Burcin Genis-Ergun

Indisputable proof of virtual reality's advantages has advanced from stunning visual displays to yielding outcomes in real-world applications. Furthermore, immersion's main benefit is no longer just a realistic experience. Empirical research demonstrates that different aspects of immersion have distinct advantages; complete immersion is not always required. Immersive virtual environments (VEs) are designed to give users the impression that they are physically present in a computer-generated environment, creating a sense of presence. Due to the components and suggested assessment techniques, the majority of user experience (UX) models for immersive virtual environments (IVE) are only partially accurate. A comprehensive UX in IVE model that integrates key elements and influencing aspects from the most popular applications of virtual reality (education, entertainment, and edutainment) was previously provided by some researchers. It’s seen that gathering and comparing data from the proper subjective and objective approaches is the best way to assess user experience (UX) in IVEs. But for the sake of this paper, it is simply discussed the questionnaire approach. In fact, questionnaires can be used to measure the majority of components. In order to pick relevant existing surveys and ultimately select the most appropriate items to develop and offer a new approach. The goal of this study is to rely on the elements of contemporary UX model by examining the surveys. And finally, it suggests expanding the last questionnaire

User Interface and physical design are significant, but they are not the whole picture. It’s possible to create applications and physical design which seem appealing, but for the overall UX still poor. This can happen if the components don’t work well, or the value proposition is not a good fit for user’s motivations for using the product. It can also reflect limitations of the technology or service ecosystem which prevent the product from fulfilling surrounding user needs as it could. It requires attention to the experience of using the system as a whole. Connected products pose design challenges that will be new to designers accustomed to pure software services. Many of these method challenges stem from: the specialized natüre of IoT devices, their ability to bridge the digital and physical worlds, the fact that many IoT products are distributed systems of multiple devices. And, how tricky those challenges prove will depend on: the maturity of the technology you’re working & the expectations your users have of the system. It’s more important than ever to think of the user experience at a systems level, spanning user interactions with multiple devices, physical hardware, the properties of networks, wider business and service context, and the underlying technology enablers. The UX is not just the responsibility of the designers, but everyone involved, including product strategy and engineering. This paper’s aim is for anyone who realizes the gap between designers and engineers, also includes an evidence diagram that classifies the aspects of IoT for UI.

The "Gamification" method, which has become popular in recent years and adapted to many different areas, is provided according to problems such as motivation increase and solution of user problems. If you ask "What is work?" to children for instance, they will most likely to say school and homework. But if you ask them, "What is a game?" you will hear examples of many objects, media and stories, from playgrounds, toy cars, barbie dolls, smartphones, tablets etc. Although school and play are seen as two different - even opposite to others - concepts, it is a fact that it contains important potentials if combined. Conception of gamification in education involves not only being seen as an ordinary process for education, but also involves engaging students, encouraging their interests and maintaining a positive attitude in a nurturing environment. The key to these goals is the effort to maintain a rich communication environment that encourages feedback and reinforcement not only between the instructor and students, but also amongst the students themselves. These social interactive mechanisms can be designed in effective ways to create fun learning situations with the appropriate level of control for incentive and discipline. This current study aims to analyze the main concepts of gamification. It will be focused on the related studies by literature review to comprehend the term in detailed way and will be summing up with selected examples as; DuoLingo, Coursera, GoalBook, CourseHero and World Peace Game which can be considered not only improve the learning process, but also provide successful approaches to create more effective educational environments.

