| _version_ | 1866902289682268160 |
|---|---|
| author | Slavkova, Emilija |
| author_facet | Slavkova, Emilija |
| contents | <p>This is how Edvard Munch's scream, colloquially known as "The Scream", was originally named, as an agonized representation of an anxious person facing the unspoken. Analogous to this, I could imagine all those characters who were initially faced with fear and amazement during the initial encounters with "scary" paradigms like Web 3, AI, VR, AR, etc. The premise of this statement suggests that the experience of these transformative technologies is a comparable amalgam of trepidation but also a fascination with the aspects that are essential to this technological advancement.</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_17250042 |
| institution | Zenodo |
| language | eng |
| publishDate | 2025 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | "THE SCREAM OF NATURE" AGAINST DIGITALIZATION Slavkova, Emilija Fashion design Digital Art <p>This is how Edvard Munch's scream, colloquially known as "The Scream", was originally named, as an agonized representation of an anxious person facing the unspoken. Analogous to this, I could imagine all those characters who were initially faced with fear and amazement during the initial encounters with "scary" paradigms like Web 3, AI, VR, AR, etc. The premise of this statement suggests that the experience of these transformative technologies is a comparable amalgam of trepidation but also a fascination with the aspects that are essential to this technological advancement.</p> |
| title | "THE SCREAM OF NATURE" AGAINST DIGITALIZATION |
| topic | Fashion design Digital Art |
| url | https://doi.org/10.5281/zenodo.17250042 |