Interactive and Digital Media

İletişim olgusu, toplumsal bir varlık olan insan için her dönem önemli bir konuma sahip olmuştur. Tarihin ilk dönemlerinden itibaren doğa ile iç içe yaşayan insan beslenme, barınma ve korunma gibi temel ihtiyaçlarını giderirken iletişim kurmaya çabalamıştır. İletişim her dönem insanların hayatlarını biçimlendirmiş, yaşayışlarına yön vermiştir. Toplumsal dönüşümü hızlandıran ve sosyalleşmeyi biçimlendiren iletişim olgusu, medyanın etkisiyle birlikte daha zengin bir yapıya kavuşmuştur. Geleneksel medyadan yeni medyaya dönüşüm sürecinde iletişim teknolojileri etkisini derinden hissettirmiş ve içinde yaşadığımız dönem “medya çağı” olarak ifade edilmeye başlamıştır. İletişim bugün gerek sokakta, gerek evde izlediğimiz televizyonlarda, gerek sanal ortamda ve gerekse de reel hayatımızda vazgeçemediğimiz olgular arasında yer almaktadır. 23 farklı çalışmadan oluşan bu kitap, altı farklı kategoride bulunan bilimsel çalışmaları kapsamaktadır. Bu kategoriler sırasıyla; “Halkla İlişkiler ve Medya”, “Bilişim ve Medya”, “Sinema ve Medya”, “Sanat ve Medya”, “Kültür ve Medya”, “Siyasal İletişim ve Medya”dır.

Introducing Global Pandemics: a cutting-edge, browser-based, digital learning experience—designed to enhance student understanding of the role of pandemics in world history. One year in the making, and involving a talented, interdisciplinary team from around the world—the new product features cutting-edge digital learning design, web animation, interaction design, and digital storytelling. 

Explore Plague of Athens now!
Experience our fully animated, interactive web app on desktop Chrome browser!
https://pandemics.historyadventures.app/

History Adventures: Global Pandemics
Presenting Chapter 1: “To Do No Harm,” the story of Nikos of Athens, a physician during the Plague of Athens, 429 BCE, who struggles to treat the multitude who fall ill during this world-upending ordeal, causing him to question everything he holds dear, from his faith in Apollo, healer under the gods, to the meaning of his Hippocratic Oath, and what is truly at stake in medical ethics.

Interactive Digital Storytelling
The Global Pandemics prototype consists of over 50 uniquely designed, animated web pages featuring over 2 hours of engaging, rewarding learning material for students to explore. The product combines digital storytelling with interactive learning design to craft a rich, complex pedagogical experience that immerses students in the power of story—narrativizing the experiences of diverse people, around the globe, who lived through history’s worst pandemics—interwoven with rich, multimodal learning content.

Applied Educational Research
Global Pandemics provides historical context for students about the challenges COVID-19 has presented to people around the world. The design of Global Pandemics is positioned at the nexus of innovative pedagogical, theoretical, and technological practices—including narrative studies, multimodal literacies, and game-based learning research. Synthesizing the best of history games, visual learning, interactive textbooks, and history apps, Global Pandemics introduces novel features, design elements, and affordances—demonstrating the effectiveness of applied educational research to enhance learning outcomes. The central question posed is whether—and to what degree—the innovative digital learning design of Global Pandemics will result in a measurable increase in student interest, engagement, and understanding of key concepts in epidemiology as well as the role of pandemics in world history. A secondary question is how to iterate product design to improve engagement and successful learning outcome metrics even further.

Global Pandemics, Chapter 1: “To Do No Harm,”
Plague of Athens, 4th Century BCE

Building on a rich tradition of digital media and learning research, Global Pandemics immerses and engages students through meaningful choice and multimodal interaction design; provide systems-based interpretations that emphasize complexity, interdependencies, and causal connections; played out within a problem space that encourages students to perceive connections between past and present—making that understanding more visceral, tangible, and real—and in the process sparking enthusiasm for learning about the past. Global Pandemics offers an innovative solution for engaging millennial students and inspiring curiosity for learning about history.

