Fulfillment: a field guide to the logistical city is a web-based immersive virtual reality project, currently in production, that invites the user to explore the sedimented landscapes of logistics traversing urban centers of consumption and their related distributive networks of warehousing, transportation,dataveillance, waste and wilderness management. Inspired by Amazon’s logistical empire and specifically, by e-commerce-driven promotions of “seamless” flows in our on-demand economy, this project offers an interactive tour of the dark side of supply chain capitalism – that is, the hidden buffer zones, glitchy seams and uncanny folds of logistical spacetime that enable the “magic” of consumer “fulfillment” to seem always just one online click away.

Our aim is to establish a platform from which to observe the behind-the-scenes realities of supply chain infrastructures and their impact on labor, consumption, wellbeing and the environment. The project opens up new avenues of interdisciplinary collaboration between anthropology, design, science, and engineering for our team, while paving the way for new interdisciplinary educational opportunities. Fulfillment contributes to exploring how VR can be used as a medium for anthropological field research and in turn, make anthropological findings more accessible to a broader audience.

The present work approaches different definitions of time, going through the objects of time described by Kevin Birth (2012) and artistic works that directly discuss the theme of 'time machines' (JP Accacio, 2017; Andrei Thomaz, 2014; Daniel Buzzo, 2017). The need to look at biological time stands out. For this purpose, we resorted to chronobiology, an area of biology that investigates the temporal dimension in the relationships of organisms and the environmental roles of temporal adaptation. This article also starts with Luiz Menna-Barreto's Internal and External Temporal Organizations (2005). Regarding the different temporalities observed in the arts, we dedicate special attention to the synchronization modes.

"The future is here: Listening to space" explores the intricate relationship between sound, technology, and our environment, offering insights into the evolution of immersive sonic narratives. It delves into the historical and cultural aspects of technology, drawing parallels between ancient milestones like the mastery of fire and contemporary immersive experiences. The text explores how immersive technologies reshape our perception of space and time, discussing the impact of next-generation audio innovations like spatial audio and object-based sound. It emphasizes the socio-economic factors driving the desire for immersive experiences and addresses their implications on society. Additionally, it reflects on ancient immersive practices like the temazcal ceremony and their relevance to contemporary discussions on immersive audio. The summary encapsulates the evolution of immersive audio, from spatial technologies to data-driven experiences, and highlights the role of independent artists in shaping immersive narratives. It emphasizes the convergence of art and technology, envisioning immersive audio as a conduit to deepen human connections with our environments.

This paper considers urban spaces as commercialized topographies of deliberately deployed sonic mnemonics, examining how an acoustemological approach to mapping locale might be reconfigured to address retail environmental music (often referred to as Muzak) as an infrastructural element that bears the capacity to territorialize both their vibratory and non-vibratory sonic spectra – an intentionally articulated sonic architecture that, in the words of philosopher and musicologist Peter Szendy, ‘us[es] the words of hits as subliminal advertisements’.

In my explorations through new media art, I delve into expressing the intricate experience of inhabiting Nepantla—a non-place like the Borgian aleph, encapsulating all places simultaneously—a perpetu-al crossroads. This exploration is deeply entwined with my identity as a transfronteriza, constantly navigating the complexities of existence along the US-Mexico border. It is also intertwined with my experiences as a "first-generation" Chicana and descendant of Indigenous Californian and Baja Californians, as I long and search to reclaim a seized Indigeneity. I do this in acute awareness of the profound political ramifications that Mexican de-Indigenization has had on our communities, still currently facing coloniality as decon-textualized and severely minoritized peoples.
This autoethnography-based article explains my perspectives, approach, theoretical background, and resources while defining my interpretation of transfronteriza nepantlera sensibility and meth-ods. I aim to share some of the intricacies of the creative process for crafting no-muralismo or Xicanx Indígena Transfronteriza Immersive Muralism—a fusion of rasquache, anticolonial, and tech-driven artisanal/utilitarian art introduced by my VR piece, The Coyolxauhqui Imperative 2020. My core objective is to question the parameters that define new media art and VR world-making while destigmatizing the processes involved by inviting community members to share the diversity of experimental culturally driven ways in which it is possible to engage in new media art.