The International Journal of the Image offers an annual award for newly published research or thinking that has been recognized to be outstanding by members of the The Image Research Network.
The term metaverse characterizes computer-supported media in which primarily image-based forms of virtual realities, augmented realities, and mixed realities can be communicated. Considering these three media forms, two peculiarities stand out. First, pictorial signs create an immersive experience that makes images largely obsolete as a classic form of visual communication. And second, the three media forms cause social constructions of pictorial realities to become increasingly elastic. The following considerations will show how communicated realities in images become more elastic in varying between fact, fake, and fiction, or between sign and matter. Societies construct their image-based knowledge, but this remains purposeful only when consensual corridors orient what is to be considered real, virtual, actual, and moral. Further, the often-misunderstood oppositions between real and virtual are taken up to argue that the virtual is real but not actual. The social construction of image-based knowledge creates a virtual reality in the metaverse. This virtual reality is collectively experienced as real, but in its materiality it is often said to lack actuality. In the last century, the screen still protected the viewer from contact with the physical world. In the twenty-first century, the viewer is supposed to feel immersively involved in order to intensify real contact with virtual matter and virtual energy. The paper explores the question: How elastic can image-based knowledge be to be action-oriented when the actuality of virtual realities is collectively determined?
At the end of the 1980s, I only suspected that the cultural significance of images would grow due to digitalization. But at the time, I failed to realize the potential that artificial intelligence would unfold. Indeed, in this early 21st century, artificial intelligence is driving forward the most powerful disruption in image-production techniques known in history.
AI functions as a medium that includes all previously known techniques of image production. While global society had already learned to cope with vast quantities of images, the future challenge for recipients will be adequately evaluating the elastic realities these images aim to communicate. Philosophers and sociologists have often claimed that the virtual is neither real nor effective in reality. But this view is inaccurate in the age of the metaverse and artificial intelligence.
At present, images are showing more and more virtual things that are part of the meaningful realities in the recipients' lifeworlds. In this way, postmodern societies practice symbolic worlds of meaning in which signs become real to a high degree of freedom independent of their material actuality. In the same way, the new power of generative AI lies in its images, which communicate the virtual in an extremely powerful way as political, cultural and scientific realities. It is irrelevant to the respective actors whether the virtual will ever achieve actuality as long as their images are experienced as real and effective in society. In the present day, images are showing more and more of the virtual in order to socialize a reality that functions without reference to any pre-existing material actuality.
I hadn't expected such elastic realities at the time, but it at least makes current images very creative and extremely imaginative. Perhaps the limited number of realities considered viable by Sir Karl Popper’s paradigm of critical rationalism were merely yesterday’s news. In any case, the future suggests that an expanding multiverse of images will become a real experience. Whether these images will then have anything to do with our physically tangible actuality is another psychological discourse.
—Andreas Schelske
Brian O'Neill, The International Journal of the Image, Volume 14, Issue 2, pp.81-97
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Dora Santos-Silva, The International Journal of the Image, Volume 13, Issue 1, pp.13-24
Instrumental Music as a Source of Mental Images: A Peircean Perspective
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Dilyana Mincheva, Niloofar Hooman, The International Journal of the Image, Volume 11, Issue 2, pp.19-32
Orientalist Stylometry: A Statistical Approach to the Analysis of Orientalist Cinema
Philippe Mather, The International Journal of the Image, Volume 10, Issue 3, pp.11-17
How Images Survive (in) Theatre: On the Lives of Images in Rabih Mroué’s The Pixelated Revolution and Three Posters
Jeroen Coppens, The International Journal of the Image, Volume 9, Issue 2, pp.55-71
Meme Wars: Visual Communication in Popular Transhumanism
Gudrun Frommherz, The International Journal of the Image, Volume 8, Issue 4, pp.1-19
Hashtag "Sunset": Smartphone Photography and the Punctum of Time
Tara McLennan, The International Journal of the Image, Volume 7, Issue 1, pp.33-43
Derrida, Benjamin and the Subjectile
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The (Everyday) Image as One of Many: What Happens in the Interstice?
Andrea Thoma, The International Journal of the Image, Volume 5, Issue 1, pp.1-10
The Affective Intensity of Images: Images as a Catalyst for Transformative Learning
Tara Michelle Winters, The International Journal of the Image, Volume 4, Issue 3, pp.1-11
“Travail de panneau”: The Effects of Early Film on Henri de Toulouse-Lautrec’s “Au cirque” Series
Kimberly Musial, The International Journal of the Image, Volume 3, Issue 2, pp.53-71
Help! There’s a Picture in My Novel!
Joris Vermassen, The International Journal of the Image, Volume 2, Issue 3, pp.195-204
Fear of Virtual Reality: Theoretical Case Study on Photography
Qianhui Bian and Kin Wai Michael Siu, The International Journal of the Image, Volume 1, Issue 1, pp.87-98