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religion-is-a-mental-illness · 1 month ago

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By: Colin Wright

Published: Mar 28, 2025

Some readers may know that I often post ridiculous, ideology-driven academic papers and dissertations on X (formerly Twitter). It’s become a bit of a hobby—calling out how certain fields have drifted into performative activism disguised as serious scholarship. Some of the worst examples turn into full-blown posts here on Reality’s Last Stand, where I break down not just what’s wrong with them, but why everyone should care. However, there’s one academic trend that I repeatedly encounter but rarely highlight, perhaps because it’s become so common it fades into the background: the “reflexivity” or “positionality” statement.

I recently posted an especially absurd example on X, where the authors felt the need to let readers and potential reviewers know that they were all “cis-gender menstruating individuals who identify as intersectional feminists,” among other things.

Although these statements are most commonly found in the usual “woke” or “grievance studies” disciplines—fields that openly reject traditional scientific norms and standards—they are now creeping into mainstream, even top-tier, science journals. What started as a practice mostly limited to qualitative research in the social sciences has now spread much more widely. Take this example from a paper published in Nature Ecology & Evolution:

We should all certainly hope that the authors have been “educated in a predominantly Euro–American cultural context and scientific tradition,” given that the paper is published in a Europe-based science journal!

So what’s going on here? What exactly is a positionality statement, and why are researchers including them?

In short, a positionality (or reflexivity) statement is a formal acknowledgment by researchers of their own social identities—such as race, gender, class, sexuality, or other “lived experiences”—that may have shaped their perspective on the research topic. Think of it like a conflict-of-interest (COI) disclosure, except instead of revealing financial ties that might compromise a researcher’s objectivity, the author is confessing their social location and ideological commitments.

Supporters of this practice claim it promotes transparency. They say it’s just being honest: all people have biases, so why not acknowledge them up front? But the reasoning gets much more ideological than that. Their view isn’t just that people are shaped by their environment—which is obviously true—but that all knowledge is socially situated. This belief comes from a branch of feminist and postmodern philosophy known as “standpoint epistemology.” According to this view, people from marginalized groups enjoy a kind of “epistemic privilege”: because of their lived experiences, they are thought to have special access to certain truths, especially about oppression and injustice. However, this epistemic privilege has been extended to scientific truths as well. The fatal flaws in this philosophy will be made clear later on.

On the surface, positionality statements seem noble—who could be against reflection and transparency? But when you start looking at it more closely, many serious issues begin to surface.

The most thorough critique of positionality statements I’ve seen comes from a paper titled “Positionality and Its Problems: Questioning the Value of Reflexivity Statements in Research” by Jukka Savolainen, Patrick J. Casey, Justin P. McBrayer, and Patricia Nayna Schwerdtle, published in Perspectives on Psychological Science. In it, the authors lay out three major objections to the practice, each of which should give serious pause to anyone who believes science should be guided by evidence and logic instead of ideology.

Positionality Statements Are Fundamentally Flawed

The first objection is philosophical: positionality statements are inherently self-defeating. They attempt to disclose how a researcher’s identity may shape their perspective on a topic, but the very epistemology that justifies positionality statements—standpoint theory—also undermines the credibility of any such self-disclosure.

As Savolainen et al. point out, reflexivity statements are “constrained by the very positionality they seek to express.” The idea here is almost paradoxical: if your identity shapes and distorts your view of the world—including your ability to reflect on yourself—then your positionality statement is just as distorted as your research. “Like a scale that tries to weigh itself,” they write, “constructing a credible positionality statement is ultimately an impossible task.” If you genuinely believe that your social location biases everything you do, then the positionality statement you construct to describe that bias is already infected by the same problem.

Advocates of positionality statements might respond: Sure, nobody is perfectly objective, but researchers can still identify some facts about themselves—like race, sex, class, or gender identity—that provide readers with useful context. The authors acknowledge this objection. Yes, it is “quite easy for scholars to accurately report their biological sex, their gender identity, nationality, race/ethnicity, and many other personal characteristics.” These are, to some extent, knowable and reportable.

But as the authors rightfully highlight, those things are often the least relevant to the scientific content of a study: “We take issue with the assumption that these kinds of attributes—the listing of which dominates positionality statements—are particularly salient for any given study.” Just because a researcher is white or black, rich or poor, or “cis” or “trans,” doesn’t automatically mean those characteristics shaped the research process or interpretation in any meaningful way. And if they did, simply reporting them does not magically make that bias evaporate.

To drive the point home, the authors analyze a published positionality statement (below) by Elliott and Reid (2019), where two white women reflect on the “dangers” of writing about low-income black Americans.

The authors of this statement claim to be guided by “anti-racist, intersectional, and feminist principles” as a way of signaling their political virtue and awareness. But as Savolainen and his colleagues point out, why focus only on those traits? Why not mention other potentially relevant parts of their identity, like their religion, education, or personality? As the authors ask, “Why did the authors reflect on the ‘dangers’ of racial and class dynamics but seemed unbothered by their strongly expressed political commitments?”

Their point is that these statements often highlight only the identity traits that are currently popular or politically favored, while ignoring others that might matter just as much. This selective framing undermines the supposedly honest and reflective nature of the exercise, turning it into a performance, perhaps often crafted to align with disciplinary norms or to curry favor with reviewers and editors.

This leads to a tough but fair question: “Should the research community trust the authors themselves to decide which aspects of their lives need to be disclosed to people who read their research contributions? We think the answer is ‘no.’”

And this isn’t just a problem with one paper—it’s a problem with the entire practice. Positionality statements claim to reduce bias, but in reality they often just amplify the author’s subjectivity under the illusion of self-awareness.

The authors sum it up:

Our point is to illustrate the challenges involved in crafting a positionality statement of any kind. These kinds of statements are unpersuasive because academic scholars cannot have it both ways. They cannot, on the one hand, claim to be burdened by their biography when conducting the research, yet, on the other hand, be emancipated from it while constructing a positionality statement. Fortunately, as we demonstrate next, this inescapable dilemma is not something that needs to be solved.

Positionality Statements Misdiagnose the Source of Scientific Bias

The second problem is that positionality statements focus on the wrong kind of bias. Bias in science does not primarily originate from individual characteristics—your race, gender, politics, or upbringing—but from a failure of the process by which knowledge is created, tested, and refined. Scientific bias is not reduced or eliminated by announcing your identity; it is reduced by rigorous methodology, peer review, replication, and being open to criticism.

As Savolainen and colleagues put it, “Positionality statements are beside the point: By focusing on the characteristics of participating scholars, these kinds of declarations miss the true sources of research bias—the field’s collective failure to adhere to the scientific ethos.” Science doesn’t work because scientists are unbiased—they aren’t. It works because the system is designed to push everyone’s ideas through a rigorous, competitive process that filters out error over time.