Canlandırma sineması; 20. yüzyılın sonundan beri yapımlarda, filmlerde, reklamlarda, jeneriklerde, görsel efektlerde vb. daha önceye oranla yaygın olarak kullanılmış ve sinemanın sektörünün vazgeçilmez bir parçası haline gelmiştir. Teknolojinin hızla büyümesi ve üretim endüstrisi üzerindeki etkisi, bilgisayar kaynaklı animasyon tekniklerinin çeşitlendirilmesini ve yaygınlaştırılmasını sağlamıştır. Çizgi film endüstrisinde, Amerika öncü olsa da, Japonya’nın da göze çarpan yapımlara sahip olduğu görülmektedir. İlk kez, 1958 yapımı “The White Snake Enchantress” adlı Japon çizgi filmi (anime); Venedik, Meksika ve Berlin film festivallerinde ödüller kazanmıştır. Akabinde animelerin popülerleşip yaygınlaşarak uluslararası alanda süregelen bir başarı sergilediği izlenmektedir. 2003 yılında En İyi Uzun Metraj Canlandırma Film dalında Oscar kazanan “Spirited Away”, anime tarihinde Oscar alan ilk yapım olma özelliğine sahiptir. Bunu takip eden süreçte, artan başarının bilinirliğe olan etkisi ile; Japonya’nın, işbirliğine ilgi duyan Avrupalı ve Amerikalı şirketler tarafından endüstrinin en çok aranan merkezlerinden biri haline geldiği söylenebilir. Bugün, birçok yönetmen, senarist ve yapımcının anime tekniğinden yararlandığı, bu tarzda yapıtlar ürettiği bilinmektedir. Hayao Miyazaki, Mamoru Oshii, Katsuhiro Otomo, bunlardan sadece birkaçıdır. Estetik eksende incelendiğinde, teknik ve bütünsel yapı olarak diğer çizgi film türlerinden ayrılan animelerin; belirgin karakteristik özelliklere sahip olduğu görülmektedir. Etimolojik olarak Fransız kökenli bir terim olan mizansen ( mise-en-scène) aslen tiyatrodan gelmektedir. Kelime anlamı olarak “sahneye koymak”, “sahne dizini” gibi anlamlara gelmektedir. Çekimin kompozisyonu içindeki hemen hemen herşeyi, kompozisyonun kendisi de dahil olmak üzere, kapsamaktadır. Kadraj, çerçeveleme, kamera ve karakterlerin hareketi, ışıklandırma, set tasarımı ve genel olarak görsel çevre, hatta (kompozisyonun ayrıntılarına yardımcı olduğu için) ses bile teknolojik bir araç olmaktan çıkıp yaratıcılık sağlayan bir sanatsal forma dönüşebilmektedir. Sinema açısından daha kapsamlı bir anlama sahip olmasının yanısıra canlandırma sinemasında da varlığı ve etkisinden bahsedilebilmektedir. Artan talep ve uygulama alanlarının sektörün teknik açıdan uzmanlaşmasını sağladığı görülmektedir. Bunun sonucunda estetik ve tasarımla ilgili sorular için bir perspektif oluşmuş, böylece uygulama sürecine yeni bir bakış açısı sağlanmıştır. Çizgi filmler, sanat ve tasarım alanına yeni bir boyut katmış, beraberinde sanatsal ve estetik ‘değer sorgusunu’ gündeme getirmiştir. Bu çalışmada, Hayao Miyazaki’nin yönettiği “Howl’un Yürüyen Şatosu” ( Howl’s Moving Castle ) filmi özelinde, Studyo Ghibli yapımlarına değinilerek, estetik bağlamnda mizansen kurgusu incelenmeye çalışılacaktır.

