Search Results (32)

Arthur Conan Doyle’s most famous creation, Sherlock Holmes, is a determined rationalist, yet Doyle was himself a convert to spiritualism. Doyle’s interest in spiritualism informs four, somewhat neglected Gothic tales written during the last decades of the century: “The Winning Shot” (1883); “John Barrington Cowles” (1884); the short novel The Parasite (1894); and “Playing with Fire” (1900). These narratives are notable not only because they respond to the contemporary fascination with spiritualism, but because, in doing so, they explore (sometimes explode) the gendered assumptions of a heteronormative and patriarchal society, which carried over into the close, if erroneous, association of women with the powers of mediumship and mesmerism. Doyle complicates this binary: in his own stories, he presents women as victims of spiritualist power as well as manipulators of it. And while his fictional women do sometimes use that power for their own, self-serving ends, they also use it as a means of taking control back in a male-dominated world. While fascinating in itself, I argue, Doyle’s creation of a Gothicized spiritualism reflects a nuanced engagement with the gendered politics of his historical moment, as the “New Woman” sought to assert herself over the domestic ideology of the day. Full article

Fascination with the unknown has always characterized humanity. This includes creation of mythical creatures that are believed to exist even though fully unproven. Fabricating monsters began to peak in early modern Europe. Sixteenth-century monsters were among the earliest documented, often with printed leaflets that displayed such creatures. This monster tradition began to flourish, both in scientific and popular form including human, animal and hybrid monsters. One of the most famous products of the time was the Monster of Ravenna, inspired by a malformed human birth in 1512, Italy. Due to a lack of understanding of teratology, animal and, indeed, even human birth defects were mischaracterized and used as tools to support the validity of monsters for political agendas. Animals have been an ongoing part of these and other mythical conceptualizations, sometimes of the divine, sometimes of the demonic. This article considers appearance of human- and animal-based fictional monsters in early modern Europe with some later repercussions. Full article

This article discusses how in De principatibus Machiavelli defines the status of the treatise main character (the Prince) through the intersection of three levels: (a) history (as a character born from the symbolic fusion of traits and characteristics of historical personalities who actually existed); (b) politics (as a character who is the sign of an abstract political function); and (c) literary invention (as a fictional character constructed according to the rhetorical and logical strategies of literary invention). This case study shows how rhetoric, historiography, oratory, and political analysis are mixed together in a coherent organism, thanks to the creation of a character (the Prince) who constantly oscillates between historical–political reality and literary fiction. The analysis, both theoretical and historical, of the status of the protagonist of De principatibus is accompanied by the study of the critical readings of Francesco De Sanctis, Antonio Gramsci, and Luigi Russo, whose reception is strongly conditioned by the ambiguous nature of the character of the Prince, both in terms of critical categories and argumentative strategies. Full article

Domain adaptation of pre-trained language models remains challenging, especially for specialized text collections that include distinct vocabularies and unique semantic structures. Existing contrastive learning methods frequently rely on generic masking techniques and coarse-grained similarity measures, which limit their ability to capture fine-grained, domain-specific linguistic nuances. This paper proposes an enhanced domain adaptation framework by integrating weighted contrastive learning guided by large language model (LLM) feedback and a novel topic-aware masking strategy. Specifically, topic modeling is utilized to systematically identify semantically crucial domain-specific terms, enabling the creation of meaningful contrastive pairs through three targeted masking strategies: single-keyword, multiple-keyword, and partial-keyword masking. Each masked sentence undergoes LLM-guided reconstruction, accompanied by graduated similarity assessments that serve as continuous, fine-grained supervision signals. Experiments conducted on an early 20th-century science fiction corpus demonstrate that the proposed approach consistently outperforms existing baselines, such as SimCSE and DiffCSE, across multiple linguistic probing tasks within the newly introduced SF-ProbeEval benchmark. Furthermore, the proposed method achieves these performance improvements with significantly reduced computational requirements, highlighting its practical applicability for efficient and interpretable adaptation of language models to specialized domains. Full article