Ironically, by putting the spotlight on personal identity instead of scientific methods, positionality statements may actually increase bias. Instead of focusing on methods, data quality, and replicability, we are asked to judge research in part based on the author’s race, gender, or ideological alignment. That’s not objectivity—it’s just replacing one kind of bias with another.

Positionality Statements Undermine the Norms That Protect Science

Finally, and perhaps most dangerously, positionality statements erode the very norms that make science trustworthy in the first place—especially the principle of universalism. This is the idea that scientific claims should be judged by the strength of the evidence, not by who is making the claim. What matters is the quality of your data and reasoning, not your identity.

But when journals start asking (or requiring) researchers to include positionality statements, they flip that principle on its head. Instead of suppressing identity cues through double-blind peer review, we now ask authors to foreground them. That opens the door to identity-based favoritism, virtue signaling, and even manipulation. Authors may exaggerate or fabricate aspects of their biography if they believe it will help them get published. And let’s be honest: positionality statements are only encouraged in one direction. Progressive researchers are encouraged to share their “marginalized” identities or activist goals. No one is asking conservative, religious, or apolitical scholars to declare their “lived experiences” or ideological frameworks—unless to apologize for them.

As Savolainen and co-authors put it, positionality statements have become “a way for authors to signal their adherence to the ideological mainstream of a discipline.” It’s less about being transparent and more about proving you’re on the “right side.” Often, these statements read like a shield: “We are good and right-thinking researchers—please don’t peer-review us too hard.”

This gets to a deeper and more cynical interpretation of the trend. As I’ve often pointed out, there’s a growing body of academic work that looks more like propaganda in the language of scholarship. Positionality statements are part of that performance. Yes, it's true that personal identity and politics can influence research. But the idea that simply declaring your bias somehow cancels it out is ridiculous. In practice, it often does the opposite—it gives researchers permission to lean even harder into their bias while pretending to have neutralized it.

We all have biases—that's just part of being human. But science wasn’t created to embrace our personal views; it was built to help us control for them. The purpose of peer review, replication, and methodological rigor is not to validate personal perspectives but to test them against reality.

If we want a more inclusive, robust, and representative science, we should be pushing for better methods, open data, and viewpoint diversity—not more identity-based posturing. As Savolainen and colleagues argue, “the most productive path to increasing representation and reducing positional bias in research is to protect the freedom of scholarly inputs while insisting on methodological transparency and rigor.”

Science doesn’t need more confessionals. It needs more rigor.

This is the endorsement of the Genetic Fallacy as a moral imperative.

Xians tell me that I'm disqualified from criticizing Xianity because I'm not a Xian. Muslims tell me that what I have to say about the quran is irrelevant.

Except, neither of those things are true.

If you're giving "positionality statements," you're not doing science.

#Colin Wright #genetic fallacy #intersectionality #positionality #positionality statement #science #academic corruption #propaganda #bias #scientific bias #religion is a mental illness

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ai-fandom-researchstudy · 3 months ago

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Hi, I came across the post about this study, and I was wondering if there were any results available. I would be interested. Maybe you could add a line to your pinned post about where or when to look for it? In any case, was an interesting experience, and thank you for your work on this topic!

hi!!!!! Haven’t logged into this account in a while, I just saw this. The results aren’t available yet; the first write ups have been tied up in the peer review process for a while, so i’m not sure when they’ll be published, and the full dissertation will be available later in 2025 (hopefully in May, but that depends on the job market, so it might potentially be later this year). But I’m hopeful that an article or two will get published prior to that! Will definitely update when the results are published.

(academia moves pretty slowly, and I've got a lot of data, so it's been a long process of working with it all and putting it into bite size article chunks (and then braving the publication process...))

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readingsby-valentina · 7 months ago

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Harry's time of birth is my Da Vinci Code, I say this jokingly but not so jokingly lol. I know this has been a topic that jumps on here from time to time and sometimes I myself have made suggestions. I try to use both tropical and sidereal astrology/nakshatras to try and pinpoint what fits best and I think I'm close. I am convinced this man is not a libra rising, it does not fit him at all. I do think he may be taurus rising like you've predicted, but sidereal taurus and tropical Gemini rising. Here's my PHD dissertation lol:

Instead of 12:06 am that all major Astrology sites have https://www.astrotheme.com/astrology/Harry_Styles , what if it was 12:06 pm instead? That would make him a:

Tropical Zodiac (WHOLE SIGN HOUSES): Aquarius Sun (2nd Decan - Ruled by Gemini / Mercury) Libra Moon (2nd Decan - Ruled by Aquarius / Uranus) Gemini Rising - (2nd Decan - Ruled by Libra / Venus) Pisces Mercury - (1st Decan, Ruled by Pisces / Neptune) Aquarius Venus - (2nd Decan, Ruled by Gemini / Mercury) Aquarius Mars - (2nd Decan, Ruled by Gemini / Mercury) Aquarius Midheaven (1st Decan - Ruled by Aquarius / Uranus)

Notables - If we use 12:06pm birth time, his Aquarius sun, venus, mc, and mars would sit in the 9th house, his Libra moon would sit in the 5th house, and his pisces mercury sit in the 10th house. I won't go into further details beyond that just to not write too much, there are many resources that talk about the relationships of each planet with each house).

Transits (Tropical / Whole Sign): if we use 12:06pm birth time, that will mean he is going through a 7H profection year, and his 7H is ruled by Jupiter / Sagittarius. Jupiter has been transiting through his 1H since May 2024, and will stay there until June 2025. He possibly broke up with Taylor in May 2024, when Jupiter began it's journey into Gemini. Prior to being in his 1h, Jupiter was moving through his 12h from May 2023 for about a year. He possibly began his relationship with Taylor around June 2023. This isn't to try and make any conclusions against Taylor, it's to highlight the possibility that this relationship/connection was important for Harry to acknowledge his subconscious shadows, if he was running from them before. Shadows could be personal insecurities, jealousy, fears, anxieties, etc. This doesn't make this a meaningless relationship, quite the contrary! I think it was a very meaningful one for him, one that helped him enter a transitional phase in his life where he can apply his newfound metaphysical wisdom towards his outwardly projections.

Transit Jupiter in Gemini has also been making a conjunct aspect to his Ascendant during this period (until March 2025). Additionally, Transit Saturn in Pisces has been making a square aspect to his Ascendant from April 2024 through January 2025. This is possibly a very crucial time for him to make his plannings into the next era of your career, possibly?

Cue this photo: https://i.kym-cdn.com/entries/icons/original/000/022/524/pepe_silvia_meme_banner.jpg

His 2024 summer was no vacation, and the rest of 2024 does not look that way for him either, but hard work reaps great rewards! Lets see what is produced out of this era from him. Change was imminent and it is inevitable, hopefully he is riding the waves with ease.

Now onto Sidereal….

Sidereal Zodiac/ Nakshatras:

Notables - I copied / pasted notes about the padas of each sign shown below as a generalization. Like the previous notes, I won't go into further details beyond that just to not write too much lol I don't want to bore y'all.

