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In February 2020, Macau became one of the first regions where the pandemic of coronavirus or Covid-19 affected the totality of social and economic life leading to increased anxieties over movement and distance. Although Macau has had very few actual cases of the virus – 46 in total –and no deaths from it, the Macau government rapidly instituted a lock down. The aim of this article is to reflect on how the social experience of being in lockdown can provide insights into understanding the type of experience or condition that we provisionally term ‘anxious immobility.’ Such a condition is characterized by a total disruption of everyday rhythms and specifically anxious waiting for the normalization of activity while being the subject of biosocial narratives of quarantine and socially responsible. The paper is based upon 3 months of ethnographic research conducted by two researchers based in Macau. We also reflect upon some aspects of the politics of mobilities in the light of disruptions and friction points between Hong Kong, Macau, mainland China, and the rest of the world.
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As an emergent tourism sector, driving tourism connects car use and touristic activities intimately. Following the notion of the ‘inhabited car’, this article explores how and why Chinese tourists inhabit a travelling car for drivers/passengers in the leisure automobility and driving tourism context. Through three different road trips and ‘mobile methods’, it was found that Chinese tourists inhabit the car in four ways: driving, gazing, listening, and communicating. Through this embodied habitation, the car is turned into a ‘touristic inhabitation’ space for protecting the tourists generating touristic emotions、social interactions, and tourism meanings. The study contributes to automobility and tourism literature and provides implications for driving tourism development in China.
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There can be no conclusive determining regarding true press freedom in Macau, and perhaps this statement can be applied elsewhere as well. Issues of self-censorship, partisanship, or cultural loyalty exist in cities and countries around the world, and most of the time there is simply no reliable measurement to determine their impact. The Special Administrative Region (SAR) of Macau is separate and distinct from mainland China, but that does not mean that it is entirely without question regarding its freedom of the press, ethical journalistic practices, and interference by non-authorized agencies at the three languages local newspapers.
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The various volumes coordinated by Pierre Nora to pursue a history of the places of memory in France have become a multidisciplinary theoretical reference for those who, like us, seek to reconstruct the memories with which the land of the Potiguara aborigines of Brazil is organized today. In the introduction to the voluminous work that he directed for eight years, Nora explained his epistemic understanding of the notion of “places of memory”, stressing that a “lieu de mémoire” is any significant entity that, material or immaterial in nature, through a human will or the wear and tear of time, has become a symbolic element of a community's memorial heritage. The French historian also added that, since memory is the fundamental structure of this generally lengthy process, it was convenient to understand it as a phenomenon of emotions and magic that only accommodates the facts that feed it. Strictly speaking, memory is always vague, and reminiscent, stirring both general impressions and fine symbolic details. Furthermore, memory is always vulnerable to transference, repressed and imagined memories, censorship, and all kinds of projections. (Nora, 1984). In this article, we try to understand that the places of memory are also almost always what comes to us, stays, and selects the past. The reserve where they live appears as a symbolic locus to which the Potiguara aborigines cling with all their strength to preserve what remains of their past.
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The land of the potiguara indians of Brazil: a social and political construction The space in which the potiguaras of Brazil live is, today as in the past, the result of a longterm process, many negotiations and well-managed refuges. Paradoxically, despite their recurrent discourse invoking the ancestry of their lands of origin, the Potiguara fight and continue to fight politically for the return to the spaces where their colonial refuge took place.
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In the past decades, the field of cinema has undergone several transformations. The digital turn increasingly called for new forms of production, distribution, and exhibition, which imply different ways of thinking, doing, and experimenting cinema. These new forms also reduced the gap between cinema to other so-called visual arts. If cinema and visual arts were already in the process of merging, the last years forced the naturalization of thinking in similar theoretical grounds. This special issue aims to be a forum for the discussion of new practices of researching cinema, and the changes in cinema’s forms of experience and production.