Kullanıcı ara yüzünde (UI) hareket (motion) iletişimi kullanıcı deneyimleri (UX) sağlar. Kullanıcı ara yüzlerindeki animasyonlar sadece görsel bir deneyim olmanın yanı sıra, “ kullanıcı deneyimi ” olarak değerlendirilebilir. Güçlü bir iletişim aracı olan hareket sadece görsel bir öğe olmamakla birlikte, bütünlük ilkesini sağladığından dolayı kullanıcı üzerinde güç sahibidir ve kullanıcıyı yönlendirmek için kullanılmaya elverişli bir birim olduğu söylenebilir. Hareket, kullanıcının dikkatini kolayca çeker çünkü insanlar doğal olarak hareket eden şeylere bakarlar. Kullanıcı ara yüzü, bir kişi ile bir bilgisayar arasındaki birim, diğer değişle bir iletişim aracı şeklinde adlandırılmaktadır. Bilgisayar herhangi bir insan tarafından işletilen herhangi bir makine anlamınagelebilir, ancak bu çalışmanın örneklemi mobil ara yüzler ve akıllı telefonlar ile ilgilidir. Ara yüzler,anlaşılmaz ve karmaşık olan teknik dili daha kullanıcı dostu bir dile çevirmek ve iletişimi başka biriylekonuşmak kadar doğal hissettirmeyi amaçlamaktadır. Kötü iletişim, hayal kırıklığına ve kötü deneyimeve zaman kaybına yol açmaktadır. Kullanıcı ara yüzünün temel fonksiyonu, basit bir e-posta okumakgibi bir görev bile olabilir, sadece kullanıcının görevini bitirme konusunda yönlendirmek ve budeneyimi kusursuz biçimde tamamlatmaktır. Hareket bütünlüğü özelliğinden dolayı animasyonlar,kullanıcı ara yüzü daha doğal hissettirmektedir. Ara yüz kullanıcısının dokunuşuna aktif olarak tepkiveren, ara yüz birimi, kullanıcının sadece bir cam parçasına dokunduğunu değil, aynı zamandaelemanlarla gerçekten etkileşime girdiğini hissetmesini sağlayabilir. Animasyonun rolü, kullanıcınıngerçekleştirdiği eylemler arasındaki boşlukları doldurmak ve bu nedenle etkileşimi daha kusursuz halegetirmektir.Bu çalışma, deneyim tasarımcısı, grafik tasarımcıların fonksiyonel tasarım ile kullanıcıyı anlayaraketkili iletişim kurmayı yollarını incelemeyi amaçlamaktadır. Genel bir perspektiften; insan bilgisayar etkileşimi, kullanıcı psikolojisi, kullanıcı deneyimi ve hareket iletişiminin temelini oluşturan animasyon gibi konular ele alınacaktır. Çalışmanın son bölümünde ise, Kullanılabilirlik Prensipleri bağlamında kullanıcı ara yüzünde hareket iletişiminin nasıl kullanılacağına ilişkin örnekler gösterilmeye çalışılacaktır.

Burçin Geniş "Çizgi Film" bir başka deyişle "Canlandırma Sineması"; ardışık, statik görüntülerin (cansız nesnelerin çizimleri veya fotoğraflarının) gerçek dünyadaki hareketlerinden yola çıkarak canlı oldukları yanılsamasını sağlayacak biçimde düzenlenmesine verilen addır. Dönüştürücü ve hareket sağlayıcı özelliklerinden dolayı Animasyon; bir çok disiplini bünyesinde sentezleyen elverişli bir üretim alanıdır. Günümüz teknolojisinin olanakları ile çok disiplinli bir yapı içerisinde gelişim gösterdiği izlenmektedir. 21. Yüzyılın başından itibaren, yayın ve medyanın etkisi ve aracılığı ile çizgi film yapımları, toplumlara ve geniş kitlelere ulaşarak küresel ölçekte etkinlik göstermektedir. Bunun yanı sıra, içerik bağlamında değerlendirildiklerinde salt teknik yapıdan ibaret olmadıkları, bulundukları coğrafyanın kültürüne özgü unsurlar içerdikleri görülmektedir. Bu unsurlar daha detaylı ele alındığında, çizgi filmlerin beslendiği katmanların başlıcalarının “kültür” ve buna bağlı olarak “gelenek” olduğu söylenebilir. Kültür; genel tanımıyla, bir ülke halkının gelenekleri, inancı, dili, kökeni ve genel olarak maddi ve manevi değerlerinin bütününe verilen adtır. Geleneğin ise; toplumlarda, atalardan torunlara miras olarak, kuşaktan kuşağa aktarılan, kültürel bilgi, alışkanlık, inanç ve davranışlar seti olduğu söylenebilir. Geleneğin manevi yapısının istifadeye açık olması sanat üretim alanlarına da kaynak oluşturmakdır. Bu çalışmada; genel perspektiften gelenek ve kültür kavramlarına değinilerek Norveç ve Türkiye’de, bu kavramların yansımaları ele alınacaktır. Ayrıca çizgi filmin etkilediği ve etkilendiği kültürel öğelere ve günümüzdeki örneklerine yer verilerek, 1970’lerde Norveç ve Türkiye’de yapılmış “ Flåklypa - Grand Prix” , “Âmentü Gemisi Nasıl Yürüdü?” , “Sansür” , “Hva skal vi gjøre med lille Jill? ” örneklemleri özelinde gelenek ve kültür unsur etkileri incelenmeye çalışılacaktır. Bu bağlamda ele alınan örneklerin, bütünsel olarak kültürel ve geleneksel açıdan farklılık ve benzerliklerinin ortaya konulması ve bilinirliğinin arttırılması hedeflenmektedir.

