Networked Affect from the Digital Self to the Avatar Bodies

Look at the Other at Ugly Duck

Networked Affect ” Edited by Ken Hillis, Susanna Paasonen and Michael Petit

Main Library collection 004.6 NET

The contributors investigate networked affect in terms of intensity, sensation, and value. They explore online intensities that range from Tumblr practices in LGBTQ

communities to visceral reactions to animated avatars; examine the affective materiality of software in such platforms as steampunk culture and nonprofit altporn; and analyze the ascription of value to online activities including the GTD (“getting things done”) movement and the accumulation of personal digital materials.

Bodies in Technology by Don Ihde

Main Library collection 303.4833 IHD

exploration of the ways cyberspace affects human experience. abstract Reviewed by Maureen Nappi

Ihde is interested in exploring how our sense of embodied self is transformed via contemporary technology”….”Here Ihde seizes on the distinction between the real and the virtual, and from that distinction he develops both a phenomenology of embodiment (whereby technology corrects or enhances the perceptual faculties of the body) and a phenomenology of disembodiment (whereby technology projects and objectifies the [End Page 837] body). Ihde is particularly interested in disembodiment because it underlies the notion of a “virtual” body, which involves a kind of visualization of the body as generated by various technologies. in-class “thought experiment” that he uses to elicit his students to articulate their sense of the non-technological virtual body. The assignment: to imagine themselves jumping out of an airplane. Their responses, Ihde points out, fall into one of two possible categories: either the student imagines an “embodied” perspective [End Page 77] of self as actor, which Ihde refers to as the “here-body”—a present-tense version of a “‘be here now’ body,” -or- the student imagines a disembodied perspective of self as observer of the self as actor, that is, “already a kind of virtual body in a nontechnological projection.” 

The Fabric of Interface Mobile Media, Design, and Gender By Stephen Monteiro

Monteiro goes on to argue that the capacity of textile metaphors to describe computing (weaving code, threaded discussions, zipped files, software patches, switch fabrics) represents deeper connections between digital communication and what has been called “homecraft” or “women’s work.

Connecting networked media to practices that seem alien to media technologies, Monteiro identifies handicraft and textile techniques in the production of software and hardware, and cites the punched cards that were read by a loom’s rods as a primitive form of computer memory; examines textual and visual discourses that position the digital image as a malleable fabric across its production, access, and use; compares the digital labor of liking, linking, and tagging to such earlier forms of collective production as quilting bees and piecework; and describes how the convergence of intimacy and handiwork at the screen interface, combined with needlecraft aesthetics, genders networked culture and activities in unexpected ways.

Software and Memory

New media thrives on cycles of obsolescence and renewal: from celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things—mobile mobs, Web 3.0, cloud computing. In Programmed Visions, Wendy Hui Kyong Chun argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability. New media proliferates “programmed visions,” which seek to shape and predict—even embody—a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, for a general logic of substitutability.

Chun argues that the clarity offered by software as metaphor should make us pause, because software also engenders a profound sense of ignorance: who knows what lurks behind our smiling interfaces, behind the objects we click and manipulate? The combination of what can be seen and not seen, known (knowable) and not known—its separation of interface from algorithm and software from hardware—makes it a powerful metaphor for everything we believe is invisible yet generates visible, logical effects, from genetics to the invisible hand of the market, from ideology to culture.


Article Understanding your digital Self by Tamara J Hicks Psy.D.


(Wikipedia ) in general may be used for various reasons.

VR embodiement

How to build an embodiment lab: achieving body representation illusions in virtual reality

  1. the illusion of being inside the computer simulation and with the ability to act there
  2. replace the participant’s body with a virtual body
  3. alter the participant’s sense of body ownership and agency
  4. head tracking versus body tracking

“HMD-based systems since these are the most appropriate for body ownership illusions (BOIs). HMDs display an image for each of the participant’s eyes, which are fused by the human visual system to produce stereoscopic images.”…..

“Core Virtual Embodiment System :

We distinguish between a set of core modules required for the production of 1PP views of a virtual body, and additional modules that can be added to provide multimodal stimulation and physiological measurement. The core modules necessary for creating 1PP views of a virtual body are:

• A VR module that handles the creation, management, and rendering of all virtual entities. This module also serves as the integration point for all other modules.

