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UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Virtual Empowerment Permalink https://escholarship.org/uc/item/62g650c4 Author Khatibi, Marjan Publication Date 2020 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ Virtual Empowerment An immersive experience and visual narrative in the form of sociopolitical fiction A thesis paper submitted in partial satisfaction of the requirements for the degree of Masters of Fine Arts in Digital Arts and New Media by Marjan Khatibi December 2020 The Thesis of Marjan Khatibi is approved: __________________________________________ Elizabeth Swensen, Chair, Assistant Professor, AGPM/DANM __________________________________________ Soraya Murray Associate Professor, Film & Digital Media __________________________________________ Susana Ruiz Assistant Professor, Film & Digital Media ___________________________________ Quentin Williams Interim Vice Provost and Dean of Graduate Studies Copyright © by Marjan Khatibi 2020 ii TABLE OF CONTENTS Table of Contents………………………………………………………………….…....…….iii List of Figures………………………………………………………………………......….….v Abstract……………………………………………………………………….........................ix Dedication……………………………………………………………………..........................x Acknowledgement…………………………………………………………………….………xi CONTEXT 1- INTRODUCTION………………....……..……..………………………….…..………1 2- PROJECT DESCRIPTION..……...………………….……………………...……....…5 THEORETICAL FOUNDATIONS 3- FEMINIST MOVEMENTS AND PROTESTS…….…..………….………....…..…..…8 4- IRAN MYTHOLOGY, GODS AND GODDESSES…….….…....….…………….......10 5- ANAHITA, Immaculate Virgin and Mother of the Gods.……...…….……………..…12 DESIGN AND ANALYSIS 6- INTRODUCTION ……........................…………….……………….….……….……15 7- VIRTUAL REALITY……..………....…..……………………………….……….......17 8- DIGITAL STORYTELLING…....…………….………………….………………..…23 9- THE RISING POPULARITY OF INTERACTIVE ENTERTAINMENT….……..…25 10- INTERACTIVITY……….…........……..………………..…….……………….……25 11- USER INTERFACE IN VIRTUAL REALITY….....……………..…..…………..…28 12- USER EXPERIENCE IN VIRTUAL REALITY……….…………………..……..…28 iii 13- PHYSIOLOGICAL COMFORT………….....……..…….…………….……….……30 TECHNICAL ELEMENTS 14- UNITY, MAYA, PHOTOSHOP, MADMAPPER, AND OCULUS.……….….……31 PRECEDENT ARTWORKS REVIEW 15- INTRODUCTION….....…...……………………………....…….…...…………..…33 16- EMPOWERING THROUGH VR TECHNOLOGY…..…………………..……..…35 Clouds Over Sidra: An award-winning 360-degree film…..……….……..…36 17- IMMERSIVE JOURNALISM (TECHNICAL INFLUENCES) ………....……..…37 Hunger in LA…..……………………………………………….….……..…38 Project Syria…..…………………………………….…………..….……..…38 After Solitary…..…...……………………………….…………..….……..…39 18- AESTHETIC INFLUENCES (Museum of Symmetry), (Projection Mapping)...…40 19- IRANIAN MEDIA ARTISTS AND ACTIVISTS ….…………...….……….……41 Shirin Neshat…..…………………………………….…………..….……..…41 Morehshin Allahyari…..…….……………………….…………..….……..…44 MFA EXHIBITION 20- THESIS PROJECT: DESIGN PROCESS.....….....……………………..…….……47 21- MFA Exhibition (An Immersive Room + A VR Experience).....….....……….……51 CONCLUSION……………….........……………..………..………………….……….……58 BIBLIOGRAPHY…………………..……………...……………………………………….61 APPENDIX….………....……………...……………………….…………………………....65 iv LIST OF FIGURES FIG. 1: Anahita Vessel, 300-500 AD Sassanian, Iran, Silver and Gilt, Cleveland Museum of Art……………………………………………………………………………….…………………….14 FIG. 2: Nagsh-e-Rustam investiture of Narsed (r.293-302), in which the Sasanian king (second from right in the picture) receives the ring of kingship from Anahita (right)……….14 FIG. 3: Avan Ardvisura Anahita, Persian Goddess, The divine Purifier……….……...…….14 FIG. 4: Virtual reality triangle transformation to virtual reality quadrilateral.…………….19 FIG. 5: MFA Show Installation. Black and White vs. Color…………….…………………….24 FIG. 6: Clouds Over Sidra: An award-winning, 2015, 360-degree film …………..…..…….37 FIG. 7: Hunger in LA, 2012, VR………………………….……………….…...…………….38 FIG. 8: Project Syria, 2014, VR…………………………………….…………….....……….38 FIG. 9: After Solitary, 2017, 360-degree documentary………………....…....…….………….39 FIG. 10: Fred Penelle and Yannick Jacquet, MÉCANIQUES DISCURSIVES INSTALLATION, 2011 - 2021…………………….…….………………………………...….40 FIG. 11: Museum of Symmetry, 2018, VR video game.………....…………….….........…….40 v FIG. 12: Shirin Neshat, Women of Allah series, 1994, B&W RC print & ink, photo by Cynthia Preston ©Shirin Neshat (courtesy Barbara Gladstone Gallery, New York, and Brussel)..….43 FIG. 13: Morehshin Allahyari, She Who Sees the Unknown, October 2016, NYC, 3D modeling, 3D scanning, 3D printing……………………..……………….…….………..……….46 FIG. 14: Anahita sculpture………….……………………...……………….…...…………….47 FIG. 15: My first sketch of Anahita, Acrylic on canvas………………….………………...…….47 FIG. 16: The final figure of Anahita, digital painting on Adobe Photoshop.