Capricorn / Shravana Sun (pada 3): The third pada is ruled by Mercury (Budha). Those born in the third pada will be very good with languages, communication, and mathematics. They will be good at writing poetry or articles. They are very social people and will like to work in groups. They will be very good listeners and hence, can find them to be good friends or counsellors. (Sun = Ego)

Virgo / Chitra Moon (pada 1): The first pada is ruled by Sun (Ravi). Those born in the first pada will be natural leaders, will have great inner power and physically attractive. You will have good self-control. You will be authoritative, straightforward and dictating. (Moon - Inner World / Emotions)

Taurus / Rohini Ascendant (pada 4): The fourth pada is ruled by Moon (Chandra). Those born in the fourth pada will be intelligent, sensitive, romantic, and emotional people. They will respect teachers and elders. They will be very competitive. They like to maintain their body attractive. They will be over-ambitious in the process they will thin their abilities a lot. They will have attractive body, long nose, and attractive/watery eyes. (Ascendant = Projections / Outward Expressions).

Capricorn / Shravana Venus (pada 4): The fourth pada is ruled by Moon (Chandra). Those born in the fourth pada will be very sympathetic, kind-hearted, and emotional people. They will be good teachers and guide others easily. They are the ones who take part in community activities like cooking, nursing, etc. They can become addicted to vices easily, causing obstacles in life because of these things in spite of being wealthy.

Capricorn / Uttara Ashadha Mars (pada 4): The fourth pada is ruled by Jupiter (Guru). Those born in the fourth pada will be good preachers and healers. They will be people’s person and will be surrounded by people. They will be spiritually inclined people. They will participate in volunteering activities.

Now let's note the generalized physical characteristics of each Nakshatra in his "Big 5" Some of this might contradict others, obviously it's not an exact science.

Shravana - attractive eyes. They will have short stature. They may have a prominent mole or mark on the face. They will have a lean body. (Not sure about the short stature, I guess it's all about perspective. a 6ft man to me is not tall, but a 6ft 2 man is. Stature can also mean status / reputation.)

Chitra - Male will be lean and will have a commanding presence.

Rohini - expressive eyes, full lips, hips chest are a notable feature, overall beautiful physique. They will have a seductive voice and emotional speech. They will have mostly feminine features and a seductive gait. They are very romantic people and express their feelings mostly with their tone and gestures. They have seductive eyes and can charm the opposite sex easily.

Uttara Ashadha - well-proportioned body with a tall figure. They will have long face, bright eyes, and long nose. They will have mostly fair to pinkish complexion.

Claire Nakti is a lil controversal but her videos are fun to watch, here are some links of each Nakshatra:

Shravana - https://www.youtube.com/watch?v=l6FWxCG46ZA

Chitra - https://www.youtube.com/watch?v=GK80ryEDp5c

Rohini - https://www.youtube.com/watch?v=DhyAx-eifZ8&themeRefresh=1

Uttara Ashadha (Couldn't find a video on just the nakshatra, but here's a video on Sun-Dominant Men such as Uttara Ashada) - https://www.youtube.com/watch?v=WAFSC38uLuo&list=PLMkuwr0afTPh_gk_No5rMVE9fvd3FxOI4

Anyways that's enough for now, I definitely think he falls in this Gemini/Taurus area for his ascendant, and this may not be accurate, but it's fun to play around with the time and find with jigsaw pieces fit Harry's puzzling birth chart lol. Hopefully this wasn't overwhelming!

OH MY GOD! I love you sososoosososo much for sending this in! I literally am OBSESSED with how much time and effort you put into this!

I’d love to hear more of your thoughts based on all of this! Plus what placements you’d think he’d pair well with!

You’re AMAZING!

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thesokovianaccords · 3 months ago

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10 Books for 2025

I was tagged by the lovely @lavellenchanted - you're so right, the hardest part is only picking ten (from a truly horrifying number of TBRs good god)

The Stardust Grail by Yuma Kitasei is number one on my "next to read" list - as soon as I get the ebook from the library (shout out Libby my beloved). Sci-fi, heists, and the ethics of archaeology in the cosmos - it's like all of my favourite things at once.

Glorious Exploits by Ferdia Lennon is number two on my "next to read" list - Ancient Greece? Theatre? War and art? Yes please more please!

Blood in the Machine by Brian Merchant has been on my list for ages - and this is the year I'll finally read it. I'm all about resistance to Big Tech and understanding the lessons that can be learned from previous movements - including a much-needed reexamination of the Luddites.

The Story of Art Without Men by Katy Hessel is part of my deep dive into art history that I started last year - how many women artists do you know off the top of your head? I'm ashamed to say not many - and thrilled to change that!

You Didn't Hear This from Me by Kelsey McKinney is a release I'm super excited for this year. Gossip is such a complex and often gendered topic, and I'm excited to hear her take on it - plus Normal Gossip is such a good podcast.

The City We Became by NK Jemisin has been on my list for AGES and I found a copy at Powells last Christmas. This is one that I'm so excited to read - fantasy grounded in our world is p much the only fantasy I'll regularly read.

Infinite Archive by Mur Lafferty is the third in a wildly creative and engrossing sci-fi mystery series - I devoured the first two last year and cannot wait for this one to come out this year.

The Ministry of Time by Kaliane Bradley has been recced to me a few times, and for good reason - described in the blurb as "a time travel romance, a spy thriller, and a workplace comedy" which sounds so like my sort of thing it's almost embarrassing.

New Dark Age by James Bridle is one that I've come across recently, but I'm obsessed with the reality that despite how much information we have readily accessible, there's so much we don't know and that is hidden from us. When I wrote my dissertation, I was horrified to realise how little I or most people understood about the systems that run our entire world. Like...do you know how the Internet works? I didn't until I was 27, and even then it's a basic understanding. But we'll be lost without it. Horrifying.

A People's History of Computing in the United States by Joy Lisi Rankin is another recent add - from the same list actually. But I'm really trying to dive deep into how we understand computing and technology - I saw an amazing exhibit at the Tate last month about art and technology before the Internet, and I'm trying to lean into the non-Silicon Valley history of computing and communication. This reminds me of another book I read during my master's called Broad Band, which was about the women we don't always hear about who built the Internet. Excited to deconstruct Web 2.0 further this year!

Tagging @doctorhelena, @roboticonography, @steggyisimmortal, @elektranhatcios, @hemnalini, and anyone else who sees this and wants to talk about your top 10 reads for 2025 - I want to hear your ideas!

#I'm really going through a sci-fi moment right now damn #that and a techno-anarchist moment haha surprising no one #but this is a lot of sci fi even for me #the last year has really been art and sci fi and that's like all I've read #and I dont think that'll change I guess #thank you Sarah for the tag! this was fun :D

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pedrocomicreviews · 1 month ago

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Lightning Round Reviews #2

I read a lot of comics every week but don't have it in me to write a small dissertation about each one, so here's some thoughts about a few books! This time it's Amazing Spider-Man, Daredevil, The Incredible Hulk, Thunderbolts Doomstrike, Superman, Justice League Unlimited, and X-Manhunt Omega jesus lord that's a lot of comics. This is the big post for the week of March 26 2025.

