Abstract
This chapter describes the design and use of immersive media to evoke resonant, emotionally stirring experiences of sustainability. The analysis draws from phenomenological conceptions of presence to illustrate how virtual reality (VR) games and interactive installations create situations that allow users to experience sustainability (and unsustainability) in embodied, affective ways. Through the perspective provided by the resonant interactions such media evoke, sustainability is seen as felt embeddedness, a field of interrelated phenomena that need to be brought closer to users’ everyday life.
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Notes
- 1.
Video and transcript are available through C-Span’s website: https://www.c-span.org/video/?324568-2/us-senate-legislative-business&live=&start=6893 (last accessed Mar. 18, 2018).
- 2.
In the context of climate change, the “boiling frog syndrome” was made famous by Al Gore’s award-winning documentary, An Inconvenient Truth (2006). It is based on the now-discredited belief that if a frog is put into boiling water, it will immediately jump out to safety, while if it is put into tepid water that is increasingly brought to boil, it will remain in the pot until it dies.
- 3.
The Great Global Warming Swindle is the name of a documentary film that denies the reality of climate change. It was made by Martin Durkin in 2007.
- 4.
“I will suppose, then, that everything I see is spurious. I will believe that my memory tells me lies, and that none of the things that it reports ever happened. I have no senses. Body, shape, extension, movement and place are chimeras. So what remains true? Perhaps just the one fact that nothing is certain” (Descartes 2017, p. 20).
- 5.
George Lakoff’s work on embodied metaphors and their ideological use (Lakoff 2004; Lakoff and Johnson 1980/2003) stands out in this context. There is, however, a price to be paid for linguistic substitution. Whereas “global warming” may evoke more concern than “climate change” (Whitmarsh 2009), it is easier to challenge based on individual experiences of weather (as Inhofe’s antics demonstrate). This is perhaps why the former appears more often than the latter on websites run by conservative think tanks (Schuldt et al. 2011) and in Tweets originating from “red states” (Jang and Hart 2015).
- 6.
Bergson (2007) makes a similar observation: “it is impossible to travel back to an intuition one has not had” (p. 144).
- 7.
See Feenberg (2010).
- 8.
We can find an alternative classificatory system in Deleuze and Guattari’s (1994) differentiation of affects, percepts, and concepts. Roughly described, affects mark the passing of material into sensation, percepts the registration of affects as distinct events, and concepts the linguistic categories with which we interpret percepts.
- 9.
- 10.
- 11.
This is playfully illustrated in Rebecca Solnit’s (and colleagues) series of urban atlases.
- 12.
Edward Casey calls this “constitutive coingredience” (cited in Seamon 2015, p. 391).
- 13.
- 14.
For our purposes, the diegetic refers to all elements of the narrative world (see also Tanenbaum 2014).
- 15.
Importantly, presence plays a decisive role in Heidegger’s thinking not as a noun but as a verb, to presence or presenc-ing (Malpas 2006). In this mode, presence conjures the dynamic alternation of background-foreground relations (“concealment” and “disclosure”) that Harman (2007) identifies as the primary insight of Heidegger’s philosophy.
- 16.
Heidegger would later describe this ontological effect with the phrase, “The thing things world” (1971b, p. 181).
- 17.
See Heidegger (1971a).
- 18.
The Crystal Reef can be viewed on Youtube, albeit with mouse-based navigation instead of full VR: https://www.youtube.com/watch?v=G0N7WFl6lbE (last accessed Mar. 18, 2018).
- 19.
See https://lauren-knapp.com/portfolio/the-crystal-reef (last accessed Mar. 18, 2018).
- 20.
https://www.ubisoft.com/en-US/game/eagle-flight (last accessed Mar. 18, 2018).
- 21.
Naturally not all players feel the same. “Like so many other early virtual reality games, Eagle Flight feels less like a game and more like an experiment that was polished up and given a price tag,” writes Chad Sapieha in his review for the Financial Post (Sapieha 2016, Nov. 9). I found Brian Albert’s review for IGN to be both fair and accurate: “Eagle Flight surprised me with how quickly I felt at home flying and fighting with other birds above Paris. It features some of the best and most responsive and comfortable gameplay available on the PSVR, though like most current VR games its appeal may be short-lived if you’re not a completionist who’s crazy about collectibles or high scores. This is a weird idea, well executed, that soars high” (Albert 2016, Nov. 14).
- 22.
- 23.
Sensorama, prototyped by Morton Heilig in 1962, presented a hybrid form: neither full-bodied nor entirely based on a mounted headset, it looked like an arcade game that invited users to stick their head into a small pod while gripping bicycle-like handlebars (see Rheingold 1991, p. 50).
- 24.
For more on the physiological issues involved in VR motion sickness, see Patterson et al. (2006).
- 25.
https://www.treeofficial.com (last accessed Mar. 18, 2018). The film was created by Milica Zec and Winslow Porter, and produced in collaboration with Rainforest Alliance.
- 26.
See, for instance, Treehugger: Wawona, which, like Tree, was included in the 2017 edition of Tribeca Film Festival.
- 27.
http://www.sundance.org/projects/tree-79496ca6-8d2d-4913-b497-354e323318f3 (last accessed Mar. 18, 2018).
- 28.
Sheppard (2005) sees defensibility as a measure of the transparency by which a visualization can be traced back to its scientific or logical underpinnings.
- 29.
According to the principles of Greek drama, the mimetic shows while the diegetic tells.
- 30.
http://www.bettermarketstreetsf.org (last accessed Mar. 18, 2018).
- 31.
For more on the pipeline, see https://www.kindermorgan.com/business/canada/transmountain.aspx (last accessed Mar. 18, 2018). On the campaign, see https://dogwoodbc.ca/campaigns/no-tankers (last accessed Mar. 18, 2018).
- 32.
http://adriancrook.com/our-work/oculus-rift-oil-spill (last accessed Mar. 18, 2018).
- 33.
See http://nymag.com/nymag/letters/comments-2017-07-24 (last accessed Mar. 18, 2018).
- 34.
For recent examples, see The Enemy, a VR experience created by war photographer Karim Ben Khelifa (http://theenemyishere.org; last accessed Mar. 18, 2018), and the Academy Award-winning VR installation, Carne y Arena, by film director Alejandro González Iñárritu (http://carneyarenatlatelolco.com; last accessed Mar. 11, 2018).
- 35.
See, for instance , Merleau-Ponty’s (1962, p. 68) comment that in reality the phenomenal field and the transcendental field exist in mutuality.
- 36.
This is well illustrated by Jay’s (2005, ch.5) discussion of the way experience was used in 1950–1960s Britain by both conservatives and Marxist Humanists to legitimate and consolidate diametrically opposing political positions.
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Bendor, R. (2018). Experience. In: Interactive Media for Sustainability. Palgrave Studies in Media and Environmental Communication. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-70383-1_4
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