use death to solve the problem. Perhaps death is the fastest and easiest way for teenagers to think of to solve their problems. I hope that we can call on everyone to care more about the mental health of adolescents and give them more ways to solve their problems. Creating a comfortable and relaxing environment while being able to give some reference to the value of releasing emotions. I hope that I will be able to reduce the need to ask questions from a self-conscious point of view and to use universal values to understand a lovely phenomenon that I have not been exposed to.

Finally, I hope that you are firm in choosing yourself and believing in yourself at all the times when unclear choices and confusion arise.

References

Marar, Z. (2014;2012;) Intimacy. United Kingdom: Routledge

Schudson, Z.C., Beischel, W.J. and Anders, S.M. van (2019) ‘Individual Variation in Gender/Sex Category Definitions’, Psychology of sexual orientation and gender diversity, 6(4), pp. 448–460.

Binte Fadzal, I.N.J. and Chung, H.J. (2018) ‘Overcoming the Stereotypes of Masculinity in Singaporean Elite Level Male Gymnasts’, The Asian journal of kinesiology, 20(4), pp. 30–42.

Bernard, D.L., Gaskin-Wasson, A.L., Jones, S.C.T., Lee, D.B., Neal, A.J., Sosoo, E.E., Willis, H.A. and Neblett, E.W. (2023) ‘Diversifying Clinical Child and Adolescent Psychology: A Change Gonna Come’, Journal of clinical child and adolescent psychology, 52(3), pp. 396–410.

Hart, L.M., Morgan, A.J., Rossetto, A., Kelly, C.M., Mackinnon, A. and Jorm, A.F. (2018) ‘Helping adolescents to better support their peers with a mental health problem: A cluster-randomised crossover trial of teen Mental Health First Aid’, Australian and New Zealand journal of psychiatry, 52(7), pp. 638–651.

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Colder Carras, M., Porter, A.M., Van Rooij, A.J., King, D., Lange, A., Carras, M. and Labrique, A. (2018) ‘Gamers” insights into the phenomenology of normal gaming and game “addiction”: A mixed methods study’, Computers in human behavior, 79, pp. 238–246.

This article made me think about whether non-addictive games are considered good games and how the study of the philosophy of gaming can be combined with gameplay and plot to tell the player a true backstory, enhance the meaning of the game, and respond to social issues. The article analyses the negative impact of excessive gaming on health, psychology and quality of life. The factors that contribute to the formation of gaming addiction and the dangers of gaming addiction develop into a phenomenology of gaming addiction. It made me think about the factors that need to be considered for a good game also including the positive impact on the player's psyche and life. As well as it turns out that game addiction is a phenomenology worth studying, we can push back to make more life-balancing leisure or more addictive vicious cycles. Game makers should also have a healthy psychology as well as resistance to money.

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Academic Blog #6

I choose the cyberpunk cultural factor as the embodiment obtained in the media object. Analyse its aesthetic mode of expression. The aesthetics start from the direction of reflection on aesthetic phenomena and exploration of aesthetic laws respectively.

The example I'm looking for is a game called Cyberpunk 2077.

What comes to mind when you think of Cyber-punk?

Films like Blade Runner, Ghost in the Shell, The Matrix？ Or steam, clockwork, transistors, integrated circuits?

Cyberpunk visual elements, neon, rainy nights, wet cramped alleys. High-contrast and high-saturation flashing billboards. Towering buildings, ruins, bi-sexual lighting, high tech and slums. The anti-utopian atmosphere and pessimistic colours of the cityscape underneath the neon signs are the simplest of visual elements that express the disorder and loss of control of the world.

From this, it can be seen that Cyberpunk's work usually constructs two different dimensions, one light and strange, and one dilapidated identity, with heavy rains in gloomy, cramped slums, and skyscrapers towering over a postmodern futuristic metropolis. This is best exemplified in Cyber Virtual, and Punk Rebel Objects.

In Ghost in the Shell, human beings begin to transform themselves by replacing their original limbs and organs with machines, and the emergence of transformed half-human, half-mechanical human beings blurs the boundaries between human beings and machines, which makes us think about what is a real human being？ The term "Ghost in the Shell", believed that a prosthetic body cannot replicate the consciousness that represents human personality. It is only with a soul that cannot be replicated that one is worthy of being a true human being.