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Malacca Portuguese Creole (MPC) (ISO 639-3; code: mcm), popularly known as Malacca Portuguese or locally as (Papiá) Cristang, belongs to the group of Portuguese-lexified creoles of (South)east Asia, which includes the extinct varieties of Batavia/Tugu (Maurer 2013) and Bidau, East Timor (Baxter 1990), and the moribund variety of Macau (Baxter 2009). MPC has its origins in the Portuguese presence in Malacca, and like the other creoles in this subset, it is genetically related to the Portuguese Creoles of South Asia (Holm 1988, Cardoso, Baxter & Nunes 2012).
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In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of a post-digital creation cycle applied to fashion artefacts.
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This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.
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Macao inhabit a population of 683,100. The birth rate has been dropping while the death rate has risen compared to two years ago. Cemeteries are becoming crowded, and burial spots are demanding. In this case, video calls and social media can be the solution. How about our beloved ancestors? Can we video call them on their memorial days? This paper presents a VR experience of immersing oneself in the 3D VR of the Chapel of St. Michael of Macao to create a peaceful atmosphere for grave mourning. The chapel is also a personal space where we can be truly isolated in serenity. It is a retreat to pray, disconnect, and reconnect to the beloved deaths that may not be buried in an easily accessible location. The authors propose a possible future of mourning our loved ones through virtual reality and telepresence: an immersive experience connected with Macao's extraordinary and cultural unicity.
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Creativity and collaboration are crucial to learning development in today's fast-paced educational environment. New technology can bridge humans and their natural needs through immersion in digital environments with physical objects. As knowledge and information evolve, digital interactive experienc...
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The purpose of this paper examines the potential role of Chinese outbound tourism as a catalyst of change for the Macanese identity. There is an emerging trend to have a new identity amongst Macanese residents to valorize cultural and heritage assets. By using Bourdieu’s concept of habitus, it proposes that the social media space is built to voice concerns of language, place attachment and induced public participation. The study utilizes a mixed method approach comprising a survey for netizens and content analysis of online discussions, in order to fully understand changes due to Chinese outbound tourism.
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No existing review has synthesized key questions about acculturation experiences among international migrant workers. This review aimed to explore (1) What are global migrant workers’ experiences with acculturation and acculturative stress? (2) What are acculturative stress coping strategies used by migrant workers? And (3) how effective are these strategies for migrant workers in assisting their acculturation in the host countries? Peer-reviewed and gray literature, without time limitation, were searched in six databases and included if the study: focused on acculturative stress and coping strategies; was conducted with international migrant workers; was published in English; and was empirical. Eleven studies met the inclusion criteria. Three-layered themes of acculturation process and acculturative stress were identified as: individual layer; work-related layer; and social layer. Three key coping strategies were identified: emotion-focused; problem-focused; and appraisal-focused. These coping strategies were used flexibly to increase coping effectiveness and evidence emerged that a particular type of acculturative stress might be solved more effectively by a specific coping strategy. Migrant workers faced numerous challenges in their acculturative process. Understanding this process and their coping strategies could be used in developing research and interventions to improve the well-being of migrant workers.
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The manifestation of generating digital visuals through an algorithm is gaining worldwide attention in the graphic design industry. It is a new form of computing that visualizes data input by the designer or collected in the physical environment and turns them into artwork. The generative design of...
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Various materials, objects, and sensors have been explored earlier for creating tangible user interfaces (TUIs). However, there is little work on 3D-printed TUIs based on visual markers for smartphone-based extended reality (XR) experiences. The combination of visual markers and smartphones results in cheap, accessible XR systems within reach of many people. Combined with 3D printing, it could foster do-it-yourself (DIY) projects for XR experiences, which may further expand and open-up possibilities for accessible and tangible interaction. This work explores the design space of modular 3D-printed tangibles for smartphone-based XR. The authors report the design exploration process, provide several interactive 3D-printed markers, and reflect on the resulting possibilities.
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Faculty of Arts and Humanities
- Adérito Marcos (3)
- Álvaro Barbosa (4)
- Carlos Caires (6)
- Daniel Farinha (1)
- Denis Zuev (2)
- Filipa Martins de Abreu (2)
- Filipe Afonso (2)
- Gérald Estadieu (4)
- José Simões (4)
- Olga Ng Ka Man, Sandra (1)
- Priscilla Roberts (1)