İletişimin en önemli elemanlarından biri olan yazı, günümüze dek birçok aşamadan geçmiştir. Estetiğe olan ilgi, yazıyı sadece iletişim aracı olmaktan çıkarmış ve kaligrafinin ortaya çıkmasına zemin hazırlamıştır. Kültürümüzde Hat Sanatı olarak adlandırılan geleneksel kaligrafinin teolojik ve felsefi açıdan kullanımı, kendi içindeki devinim, form ve disiplini, ona tılsımlı bir özellik kazandırmaktadır. Animasyon, dönüştürücü ve hareket sağlayıcı özelliğinden dolayı farklı disiplinleri bünyesinde sentezleyen elverişli bir üretim alanıdır. Kaligrafik düzenlemelerin hareketlendirilmesine dayanan, tipografik, işitsel ve görsel içeriğin bir arada kullanıldığı animasyon uygulamaları, kaligrafik animasyon olarak adlandırılabilir. Bu çalışmada; kaligrafinin ve animasyonun tarihçesine, özelliklerine ve tekniklerine değinilerek, Türk Hat sanatının örneklerinin canlandırıldığı ilk kaligrafik Türk animasyonu “Âmentü Gemisi Nasıl Yürüdü?” adlı yapıt incelenmektedir.

Conceptual Art, which emerged in the 1960s, transformed the expression language of art by being free from the conditions of the social environment human are accustomed to and rejecting traditional aesthetic criteria. It claims that art is a purely conceptual process, asserting the underlying idea is more important than the completed art object. In Conceptual Art, the boundaries between audience are extinguished, artist and art object; in production based on philosophy, thought and language, priority is given to concepts rather than images. By using all kinds of materials, in every condition and form, the artist can determine the most appropriate way to express his / her idea freely. In this study; The development process of Conceptual Art and Performance Art in another hand, is aimed to be discussed and the digital solo performance installation “Hakanai” created by Adrien Mondrot and Claire Bardainne will be examined.

This research explores the concept of the permeable body as a critical framework for understanding digital embodiment beyond the limitations of presence defined by coherence and legibility. Drawing from feminist and posthuman theories, alongside artistic interventions in digital games, the permeable body challenges algorithmic capitalism’s demand for fully capturable, optimized user data. Instead, it embraces leakage, slowness, silence, and refusal as embodied tactics of resistance and non-compliance. Through case studies of digital game art and glitch aesthetics, this paper highlights how permeability offers new possibilities for embodied experience as relational, ambiguous, and affective, while reframing presence as a poetics of porousness. Artistic practices model these alternative modes of being present, foregrounding the body as process and interference rather than a stable, self-contained unit. Positioned within current debates on the commodification of creativity and the algorithmic governance of art and experience, this paper argues for reclaiming artistic and embodied opacity as a form of critical resistance. It contributes to discussions at the intersection of art, digital culture, and political struggle, proposing embodied digital futures that value complexity, care, and ethical engagement over optimization and control.