The Amazing Spider-Man #70

Overall, 8 Deaths had two jobs: being a fun Spider-Man story post-Paul, and being a One World Under Doom tie-in. It did both of those well enough, and I’ll probably read the new ongoing when Kelly takes over. I did think it’s a little off-brand that Doom made objectively the right choice by getting Peter to do this, since so much of One World Under Doom’s tie-ins are about showing the cracks in his armor. But as they end, you kinda start feeling like the stories only really work if he was at least kinda right, or if he had a reasonable enough plan to make the world a better place by doing bad things first.

Overall a good time, even if I don’t like the current cast in Spider-Man aside from Bailey. Kelly’s still got it, the art was decent most of the time, and although it was a magic and mystic arts story with Spider-Man in it, I’m kinda glad it was also just a solid Spider-Man book.

Daredevil #19

This was really silly and I can’t believe this story lasted 19 issues. I really don’t have much to say aside from no one acts right in it and it asks me to care about things that just don’t feel right. That “choice” Ahmed had Matt make just doesn’t register and I don’t think it’s just me being cynical. I don’t know what the point of this was but it didn’t really do it for me.

Incredible Hulk #23

I feel like this book has meandered too much and it really needs that Imperial shake-up that has been announced. Maybe it was already supposed to have ended or maybe it’s stretching to get to the crossover, but it kinda… it’s kinda the same thing every issue, and this many issues in I’m kinda not interested anymore. It’s still well written and has great art, but nothing’s happening. It’s just kinda grotesque for the sake of aesthetics and then the characters do the same thing they’ve been doing for two years.

That shot of Hulk squeezing a demon out of Charlie’s skin like toothpaste was wild though. And you’re telling me Red Label books ever had a chance.

Thunderbolts Doomstrike #2

What’s even the point of liberating Austin, Texas from Doom. It’s not like Austin is isolated on a map, like… what about San Antonio? Can you just see the line where Austin ends now? Because the rest of the places have electricity? And schools? Hospitals even?

Like, look, I understand I’m supposed to be rooting for Bucky here, it’s just… yeah, no, he’s doing this for himself. Shelbyville was destroyed by Doom, yes, but he retaliated after Bucky lost a fight he started. The “stop hitting yourself” feel to this whole situation is impossible to wade through. Even the story says so, but it’s the villains saying it, so it’s supposed to be wrong. I don’t know, am I losing my fucking mind here? Is this just not that well pulled off?

It’s also just another book where the Hivemind adds a “Wild West” aesthetic to characters, and in my experience I just don’t like those. Guardians of the Galaxy did the same, if I recall.

Anyway, the Thunderbolts are being destroyed one by one so they look like the movie version in a few months, this is what this tie-in is actually about. Oh well, I really liked the Revolution era.

Superman #24

Event Leviathan was months ago?! Be so for real right now, that was half a decade ago. I guess they mean Shadow War…? What the hell was Shadow War, even? Does anyone want to remember?

I’m sorry, the issue has some interesting points to it– Superman dealing with whether or not he should actually help the world with technology and advancing humanity or just keep punching people is always topical, but, god, holy shit, the timescale is so fucked.

But yeah, this is just the beginning of a reset to the status quo for these characters for when Slott takes over. The cool things I liked about the setting are being put back to where they were and characters have to regress or simply act out of line for it to happen. Rip Supercorp and Rip jacket era, you were too fun for this world, you rocked too hard, you swagged too different.

Justice League Unlimited #5

The mystery box opens revealing an okay twist aided by astounding art, maybe some of the best in Dan Mora and Bonvillain’s lives. Genuinely worth reading just for that.

The rest of the comic continues to not really have main characters, arcs or anything more than a plot that’s going into a crossover. I hope the second story we tell in Unlimited focuses on less characters, because these issues are really the same issue over and over again. Beautiful, though, for real.

X-Manhunt Omega

Let it never be said I’m not fair: the end of this has settled the differences the mutants have with each other, and despite the quality of the event itself, it has ended in a way that I believe will take this franchise to a better place than it is at now. It was also a fun little homage to the beginning of the Krakoa era, and ends more or less how I expected that era to end.Whether or not it’s worth a read will vary per person but hey, goofy ahh storytelling decisions aside, I am now once again looking forward to seeing some of these characters, which wasn’t the case last week.

#pedro's weekly comics reviews #lightning round reviews #dc comics #marvel comics #amazing spider-man #daredevil comics #thunderbolts #x-manhunt omega #x-manhunt #justice league unlimited #superman comics #incredible hulk comics

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educarecentre · 4 months ago

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A research proposal is a critical document that outlines what you will investigate, why it matters, and how you will carry out the research. Whether you’re a student preparing for a thesis, a researcher seeking funding, or an academic planning a project, crafting a compelling research proposal is essential. This guide provides detailed insights, along with examples and templates to make the process smoother. To get started with a template, visit this link.

Structure of a Research Proposal

The exact format of a research proposal can vary across disciplines, but most include the following key components:

Title Page

Introduction

Literature Review

Research Design

Reference List

These elements collectively serve as a blueprint for your research plan, ensuring clarity, direction, and feasibility.

Purpose of a Research Proposal

A research proposal has several functions, including:

Demonstrating the relevance and originality of your research.

Highlighting your familiarity with existing studies.

Presenting a well-structured methodology.

Establishing the feasibility of your project.

As a student, you may need to write a proposal for graduate school applications or before starting your thesis or dissertation. For researchers, proposals often serve as pitches for funding or institutional approval.

Goals of a Research Proposal

1. Relevance

Convince your audience that your project is interesting, original, and significant. Highlight how your work contributes to the field.

2. Context

Showcase your understanding of the field’s current state. This includes referencing existing research, theories, and gaps your work will address.

3. Approach

Detail your methodology, tools, and procedures. Demonstrate thorough planning for data collection and analysis.

4. Achievability

Prove that your project can be completed within the given timeline and resources.

Pro Tip: Use resources like Meet2Share for templates that help structure your proposal effectively.

Components of a Research Proposal

1. Title Page

Include the following details:

Project title

Your name

Supervisor’s name

Institution and department

For longer proposals, add a table of contents and an abstract for easier navigation.

2. Introduction

This section introduces your topic and explains why it matters. Include:

Necessary background and context.

Problem statement and research questions.

The potential audience for your research (e.g., scientists, policymakers).

What gaps in knowledge your work will address.

The unique contributions of your research.

3. Literature Review

Demonstrate your grasp of the field by summarizing key theories, methods, and debates. Use this section to:

Compare and contrast existing research.

Identify gaps your research will fill.

Explain how your work builds on or challenges previous studies.

4. Research Design and Methods

Outline how you plan to achieve your objectives. This section includes:

Research Type:

Qualitative, quantitative, or mixed methods?