This browser-based digital learning experience introduces multiple novel technologies, including:
3D Motion Design to Recreate History
Advanced Web Animation to Simulate Pathogens
Immersive 360 Panoramas of Historical Locations
Animated Historical Timeline & Maps
Choice-based Narrative Design
Interactive Original Historical Documents
Media-Rich Adaptive Assessments

Created by Spencer Striker, PhD
Digital Media Design Professor at Northwestern University in Qatar

Tags
#digitallearning #digital #education #innovation #anthemawards #WebbyAwards #worldhistory #peopleshistory #connectedlearning #curiosity #animation #exploration #revolution #othersideofhistory #narrativedesign #interactiondesign #GamesBasedLearning #chooseyourownadventure #worldofcharacters #jamespaulgee

This paper’s objective is to analyze Red Dead Redemption 2 as an example of the assimilation of the western genre in the recent production of open world third person action video games. The analysis is based on Genre Studies to comprehend the specificity and diversity of western forms in cinema. We identify, classify and comment on the way through which the game assimilates the genre conventions, highlighting its narrative aspects. The experience with the western in Red Dead Redemption 2 is different from the experience with a narrative film, but there are essential elements present in both experiences. The game itself is a form of western accomplished through the player agency.

This chapter examines the meaning-making functions of cinematic sound from the perspective of embodied cognition. Using embodied simulation theory (Gallese, 2005) as a unifying framework, and placing particular emphasis upon the affective aspects of ‘Feeling of Body’ (Wojciehowski & Gallese, 2011), an account of cinematic media emerges which puts into play Mark Johnson’s concept of ‘embodied meaning’ (Johnson, 2007). Central to Johnson’s concept is the assertion that all human meaning, abstract conceptual thinking, and imagination have basis in our sensorimotor interactions with the world. In the context of cinematic media, it suggests the stylistic crafting and patterning of perceptual content not only elicits an affective response but also shapes cognition. Drawing upon examples of cinematic sound design an embodied aesthetics is illustrated.

The use of technology and specifically digital environments in training and education in both formal and non-formal contexts is becoming increasingly more common. These types of technical-pedagogical solutions, however, may not always provide a sense of belonging to trainees, which may eventually lead to non-participation or even dropping out. Although some studies have identified possible reasons for this type of lack of association and abandonment, there are still areas that require further research, such as the configuration of these digital environments as pedagogical-differentiation devices (Cortesao & Stoers, 1999) or assessments of their social-inclusion potential. This paper proposes a classification of the social-inclusion potential of digital environments, which was the validated result of data gathered from a query submitted to 20 e-learning experts and a literature review. Qualitative analysis of the data (Bowen, 2009) led to the identification of four potential levels o...

Marketing digital y comercio electrónico proporciona una visión completa, rigurosa y aplicada sobre el apasionante campo del marketing digital. Con un enfoque directivo, marcos teóricos adecuados y numerosos ejemplos (Amazon, eBay, Expedia, Facebook, Google, LinkedIn…) muestra cómo aprovechar las oportunidades que ofrecen internet y las redes sociales para aportar valor a los consumidores y conseguir los objetivos de negocio.

Esta obra no solo aborda la utilización de internet y los medios sociales en las esferas publicitarias y de comunicación. Explica cómo utilizar los nuevos medios digitales y las soluciones tecnológicas actuales en la investigación de marketing. Presenta aproximaciones estratégicas con las que abrir nuevas vías para la innovación, implicar a los consumidores en la propuesta de valor y competir en mejores condiciones. Y enseña cómo desplegar iniciativas de comercio electrónico seguras y adecuadamente integradas en el canal de distribución.

The technique we practice to tell imagined stories among ourselves especially the construction and the preservation of the mythical stories is always important to our psychological development. Today, the world of digital games work as the foundation into artificial worlds, where the imagined stories are well maintained and prolonged. Mythic narratives have the power to develop above their standard and become "remediated" which means, they can stimulate, translate and adapt into other forms of media and afterwards create a life outside their original medium, where the artificial universe sustains, expands and grows in detail. (Bolter & Grusin, 5). Thus, the fictional world of the games exists beyond the game and have become more than the game. The mythic world has its own story to tell, its own metanarrative, framing and assistance of the game. The video game Asura's Wrath (2012) have advanced the borders of digital and narrative experiences and they merged the digital interaction with traditional notions of play and explained the mythological interaction. In other words, these games involve the activity of the play.

