Phenosemiotic Temporality. The Temporal Synchronization with Interactive Media Systems
Recent temporal-philosophical approaches on interactive media systems imply an explicit accentuation of temporal processes that consolidate consciousness. These processes stabilize the content of perception and manifest a subjective experience.
In this perspective temporality has to be understand as a complex dynamization, which realizes an inter-systemic relation of protention (contents of anticipation), retention (reminding envisioning) and impression (current sensation) within the dynamic reception.
This trichotomous dynamics exemplifies two different variables of subjective processes of comprehension: the materiality of impression and the immateriality of cognition. The concrete now, the impression within the reception, is characterized by the materiality of media inputs, which contain different levels of materiality (sound, music, scripture, voice, language, static images, moving images, moved images, interactive media, simulations etc.), and the dynamic relation with protention and retention.
The more media inputs address the sensory system of the recipient, the better a cognitive resonance within the subjective experience. The different levels of media inputs induce different intensities of temporal volumes (time density), this means for example, that the materiality of a book is inducing a low level of temporal volume whereas an open world game like GTA5 or an interactive media system like Aireal (Disney Research) are inducing a high level of temporal volume within sensory inputs. The concept of temporal volume should be established to relate the concrete time density of media inputs with the perceptual time consciousness.
A specific approach for systematization will then be required to evaluate effectively the interdependency of medium, reception, and sensory and perceptual dynamics: The expedient goal is to analyze the relation of materiality of impression and immateriality of cognition. The body-mind-dynamic of perception can be specified by a phenosemiotic classification, which enhances the semiotic sign relation that is traditionally based on representamen (rep), object (o) and interpretand/mind (i). The phenosemiotic sign system enriches this traditional semiotic sign relation and integrates the aspects of immersion and presence of interactive media (speed = sp, range = ra, mapping = ma, breath = b, depth = d) within the sensory (s) and perceptual (p) system. The resulting phenosemiotic sign relation (ps) exemplifies how different media systems can generate the different temporal volumes to affect the complexity of perception: ps = r1 [rep Λ o = int (r2 (sp, ra, ma)) Λ i (r2 (s, p)) = v (r2 (b, d))]. The explanation of the materially and immaterially dimensions of phenosemiotics, including the different sub-levels, is the main focus oft he talk.
Lars Christian Grabbe (Germany), PhD, finished in 2011 his doctoral thesis at the Technical University Chemnitz (Germany) about “Georg Simmels Objektwelt. Verstehensmodelle zwischen Geschichtsphilosophie und Ästhetik”. Since 2010 he is lecturer for „theory and history of symbolic forms“ at the institute for art, design and media study (IKDM) at the Muthesius Academy of Fine Arts and Design in Kiel, Germany. From October 2011 to March 2012 substitute professor (representative of Prof. Dr. Norbert M. Schmitz) at the faculty for aesthetics at the Muthesius Academy of Fine Arts and Design in Kiel, Germany. From April 2013 to February 2014 administration board and consultant for public relation of the research group moving image science Kiel (Germany). In March 2014 new position at the faculty for design at the University of Applied Sciences Münster as a senior lecturer for media theory and communication. Since September 2014 substitute professor for theory of perception, media and communication at the faculty for design of the University of Applied Sciences Münster (Germany). He is managing editor of the Yearbook of Moving Image Studies (YoMIS) and the book series „Bewegtbilder“ of the publishing house Büchner-Verlag, founder member of the Image Science Colloquium at the Christian-Albrechts-University in Kiel (Germany) as well as the Research Group Moving Image Science in Kiel (Germany), member of the DFG funded network »Bildphilosophie« and scientific advisor and extended board member of the Society for Interdisciplinary Image Science (Gesellschaft für interdisziplinäre Bildwissenschaft e.V.). Member of the Network: Media Anthropology, the Plattform for Immersive Media, the International Society for Intermedial Studies and the European Society for Aesthetics. Research focus lies in phenosemiotics, media theory and media philosophy, image science, perception studies and psychology of perception, communication theory, aesthetics, semiotics, film studies and history of media as well as theory of embodiment and cognition. He is co-editor of Multimodale Bilder. Zur synkretistischen Struktur des Filmischen (2013, with Patrick Rupert-Kruse and Norbert M. Schmitz), Auf dem Sprung zum bewegten Bild. Narration, Serie und (proto-)filmische Apparate (2014, with Dimitri Liebsch and Patrick Rupert-Kruse), Bild und Interface. Zur sinnlichen Wahrnehmung digitaler Visualität (2015, with Patrick Rupert-Kruse and Norbert M. Schmitz).