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- Cyberpunk 2.0: fiction and contemporaryPublication . Elias, HerlanderI first published this book in 1999, a few months before the The Matrix motion picture was released. This was my first book, and there’s no other like our first one. So in the past decade I have been updating this Cyberpunk 2.0: Fiction And Contemporary. And instead of seeing it turning obsolete I witnessed it become very real, present and obvious. This Second edition of Cyberpunk 2.0: Fiction And Contemporary is about the “reloading matrix” of media, how videoclip culture globalized itself, and also how new media and online fashions crossed each other’s paths. Science-Fiction aesthetics are preceding, as well as they’re contemporary and beyond any image of the future we might have. Where or when we’re heading now, there’s an Asian megalopolis skyline awaiting for our visit. In such places, much of the cyberpunk fiction is real, the icons of cybernetic world are among us, and high-tech gear is just part of the set of everyday life. Some new trends came up like banding dance culture, online gaming, mobile Web, anime graphic cultures, culture jamming, and many others as Tetsoo’s motion-design. The fact is that hypermodern digital shockwaves are still on the loose. As a matter of fact, the future is what we make of it.
- First Person Shooter: the subjective cyberspacePublication . Elias, HerlanderTwo decades ago videogames were just moving sprites flashing on arcade games’ screens. A decade later videogames became a common household appliance and families began playing with these electronic games. As the personal computer developed, the Internet came up. Gaming consoles turned out to be pretty much desired and affordable. Nowadays, multimedia language evolved and the mobile age of the Internet is upon us. There’s only one videogame genre enabling a new form of interaction. It’s the First Person Shooter, a videogame genre that has surpassed cyberspace visionaries’ theories and it is acclaimed worldwide due to its online gaming capabilities. The future begins here, as the FPS becomes an interface model for new media products to come. No longer is enough to see things from the outside, the user-player wants to get inside cyberspace, to become the character. In this way we prefer playing to be “there”, on the virtual ground, left to fate. Either we’re armed or outgunned, outnumbered or betrayed, but in the end, as most of the researches point out: in FPS videogames, players actually become much more space-oriented and fit for survival. The Subjective Cyberspace provided by the FPS is our new media ground, and it will inevitably surpass the borders of gaming.
- Néon Digital: um discurso sobre os ciberespaçosPublication . Elias, HerlanderNuma civilização da imagem digital podemos reter o carácter publicitário das novidades. A onda digital atravessa discursos, mecanismos, instituições e promove-se como que um reclamo luminoso e incandescente. O néon digital é o que contemplamos na actualidade, momento este em que nada fica de fora dos ciberespaços e tudo por lá promete passar. Dos videojogos à Inteligência Artificial, da Realidade Virtual ao Homem-Máquina, do Ciberespaço Acústico à Fotografia Digital o néon adverte que o digital veio mesmo para "ficar". A grande questão não é "se entendemos o que a comunicação electrónica nos apresenta", mas sim, "se antes de mais reparamos que a comunicação digital já faz parte da nossa vida". Todas as inovações nos parecem normais por estarmos dentro dos media, directa ou indirectamente. O que fica do remoinho da técnica voraz e da cultura profunda é a promoção eléctrica na era da cibercultura supersónica.
- The Anime Galaxy: japanese animation as new mediaPublication . Elias, HerlanderThe ubiquitous nature of digital technology has had globalization and contents sharing promoted by common interest as an aftermath. Nowadays, it seems hard to think about the Internet without a global world, being the “computer” itself by now synonymous of “Web”. However, such was not the case during the last two decades. Within this background, both graphic cultures and cybercultures have been sharing synergies. The World Wide Web has become a centre for sharing, participation, usage and consumption of contents related to their users’ preferences. The same occurs in comics – formerly less available – and in Japanese animation films, both having been wirecast on the Web and, as a result, spread to new audiences. Besides, the current technological frame provides new features that keep changing the production, as well as the consumption of artworks – especially those of animation – as a major part of consumers that possess cell phones, computers and Web access knows at least some videogames and improves their software technical skills. On a popular level, culture turns out to be a constant innovative environment. Japan is the country that exports anime, an unquestionable industrial might. Across new media, such as portable media platforms, videogames, digital films or the commercials available on-line, the audience participates and consumes Japanese culture. Animation artworks bring consumers to know their predecessor: the comic, which remains a blooming medium. From advertising to videoclips, throughout new digital formats, the audience comes across new forms of narrative presentation that balance between the literary and the cinematic types. One detects a pattern emerging from a set of themes in both the anime image and the videogame, being the latter a format designed for extending animation and being symbiotic with the special effects moving picture. Spaces introduced in such images are always in transformation, much like Japan has been over the last century and half. After pre-modernity, feudalism and Japan’s participation in World War Two, its main signature is still “technology”. ‘The Anime Galaxy’ is the explained portrait of animation regarded as a new medium of communication; a radiography of a global image which seems to be fast, beautiful, sinister and uncanny – all of which being the outcome of a proficient culture industry established by people who believe in robots that, in future reality, are to prevail as the logical extension for a smart computer. Due to this reason, playing robots in a fantasized manner is a mere preparation for the upcoming “robotopia”.
- Comunicação estratégicaPublication . Gonçalves, Gisela; Elias, HerlanderAs novas tecnologias de comunicação digital, em especial, desde a emergência da Web 2.0, tornaram-se um canal de comunicação extremamente importante na construção de relações entre as organizações e os públicos, tanto ao nível das relações públicas como do branding. Neste artigo, dividido em duas partes principais, procura-se em primeiro lugar refletir sobre a importância de as organizações deixarem de utilizar os novos media como mais um mero canal de promoção unidirecional, mas antes como um veículo incontornável de promoção de diálogo e envolvimento. Comunicação dialógica, interatividade, engagement e “paracrise” são alguns dos conceitos-chave que subjazem a esta reflexão e que permitem enfatizar a importância crescente de saber gerir as relações on-line entre as organizações e os públicos. Na segunda parte do artigo, procedemos a um outro tipo de análise, relacionada com Branding e marcas, onde a plataforma de estudo são os programas, as “Aplicações” (conhecidas como “Apps”), em voga nos smartphones Apple iPhone 5 e computadores tablete Apple iPad 4. O ponto de interesse nestas aplicações reside no facto de serem lúdicas e o conteúdo ser relacionado com marcas conhecidas.