Apps and fitness trackers have changed the application culture of bio-surveillance. Their feedback technologies not only facilitate healthy lifestyle practices, but also multiply social control. At the interface of digital media systems and bioinformatic knowledge media, in the trend of self-measurement, they help to consider the body as a media object of regulated design and numerical forms of expression. The article deals with the logic of digital fitness and health monitoring devices and examines its importance in the context of self-management practices in process-oriented negotiation processes.

Apps und Fitness-Tracker haben die Anwendungskultur der Bio-Surveillance verändert. Ihre Feedbacktechnologien erleichtern nicht nur Praktiken der gesunden Lebensführung, sondern multiplizieren auch soziale Kontrolle. An der Schnittstelle von digitalen Mediensystemen und bioinformatischen Wissensmedien tragen sie im Trend der Selbstvermessung dazu bei, den Körper als Medienobjekt geregelter Gestaltung und numerischer Ausdrucksformen zu betrachten. Der Beitrag beschäftigt sich mit der Programmlogik dieses digitalen Fitness- und Gesundheitsmonitoring und untersucht ihren Stellenwert im Kontext von Praktiken der Selbstführung in prozessorientierten Aushandlungsprozessen.

We present a general model and information server for the digital annotation of printed documents. The resulting annotation framework supports both informal and structured annotations as well as context-dependent services. A demonstrator application for mammography that features both enhanced writing and reading activities is described.

This chapter aims to present mental representations by seven audiovisual specialists on Sirena, the antagonist of a noir fictional story in a multilinear interactive short film script. To this end, a reception study was created with in-depth interviews with specialists after reading the script to discuss its several aspects. This approach is of qualitative character. The study was conducted between June and October 2015 in São Paulo, Brazil. It is possible to perceive that participants have interpreted the character differently in spite of its consistent build. We could verify that the mental representation of the antagonist was aided by the world-view and experience of each interviewed specialist, which has led to unique readings of the character.

Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.

The Occupy Istanbul game engages several topics pertaining to the relationship of the individual and the political sphere, including civic obedience, resistance against state power and citizen media. The project allows players to develop and test different strategies of (non)engagement, from being a passive by- stander to violent activism. At the same time this decision is complicated by divergent goals in the public and the private sphere and by ambiguous decisions whose consequences become apparent only at later points in the game narrative. The paper presents the game’s design, initial user reactions, and plans for later modifications.

The evolution of digital media has inspired new narrative forms within the media context. In the last few years, interactive documentary has presented complex and alternative ways to access information. This article presents an analysis of this statement consisting of the case study of five international productions: Bear 71, A Short History of the Highrise, Pirate Fishing, Do Not Track and Párkinson, que tiemble el camino. The production of interactive documentary in online media as a journalistic format is tackled with a multidimensional approach which incorporates the product, the user’s perception and the author’s view. The exploration of new formats in online media is linked to innovation and a contemporary response to the audiences, who are now able to interact, play and share in an environment favoured by mobile communication and the skills of the current society.

By examining the trans-disciplinary neologisms called "terminological junctions" in writings of Arakawa and Gins, one may find adequate conditions for making visible, and perhaps resolving a central paradox in the thinking of Gilles Deleuze, who exhorts us to "forge alliances" across scientific percepts, philosophical concepts and artistic constructs, and yet denies the adequacy of metaphor specifically, and tropes generally, because of the taint of representation and transcendence. Drawing on my earlier work which emphasizes the "agency" of tropes (by reference to Peter Galison and Bruno Latour) I attempt to recuperate tropes from within a Deleuzean frame, through an analysis of of "terminological junctions" as "shocks of thought."