The release of ChatGPT and similar applications in 2022 prompted wide-ranging discussions concerning the impact of AI technologies on writing, creativity, and authorship. This article explores the question of artificial writing, taking into consideration both critical theories and creative experiments. In the first section, I review current scholarly discussions about authorship in the age of generative AI. In the second and third sections, I turn to experiments in literary co-creation that combine the affordances of technology with the human art of prompting and editing or curating. My argument has three prongs: (1) experiments that frame artificial writing as literature (memoir, poetry, autobiography, fiction) are accompanied by enlarged paratexts, which merit more attention than they have hitherto received; (2) paratexts provide salient clues on the process of co-creation, the reconfiguration of authorship, and the production of value; and (3) in the folds of paratextual explanations, one can detect the profile of the author as clever prompter, navigating a new terrain by relying at times on the certainties of conventional authorship. My analyses show that while AI-generated literature is a novel phenomenon worthy of closer scrutiny, the novelty tends to be cloaked in a familiar garb. Full article

As first-hand testimonies and accounts of the Holocaust fade, scholars and artists alike have struggled to depict and contextualize the genocide’s monumental violence. But depicting violence and its aftermath poses several problems, including the question of how to recall loss without artificially filling in or effacing the absence so central to its understanding. In essence, remembering the Holocaust is a paradox: the preservation of an absence. Marianne Hirsch’s influential concept of postmemory addresses this paradox and asks questions about memorial capacity in the twenty-first century. This essay considers Hirsch’s postmemory in the context of W.G. Sebald’s 2001 novel Austerlitz, which uses a combination of prose and photography to engage the difficulties inherent in memory work without access to eyewitnesses. Through the interaction of printed text and images, Austerlitz subtly references Lurianic mysticism’s concept of tikkun and Tree of Life (ilanot) diagrams. The result is a depiction of memory that is both process-based and embodies absence. My reading of Austerlitz traces a Jewish heritage within the work of a non-Jewish German author by attending to a tradition of mystical thought embedded in the novel. This situates Sebald’s fiction in a much longer Jewish history that stretches out on either end of the event of the Holocaust. Structurally, Sebald develops a tikkun-like process of (re)creation which relies on gathering material scraps of the past and imaginatively engaging with their absences in the present. Images, just as much as text, are central to this process. Reading Austerlitz in the context of Kabbalah reveals an intellectual and artistic link to a Jewish history that, while predating the Holocaust, nonetheless sheds light on post-Holocaust memories of loss. Full article

Virtual reality interaction design and story co-creation design for multiple users is an interdisciplinary research field that merges human–computer interaction, creative design, and virtual reality technologies. Story co-creation design enables multiple users to collectively generate and share narratives, allowing them to contribute to the storyline, modify plot trajectories, and craft characters, thereby facilitating a dynamic storytelling experience. Through advanced virtual reality interaction design, collaboration and social engagement can be further enriched to encourage active participation. This study investigates the facilitation of narrative creation and enhancement of storytelling skills in virtual reality by leveraging existing research on story co-creation design and virtual reality technology. Subsequently, we developed and evaluated the virtual reality card-based collaborative storytelling platform Co-Relay. By analyzing interaction data and user feedback obtained from user testing and experimental trials, we observed substantial enhancements in user engagement, immersion, creativity, and fulfillment of emotional and social needs compared to a conventional web-based storytelling platform. The primary contribution of this study lies in demonstrating how the incorporation of story co-creation can elevate storytelling proficiency, plot development, and social interaction within the virtual reality environment. Our novel methodology offers a fresh outlook on the design of collaborative narrative creation in virtual reality, particularly by integrating participatory multi-user storytelling platforms that blur the traditional boundaries between creators and audiences, as well as between fiction and reality. Full article

