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Current findings from anthropology, genetics, prehistory, cognitive and neuroscience indicate that human nature is grounded in a co-evolution of tool use, symbolic communication, social interaction and cultural transmission. Digital information technology has recently entered as a new tool in this co-evolution, and will probably have the strongest impact on shaping the human mind in the near future. A common effort from the humanities, the sciences, art and technology is necessary to understand this ongoing co- evolutionary process. Interactivity is a key for understanding the new relationships formed by humans with social robots as well as interactive environments and wearables underlying this process. Of special importance for understanding interactivity are human-computer and human-robot interaction, as well as media theory and New Media Art. "Paradoxes of Interactivity" brings together reflections on "interactivity" from different theoretical perspectives, the interplay of science and art, and recent technological developments for artistic applications, especially in the realm of sound.

What happens to the media after the regime changes from authoritarian to the democratic system? Would the media also change accordingly and automatically become free after the regime's change? Furthermore, what are the forces within and outside the media that influence these changes? This paper aims to review the exiting literatures in the post authoritarian Latin America and Southeast Asia to answer the questions. As a method, this study conducts a critical literature review. This study found that there is agreement among scholars that regime's change didn't automatically lead to more free reporting. However, debate is going on about what factors influence the degree of change or continuity with regard to media freedom in post-authoritarian settings. In this regard, scholars have been divided to a theoretical dichotomy. In one hand, there are groups of scholars who believe that political economy factors are the main factors that influence degrees of media freedom. In another hand, there are scholars who believe that cultural factors are more influential. Borrowing the theory of Pierre Bourdie, French sociologists who also concern about this issue, the paper argues that his theory on media' change can be used as a theoretical framework to examine the media's changes and overcome the existing theoretical dichotomies.

Colonization of Asian and African countries by European countries in the bygone
centuries has been regarded as the darkest phase of human history by the
colonized. Imperialists' means of drawing authority and legitimacy lies in the
interpretation of the traditional systems in relation to the western ways, thereby
concluding the institutions of the colonized as devoid of rational character. Besides,
generalizing the Indian cultures as homogenous all over wholly discredit some
effective institutions of the colonized. The superficial understanding and
interpretation of Kukis and their institution of chieftainship sans its evolutionary
and cultural aspects have led to complete distortion of the same. In the absence
of traditional records, the reliance on colonial historiography which was purely
the perspectives of colonial historians has been prejudiced, even experiencing a
reverberating effect. The influence of colonial records (information) upon the Kukis
(audience) on the subject (chieftainship) has been great that it altered the
chieftainship system as perceived in colonial writings. This paper intends to unfold
colonial presentation of Kuki chieftainship, its interpretation and understanding
on the basis of few media theorie

What happens to the media after the regime changes from authoritarian to the democratic system? Would the media also change accordingly and automatically become free after the regime's change? Furthermore, what are the forces within and outside the media that influence these changes? This paper aims to review the exiting literatures in the post authoritarian Latin America and Southeast Asia to answer the questions. As a method, this study conducts a critical literature review. This study found that there is agreement among scholars that regime's change didn't automatically lead to more free reporting. However, debate is going on about what factors influence the degree of change or continuity with regard to media freedom in post-authoritarian settings. In this regard, scholars have been divided to a theoretical dichotomy. In one hand, there are groups of scholars who believe that political economy factors are the main factors that influence degrees of media freedom. In another hand, there are scholars who believe that cultural factors are more influential. Borrowing the theory of Pierre Bourdie, French sociologists who also concern about this issue, the paper argues that his theory on media' change can be used as a theoretical framework to examine the media's changes and overcome the existing theoretical dichotomies.

Cover PARADOXES OF INTERACTIVITY -- CONTENTS -- The Co-Evolution of Humans and Machines: A Paradox of Interactivity -- I. Rethinking Interactivity -- Does the Body Disappear? A Comment on Computer Generated Spaces -- Transparency and Opacity: Interface Technology of Mediation in New Media Art -- Where the Action is: Distributed Agency between Humans, Machines, and Programs -- Surface, Interface, Subface: Three Cases of Interaction and One Concept -- Double Cross Playing Diamonds: Understanding Interactivity in/between Bigraphs and Diamonds -- II. Interplay between Art, Science, and Technology -- Where Art and Science Meet (or Where They Work at Cross-Purposes) -- Time, Magma, Continuity: Some Remarks on In-Formation and the Fabrication of "Poiesis" -- Implications of Unfolding -- UNORT-KATASTER: An Urban Experiment Towards Participatory Media Development -- Modelling and Analysing Expressive Gesture in Multimodal Systems -- III. Interactive Media Performances: Past, Present, and Future -- Interaction Computer Dance: The Resonance Paradigm 1900/2000 -- Staging of the Thinking Space: From Immersion to Performative Presence -- From Interactive Live Electronic Music to New Media Art -- Extending the Musical Experience: From the Physical to the Digital and Back -- Virtual Musical Instruments and Robot Music Performances -- Authors' Biographies.

Abstract
In the South African debate about the role of the media in the new (post-apartheid) South African society, the African moral philosophy ubuntuism is from time to time raised as a framework for African normative media theory. Up till now, the possibility of using ubuntuism as a normative framework can, however, not yet be described as a focused effort to develop a comprehensive theory on the basis of which media performance could be measured from 'an African perspective'. Rather, the topic of ubuntuism as normative media theory should be seen in the context of the African Renaissance as part of an intellectual quest to rediscover and re-establish idealized values of traditional African culture(s) and communities and to apply it to contemporary phenomena such as the media. However, given South Africa's history of apartheid in which Christian nationalism was misused as a moral philosophy to mobilize a patriotic media in the service of volk and vaderland, it is not too early to ask critical questions about ubuntuism as a possible framework for normative media theory. Such questioning is the purpose of this article. Against the background of a postmodern and a postcolonial perspective on normative theory, questions related to the following are raised: the expediency of ubuntuism in the context of changed African cultural values, the distinctiveness of ubuntuism as an African moral philosophy, the vulnerability of moral philosophy to political misuse, ubuntuism in the context of the future of normative theory in a globalized world and changed media environment, and, the implications of ubuntuism for journalism practice. It is concluded that ubuntuism may pose a threat to freedom of expression. Given the nature of contemporary South African society and its media system, a postmodern emphasis on diversity and pluralism as the cornerstone of future normative theory is supported.

The global pandemic threw the world in all its asymmetries and diversities into a limit situation without known coordinates. This article suggests that in its aftermath there is actually a call and an opportunity for more than rethinking existing keywords in the field. It argues that the crisis was "improbable" in the meaning of the word offered by Amitav Ghosh who traces a common sense forged by probabilistic science, that expelled the unthinkable from the modern imaginary. Tracking down this regime of certainty, the essay offers a discussion on the place or displacement of the disorderly, the uncertain, and the disruptive in media theory. It submits that reawakening to the improbable, in light of Karl Jaspers' philosophical anthropology of the limit situation, offers a fruitful conceptual avenue ahead. Apart from introducing the concept of the (digital) limit situation, the article offers a conversation between existential media studies, critical disability studies, feminist STS, and the environmental humanities, by also inviting an extended family of unruly concepts, including dismediation and deferral. It concludes that limit situations can be transformative also for media theory, if we dare to seize them, by means of existential modes of transversal listening to ghostly pasts never fulfilled.