Original data collection or secondary analysis?

Population and Sample:

Who/what will you study? (e.g., New York high school students, newspaper archives).

Sampling method: probability or non-probability?

Data Collection Methods:

Surveys, interviews, experiments, etc.

Justify why these methods are suitable.

Practicalities:

Timeline and access to participants or data sources.

Address potential challenges and solutions.

5. Contribution to Knowledge

Emphasize the broader impact of your research:

Enhancing best practices.

Informing policy decisions.

Advancing theoretical frameworks.

Laying groundwork for future studies.

6. Reference List

Include all sources cited in your proposal. Use tools like citation generators to maintain accuracy and consistency.

Additional Sections

Research Schedule

Provide a timeline for each phase of your project. For instance:PhaseObjectivesDeadlineBackground ResearchRead literature, refine questions, framework20th JanuaryDesign PlanningDraft tools, finalize methods13th FebruaryData CollectionRecruit participants, conduct interviews24th MarchAnalysisAnalyze data, draft results22nd AprilWritingComplete and revise drafts17th JuneSubmissionProofread and submit28th July

Budget

If seeking funding, include a detailed budget covering:

Travel costs.

Material requirements.

Personnel (e.g., research assistants).

Templates and Examples

Starting with a clear template can streamline your process. Download a research proposal template from Meet2Share to jumpstart your project.

Example Research Proposals

Title: A Conceptual Framework for Scheduling Constraint Management.

Title: Medical Students as Mediators of Change in Tobacco Use.

Tips for Success

Use tools like Scribbr’s paraphrasing tool for clarity.

Check institutional guidelines for specific requirements.

Seek feedback from peers or supervisors before final submission.

For additional insights into research methodologies and statistical concepts, visit Meet2Share’s library of resources and tools. Find like minded students and discuss on how to effectively write a research proposal.

Crafting a research proposal may seem daunting, but with the right structure and resources, you’re well-equipped to present a strong case for your research endeavor.

#academic research #academic essay #academic writing #dissertation writing #education

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krmangalam121 · 5 hours ago

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M.A. Education: Course Details, Eligibility Criteria and Syllabus

M.A. Education is a 2-year undergraduate programme designed for those students who wish to acquire sound knowledge in the field of educational theory, pedagogy and research. Subsequently, by pursuing this course from K.R. Mangalam University, which is the best university in Delhi NCR for M.A. in Education you will have access to a variety of advantages which will be discussed further.

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For numerous reasons, K.R. Mangalam University stands out as a premium institution for the M.A. Education programme. Have a look at some of them:

Detailed Curriculum: Students get to study basic to complex modules relevance to different teaching styles and methods.

Expert Faculty: By joining KRMU, you will get the spectacular opportunity to learn from skilled professionals with significant expertise.

Multiple Discussions: To ensure that concepts are simple and easy-to-understood, faculty conducts various types of workshops and school visits.

Placement Assistance: We exhibit strong partnerships with various schools and non-profit organisations to provide internship and placement opportunities.

M.A. in Education Course Details

The M.A. in Education is a full-time postgraduate programme with a duration of 2 years, designed for individuals aiming to deepen their understanding of educational theory and practice. To be eligible, candidates must hold a bachelor's degree in the respective subject or a relevant discipline from a recognised university with a minimum of 50% aggregate marks. The programme focuses on advanced pedagogical concepts, educational research, curriculum development, and policy studies. It is ideal for those looking to pursue careers in teaching, educational administration, curriculum design, or academic research. The annual fee for the programme is ₹1,10,000 (as of 7th May 2025).

M.A. in Education Admission 2025

Keeping the student’s requirements in mind, KRMU has generally implemented a streamlined admission procedure for M.A. Education. Here’s how you can apply:

Open the KRMU’s official website and fill up the application form.

Pay for the application fee.

Appear for the KREE entrance test and personal interview.

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Enrol for M.A. Education at KRMU

M.A. in Education Syllabus

The subjects in the M.A. Education course syllabus taught at K.R. Mangalam University are quite vast. Here’s a general overview of the type of topics you will encounter while studying this programme.

Year 1

Semester 1:

Philosophical Foundations of Education–I

Sociological Foundations of Education–I

History and Contemporary Issues of Education in India–I

Psychological Foundations of Education–I

Methodology of Educational Research & Educational Statistics–I

Field Work–I

Value Added Course

Semester 2:

Philosophical Foundations of Education–II

Sociological Foundations of Education–II

History and Contemporary Issues of Education in India–II

Psychological Foundations of Education–II

Methodology of Educational Research & Educational Statistics–II

Field Work–II

Year 2

Semester 3:

Curriculum Studies–I

Inclusive Education

Teacher Education

Dissertation–I (Research Proposal/Synopsis)

Arts and Creative Expression

Optional I (Choose one):

Guidance and Counseling in Education–I

Health and Yoga Education–I

Economics of Education–I

Education for Values, Peace and Human Rights–I

Educational Measurement and Evaluation–I

Early Childhood Care and Education–I

Semester 4:

Curriculum Studies–II

Dissertation–II (Research Report) and Viva Voce

Field Work–III

Optional II

Conclusion

Choosing the right university to pursue an M.A. Education programme is the most essential step for establishing a promising career. At K.R. Mangalam University, we ensure to engage our students in a positive learning environment where they learn about diversified educational practices to bring significant change in the education system.

Frequently Asked Questions

What is the career scope after M.A. Education?

Multiple career opportunities like Educational Administrator, Educational Consultant, and Learning and Development Specialist are available after this programme.

What are the benefits of an M.A. Education course?

Your teaching skills will improve and you will possess a wide range of soft skills like effective communication, team management, leadership etc.

Can anyone pursue an M.A. Education?

Graduates from any stream can pursue an M.A. in Education programme at KRMU.

Is M.Ed. and M.A. Education the same?

No, both the courses are far different from each other. The former focuses on practical skills whereas the latter one focuses on research practices.

#M.A. in Education course Details #M.A. in Education Admission 2025

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linguistlist-blog · 13 days ago

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TOC: Sign Language & Linguistics Vol. 28, No. 1 (2025)

2025. iii, 182 pp. Table of Contents Articles The interaction of syntax, non-manuals, and prosodic cues as potential topic markers in Austrian Sign Language Julia Krebs, Ronnie B. Wilbur, Dietmar Roehm & Evie A. Malaia | pp. 1–48 The indefinite-interrogative affinity in Catalan Sign Language (LSC) Raquel Veiga Busto, Marco Degano & Floris Roelofsen | pp. 49–103 Structure of simple declarative clauses in South African Sign Language Ella Wehrmeyer | pp. 104–139 Dissertation a http://dlvr.it/TKL9DL

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sasindi-mga2025mi6021 · 22 days ago

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Dissertation Draft 02

Fusion of Art and Technology: The Evolution of South Asia’s First Immersive and Interactive Digital Art Space at Colombo Lotus Tower.