Explores the philosophical meaning behind cyberpunk and what exactly constitutes a human being. Reflecting the meaning of identity, illusion and reality.

Cyberpunk 2077 is an open-world action-adventure role-playing video game set in an anti-utopian future filled with cyberpunk technology and a deeply divided society, where the elite rule from the heights of skyscrapers in the City of Night and the many gangs that roam the city streets. A mercenary, living in the fictional Californian city of Night City, where they deal with the aftermath of a robbery.

The setting is a shelf history, with the United States deep in the war in Central America in the 1980s, its power and economy severely damaged, the Soviet Union failing to disintegrate, and Japan emerging as a superpower whose culture spreads to the furthest reaches of the world. The events take place in the fictional City of Night in California, a metropolis between Los Angeles and San Francisco that is steeped in Japanese culture. Sadomasochism, commercialisation, cruelty and gratification are the pillars of Night City's political landscape. The City of Night is a hedonistic wonderland divided into two distinct classes: the oppressed, who use psychedelic drugs and body-enhancing sex workers as a form of escapism, and the elite corporate class that dominates society and achieves great financial success.

Reflection on aesthetic phenomena marks a profound cultural expression of posthumanism and postmodernism. Cyberpunk focuses on the creation of human capabilities and behaviours in a continuum of technological and cultural symbolism, expressing the complex in its simplicity. It relies on digital technology and disparate living standards to express protest against domination. When analysed from a postmodernist perspective, a cyborg theory perspective and a posthumanist perspective, one of the key issues is the question of corporeality. As human beings with the highest dimensions of thinking, reduced by the convenience of technology to play the lowest thinking perception, the experience of the flesh and the flow of blood is null and void, we are nothing more than an item that exists in a virtual reality system.

In the world of cyberpunk we can see a clear multicultural fusion, so many international cities where East meets West. For example, Hong Kong, China, and Tokyo, Japan, reflect its prosperity and congestion, rich and poor, this environment and background history of the dichotomy embodies its aesthetic laws to explore. Secondly, the futurists, in an era of high technological advancement, and seemingly peaceful and beautiful, technological progress have broken through the limits of social ethics? Underneath the glittering facade lies the festering of civilisation and the destruction of humanity.

The growth of the Internet has changed our lives in positive ways. Some are engulfed in the convenience and illusion of the internet and develop psychological problems. It's like the rich people at the top of the cyberpunk pyramid versus the shells at the bottom led by technology. What kind of world has technology created and is it really our escape from reality's peach blossom. Hopefully, we can humanely dominate technology. Cyberpunk is a warning to today's times to reflect on our quest for individual freedom, our search for individual existence, and the fall of technology.

References

Siuda, P., Reguła, D., Majewski, J. and Kwapiszewska, A. (2023) ‘Broken Promises Marketing. Relations, Communication Strategies, and Ethics of Video Game Journalists and Developers: The Case of Cyberpunk 2077’, Games and culture, p. 155541202311734.

The Application of Post-Humanism in Digital Media Visual Design——Cyberpunk 2077 as an Example

Xuefei Zhang

SHS Web Conf., 155 (2023) 02005

MCFARLANE, A., 2022. Cyberpunk 1972. Foundation, 51(142), pp. 55-62.

Kushnarov, V. (2023) “Cyberpunk as a Metacultural Movement: Philosophical-Cultural Analysis”, Culture and Arts in the Modern World, (24), pp. 40–48. doi: 10.31866/2410-1915.24.2023.287657.

Li, H. (2022) “Reflection of Modern Society through Cyberpunk”, BCP Social Sciences & Humanities, 16, pp. 600–604. doi: 10.54691/bcpssh.v16i.518.

Wikipedia contributors. "Cyberpunk 2077." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Nov. 2023. Web. 19 Nov. 2023.

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ANDRE BAZIN The Ontology of the Photographic Image TRANSLATED BY HUGH GRAY

This essay is a prerequisite given by the teacher for the fourth section on descriptive-realist strategies. It mainly discusses the characteristics and significance of the photographic image as an art form and medium. It is pointed out that the photographic image is the process of freeing the object from the bonds of time and space and becoming a reproduction of the object itself.

