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By Kenny K. N. Chow (auth.)

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As computing technology mobilizes spontaneous motor–sensory feedback loops between media consumers and the artifacts in digitally mediated environments, an account of bodily experience of animated phenomena incorporating motor action would be desirable. The study of image interpretation How a visual image makes meaning poses a challenge to many thinkers and researchers in the field of semiotics. Semiotics, also called semiology, is the general science of signs (Barthes, 1973a, p. 9; Gombrich, 2002, Preface) with an emphasis on the process of signification, which means how one thing ‘stands for’ something else (Eco, 1976, p.

17). To the fooled duck, the perceived image needs to match with its mental image for it to mistake the decoy for a real duck (Mitchell, 1986, p. 90). Whether a perceptual image is interpreted as a decoy or a real duck depends on the viewer. Another film theorist as well as perceptual psychologist, Rudolf Arnheim, also demonstrated insights suggesting a close relationship between cognition and perception. As Arnheim puts it, ‘the cognitive operations called thinking are not the privilege of mental processes above and beyond perception but the essential ingredients of perception itself’ (Arnheim, 1969, p.

The purity and non-specificity of the word make it perfect for matching the nature of the animated phenomena I have been describing. Hence, technological liveliness primarily refers to the kind of interactive dynamic experience of animated phenomena enabled by computing and related technologies. On a secondary level, technological liveliness also refers to the theoretical and design perspectives I intend to argue in this book. As introduced earlier, the pursuit of an illusion of life has existed across different cultures throughout history.

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