Miyazaki Hayao has played a vital role in creating shōjo in anime. However, Miyazaki’s shōjo (young female characters) are of a very distinctive type, often quite assertive and independent, attributes that are consonant with the fact that the animated worlds are also highly distinctive, as Napier (2001) states. Miyazaki is most renowned for two key features in his works: his intricately crafted fantasy worlds and his unforgettable female characters. Although they vary, sometimes substantially, from film to film, both his fantasy worlds and his female characters are always recognizable. His intensely colored animated earthscapes filled with his signature images of flying industrial machines, soaring clouds, and supernatural creatures, take on a breathtaking life of their own, while his brave, inquisitive, and risk-taking young female characters are far removed from the identity confusion that characterizes many shōjo characters. And his films are widely appreciated for their progressive portrayal of young women in Japanese animated films. It is widely believed that young female protagonists assuming positions of power and warrior roles challenge traditional patriarchal gender dynamics and power structures, setting them apart from the typical female characters found in mainstream anime. In this chapter, I aim to reintroduce the gender representation typologies in Miyazaki’s shōjo realm using a coded content analysis method with the focus on particular key films and reflect on their latent real-life ramifications.

Phenomenology plays an indispensable role in embodied interaction. How our bodies engage with technology. Embodiment interaction, as elucidated by Dourish, encompasses the manipulation, creation, and sharing of meaning through interaction. This concept draws inspiration from phenomenological thinkers such as Husserl, Heidegger, and Merleau-Ponty, who emphasize the lived experience and subjective perception of the human body in the world. By adopting a phenomenological perspective, we can better understand the intricate relationship between our bodies and technology, as it allows us to appreciate the contextual, situated, and social nature of interaction. Merleau-Ponty’s emphasis on the human body further highlights the significance of embodiment, as it emphasizes the embodied experience and the ways in which our physical presence shapes our interactions with technological artifacts. Through the lens of phenomenology, we gain valuable insights into the profound intertwining of our bodies and technology, illuminating the complex dynamics that underlie embodied interaction, ultimately shaping our experiences in the digital realm. With the abundance of literature on embodiment interaction, it is essential for us to reference Dourish's explanation to establish our standpoint. Dourish defines embodiment interaction as the process of manipulating, creating, and exchanging meaning through interactive engagement. Drawing inspiration from Husserl, Heidegger, and Merleau-Ponty’s phenomenology, Dourish asserts that embodiment provides an approach to understanding interaction that acknowledges its contextual, situated, and social aspects, with a particular emphasis on Merleau-Ponty’s focus on the human body. In this context, embodied interaction aligns with the phenomenological perspectives of thinkers like Heidegger and Wittgenstein, who prioritize practical engagement over abstract cognition in everyday activities. The concept of affordances, broadly defined as opportunities for action, has been utilized to explain phenomena related to games in various contexts. Within the framework of phenomenological thinking, we explore the relationship between affordances, embodied interaction, and the notion of the “body schema”. Thus, “affordance” emphasizes that meaning resides in the external world rather than solely within the mind, while the “body schema” highlights that the world becomes meaningful through our capacity to act within it. In this context, the Merleau-Pontian concept of the “body schema” and the Gibsonian concept of “affordances” are interconnected constructs. Concrete situations are profoundly structured based on the skills and abilities of a particular agent, as evidenced by Dourish’s utilization of the term in his work Where The Action is: The Foundations of Embodied Interaction. These concepts complementarily refer to the fact that real-life situations are objectively meaningful due to their alignment with the capabilities of an individual agent. In this concise paper, we present a fresh perspective on the interaction between embodiment and affordances. By examining Merleau-Pontian phenomenological thought, we aim to shed light on the formulation of affordances, a concept famously introduced by J. Gibson, as being simultaneously objective and subjective. To enrich our understanding of the role of the subject in perceiving affordances, we draw on Husserl’s analysis of affection and ephemerality. Furthermore, we emphasize the outward-directed aspects of affordances that originate from the agent's forward-looking intention and demonstrate how the phenomena of temporality and affectivity align closely with the original concept of affordances. Within a dedicated section of the article, we provide illustrative examples showcasing how this Merleau-Pontian perspective on affordances has the potential to redirect the focus of empirical research and influence the interpretation of findings.