By Sasindi Rathnapala

A Dissertation

Submitted to Northumbria University

In Partial Fulfillment of the Requirements

For the Degree of Motion Graphics and Animation

May 2025

Abstract

Pixel Bloom is South Asia's very first immersive and interactive installation of digital art located in Colombo Lotus Tower. What sets this premise apart is how it combines art with technology in order to deliver unforgettable and really cool cultural experiences. Developed by a diverse team, the installation employs techniques such as projection mapping, motion sensors, and augmented reality to reimagine traditional Sri Lankan cultural symbols. It offers visitors an interactive experience that blends together history and the new, and also is great for teaching stuff through STEAM. Audience engagement is fostered through visually captivating narratives and interactive displays that inspire creativity and learning. Pixel Bloom is really pioneering stuff and it’s completely revamping digital art and really shining a new light on Colombo as a vibrant cultural hub.

Content

Introduction

Introduction to Combination Art and Immersive Experience

Introduction to Pixel Bloom

Research Objectives

Methodology

The Concept of Immersive and Interactive Art

Theoretical Framework

The Global Influence

The Vision Behind Pixel Bloom

Fusion of Art and Technology: The Experience at the Digital Art Space

Artistic Collaborations

Interactive Experiences

Representation of Sri Lankan Culture

The Impact of Pixel Bloom

The Economic

Analysis

Observational Analysis

Visitor Experience Surveys

Visitor Feedback

Academic Literature

Conclusion

Referencers

Introduction

Introduction to Combination of Art Immersive Experiences

As the evolution of the art industry has taken shapes that opens a new world of interacting arts as it expresses more room for creative minds expanding areas on illustrating audio visuals, digital stimulation and entertainment. Virtual reality, Augmented reality, Projection Mapping, Interactive Installations, 360° Videos & Experiences are invented to bridge the interaction among digital and physical environments stimulating the sensors of users engaging with the digital art world. Projection mapping allows us to understand the architecturals space and how to interpret the projection of digital artwork, visuals, 3d spaces and animations. This technology acts as a root to build a better interaction in different perspectives. The aim of this dissertation is to discuss the attraction of Pixel Bloom in Lotus tower, as a narrow topic in Sri Lanka what immersive and interactive installations are available to explore.

Introduction to Pixel Bloom

A creation of Sri Lanka’s tallest skyscraper, the implant of South Asia's first digital immersive experience in interactive and immersive digital art space named follow as Pixel bloom located at ground floor of Colombo Lotus Tower. Pixel Bloom serves more than an exhibition for the community, it brings out diverse creatives in digital art, Engineering, Musicians and other artists to collaborate in a production creative hub for an immersive experience.

Research Objectives

Assessing the facts on the theoretical framework behind construction of the creative hub in sri Lanka, bonding different industries signed to create the masterpiece and analysing the artist and technology contributed impacting the audience interactions and emotional connection towards the immersive experience. Measure how the team brought up the culturals aspects to the creativity process to uplift the growth in spreading knowledge in the history of Sri Lanka among the local and foreign community. Aiming towards the environmental and staff stability, reliability and support to enhance the audience experience in the most positive manner.

Methodology

Qualitative research aims on the production of the technology and digital art, immersive interactive technologies used building up the creative installations. Site visit to observe the interaction of visitors with the artefacts and observe the impression of the moods and emotion towards it. The ambience of the art resonated and cleared in its area of presentation. For the study of quantitative research a survey includes how they feel about the Pixel Bloom experience and facts how it contributes to society. The survey includes questionnaires to answer freely about what expectations have been achieved in the format of creativity and the immersive experiences area analysed from a visitor perspective. Conduction for secondary research on journalists how they have interpreted the pixel Bloom in articles. Portfolio research on the artist who collaborated in the process of inventing the creative aspects for the Pixel Bloom. The collected data are benign analysed comparatively with similar creation outside as well as within the country boundaries.

The Concept of Immersive and Interactive Art

Theoretical Framework

Concept of digital Illustration or animation is created through a process of research, color concepts, character designing, environmental designing, composition and editing adding sfx as from an artist perspective. The digital creations are created through professional softwares which are specifically designed in the area. Which will finally be projected through a lens from a projector. As an advancement of technology there are possible resources that interact with creative arts in any form. Revolutionised projections which is called Projection mapping, also known as video mapping which is used for the interaction of a plain surface turning into an art space. Madmapper, TouchDesigner are some softwares that are used in industry to create such immersive visual arts. Motion sensors are one of the other main components creating the bridge between the worlds of interaction in the present world and the digital world for an effective immersive digital experience.

The Global Framework

When compared to other traditional art galleries around the world, immersive digital art and animation has revolutionized the creativity engagement blending the technologies for an interactive and sensory storytelling experience for the audience. TeamLab Planets in Tokyo, Meow Wolf Denver Convergence Station in Colorado, Frameless in London are some settings specified in interactive and immersive experience. Van Gogh Alive’s 360 degree projections feature a multi sensory exhibition with scent, sound and touch features. Future world in Singapore has a dedicated interactive digital playground named By ArtScience Museum and teamLab which is open for all ages to have a memorable experience. These installations bring out experimental consumption and Instagrammable to the society as well as a tourist.

As an influence on Urban development countries increasing its leverage to boost the tourism industry through interactive art galleries.

The Vision Behind Pixel Bloom

The vision behind Pixel Bloom to bring a digital artistic era as South Asia’s first ever interactive and immersive experience with digital art and animation. Pixel Bloom seamlessly integrates the two worlds in physical and digital offering a unique experience.

“Pixel Bloom is more than a space, it is a creative landscape where technology enhances artistic expression”- Pixel Bloom.

The epic landscapes were created with the partnership of five major productions of Bling, Eyeon as the concept and technological partners, Shakyatm and D4 as the creative partners, Epson as the exclusive protection partner. The colombo lotus tower where the Pixel Bloom is located invites creative minds to explore, inspire and landmark as a Diverse growth of creative production with local artists and advanced technologies for the upholding economy with more career opportunities opened for citizens.

Pixel bloom is the next grenative production which inspires the visitors without an age definition to the future to look forward in developing the country with the connection in artist and technological world and tell the story of Srilankan history, its culture to the world.

Fusion of Art and Technology: The Experience at the Digital Art Space

Artistic Collaborations

Pixel bloom is made with a wide range of collaboration with different artists around Sri lanka inheriting the upcoming popular technologies in the digital world. The innovation hub opened a path to represent creative digital innovation work pushing the boundaries of traditional art to a digital world blending storytelling, motion graphics 2D digital animations sound production with the interactive technology.

“Shakya Tennakoonmudali” and his team, well on in “Shakya ™” and “Bling Production” created the animation of “Colombo Chronicles” as the essence of srilanka in a 2d animation capturing the colonial history of Sri Lanka. Other than showcasing the colonial history of Sri lanka he created another animation on. Appreciating the diverse beauty of Sri lanka. Which was named as “Beyond the map.” It contains the nature serenity as well as the humanity of inspiration with uniqueness of Sri Lanka. “Bling production” created “Aritha” and “Anitha” are two characters to represent in pixel bloom as a narrator to the stories and a guide to creations. Art style 90s kid art style and comic influenced to create a new style unique to the identity of Sri Lanka.