I chose this because I had never thought about the origins of painting and sculpture and extended it to an aesthetic psychological and sociological perspective. That said, as the author states that life is preserved through its reproduction, then portraiture is also a form of life preservation. Photographs and photography are also a form of life preservation. What about the creation of computer games and AI is it also a form of life preservation？

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Verclyte, S. and Willems, C. (2023) ‘A design anthropology of collaborative making: Exploring shoemaking and embroidery practices’, Design studies, 87, p. 101191.

This paper illustrates theory and practice through two case studies and explores an anthropological approach to manufacturing co-design and the value of shared skills-based human and collaborative manufacturing. This approach enhances my understanding of multiple ways of knowing, enhances design through anthropological insights, and complements and equalises a more inclusive approach to design. Opening up other dimensions and possibilities for change, designer-anthropologists and even social researchers can benefit.

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Academic Blog #5

I will be choosing one of my favourite sad romance movie posters as a media object to analyse.

The film is ONE DAY Below are the posters I found about each country's choices.

United Kingdom

South Korea (Republic of Korea)

Hong Kong, China

Georgia

Thailand

United States of America

I still think the male lead is handsome, even though I'm a little numb after seeing so many posters in similar and different sizes. Please forgive me for being a nymphomaniac.

Production began on 15 July 2010, based on the 2009 novel of the same name by author David Nicholls. It tells the story of two people who have graduated from the same university, at the beginning of a graduation ceremony prepared for them by the university. Taking advantage of this frenzy, Dexter searches for someone special to spend his last night of revelry and romance with. He sets his sights on Emma. However, after a brief exchange, nothing happens between them. For the next 20 years, they met on this day every year just to meet and talk about each other's lives. Dexter went through the ups and downs of his career and marriage, while Emma savoured the sadness of life at the bottom. They are soulmates with hearts of gold, hearts of gold but furthest apart. The theme of the film seemed to tell me a love story for one day of the year.

One of the things that surprised me was that this poster was different from other such rich film posters. I have looked for many photos and almost all of them have this one of the male and female protagonists kissing on the street as the background, so I can venture a guess that, firstly, the place where this kiss took place must have been a special place that made it memorable for the male and female protagonists. According to the plot of the film, it proves that this is the street where they kissed for the first time after graduation that day. Secondly, its hazy architectural backdrop and ambiguous texture made me speculate if their relationship wasn't that established yet, could it be a chance encounter? Then the film shows that the heroine is seen as having a crush on a guy in college, and I'm indicating that she's seeing as being a little nervous by the body language of the poster where she gently grips as she embraces the kiss.

Thirdly, and most importantly, the male and female protagonists walk in opposite directions, with a sense of brushing shoulders and kissing goodbye, echoing the slightly sad ending of the film - i.e., approaching from afar, then meeting, falling In love, and ultimately somehow leaving. The course of the film indicates that for a year afterwards, Emma worked as a waitress in a London restaurant and wrote her own literature. Dexter, on the other hand, is a presenter of a programme and becomes successful and wealthy. The next year, Dexter and his wife Selvie, whom he married through pregnancy, had a daughter, whom he began to care for as Selvie fornicated with an old friend of hers, Clem. A divorce eventually ensued. In the meantime, Emma broke up with Ian and became a writer. Emma had a new boyfriend and Dexter was devastated and ready to leave when Emma chased after him in time to kiss him deeply and passionately by the river. One afternoon, while cycling out of an alleyway, Emma is violently sideswiped by a lorry and is put to sleep for eternity.

Fourthly, what is amazing is the movement of the hero and heroine, as at the moment just before the climax in the picture, the folds on the clothes move as if the wind is fluttering. The costumes are also fresh, young and slim-looking, like the youthful flavour of first love.

As we know, film posters are mainly used for film publicity, and the symbols are mainly created artistically using painting, writing and photography. It can predict and indicate the plot of the film more accurately, and convey its artistic influence and the central idea of the film review. One day the slogan "twenty years two people" deepens the mystery of the film given by the poster, two people twenty years, what kind of two people how to twenty years? What kind of two people?

