This call for papers explores “thanatomedia,” the intersection of death, mourning, memory, and media technologies, examining both how media shape relationships between the living and the dead and how media themselves become obsolete, disappear, or are mourned. The issue focuses on contemporary phenomena such as digital memorials, AI-generated avatars and voices, deadbots, virtual and extended reality, holographic resurrections, social media afterlives, and posthumous data, while situating them within longer histories of mediated communication with the dead. Particular attention is given to the political, ethical, legal, economic, and cultural implications of these practices, including questions of consent, ownership, privacy, visibility, commercialisation, and control over posthumous identities. More broadly, the call invites contributions investigating how technologies reshape death, grief, remembrance, collective memory, and the very possibility of technological survival or disappearance.

This call for papers for AN-ICON. Studies in Environmental Images invites contributions that explore the theoretical bridge between these two types of environmental images: those created at the dawn of human image-making and their contemporary counterparts. This issue welcomes contributions that investigate contemporary “caves,” whether virtual – made possible by XR technologies (VR, AR, CAVEs) – or physical, as explored by artists, designers, and creators who feel the urge to revisit the prehistoric imagery.

Since its most recent technological re-emergence (2014-15) (Evans 2018), VR has brought forth new possibilities for both the mediation of sex and the porn industry. Indeed, virtual technologies have created immersive forms that produce both social experiences – such as multi-user sex games – and pure “simulation,” as in the case of pornographic audio-visual products. he success of virtual forms of pornography raises urgent issues regarding the aesthetic consequences that such images have on visuality and bodily self-perception: on the one hand, VR redefines the composition qualities and directing strategies of the pornographic image (Evans 2020); on the other, it constructs new horizons of social and political agency (Paré et al. 2019; Wang 2021).

In this issue of AN-ICON. Studies in Environmental Images, we invite contributions that critically engage with the intersections of immersion, technology, and sexuality through various methodologies. While VR is a primary focus, we welcome papers that explore other immersive technologies, including AR (augmented reality), XR (extended reality), AI-driven environments, and social VR, to expand the discussion on how digital environments shape and redefine sexual experiences, pornographies and identities.

Interactivity permeates AI, virtual reality and augmented reality, affecting sensory-motor experiences and creative processes. However, this pervasiveness comes with constraints, as virtual interfaces simultaneously enhance and restrict user freedom. This leads to philosophical reflections on user emancipation and the interplay between freedom and structural constraints in interactive relationships with digital technologies. The dynamic landscape raises important questions about the development of freedom in a digitally mediated world.

In a time of humanitarian and environmental crises, a better future depends on the willingness to embrace systemic changes with unknown consequences for each of us and for society as a whole. In this issue, we welcome any contributions investigating the role of the arts and media in these processes, focussing on immersive experiences in particular.

In recent years we have witnessed a growing fashion which requires every experience to be “immersive”. This is, at least, what is suggested by the rhetoric of communication and marketing, promising immersions of various kinds, but with a common denominator which goes beyond a generic idea of attention as absorption. 

Recent years have witnessed increasing debate on the notion of illusion in the contemporary mediascape and on its role within digital environments. Illusion, however, is in itself plagued by ambiguities and even contradictions, and therefore in need of clarification

This section of AN-ICON. Studies in Environmental Images solicits contributions that monitor and critically reflect upon the applications and practical usage of an-icons.

This section of AN-ICON. Studies in Environmental Images aims to open a permanent space to investigate and discuss genealogies and archaeologies of virtual environments. Especially, unconventional approaches of overlooked research objects are welcome.