Interactive installations

“Eyeon” really played a big role in bringing all the visuals to life. “Flutter space, an immersive butterfly ballet” the 3D interactive design was created by Obed Kushan, Interactive design was done by Nuwan Bandara in the production of “Eyeon” the creation brings us to a garden of butterflies reacting to different ways from detecting sensors. Neon Jungle" is an interactive new creation, another collaboration for the talented team. Their concept blends the vibrancy of a thriving metropolis with the beauty and mystery of the jungle in Sri Lanka. Let's explore how this merging of city life and natural splendor comes to life. Pressure sensor technology is used for this creation . Five characters of elephant, leopard, deer, monkey and a parrot are used to spark and interact with the environment. The Jungle is rich in flora and fauna, urban forest for capturing storyteller elements for a meaningful creation. Pixel fusion uses motion capture technology to build a relationship between the digital and physical world. It invites you to unleash your creativity. Pixel Kaleido teaming up with D4 brings a fusion of using lights and music. With 6,144 pixels of RGB light, it adjusts really dynamically to gestures in touchpads and lights up as well as changes rhythm to music along the way. It is such a sleek and dynamic display that feeling interactive is absolutely amazing. Different kinds of lights and sounds get made to cue very different moods and speeds.You are invited to create your own sequence of lights.

Representation of Sri Lankan Culture

“Colombo Chronicles”tells a story of how colonial history has unfolded in Sri Lanka, little by little shaping and absorbing features that are distinct from each period of rule. Through architecture, the colonizers ventured their own touch—a grand heritage in storied houses with open verandas that tell of their legal systems too, along the way imprinting their distinctive lawyerly stamp as they went along. The city of Colombo is one that has really grown and grown into an impressive metro area, connecting various parts of Sri Lanka from the north to the south and from the east towards the west through a network of roads, railways and other infrastructure. The important landscapes of Colombo city from early ages and how it is builded up now is created artistically with many local locations and environments, religious places and other rich cultural elements. Orientation of Portuguese Baila Kapirinna music, dance styles, painting styles, foreign food as bread and wine were spreaded and enhanced the diversity of Sri Lanka mixing the foreign culture. Historic landmarks such as Lake house Building, Dutch hospital were presented in the animation.

“Beyond the Map” animation is represent a wide range of places around Colombo, Attidiya bird Sanctuary, Wetland parks,Independence square, underwater museum, temples, kovils,churches are also shown in one signal animation, the animation is rich in local ambience , how locals enjoy in the sunset in Galle face, local transportation of buses, local cuisine of a wide range of food, and many other places in colombo that shows a collection of different cultures holding in one city.

Impact of pixel bloom

Economical impact

Pixel Bloom brings both entertainment and great importance to Sri Lanka's economy by drawing in visitors from around the country and across the globe. Visitors buy tickets for tourist attractions, join guided tours, purchase meals or snacks. All these payments are strongly fueling local businesses and their success as well as the economy. The lotus tower including the Pixel Bloom supports job creation in many different fields. It brings together digital artists, engineers, software developers, sound designers, and marketing experts. In addition to getting new jobs directly, lots of local folks also benefit from getting to work on this project too and doing things like technical support, security staff and taking care of event planning and vendors contributing their skills too. Pixel Bloom also plays an important part in inspiring skill development and education too. By blending creative arts and high technology together, it tends to spark interest in STEM which stands for Science, Technology, Engineering and Maths and Arts as well. This rising interest is really going to open up more chances for training and education for local young generations who are keen in this industry. Also there is a huge impact on Pixel bloom and in the lotus tower on national branding.

Methodology

Observational Analysis

Research of qualitative study explores collaboration between art and technology with the visitors in Pixel Bloom. The study on how visitors engage with the interactive installations, their emotional and sensory responses, observing the body language, expressions, time spent at different installation data are collected by observation.

Most of the visitors are curious and excited to enter the premises as there is a time frame of 6 minutes of one batch of guests being entered by the staff. Upon entering the premises visitors frequently take videos and photos which shows a strong impact on the visual impact. The response of the interactive features such as projection mapping, sound activated visuals and motion responsive displays have amore interactive physical engagement with many visitors waving, clapping, jumping, as an emotional trigger response to excitement and curiosity. By engaging in such a way it gives a clear vision on that the technology and the visuals have a huge impact on encouraging the visitors tio participate to engage in the experience.

Visitors of different ages interact with the installation differently, kids show interest in playfulness and enthusiasm, teenagers interact with it as an instagrammable photo location and many adults look over in a thoughtful, and less interactive way, by guiding their children. Other adults are deeply connected with the environment engaging in group photos. The observations show that the visual elements have touched the hearts of people in different ways.

Visitor Experience Surveys

To collect quantitative data, the survey on “experience on Pixel Bloom” is conducted on ten visitors. The survey includes multiple choice questions, ratings and open ended questions. The responders what captivated them the most, what emotions were met, is it inspiring and engaging and their view on the Pixel Bloom data are collected. Another Survey is conducted on the same ten visitors with a similar structure to gather data on the “Cultural representation in Pixel Bloom” about how effectively the production has showcased the cultural values of Sri Lanka in it.

From the responders most of the visitors have known about the site through social media, forty percent of visitors have revisited the site according to the data that was provided to the survey. The first impressions of the visitors were mentioned as Exciting and immersive and others were well organized but overwhelming. Most of the visitors mentioned that the “Pixel Kaleido”, “Neon Jungle” and “Pixel Fusion” were the most popular among the responsive visitors. Aspects of animation showcase, interactive installations, music and sounds are the elements that bought the visitors captivation. The visitors have gained somewhat understanding of the digital art and the technology used. The visitors also mention that it is a new experience and they enjoyed the space by taking photos.

In the other survey the participants answered an important question of whether Pixel Bloom helps you experience or appreciate Sri Lankan culture in a new way? Almost everyone has agreed with the fact that the Pixel bloom helped visitors feel more connected to Sri Lankan Culture, revise and expand their knowledge. With visual elements such as pattern, colors, motifs,art styles resembling, music and sounds that play a significant role in Sri lankan culture, storytelling and themes are well represented in the rich culture of Sri Lanka.

The survey brings to a conclusion that the visitors had a good experience in the Pixel bloom and that it has succeeded in representing cultural heritages and values in a different way, bringing up local artists to create and showcase their talents.

Visitor Feedback

Pixel Bloom has gained a positive review of 4.3 rating in google and 3.7 on the survey. Frequent reviews from google reviewing system has shown a consistency of good experience the visitors made, it is an innovative and creative concept. On the other hand there is some negative feedback on their expectations that were not fulfilled as the halls are not soundproof and the animations are conducted in sinhala and it is not so tourist friendly. Overall the experience is best for kids and teens.