The figure of the VJ or visual jockey is key for understanding the appearance and current
uses of what we shall call the “environment-image”, a kind of image which is produced for
an audience in situ, whose emotional reaction has a retroactive effect on the actual production
of the image flow. It is important to discuss a function related to this type of image, that of
influencing a social environment in order to establish a shared rhythm. Furthermore, this
coordinated rhythm influences the perception of each person in respect to the social group
which circumstantially forms the audience. Citing arguments such as those of the historian
William H. McNeill, the anthropologist Michael James Winkelman or the architect and theorist
Iñaki Ábalos, but also drawing on the observations of audiovisual media creators like Jonas
Mekas, we will see how a considerable alliance of stimuli and conditions in the environment
has an effect on the participants’ states of consciousness, resulting in the appearance of this
idea of the “us” as a link of identity. In short, the research places the practice of VJing as part
of the history of art and the contemporary modes of sociability, taking as principal evidence
the aesthetic and political dimensions of image. In this way, we gain access to a conception of
image by placing attention on the bonds established with the resonant rhythms produced by the DJ and, in addition, with an entire system of environmental and relational stimuli. What’s
more, this leads us to elaborate on the project of Gilles Deleuze, adding to the two types of
image he proposes, the “movement-image” and the “time-image”, a different typology, with
functions and effects that are both also radically distinct.

Todos los días en Argentina las redes de trata captan mujeres, engañan mujeres, someten mujeres, explotan mujeres, trafican mujeres, desaparecen mujeres. Todos los días en Argentina alguien paga por ellas y el ciclo vuelve a empezar.  El delito de trata de personas implica distintas etapas con características específicas, en cada una de las cuales actúan y operan actores con roles determinados, dando forma a un entramado que posibilita la explotación sexual de mujeres en Argentina. A nivel narrativo, este entramado complejo es abordado a lo largo de diferentes capítulos de un webdoc que permite a los usuarios sumergirse en una historia que recorre las formas de captación, las rutas de la trata de personas, la explotación sexual y el rescate de mujeres sometidas. Este documental transmedia pretende exponer algunas historias narradas por los mismos protagonistas. Ofrece un relato vívido que muchas veces se tiñe con la crudeza de las experiencias de las víctimas de este delito. Mujeres víctimas, familiares, miembros de organizaciones que luchan por esclarecer los distintos casos, funcionarios judiciales, legisladores, miembros de las fuerzas de seguridad y especialistas en la temática abordan las disímiles aristas de uno de los delitos más complejos del contexto actual. La exposición de los datos que la investigación periodística arroja, confirman algunas presunciones y llevan luz sobre otros equívocos. La nacionalidad de las víctimas, el origen y destino de las mismas, los métodos de captación y reclutamiento, las condiciones en las que son explotadas, las modalidades y mecanismos que utilizan las redes organizadas, la legislación vigente que comprende este delito, los procesos judiciales, la asistencia a las víctimas rescatadas y la vinculación de la trata de personas con otros delitos complejos, son algunos de los tópicos que esta producción comparte. El entramado narrativo transmedia se desarrolla a través de diferentes piezas y acciones de intervención territorial, de forma sincronizada, entre febrero y diciembre de 2015.

Enlace: http://www.documedia.com.ar/mujeres/

Mit diesem Titel liegt eine veröffentlichte Magisterarbeit vor, deren redaktioneller Beschreibungstext auf dem Buchrücken einen „Blick über den Tellerrand hinaus“ verspricht. Dieses Versprechen soll sich durch drei Leitaspekte einlösen, die den Einfluss von virtuellen Welten auf das menschliche Verhalten fokussieren, zweitens das Suchtpotenzial und die Isolation von der Außenwelt thematisieren und drittens die neuen sozialen Komponenten beleuchten, die durch die ‚Begehung’ virtueller Welten ermöglicht werden.