This paper explores the evolving relationship between Digital Twins (DT) and the Metaverse, two foundational yet often conflated digital paradigms in digital architecture. While DTs function as mirrored models of real-world systems—integrating IoT, BIM, and real-time analytics to support decision-making—Metaverses are typically fictional, immersive, multi-user environments shaped by social, cultural, and speculative narratives. Through several research projects, the team investigate the divergence between DTs and Metaverses through the lens of their purpose, data structure, immersion, and interactivity, while highlighting areas of convergence driven by emerging technologies in Artificial Intelligence (AI) and Extended Reality (XR).This study aims to investigate the convergence of DTs and the Metaverse in digital architecture, examining how emerging technologies—such as AI, XR, and Large Language Models (LLMs)—are blurring their traditional boundaries. By analyzing their divergent purposes, data structures, and interactivity modes, as well as hybrid applications (e.g., data-integrated virtual environments and AI-driven collaboration), this study seeks to define the opportunities and challenges of this integration for architectural design, decision-making, and immersive user experiences. Our research spans multiple projects utilizing XR and AI to develop DT and the Metaverse. The team assess the capabilities of AI in DT environments, such as reality capture and smart building management. Concurrently, the team evaluates metaverse platforms for online collaboration and architectural education, focusing on features facilitating multi-user engagement. The paper presents evaluations of various virtual environment development pipelines, comparing traditional BIM+IoT workflows with novel approaches such as Gaussian Splatting and generative AI for content creation. The team further explores the integration of Large Language Models (LLMs) in both domains, such as virtual agents or LLM-powered Non-Player-Controlled Characters (NPC), enabling autonomous interaction and enhancing user engagement within spatial environments. Finally, the paper argues that DTs and Metaverse’s once-distinct boundaries are becoming increasingly porous. Hybrid digital spaces—such as virtual buildings with data-integrated twins and immersive, social metaverses—demonstrate this convergence. As digital environments mature, architects are uniquely positioned to shape these dual-purpose ecosystems, leveraging AI, XR, and spatial computing to fuse data-driven models with immersive and user-centered experiences. Full article

Kaijū media frequently features dangerous scientific experiments as a central theme, invented by scientists who are falsely convinced that they both completely understand and control their advanced technology. In the past few decades, this has included the introduction of high-energy physics (HEP) experiments—especially mammoth particle accelerators—that, among other destructive results, allow for the entrance of equally large and dangerous creatures into our world from parallel dimensions. Public concerns voiced about the safety of the creation of two groundbreaking energy accelerators—the Relativistic Heavy Ion Collider (RHIC) in New York and the Large Hadron Collider (LHC) in Europe—in the early 21st century are tied to related science fiction media that capitalize on such fears (including Godzilla vs. Megaguirus [2000], Pacific Rim [2013], The Cloverfield Paradox [2018], The Kaiju Preservation Society [2022]). Particular attention is paid to the Netflix original series Stranger Things (2016–) as a detailed case study. This study concludes with an analysis of scientists’ attempts to embrace the popularity of Stranger Things in their communication with the general public, and suggests that ongoing issues with conspiracy theories have been fueled in part by such attempts, coupled with long-standing issues with the HEP community and their peculiar scientific naming conventions. Full article

The article analyzes the mythological concept of Slavic paganism developed by Alexander Afanas’ev in his three-volume study Poetic Views of the Slavs on Nature: An Attempt at a Comparative Study of Slavic Traditions and Beliefs in Connection with the Mythical Tales of Other Related Peoples (1865–1869). In this book, Afanas’ev established numerous parallels between the pagan myths of the Slavs and other Indo-European peoples and reconstructed mythological images of the world tree, the tree of life, and the world egg. He also reconstructed myths about the sacred marriage between heaven and earth; the creation of the world from the body of the first man and the creation of man from the natural elements; the dying and resurrected god of vegetation and fertility; and the duel between the god of thunderstorms and his earthly adversary; as well as dualistic myths about the struggle between the forces of light and the forces of darkness and about the creation of the earth. Afanas’ev also explored enduring metaphorical pairs such as death–dream, battle–wedding feast, thunderstorm–battle, and so on. Depending on the readers’ points of view, they can appreciate the book as a grandiose compendium of folklore and historical-ethnographic materials; as a scholarly work devoted to Slavic mythology; as a symbolarium of folk culture; and as a beautiful fairy tale about the pagan past. Although Afanas’ev’s book has all the attributes of a scholarly publication, it can also be read as a work of fiction in which the author does not so much analyze mythology as he tries to present the point of view of a primitive poet–artist. Full article

