Embodiment, Interface and Haptics: Image Interaction of Audio-Visual Art in New Media Environment
The pre-cinematic environment and early cinema, as a context of media origin, revealed a harbinger of haptic interaction under the tide of visual modernity, and this thread is characterized in modern cinema as the interactive relationship between humans and technology. The “singular” interaction between characters and media objects such as screens, images, and technological tools reveals a “Body-Interface” Symbiosis, which points to the embodied relationship between the human body and technological objects. In the new media environment, various prototypical interactive schemas are returning and extending in the image interaction of digital cinema, online audio-visual content, electronic games, and virtual reality. The embodied relationships once presented in films are gradually becoming our daily lifestyle; we feel the restless pleasure through haptic operations, and body postures also participate in the process of image interaction in audio-visual art.
[1] Che, Z. X. (2021). Film, game, metaverse: The media genealogy of interactive interfaces. Contemporary Cinema, (12), 27-32.
[2] Clark, A., & Erickson, M. (2004). Natural-born cyborgs: Minds, technologies, and the future of human intelligence. Canadian Journal of Sociology, 29(3), 471.
[3] Friedberg, A. (1994). Window shopping: Cinema and the postmodern. University of California Press.
[4] Hong, T. (2020). Television: The cultural mirror of postmodern society. Cultural Studies, (4), 275-287.
[5] Ihde, D. (2002). Bodies in technologies. University of Minnesota Press.
[6] Jiang, Y. H. (2019). Interaction, interface, and temporality: How can film and game "converge"?. Film Art, (6), 85-91.
[7] Jeong, S. (2013). Cinematic interfaces: Film theory after new media. Routledge.
[8] Heim, M. (2000). From interface to cyberspace: The metaphysics of virtual reality (W. L. Jin & G. Liu, Trans.). Shanghai Scientific and Technological Education Publishing House. (Original work published 1993)
[9] Ihde, D. (2012). Technology and the lifeworld: From garden to earth (L. Q. Han, Trans.). Peking University Press. (Original work published 1990)
[10] Liu, H. L., & Shu, K. R. (2019). Embodiment and the concept of the body in communication studies: From the perspective of phenomenological perception and cognitive science. Journal of Lanzhou University (Social Sciences), 47(2), 80-89.
[11] Liu, L. J. (2013). The double variation of phenomenal body and body-subject: A critique of Merleau-Ponty's early body theory. Journal of Central South University (Social Sciences), 19(3), 176-180.
[12] Marks, L. U. (2000). The skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
[13] Qi, L. (2015). Interface revolution. Cultural Studies, (2), 181-198.
[14] Strauven, W. (2013). The observer's dilemma: To touch or not to touch. In E. Huhtamo & J. Parikka (Eds.), Media archaeology: Approaches, applications, and implications (H. J. Tang, Trans., pp. 148-160). Fudan University Press. (Original work published 2011)
[15] Xu, Y. P. (2020). The operationalization of moving images: An archaeology of touchscreen video streaming devices and their gestural phenomena. Chinese Journal of Journalism & Communication, 42(6), 55-75.
[16] Yan, F. F. (2020). "Haptic visuality": A theoretical path to re-understand cinema. Theory and Criticism of Literature and Art, (3), 113-120.
[17] Zhang, G. H. (2018). Digital kung fu: A phenomenology of gesture in fighting games. Chinese Journal of Journalism & Communication, 40(5), 27-39.