This book looks at the origins and the many contemporary meanings of the virtual. Rob Shields shows how the construction of virtual worlds has a long history. He examines the many forms of faith and hysteria that have surrounded computer technologies in recent years. Moving beyond the technologies themselves he shows how the virtual plays a role in our daily lives at every level. The virtual is also an essential concept needed to manage innovation and risk. It is real but not actual, ideal but not abstract. The virtual, he argues, has become one of the key organizing principles of contemporary society in the public realms of politics, business and consumption as well as in our private lives.
We live in a wired world where 24/7 digital connectivity is increasingly the norm. Christian megachurch communities often embrace this reality wholeheartedly while more traditional churches often seem hesitant and overwhelmed by the need for an interactive website, a Facebook page and a twitter feed. This book accepts digital connectivity as our reality, but presents a vision of how faith communities can utilize technology to better be the body of Christ to those who are hurting while also helping followers of Christ think critically about the limits of our digital attachments. This book begins with a conversion story of a non-cell phone owning, non-Facebook using religion professor judgmental of the ability of digital tools to enhance relationships. A stage IV cancer diagnosis later, in the midst of being held up by virtual communities of support, a conversion occurs: this religion professor benefits in embodied ways from virtual sources and wants to convert others to the reality that the body of Christ can and does exist virtually and makes embodied difference in the lives of those who are hurting. The book neither uncritically embraces nor rejects the constant digital connectivity present in our lives. Rather it calls on the church to a) recognize ways in which digital social networks already enact the virtual body of Christ; b) tap into and expand how Christ is being experienced virtually; c) embrace thoughtfully the material effects of our new augmented reality, and c) influence utilization of technology that minimizes distraction and maximizes attentiveness toward God and the world God loves.
Arguing that the virtual body is something new—namely, an entity that from an ontological perspective has only recently entered the world—Roberto Diodato considers the implications of this kind of body for aesthetics. Virtual bodies insert themselves into the space opened up by the famous distinction in Aristotle's Physics between natural and artificial beings—they are both. They are beings that are simultaneously events; they are images that are at once internal and external; they are ontological hybrids that exist only in the interaction between logical-computational text and human bodies endowed with technological prostheses. Pursuing this line of thought, Diodato reconfigures classic aesthetic concepts such as mimesis, representation, the relation between illusion and reality, the nature of images and imagination, and the theory of sensory knowledge.
Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument.
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
Remote learning has been around since the 18th century. Caleb Phillips began advertising correspondence courses in the Boston Gazette in 1728 allowing people, for the first time, to learn new skills no matter where they lived. For the past 300 years, virtual training, in its various formats, has been meandering into shore on an inevitable yet slow building tide. And then, just like that, everything changed. A global pandemic. Social distancing. Working from home. In an instant, the tide became a tsunami. The global pandemic accelerated the broad adoption of virtual instructor led training along with awareness that classroom-based training is often expensive, inefficient, and fails to deliver a fair return on investment. While it is certainly more challenging to re-create the collaborative environment of the physical classroom in a virtual setting, virtual training combines the structure, accountability, and social learning benefits of classroom training with speed, agility, and significant cost savings. Simply put, virtual training enables organizations to rapidly upskill more people, while generating a far higher return on the training investment. Virtual training is also green. Studies indicate that virtual training consumes nearly 90% less energy and produces 85% fewer CO2 emissions than classroom training. Still, the biggest challenge with virtual training, and the reason there has been so much resistance to it, is historically the experience has been excruciating. Not the quality of the curriculum or content. Not the talent of the trainer. The learning experience. There are few people who haven’t had the pleasure of sitting through agonizing virtual training sessions. Death by voice over PowerPoint, delivered by a disengaged instructor, has an especially bitter flavor. It is the way virtual training is delivered that matters most. When the virtual learning experience is emotionally positive: Participants are more engaged, embrace new competencies, and knowledge sticks Participants are more likely to show up to class and be open to future virtual training Trainers enjoy their work and gain fulfillment from making an impact Leaders book more virtual training Organizations more readily blend and integrate virtual training into learning & development initiatives This is exactly what this book is about. Virtual Training is the definitive guide to delivering virtual training that engages learners and makes new skills and behavioral changes stick. Jeb Blount, one of the most celebrated trainers and authors of our generation, walks you step-by-step through the seven elements of effective, engaging virtual learning experiences. Trainer Mindset & Emotional Discipline Production & Technology Media & Visuals Virtual Curriculum & Instructional Design Planning & Preparation Virtual Communication Skills Dynamic & Interactive Training Delivery As you dive into these powerful insights, and with each new chapter, you’ll gain greater and greater confidence in your ability to effectively deliver training in a virtual classroom. Once you master virtual training delivery and experience the power of remote learning, you may never want to go back to the physical classroom again.
The benefits of using technology to remake government seem almost infinite. The promise of such programs as user-friendly "virtual agencies" and portals where citizens can access all sections of government from a single website has excited international attention. The potential of a digital state cannot be realized, however, unless the rigid structures of the contemporary bureaucratic state change along with the times. Building the Virtual State explains how the American public sector must evolve and adapt to exploit the possibilities of digital governance fully and fairly. The book finds that many issues involved in integrating technology and government have not been adequately debated or even recognized. Drawing from a rich collection of case studies, the book argues that the real challenges lie not in achieving the technical capability of creating a government on the web, but rather in overcoming the entrenched organizational and political divisions within the state. Questions such as who pays for new government websites, which agencies will maintain the sites, and who will ensure that the privacy of citizens is respected reveal the extraordinary obstacles that confront efforts to create a virtual state. These political and structural battles will influence not only how the American state will be remade in the Information Age, but also who will be the winners and losers in a digital society.
The close interdependency of animal emissaries and new media from early European colonial encounters with the exotic to today's proliferation of animals in digital networks. From cat videos to corporate logos, digital screens and spaces are crowded with animal bodies. In Virtual Menageries, Jody Berland examines the role of animals in the spread of global communications. Her richly illustrated study links the contemporary proliferation of animals on social media to the collection of exotic animals in the formative years of transcontinental exploration and expansion. By tracing previously unseen parallels across the history of exotic and digital menageries, Berland shows how and why animals came to bridge peoples, territories, and technologies in the expansion of colonial and capitalist cultures. Berland's genealogy of the virtual menagerie begins in 1414 when a ruler in Bengal sent a Kenyan giraffe to join a Chinese emperor's menagerie. It maps the beaver's role in the colonial conquest of Canada and examines the appearances of animals in early moving pictures. The menagerie is reinvented for the digital age when image and sound designers use parts or images of animals to ensure the affective promise and commercial spread of an emergent digital infrastructure. These animal images are emissaries that enliven and domesticate the ever-expanding field of mediation. Virtual Menageries offers a unique account of animals and animal images as mediators that encourage complicated emotional, economic, and aesthetic investment in changing practices of connection.
Examining the cultural and social impact of new digital technologies, Levy tackles the concept of "the virtual," clearly defining it alongside "the real," "the actual," and "the possible." He shows how the body, the text, and the economy, are made virtual. He then reveals how the Internet and web sites are now transforming the virtual into a "collective intelligence" linked to digital communication. Though Levy agrees with many contemporary philosophers of science that these changes are producing a cultural revolution, he is uniquely optimistic. Allaying the fears of those who think technology will dehumanize society, he demonstrates how the virtual has always been an enduring component of the human mind.
