Hypermapping Conflict: War, Art and Immersive Aesthetics

IF 0.1 0 ART
Andrew Yip
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引用次数: 0

Abstract

Immersive environments—broadly defined as multisensory installations designed to elicit embodied and sensory responses from their inhabitants—are commonly employed in the industries of war. Their taxonomy covers a diverse range of physical and digital spatialities, from the construction of 1:1 scale ‘Potemkin villages’ on the home front for urban combat training, to the design of elaborate schemas of camouflage and deception in conflict zones, to systemic mixed reality simulators that blend vehicular hardware, tactical scenarios modelled in digital engines, and real-time, command-level data. Since the advent in the 1990s of supercomputers, bodily control interfaces and graphics processing units (GPUs) capable of a threshold level of representational reality, Western militaries in particular have made extensive use of immersive, full-body simulators and head-mounted displays in both the training of military personnel and the development of human – machine interfaces. These have traditionally been seen as low-risk and inexpensive supplements to field exercises, with which learnt knowledge can be applied to real-world scenarios in controlled environments designed to mimic operational conditions. These immersive training programs result in the development of habituated and embodied memory in participants—forms of memory that are not only encoded through physical engagement but can be replicated in subsequent behaviour. As Seimeng Lai and Scott Sharpe argue in their study of tank combat simulators, ‘the military is not only able to bring about bodily or perceptual habits, but to produce the very disposition and tendencies of the soldier. Soldiers not only change what they do but change what they become’. In this example, the transformational ‘becoming’ experienced by the soldiers is contingent on their sense-making within an alternate reality. It showcases precisely the form in which immersive aesthetics were originally conceived through the paradigm of computer science engineering, which defined their mechanics through two co-dependent parameters: immersion and presence. Immersion can be gauged by the technological capability of hardware and software platforms to produce compelling visual, aural and biomechanical stimuli that mimic human
超映射冲突:战争、艺术和沉浸式美学
沉浸式环境——广义上定义为多感官装置,旨在引发居民的具体和感官反应——通常用于战争行业。他们的分类涵盖了各种各样的物理和数字空间,从在城市作战训练的前线建造1:1比例的“波将金村庄”,到在冲突地区设计精心设计的伪装和欺骗方案,再到系统混合现实模拟器,该模拟器融合了车辆硬件、数字引擎建模的战术场景和实时,命令级数据。自20世纪90年代超级计算机、身体控制接口和图形处理单元(GPU)出现以来,特别是西方军队在军事人员培训和人机界面开发中广泛使用了沉浸式全身模拟器和头戴式显示器。传统上,这些演习被视为对实地演习的低风险和廉价补充,通过这些演习,学习到的知识可以应用于模拟作战条件的受控环境中的真实场景。这些身临其境的训练计划导致参与者形成习惯性和具体化的记忆——这种记忆形式不仅通过身体参与来编码,而且可以在随后的行为中复制。正如赖(Seimeng Lai)和斯科特·夏普(Scott Sharpe)在研究坦克作战模拟器时所说,“军队不仅能够养成身体或感知习惯,而且能够产生士兵的性格和倾向。士兵不仅改变了他们所做的,而且改变了他们成为什么样的人。在这个例子中,士兵所经历的转型“成为”取决于他们在另一个现实中的感知能力。它恰恰展示了沉浸式美学最初是通过计算机科学工程的范式来构思的,计算机科学工程通过两个相互依赖的参数来定义其力学:沉浸和存在。沉浸感可以通过硬件和软件平台的技术能力来衡量,以产生模仿人类的引人注目的视觉、听觉和生物力学刺激
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0.20
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