…….….….…….48 FIG. 17: Sketches and final 3d model of the sacred plant. Inspired by the Persian motives. The very first sketch is Lotus, a very old Persian motif in Persepolis, Iran.……...………….49 FIG. 18: Persepolis, Takht-e Jamshid (Fars Province, Iran), palace complex of Darius I, (Achaemenid, 5th century BC)………………….……………………….………………....….…….49 FIG. 19: MFA Show, Virtual Reality.…….…………………………….……….…………....…….50 FIG. 20: MFA Show, Immersive Room.…….……………………………….…….…...…….…….52 FIG. 21: MFA Show, Immersive Room ……………………………………….….....……….52 FIG. 22: MFA Show, Immersive Room ………………….…………………...….……....….…….52 vi FIG. 23: MFA Show, Performance, Immersive Room………..……………..…………..….…….53 FIG. 24: 360-degree grid………...…….……………...……………….…….…...…………….53 FIG. 25: MFA Show, 360-degree environment of Anahita temple, VR …………...………..….53 FIG. 26: MFA Show, VR Scene 3.…….………………………………….………………..….…….54 FIG. 27: Anahita temple, Iran.…….……………………………………………………....….…….54 FIG. 28: MFA Show, VR Scene 3, 360-degree painting.……………………….…....……….54 FIG. 29: Anahita temple, Iran…………………………………………..………………....….…….55 FIG. 30: Anahita temple, Iran, 360-degree image.………………………………..…..…...…….55 FIG. 31: MFA Show, VR Scene 3, 360-degree painting.……………………….…….…….…….55 FIG. 32: MFA Show, VR experience, Scene 1to 5…………………………….……..………….56 FIG. 33: MFA Show, Immersive Room ………………………...………………….…………….65 FIG. 34: MFA Show, Holly Flower ………………………………………………...……..…….65 vii FIG. 35: MFA Show, VR headset ………………………………………….…………....……….65 FIG. 36: MFA Show, Immersive Room ……….……………………………………………..….66 FIG. 37: MFA Show, Immersive Room ………….………………………….…...……….……….66 FIG. 38: MFA Show, Immersive Room ……………………………………….…….…….………..67 FIG. 39: MFA Show, Immersive Room ………………………...………………………….………67 FIG. 40: MFA Show, Immersive Room ………………………….……...….….…………………..68 FIG. 41: MFA Show, Immersive Room ………………………...……….……………...…………68 FIG. 42: MFA Show, Immersive Room ………………………....……………………...…………69 FIG. 43: MFA Show, Immersive Room …………….……………………….…….………………..69 FIG. 44: MFA Show, Immersive Room ……………………...……….………………...…………70 FIG. 45: MFA Show, Immersive Room ………………………...……….……………...…………70 viii ABSTRACT Marjan Khatibi Virtual Empowerment In historical Persian mythology, female power is a symbol of mother nature, the protector of humans and Earth. I am interested in how this historical, supernatural, fantastical figure could inspire the restoration of the critical role of women in contemporary society. Anahita is the Mother of Gods in old Persian. She is a symbol of fertility, pureness, creation, and affection. The Worship of Anahita continued in the Sassanid period (224 to 651 AD). D. M. Murdoch writes, “In Persian mythology, Anahita is the goddess of all the waters upon the earth and the source of the cosmic ocean; she drives a chariot pulled by four horses, wind, rain, cloud, and sleet; She is regarded as the source of life.” (Murdock, 2013, p.3) In contrast with my childhood, as a woman in Iran, I did not have the right to do many things without the consent of my father. In fact, I am the legal property of my father. The “hijab” dress code is mandatory and is enforced both by the law and by male relatives. So, I did not have the right to wear what I pleased, or generally, to live my life in a way that I truly wanted to. In legendary stories of goddesses, associated with ideas such as fertility, motherhood, and pureness, is the power and confidence to face the patriarchal culture of my country. So, as part of my graduate research, I have become interested in topics around female role models and feminist values. I critique the patriarchal conditions of contemporary Iran by contrasting them with a narrative of powerful female figures from Persian mythology. My goal is to reflect these contemporary problems by criticizing the obstacles and limitations women in Iran struggle with on a daily basis, and present an alternative, even fantastical representation of true stories. Keywords: Empathy, Empowering, Immersion, Interactive experience, VE, VR. ix DEDICATION Special thanks to my family and friends, whose support and encouragement were invaluable in completing my M.F.A. x ACKNOWLEDGEMENT I would like to thank Elizabeth Swensen, Soraya Murray, and Susana Ruiz, my thesis committee, for supporting me and for the generous guidance in writing this paper. Without their help, it would be impossible to finish this research. I am thankful for the chance to learn from my colleagues and friends who inspired me and guide me to find my way. Thank you, James Lewis Byron, my programmer, without you, my virtual reality experience couldn’t be what it is. Thanks to Evie Chang for making my
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