The interpretation that nowadays dominates analysis of the relationship between film, television and the Internet is the idea that the Network transforms the relationship between audiences and media by strengthening the capacity of action of the public through the development of a " participatory culture ". This thesis is mainly based on the idea that the Internet provides a new space for " interpretive communities ", mostly visible through the activities of fans' groups, which weaken the traditional boundaries between production and reception. I try to challenge this by pointing out that the idea of an agency of spectators could be interpreted, in a fruitful way, in terms of pragmatic discussion and conflict of interpretations, as opposed to the theory of "semiotic democracy " (where each community makes its own meaning for itself but doesn't share much with others), to provide a more dynamic view of the reception process, considering that the " public sphere " is not only at stake after the reading but during the making of the meaning. The public sphere determines how we " deliberate " with possible interpretations of a movie or a TV show, within ourselves and with other viewers. It allows us to understand that the Internet functions as a conflictual forum and not a juxtaposition of communities and separate meanings. A case study on the online discussion about a documentary on family planning, les bureaux de dieu, (God's Offices; Claire Simon, 2008) helped therefore to substitute the notion of " deliberative aggregates " to " interpretive communities " to show how Internet makes visible (and archivable) how this articulation between interpretation and public sphere may occur, thus enlarging the public sphere beyond possible predictable boundaries. I shall develop this point here in relation to the question of " inter-activity " when considering " interactive documentaries ". Are these interactive documentaries still " documentaries " ? How might these online platforms reveal the usual interactions between documentary materials and viewers, either off-line or online? What I shall argue here is that interactivity is not a way to balance the power between production and reception allowing the user to take control of the documentary, but rather an interesting way for the viewer to develop reflexivity, allowing him/her to become aware of its own deliberations and of the situation of a particular issue in a given social space.

Drawing on the self-concept activation and goal-priming account of the
priming effect, this study examined how self-concept—i.e., ideal self,
ought self, and actual self—can be harnessed as a model for avatar
customization in digital games to promote healthy-eating behavior.
Female participants (N = 133) customized an avatar in a digital
game to reflect either the ideal, ought, or actual self. Participants then
selected food items for their avatar within the digital game as well as
food items for themselves to eat afterward. Results suggest that for
participants using an ought-self avatar, the extent to which they were
conscious of their health was positively related to healthier food choice
both within and after playing the game. No such effect emerged for
participants who used an ideal- or actual-self avatar, indicating that
participants formed the goal of being healthy only with regard to the
ought self. This study demonstrates that avatar customization in a digital game can serve a regulatory function by representing individuals’ duties and responsibilities, thus, causing them to adopt such attributes manifested in their avatar during and after the game.

Despite the increasing availability of various forms of digital maps and guides, paper still prevails as the main information medium used by tourists during city visits. The authors describe how recent technologies for digitally augmented paper maps can be used to develop interactive paper maps that provide value-added services for tourists through digital overlays. An initial investigation into the use of these maps to support visitors to the Edinburgh festivals is also presented.

Téma:Analýza rozdílnosti divácké recepce filmového díla a umění
Abstract:
Nejen v diskurzech z oblastí: filmových věd a teorií pohyblivých obrazů, ale rovněž prakticky v každé otázce spjaté s el. médii, se až příliš často setkáváme s tendencí porovnávat média současná s těmi, jež jim předcházela.
Tato komparativní metoda a analýza médií dává vzniknout genealogiím a příběhům, které pro nás nadále utváří relativně pevný svazek zásadních vědeckých či uměleckých objevů a dějinných událostí ze světa médií.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

Bernard Perron, Professor für Film und Videospiele an der Universität Montreal, legt mit seinem neuesten Buch The World of Scary Video Games: A Study in Videoludic Horror einen äußerst umfangreichen Einblick in das Horror-Genre im digitalen Spiel vor und analysiert darüber hinaus  einige besonders populäre Exemplare. Das knapp 400 Seiten starke „compendium on videoludic horror“ (S.133) bezieht in Teilen auch frühere Werke Perrons mit ein (zum Beispiel Auszüge aus Ders.: Silent Hill: The Terror Engine. Ann Arbor: The University of Michigan Press, 2012 oder Ders.: „Le survival horror: un genre vidéoludique idéal pour une étude genrée“ In: Lignon, Fanny [Hg.]: Genre et jeux vidéo. Toulouse: Presses universitaires du Mirail, 2015, S.95-117) und ist strukturell in drei große Kapitel mit jeweils mehreren Unterkapiteln untergliedert, die sich detailliert mit den Aspekten des interaktiven Horrors, speziell der Kategorie des Survival Horrors befassen.