Multiplayer digital games increasingly rely on bodily interaction, as players move, gesture and coordinate with one another through motion tracking, haptic feedback and immersive interface technologies. Despite longstanding interest in presence and co-presence within HCI, dominant frameworks continue to locate presence inside the individual, explaining it through immersion, realism, or system responsiveness rather than through relational or embodied dynamics. This paper argues that such accounts fail to capture how players often experience a strong sense of togetherness through shared movement, rhythm and bodily attunement, even in the absence of high-fidelity representation or explicit communication. Drawing on Maurice Merleau-Ponty’s phenomenology, this paper introduces the concept of intercorporeal presence as a relational and embodied form of presence that emerges through interperception, sensorimotor coupling and affective resonance between players. From this perspective, presence is not something players individually possess but something that is enacted together through coordinated action within digitally mediated environments. To operationalize this view for HCI and game studies, this research suggests a framework of shared embodiment that articulates five dimensions through which intercorporeal presence is constituted in multiplayer play as gesture and expressivity, rhythm and synchrony, proximity and spatial relation, kinesthetic engagement and affective resonance. This framework offers analytical and design-oriented lenses for understanding how players come to experience one another as bodily and socially present. By reframing presence as relational and enacted, this work contributes a phenomenologically grounded vocabulary to discussions of embodied interaction in HCI and provides guidance for designing multiplayer systems that support felt togetherness rather than solely representational realism.

Evaluation of player-user experience (UX) in digital games physically is a new but rapidly evolving field within game studies (Charij and Oikonomou, 2015). Mandryk and Nacke also emphasize in their 2016 book Biometrics in Gaming and Entertainment Technologies; “the attention towards psychophysiological measurements used in objective evaluation and experiments in recent years”. Yannakakis et al. (2016) also state that these measurements primarily assess emotions and physiological stimuli. Among the most discussed factors of gaming experience in the literature are phenomena known as “presence” (Nacke et al., 2010) and “immersion” that, according to Skalski and Tamborini (2005), have become more accessible and frequently used with the advancement of Virtual Reality Technologies (Skalski and Tamborini, 2005; Bellini et al., 2016). However, there is currently no standardized objective measurement for this matter (Mandryk and Nacke, 2016). In this study, the aim is to investigate the closest objective measure for the sense of presence in digital games where the Game Experience Questionnaire (GEQ), prepared by IJsselsteijn et al. (2013), was used as the experimentation method. Data collected from participants for each game genre were stored in an Excel file. The obtained findings underwent factor analysis using a 1-5 Likert Scale. Following the general analysis conducted with SPSS - Descriptive Statistics, basic data were extracted and interpreted through probability distribution functions. It was found that the results did not have statistically significant differences. Although the study provided insights into the questions defined to achieve its purpose, further in-depth investigations, evaluated through a phenomenological approach, were deemed possible and favorable in the realm of conceptual analysis

Immersive technologies, including virtual and augmented reality are reshaping digital interaction by creating environments in which users do not merely observe content but experience it through embodied presence. This shift has significant implications for the protection of children and vulnerable users. Existing legal and regulatory frameworks, largely developed for text- and screen- based media, conceptualize harm primarily in terms of exposure to unlawful or harmful content. However, in immersive environments, harm is increasingly experiential, arising from spatial interaction, perceived proximity, and the simulation of physical presence (Slater 2009, p. 3552; Bailenson 2018, pp. 45-46). This paper introduces the concept of “embodied harm” to capture the qualitative transformation of risk in immersive realities. It argues that forms of misconduct such as harassment, coercion, or grooming may be intensified in XR due to their affective and sensory immediacy (Madary and Metzinger 2016, pp. 5-7; Citron 2014, pp. 112-114), particularly for children, who may have a limited capacity to distinguish between virtual and physical experiences. As a result, existing safeguards, such as content moderation and notice-and-takedown mechanisms, are insufficient to address these risks. Drawing on principles derived from the United Nations Convention on the Rights of the Child (United Nations 1989, Art. 3), particularly the best interests of the child, and the jurisprudence surrounding Article 10 of the European Convention on Human Rights (Council of Europe 2024, p.12), the paper argues for a shift from content-based regulation to experience-based protection. It proposes that immersive platforms should be subject to enhanced duties of care, including safety-by- design measures that account for embodied interaction. By reframing harm in experiential terms, this paper contributes to emerging debates on human rights in immersive realities and calls for the development of regulatory approaches that reflect the unique affordances and risks of XR technologies.

