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The article aims to deal with flow, immersion, and presence and their relation with storytelling and the exploration of space. In sections 2 and 3, we introduce the three concepts both from a psychological and from a neurocognitive approach. In section 4, we analyse a particular video game genre, the “walking simulator,” which focuses on immersion in a narrative and a space rather than in the mechanics of the game and which generates a profound user experience. In paragraph 5, we examine virtual reality artworks based on both storytelling and presence within a space, discussing their immersive nature. We hypothesise that the very concept of experience can be adopted as a key term to describe media engagement, since immersion is an essential requirement for an experience to take place. Finally, in section 6 we introduce and discuss the transformative character of experience, which is the mutual and co-constitutive cognitive becoming triggered by audiovisual media engagements.

Technological advances have impacted almost every facet of modern culture and even in the educational methodologies. As new technologies become available, they are often embraced in educational innovation in an attempt to enhance traditional instruction. To this purpose, the “flipped classroom” is a learning model in which content attainment is shifted forward to outside of class, then followed by teacher-facilitated concept application activities in class. The constructivist approach, realized through an active-learning style of teaching, is more important respect to the order with which the teacher participated in the learning process. In this respect, the goal is to provide an alternative teaching approach on environmental issue. In particular, thanks to active learning (flipped classroom) it is possible to know and to appreciate a new \textit{eco-friendly} material named to “Geopolymers”. One of the most important environmental advantage that can be attributed to this material is represented by the lower energy requirements for its production. Thus, this material could represent a potential tool able to mitigate the environmental pollution. In this regard, the geopolymers could provide a possible solution to wastes reuse as a resource to scale down the demand for extraction of new resources. This paper looks at some positive aspects of technology and waste treatment, and deals with the production of innovative building materials obtained by waste recycling known as geopolymers. Specifically, it is important to highlight the possibility of using wastes characterized by high silica and aluminum amounts as raw materials, particularly suitable to produce geopolymers by chemical activation with alkali. This is a useful method to improve hazardous-waste management and to reduce health and environmental issues due to the strong capability of make inert hazardous waste. This solution confirms the importance of re-manufacturing, reusing and recycling and, moreover, making a waste a new raw material and helps to move toward a more circular economy where wastes become negligible and further natural resources are used in an efficient and sustainable way. The proposed topic is addressed to students and aims to arouse their interest in the fields of the environmental protection and waste management, but overall it gives the perspective of natural resource preservation, and a most efficient way of their use without depleting the planet's resources.

In the last twenty years, one of the most discussed theoretical issues in photography theory is certainly that concerning the relation between analogical photography and digital photography: are these art forms different, or is the latter just a technological upgrade of the former? Usually, in order to respond to this question, theorists turn their attention to the role assumed by the subjects (how users consider photography? Did they change the way to use it?) or to the device (is the “index” still intact, or does the digital conversion interrupt the process?). In this article, I will try to demonstrate that the question is wrong, and is based on a weak assumption; after a brief review of the debate on philosophy of photography, and on the so called post-photography, I will claim that the medial impact employed by the device on the subject (i.e. in this case the aesthetic function of the photographic picture) is caused by the prosthetic function arising from the medial regulation between individual and surrounding environment.

In this article we propose to overlap aesthetic experience with medial experience, starting from the assumption that every aesthetic experience is always a medial experience. Adopting a naturalistic approach, in which we explain what we mean with the term naturalization, we suggest a partial review of the issue. First, we state that human natural language is a kind of technology, made possible by certain physical, cognitive and social features; this sort of biological technology must be considered as an underlying condition for aesthetic experience. Secondly, we suggest the importance of social relationships among various species, demonstrating the role played by this relationships in natural selection: a new perspective will emerge. Thirdly, we explain in more detail why aesthetic experience can be likened to medial experience; in doing so, we offer an epistemological comparison between evolutionary theory and Marshall McLuhan’s approach to media studies. Resulting comparison will offer an original definition of aesthetic experience which rises through the interaction engaged by our natural technologies interacting prosthetically with environment.

In this article we propose to overlap aesthetic experience with medial experience, starting from the assumption that every aesthetic experience is always a medial experience. Adopting a naturalistic approach, in which we explain what we mean with the term naturalization, we suggest a partial review of the issue. First, we state that human natural language is a kind of technology, made possible by certain physical, cognitive and social features; this sort of biological technology must be considered as an underlying condition for aesthetic experience. Secondly, we suggest the importance of social relationships among various species, demonstrating the role played by this relationships in natural selection: a new perspective will emerge. Thirdly, we explain in more detail why aesthetic experience can be likened to medial experience; in doing so, we offer an epistemological comparison between evolutionary theory and Marshall McLuhan’s approach to media studies. Resulting comparison will offer an original definition of aesthetic experience which rises through the interaction engaged by our natural technologies interacting prosthetically with environment.