The compositions representing visual culture in ONE DAY are visual images taken by the cinematographer reflecting visual culture, the main background is a man and a woman kissing on the street, and the ideology covers the purpose and concept of the design. The film revolves around the love story of two men. The beautifully crafted images are used as a marketing and promotional tool to capture the viewer's attention.

I also saw another layer of meaning that posters bring to the table in an article written by Gary Don of Roz. The article writes that the general function of a film poster is not to advertise individual films or genres but to herald the simple fact that a film is being shown in a particular venue. I think this is the commercial purpose of the poster as a media object.

The experimental method of classifying film posters into multi-labelled genres through the Gram layer makes film posters less mysterious and summarises the different types of posters. For the action genre, weapons such as guns and knives received attention. For the adventure genre, characters were mainly focused on the animation genre, with an emphasis on showing animated characters or titles. The fantasy genre also showed a focus on characters. The comedy and drama genres generally focus on characters and atmosphere. The horror, suspense, and thriller genres emphasise a sense of gloom throughout the poster, depicting an atmosphere of terror. Romantic films show a focus on characters with many posters featuring a man and a woman. The sci-fi genre focuses on the background and characters, reflecting the atmosphere of the poster.

References

Yang, S. (2023) ‘Analysis of top box office film poster marketing scheme based on data mining and deep learning in the context of film marketing’, PloS one, 18(1), pp. e0280848–e0280848.

Rhodes, G.D. (2007) ‘The Origin and Development of the American Moving Picture Poster’, Film history (New York, N.Y.), 19(3), pp. 228–246.

WI, J.A., Jang, S. and KIM, Y.B. (2020) ‘Poster-based Multiple Movie Genre Classification Using Inter-Channel Features’, IEEE access, 8, pp. 1–1.

Mahlknecht, J. (2015) ‘Three words to tell a story: The movie poster tagline’, Word & image (London. 1985), 31(4), pp. 414–424.

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Oh, C., Song, J., Choi, J., Kim, S., Lee, S. and Suh, B. (2018) ‘I lead, you help but only with enough details: Understanding the user experience of co-creation with artificial intelligence’.

This article talks about how the UX context of intelligent user interfaces has become a key issue for the HCI community. And the issues that need to be considered in order to understand this new user experience and design better AI interfaces. Firstly by designing a prototype that allows collaborative drawing, a tool that helps users to perform drawing tasks, followed by a user study based on this prototype to investigate the impact of communicative communication on user experience. Quantitative data analyses showed that the AI interface has the disadvantage of low predictability, but at the same time it can provide a more interesting experience for the user. And the participants wanted the AI to provide enough guidance in the task and did not want the AI to give too many commanding instructions.

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Legaard, J.F. and Skovbjerg, H.M. (2023) ‘Affordances of construction toys’, The Design journal, pp. 1–20.

This article does so by comparing two different construction toys and discovering that the availability of these two toys affects the play situation. The link between construction toys and narrative play is emphasised, as well as the potential for toys to act as props that alter the surrounding environment.

I conclude that as a learner of game design. We should better support the player in initiating and sustaining the build assets that build the play experience. Emphasise the importance of considering play from the player's point of view to design play experiences that can be triggered by adding a level of imaginative meaning for the player. There is also a need to understand how they perceive the availability of builds so that they can be better embedded to unlock the imagination.

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Giaccardi, E. and Redström, J. (2020) ‘Technology and More-Than-Human Design’, Design issues, 36(4), pp. 33–44.

This article discusses technology and the relevance of beyond-human design. The authors give an example of the need to consider the user's intentions and behaviour when explaining the relationship between ethics and design This is something that designers need to be aware of when designing user interfaces, the reason for this is to better ensure that the technology is transparent and easy to understand for the user. To avoid the causes of potential ethical issues, there is a need for us to consider the importance of human interaction with technology and ensure that the development of technology is in line with human values. Therefore, the significance and impact of design is not just about its functionality and aesthetics, but also the role of technology in influencing human values, morality and society needs to be considered.