• A head-tracking module, which maps the head movements of the participant to the virtual camera, updating the viewpoint of the virtual world as in the real world.

• A display module, which consists of the hardware devices used to display the VE.”

VR Three Illusions

Place illusion and Plausibility can lead to realistic behaviour in immersive virtual environments by Mel Slater: ” 

“The first is ‘being there’, often called ‘presence’, the quality of having a sensation of being in a real place. We call this place illusion (PI). Second, plausibility illusion (Psi) refers to the illusion that the scenario being depicted is actually occurring. In the case of both PI and Psi the participant knows for sure that they are not ‘there’ and that the events are not occurring. PI is constrained by the sensorimotor contingencies afforded by the virtual reality system. Psi is determined by the extent to which the system can produce events that directly relate to the participant, the overall credibility of the scenario being depicted in comparison with expectations.“…..

“An ideal IVR system will typically consist of a set of displays (visual, auditory, haptic) and a tracking system”…….

“The visual images displayed will be determined as a function of at least the position and orientation of the human participant’s head, enabled through head tracking, and ideally should also include tactile, force-feedback, heat and smell displays so that all of the senses may be catered for.”…………..

VR- Perception/ Cognition

Spatial Cognition by Chris Nicholson as ” Attention, memory, and processing — basically all the gears and cogs grinding away in our brains.” “Humans are visual and spatial learners. In most contexts, vision is our dominant sense. ”  ” This is all to say vision has a special status in our brain and presenting information visually and spatially can be the key to enhancing memory.” ” Remembering things visually and in the context of the space around us just comes more naturally. And this is where VR can shine. VR enriches the layers of vision, space, and user driven exploration. All of these layers help to strengthen the memories and feelings associated with them.”


VR – be with the Other


  • EXPO : by Jon Wade, VR app to help prototyping  VR applications,” Some ideas can only be communicated using the power of VR. ” “meaningful team bonding. Similar to ice-breaker exercises for sprints, it’s not uncommon to start a week with a VR warm-up where we goof on silly scenarios or doodle outlandish outfits and scenes for each other.”
  • Facebook Spaces and SteamVR Home allow teams to create quick doodles and play with props together.
  • MasterpieceVR has professional-grade sculpting tools and the critical feature of multi-user interaction.


VR showcase

MPC with Rob Pieke, twitter :@robpieke

London, Vancouver, LA , Bengalore, Montreal . visual effects Hollywood cinema, life of PI, guardian of the Galaxy, Jungle Book

characters: Build (assets : sun, tree…) with experts

Model to match the real one ->Groom(Look-dev)/Texture( Look-dev)/Rig( articulation puppet controls) = Character Pkg Shots Character Pkg-> Animation-> tech Anim ->AnimCharacterPkg+ Layout (landscape)-> Lighting->Compositing 2D/3D

Art photography, quicker process with artist than computer

Software Shading, how material react to light , material library

Rendering optimisation ( forest: changing the level of rendering in relation to the distance). The more complex, details the more realistic it will be. Need of a lot CPU

——–>assess the need for realistic replication ? VR as an industry , thanks to the need for reaching super real

-> MPC_ShadowLab

artist vision, VR prospect

Games, shopping, art installations, film making. Multiple type devices, each type of device work in a different way. Interactive film experience,

Virtual production : virtual stage

VR- be creative in VR?

 “—-> how VR can help to express creativity? how VR can help be creative?

EXPO  by Jon Wade in Medium VR app to help prototyping  VR applications,” Some ideas can only be communicated using the power of VR. ” “meaningful team bonding. Similar to ice-breaker exercises for sprints, it’s not uncommon to start a week with a VR warm-up where we goof on silly scenarios or doodle outlandish outfits and scenes for each other.”

How VR is changing creativity. by Kayleigh Alexandra in Kadenze “VR will bring us even closer to a shared experience through social media. The potential of virtual reality technology means we can see medical professionals through a VR headset and sit in a classroom in our own home.”………” From the interactive painting tool Tilt Brush to interior design app Yulio, virtual reality is offering a new platform to make creative processes easier..“VR is changing the way we ‘do’ creativity, not only in the future, but right now. VR gives users instant engaging media to get lost in, without even having to leave their home.” …..”Unlike music, no one can record it off the radio or download it for free: VR developers and designers will be the first and only people bringing this kind of revolutionary content to users.”