Background literature and market flow data reveal attestation of a circuitous globalization of art systems. However, the dynamic between the local and the global art exteriorizes itself in two evidently antithetical axis. Globalization has incremented the likelihood of encompassment, sharing and distribution of art. And, au contraire, it replaced it artistic creation in the center of global market forces and new hegemonies. In the current century our (art) world witnessed vary in artistic methods, medium, materials and innovative processes as well as the new procedures of trade, distributing and consuming art. Great quantities of the creations and art transports under the new self appointed “glocal” art industry have also served to make visible the metropolitan art scene. That, in one respect, has not been exposed until now in the west. Before the phenomenal rise of digital technologies through NFTs, the concepts of actual ‘digital artwork ownership’ and scarcity were non-existent. Artists have experienced many issues in their efforts in globalizing digital world to an increasing extent. They frequently would find to have their creations with no credits and used where royalties would be lawfully due. As it continues to shift during the digital era, so does the provenance and documentation transpired alongside of art. At the center of globalization, necessity of the property definition is secern.

Undoubtedly, virtual reality technologies stand out as one of the most rapidly expanding domains in the present era. Apart from features like clarity of vision, viewing angle and time distortion that are improving daily, user interfaces are another crucial part of this technology that is not talked about much but must be. This study investigates and summarizes the literature on wearable technology and haptic controllers, which serve as the player’s interface between virtual and augmented reality. The controllers and devices we investigate, try to achieve a holistic approach in the experience thus it appears to be a rich soil for future studies. Although many technological advancements and entirely new ones are anticipated, a thorough analysis of the phenomena of interaction, participation, and integration, as well as embodiment and presence, should shed light on the question of its scope, depth, assessment, and limitations.

In this study, the state of embodiment within the game is elaborately expounded upon by taking an intellectual and theoretical standpoint through Husserl and Heidegger within the framework of Merleau-Ponty’s Phenomenology. On the other hand, the theory proposed has been attempted to be associated and discussed with technical and technological data through Spinoza, Deleuze, Guattari, and Bergson. Based upon Maurice Merleau-Ponty’s Phenomenology of Perception, within the scope of the game studies literature, the nature and boundaries of player participation and embodiment in the digital game universe have been thoroughly examined for the resolution of Calleja’s problematic notion. In this context, technologies developed for immersive engagement in games, such as haptic and wearable interfaces, have been extensively explored, revealing numerous alternatives and methodologies. Although the impulse towards a completely interactive techno-utopian fantasy world seems to stem from the need to provide real experiences that allow for transfer between virtual and real worlds, the concept of holistic interactive experience has fundamentally been found flawed. This research approaches the state of immersion and envelopment within the game not through a reductionist and Cartesian approach, but rather through a Merleau- Pontian phenomenological lens, providing a comprehensive view that encompasses the body. It defines the states of immersion and embodiment within the game as an impossible reduction to the avatar, but rather as a transcendent bodily experience. In this context, Merleau-Ponty’s phenomenology provides a useful resource and starting point for such an endeavor.

Undoubtedly, virtual reality technologies stand out as one of the most rapidly expanding domains in the present era. Apart from features like clarity of vision, viewing angle and time distortion that are improving daily, user interfaces are another crucial part of this technology that is not talked about much but must be. This study investigates and summarizes the literature on wearable technology and haptic controllers, which serve as the player’s interface between virtual and augmented reality. The controllers and devices we investigate, try to achieve a holistic approach in the experience thus it appears to be a rich soil for future studies. Although many technological advancements and entirely new ones are anticipated, a thorough analysis of the phenomena of interaction, participation, and integration, as well as embodiment and presence, should shed light on the question of its scope, depth, assessment, and limitations.