Authors create fictional characters; that is a “creationist locution”. Artefactualism takes such statements very seriously and holds that fictional characters are abstract artefacts, i.e., entities that are both created and abstract. Anti-creationists, by contrast, deny that we need to postulate such doubtful entities to explain creationist locutions. In this paper, I present this debate in the form of a paradox, which organises the many existing theories of creationist locutions in a single logical space. This new way of framing the problem displays the crucial role of so-called “linking principles”. In general, it seems that fictionality entails nonexistence, while creation entails existence. This is why “fictional creatures” are puzzling. I further argue that to create means to invent and to realise, and finally, that fictional characters are invented but not created, contra artefactualism. I thus advocate for a new kind of anti-creationism about fictional characters. Full article

This article delves into the creation a fictional city solely for the development of Japanese American internment camps and the way in which sustainable arts and crafts played a significant role in ensuring survival in such a hostile environment. To this aim, we searched the literature and reviewed archives, primarily from the American West Coast. We demonstrate that beyond adaptation to the circumstances, the visual representation of the new city’s settlement, founding, and daily activities, instead of adding to the typical panoptic or sombre prison imagery, remains inscribed in the images selected by the inmates, and that the use of such images precisely fostered the inmates’ resiliency. This leads us to deduce that such ’city fiction’ was necessary in this case for survival and endurance, and that its artistic representation was primarily incorporated into the State’s ideological apparatus. On the other hand, occasional fissures subtly seethed with the violence exerted in the camps. In this way, we conclude that the artistic activity itself justified the city fiction, among other situations, revealing the conditions of systemic violence and oppression faced by the internees. Within this framework, we deem that the artworks hereby generated constitute a paramount historical document for resiliency’s sake. The arguments contained herein are still relevant, because everywhere around the world, situations of exclusion and confinement of displaced immigrants, or simply those considered misfits, are repeated time and time again. Nor have we alleviated the issue in any way today, since we disregard the lessons learned from the past. Full article

The primary aim of this paper is to provide a plausible fictional creationist explanation of when and how a fictional object comes into existence without a successful creative intention, focusing on the problem posed by Stuart Brock’s nominalist author scenario. I first present some intuitions about parallel scenarios for fictional objects and concrete artifacts as data to be explained. Then I provide a sufficient condition for the existence of artifacts that can explain both cases. An important upshot of this is that there is an overlooked way to bring artifacts into existence that should merit serious consideration, and this leads to a version of the mind-dependence, but not the intention-dependence, view of artifacts. Full article

Suppose that fictional objects are abstract objects dependent for their existence and their identity on the creative intentions of their authors. Is an author who intends to create indeterminately identical fictional objects committed to incoherent created objects? My claim is that she is not so committed. I argue that indeterminate identity is an ambiguous notion, allowing for an incoherent interpretation and for at least three coherent ones; and I show that if an author of fiction applies coherent indeterminate identity when creating fictional objects, she succeeds in creating coherent objects, whereas she fails to create fictional objects when she tries to apply incoherent indeterminate identity in her creation. In so doing, I offer a reply to a challenge first raised by Everett against realist philosophers on fictional objects and more recently reproposed by Friedell, allowing for the creation of fictional objects along the lines proposed by Evnine. Full article

This paper analyses a transmedia universe featuring a web series revolving around interpersonal relations and gender issues, which was then expanded using a musical podcast and a live concert. The project aims to discover production and narrative development strategies that define a native transmedia production, and how it might be expanded to build stories around complex and multidimensional contemporary themes. An analysis model is proposed to identify the fundamental structural characteristics of the transmedia universe. The research is initially powered by a qualitative approach to ethnographic fieldwork by means of participant observation, and subsequently, the analysis of the interrelationship between the elements that make up the transmedia system. The results show the planning behind constructing transmedia storytelling that intertwines fiction and reality to assist in understanding complex and multidimensional topics such as gender identity or intergenerational relations. The conclusions show that the type of transmedia construction being presented and the position of the audio in that universe is motivated by reinforcing the creation of content that is covered in fiction, but with particular relevance in the real world. Full article