Screens are ubiquitous today. They display information; present image worlds; are portable; connect to mobile networks; mesmerize. However, contemporary screen media also seek to eliminate the presence of the screen and the visibilities of its boundaries. As what is image becomes increasingly indistinguishable against the viewer's actual surroundings, this unsettling prompts re-examination about not only what is the screen, but also how the screen demarcates and what it stands for in relation to our understanding of our realities in, outside and against images. Through case studies drawn from three media technologies - Virtual Reality; holograms; and light projections - this book develops new theories of the surfaces on and spaces in which images are displayed today, interrogating critical lines between art and life; virtuality and actuality; truth and lies. What we have today is not just the contestation of the real against illusion or the unreal, but the disappearance itself of difference and a gluttony of the unreal which both connect up to current politics of distorted truth values and corrupted terms of information. The Post-Screen Through Virtual Reality, Holograms and Light Projections: Where Screen Boundaries Lie is thus about not only where the image's borders and demarcations are established, but also the screen boundary as the instrumentation of today's intense virtualizations that do not tell the truth. In all this, a new imagination for images emerges, with a new space for cultures of presence and absence, definitions of object and representation, and understandings of dis- and re-placement - the post-screen.

At their peak, architectural marvels such as the Sagrada Família, the Tower of London, the Mosque–Cathedral of Córdoba, and the Eiffel tower, had a combined annual visit of almost 16.4 million people. The animated icebound castle in Disney’s (2019) Frozen had 116.4 million views, from one single YouTube trailer, in less than 24 hours. The spaces of such massively consumed animation have for generations informed the architectural imagination of people across the globe and from very early in their lives. Yet, not only have the architectural disciplines remained rather absent in the design of these massively consumed spaces, architectural theory has likewise failed to articulate a framework to approach the architecture of animation. To address this void, this book offers an interdisciplinary approach to survey the role of space in animation, including in creating humorous moments in early cartoon shorts, generating action and suspense in Japanese anime, and even stimulating erotic pleasure in pornographic Hentai. Exploring the imagined architecture of animation, from early motion picture to digital animation and from computer graphics to game engines, offers an analytical frame to reconceptualize space.

This book examines the mediated shift in the contemporary human condition, focusing on the ways in which we synthesise with media content in daily life, essentially transmediating ourselves into new forms and (re)creating ourselves across media. Across an international roster of essays, this book establishes a transdisciplinary theory for the ‘transmedia self’, exploring how technological ubiquity and digital self-determination combine with themes and disciplines such as celebrity culture, fandom, play, politics, and ultimately broader self-conception and projection to inform the creation of transmedia identities in the twenty-first century. Specifically, the book repositions transmediality as key to understanding the formation of identity in a post-digital media culture and transmedia age, where our lives are interlaced, intermingled, and narrativised across a range of media platforms and interfaces. This book is ideal for scholars and students interested in transmedia storytelling, cultural studies, media studies, sociology, philosophy, and politics.

The first systematic study of classical literature and arts to explain their close affinities with modern visual technologies and media.

Like virtual reality, augmented reality is becoming an emerging platform in new application areas for museums, edutainment, home entertainment, research, industry, and the art communities using novel approaches which have taken augmented reality beyond traditional eye-worn or hand-held displays. In this book, the authors discuss spatial augmented r

We are entering a new era of technological determinism and solutionism in which governments and business actors are seeking data-driven change, assuming that Artificial Intelligence is now inevitable and ubiquitous. But we have not even started asking the right questions, let alone developed an understanding of the consequences. Urgently needed is debate that asks and answers fundamental questions about power. This book brings together critical interrogations of what constitutes AI, its impact and its inequalities in order to offer an analysis of what it means for AI to deliver benefits for everyone. The book is structured in three parts: Part 1, AI: Humans vs. Machines, presents critical perspectives on human-machine dualism. Part 2, Discourses and Myths About AI, excavates metaphors and policies to ask normative questions about what is ‘desirable’ AI and what conditions make this possible. Part 3, AI Power and Inequalities, discusses how the implementation of AI creates important challenges that urgently need to be addressed. Bringing together scholars from diverse disciplinary backgrounds and regional contexts, this book offers a vital intervention on one of the most hyped concepts of our times.

This handbook brings together recent international scholarship and developments in the interdisciplinary fields of digital and public humanities. Exploring key concepts, theories, practices and debates within both the digital and public humanities, the handbook also assesses how these two areas are increasingly intertwined. Key questions of access, ownership, authorship and representation link the individual sections and contributions. The handbook includes perspectives from the Global South and presents scholarship and practice that engage with a multiplicity of underrepresented ‘publics’, including LGBTQ+ communities, ethnic and linguistic minorities, the incarcerated and those affected by personal or collective trauma. Chapter “The Role of Digital and Public Humanities in Confronting the Past: Survivors’ of Ireland’s Magdalene Laundries Truth Telling’” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.