Audio-based mobile technology is opening up a range of new interactive possibilities. This paper brings some of those possibilities to light by offering a range of perspectives based in this area. It is not only the technical systems that are developing, but novel approaches to the design and understanding of audio-based mobile systems are evolving to offer new perspectives on interaction and design and support such systems to be applied in areas, such as the humanities.

There is no doubt that rapid technological change is sweeping the museum industry, just as it is transforming the world around us. The question is no longer will we embrace technology, but rather how we will do so.  Museum professionals on all fronts—exhibition developers and educators in particular—are struggling to define the space between engagement and alienation, that sweet spot where we can leverage technology to expand and enhance the museum-going experience without overwhelming (or underwhelming) users with new digital tools. Current research indicates that mobile platforms are quickly gaining in the marketplace as a primary access point for people to engage with the world around them (Brenner, 2013).  At the same time, research about how we are already designing, using, and abusing technology in our daily lives paints a sobering picture about some of the downsides and anti-social effects associated with many current practices in mobile design (Carr, 2011; Turkle, 2011). With the rush to digitize, we advocate pausing to take a breath to assess the mobile technology landscape. What are the pros and cons of the many tools, features, and functionalities already in use? What can we learn from other technology tipping points? Our paper will address these questions, drawing on real-world examples, and propose what embracing mobile engagement can mean for museums in the context of designing for meaningful interactions in learning and social engagement.

It is widely considered that technology gave birth and continues to play a vital role in film production around the globe. Technological advancements have shaped film language and the audience experience throughout history. With the emergence of interactivity and the proliferation of new digital media and technologies, new opportunities, discourses and challenges have arisen. In this context, this paper discusses that current classification approaches are not appropriate for capturing in a comprehensive manner the multidimensional aspects of interactive film history. It is proposed that a new classification system is needed in order to map the history of interactive filmmaking and cinema, alongside the development and affordances of the different interactive technologies in use, like the Hypertext Markup Language (HTML) and web technologies, 360o video, Virtual and Augmented Reality, and Artificial Intelligence (AI) among others. Other prominent characteristics and practices that are considered include the enablement of either single- and/or collective multi-interaction of the audience with the moving image; the role of complex algorithms and the type of data analysis performed; technologies that make direct use of the audience’s physiology and cognitive state, such as the Brain-Computer Interfaces (BCIs); as well as the gamification of the film viewing experience. Accordingly, a new approach to identifying a suitable systematic structure is outlined, as opposed to recycling the conventional methods of classification, chronological order and genre categorisation.

This article discusses issues of technology, interactive media and preschool education related to the areas of early language and literacy. From discussions with other researchers and practitioners, we suspect that the status, situations, and children’s reactions to technology reported on here apply widely across disciplines and curricular areas in early childhood. We focus first on current research related to the role of technology in preschool children’s early language and literacy instruction and then discuss what we believe is critically important to address by any preschool or other level of educational institution in order to redress serious shortcomings in the role of technology in the classroom education of today’s young children.

The indie game is a fairly new topic in the realm of academia and has contributed to the video game medium by resisting the profit and mass appeal approach of big budget video games. Through its independent creation, developers are able to create personal experiences for players that focus on creating a unique merger between visuals and interaction--the unique element that separates video games from any other artistic medium.
Indie games’ budget and software constraints push developers to find creative solutions in their artistic style, primarily using pixelated or hand drawn art styles in contrast to the photo realistic approach of big budget developers.
This research will explore the styles most relevant in the visuals of indie games, pixel and hand-drawn styles, conduct a case study through sampling different art style options based on the game Paper’s Please, conclude with quantitative and qualitative data of the two art styles, and whether minimalistic, stylistic, or realistic abstractions are more effective in particular scenarios and or different demographics.
The online survey received 752 respondents with results showing that players are least sympathetic towards a minimalistic pixelated image, and most sympathetic towards a realistic pixelated image. The ambiguity of pixelation, much like pointillism or a mosaic, creates a stronger sense of immersion between a player and the images presented through the interactive medium of indie games.

This document was written for a series of workshops with the intent that on reading and rereading this document it would be possible to understand the main issues surrounding the formulation of a workflow to address data output from digital cinematographic cameras.