Academic Literature

Research on academic context on the technical development of technology used as projection mapping, motion capture, storytelling and how to assemble them with what softwares and requirements are needed are being researched for a better understanding of how those technologies are used for the Pixel Bloom.

Industry Articles

when it blends in both tech from this digital age and things that are very important to Sri Lankans. This calls to mind what authors have written about when they talk about mixing local culture with high tech creativity togetherI mean that's called "technological convergence of culture" or TC culture mixing endemic culture with technological creativity (Manovich, 2001).Research into large installations like Borderless by teamLab in Japan and Atelier des Lumière in France shows that immersive spaces for art do a lot more than just spark tourist interest. It is also very inspiring patriotism and improves digital literacy. (Morse, 2019).

Conclusion

Pixel Bloom is a great example of how art and technology can come together to create a powerful and meaningful experience. It is more than just a digital art show’s a new way for people to enjoy and understand culture, creativity, and modern technology. Using tools like lights, sounds, motion sensors, and projections, Pixel Bloom allows visitors to interact with the art and feel like they are part of the experience, not just watching it from the outside. Pixel Bloom brings fresh and new light on Sri Lankan culture. It uses digital tools to highlight cultural elements such as music, symbols, stories, and traditions. This helps younger generations, especially those who are more down with art and technology, it really connects to their culture in a fresh and exciting way. At the same time, it also offers a chance to foreign visitors to learn about Sri Lanka's wonderful heritage in a fun and engaging way. It lets traditions hang on, but lets them also sprout and grow in the digital world as well.

Pixel Bloom gets people actively involved and participating, not just as visitors but also as participants—they really start to think out of the box and creatively. And even more interesting for the creative set, this immersive experience can plant seeds of thought toward designing tech products or making art works to be the future career path to pursue someday.

Really, cooler than just art lessons and education, Pixel Bloom leaves a big legacy. It also helps the economy. Lotus Tower is a big draw at Colombo. Both locals love it and people from all over the world come to check it out too. That attracts lots more folks to the area which, in turn, really boosts nearby businesses and creates new jobs too. It also allows artists, designers, engineers, and musicians to collaborate on large-scale creative projects, which helps grow Sri Lanka’s creative industry. It shows that when done thoughtfully, digital art can create meaningful connections between people. It assembles creatives of different disciplines into a team of rock stars in their specific domains. The experience visitors get there is truly one of a kind and profoundly immersive. It goes way beyond what you'd get in a regular museum or gallery.

In the end, Pixel Bloom certainly proves that digital art is really something amazing, captivating, highly educational and really rich in culture too. Seeing Sri Lankan culture from a fresh perspective is one of the really cool things this does. Technology is an interesting way for people to learn too. This helps the local economy grow strong. Creativity is sparked throughout all generations who get to connect with this together.

Refernceners

Lotus Tower Colombo (2024) Our story - Lotus Tower Colombo. https://colombolotustower.lk/our-story/.

Meow Wolf’s Convergence Station | Immersive art (no date). https://www.convergencestation.com/.

[Official] TeamLab Planets TOKYO, Toyosu (no date) teamLab. https://www.teamlab.art/e/planets/.

Elburz (2024) Interactive Art Installations: 6 Inspiring Examples. https://interactiveimmersive.io/blog/interactive-media/interactive-art-examples/.

Legrady, G. (1999) 'Intersecting the virtual and the real: space in interactive media installations,' Wide Angle, 21(1), pp. 105–113. https://doi.org/10.1353/wan.1999.0005.

Yoo, H. and Kim, H. (2014) 'A study on the media arts using interactive projection mapping,' Contemporary Engineering Sciences, 7, pp. 1181–1187. https://doi.org/10.12988/ces.2014.49147.

Projection mapping explorations (2019). degree. Indian Institute of Technology Hyderabad. https://core.ac.uk/download/pdf/224956685.pdf.

Katkevica, S. and Strode, A. (2021). INTERACTIVE PROJECTION MAPPING IMPACT ON DEVELOPMENT AND SUSTAINABILITY OF ARTS. [online] https://dukonference.lv/files/978-9984-14-952-3_63_konf_kraj_C_Hum%20zin.pdf#page=146. Available at: https://dukonference.lv/files/978-9984-14-952-3_63_konf_kraj_C_Hum%20zin.pdf#page=146 [Accessed 21 Feb. 2025].

Fender, A., Herholz, P., Alexa, M. and Müller, J. (2018). OptiSpace. Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems, pp.1–11. doi:https://doi.org/10.1145/3173574.3173843.

Siegl, C., Colaianni, M., Thies, L., Thies, J., Zollhöfer, M., Izadi, S., Stamminger, M. and Bauer, F. (2015). Real-time pixel luminance optimization for dynamic multi-projection mapping. ACM Transactions on Graphics, 34(6), pp.1–11. doi:https://doi.org/10.1145/2816795.2818111.

IWAI, D. (2024). Projection mapping technologies: A review of current trends and future directions. Proceedings of the Japan Academy. Series B, Physical and biological sciences, 100(3), pp.234–251. doi:https://doi.org/10.2183/pjab.100.012.

Ekim, B. (2011). A VIDEO PROJECTION MAPPING CONCEPTUAL DESIGN AND APPLICATION: YEKPARE. Turkish Online Journal of Design Art and Communication, [online] 1(1), pp.10–19. Available at: https://dergipark.org.tr/en/pub/tojdac/issue/13006/156711.

MINDS, T.E. (2023). The opportunities and challenges of immersive technologies and interactive media for the…. [online] Medium. Available at: https://medium.com/@the_exploring_minds/the-opportunities-and-challenges-of-immersive-technologies-and-interactive-media-for-the-902afd106e6c.

Berthonneau, A. (2021). Gorgeous interactive art installation with sensors - HeavyM Blog. [online] HeavyM. Available at: https://www.heavym.net/interactive-art-installation-with-sensors/.

Manovich, L. (2001) The language of new media. Cambridge, MA: MIT Press.

Morse, M. (2019) 'Immersive art and national identity: The case of teamLab Borderless', International Journal of Cultural Policy, 25(3), pp. 321–335.

Bling Productions. (n.d.) Pixel Bloom. Available at: https://www.bling.lk/portfolio/pixel-bloom/.

ClassifyLanka (n.d.) Dive into Pixel Bloom: Colombo’s Digital Wonderland. Available at: https://classifylanka.com/dive-into-pixel-bloom-colombos-digital-wonderland/

‌Footsteps.lk (n.d.) Pixel Bloom at Colombo Lotus Tower. Available at: https://footsteps.lk/pixel-bloom-at-colombo-lotus-tower/?utm_source=chatgpt.com

Google Reviews (n.d.) Pixel Bloom at Colombo Lotus Tower. Available at: https://www.google.com/maps/search/Pixel+Bloom+Reviews/

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