DOCSLIB.ORG

Augmented Reality Art: a Matter of (Non)Destination

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Augmented Reality Art: a Matter of (Non)Destination Augmented Reality Art: A Matter of (non)Destination Christine Ross Department of Art History and Communication Studies McGill University 1-514-398-7368 [email protected] ABSTRACT This paper examines the ambivalence of “destination”—namely 1. INTRODUCTION the ambivalence of the user’s interpellation—as one of the key features of augmented reality (AR) art. It calls attention to the special status of the spectator whose participation is at once a requirement and an uncertainty, a prediction and an anxiety, a principle of localization and a questioning of the very capacity to localize. This ambivalence is endemic to AR environments which rely on mobile, networking, tracking, sensing and detection technologies. My main claim is that, as a perceptual paradigm, Figure 1. Paul Milgram, et al., Reality-Virtuality Continuum AR’s potential innovativeness lies in its ability to generate new ways of perceiving for the spectator or to disclose what was As Paul Milgram’s schema specifies, the real-virtual continuum— previously unperceived—unseen, unheard, unfelt. These ways of the unbroken scale ranging from real to virtual environments—is perceiving are structurally rooted in the ambivalence of the foundational assumption of digital forms of augmented reality destination. This structuring feature, however, is recurrently (AR). AR builds up a continuous succession between the real and sidestepped by the interactive setting of AR art. Required to the virtual, in which the two categories tend to lose their interact; destined to act specifically and to insert him or herself in distinction in relation to one another. It is this very concept of the a standardizing logic of community formation; allegedly “in direct real-virtual continuum that underlies Ronald Azuma et al.’s contact” with the immediate environment despite extreme definition of AR as a system that “supplements the realworld with virtual (computer-generated) objects that appear to coexist in the mediation: the spectator turned user, YOUuser or interactor is 1 solicited as a destinataire (a recipient) in ways that most often same space as the realworld.” This supplementing occurs by counter the possibilities of AR as an ambivalent mode of adding dynamic, interactive, and context specific information to destination. The paper investigates three AR environments by the user’s sensory perception of space. This perceptual dimension artists Rafael Lozano-Hemmer, Mathieu Briand, and Christa is pivotal. In medical applications, for example, a surgeon can Sommerer & Laurent Mignonneau to show how these traits either now wear a head-mounted display (HMD) device equipped with a counter or favour the perceptual potential of AR. semi-transparent visor which fuses his or her perception of the patient’s body with the preparatory study of the internal anatomy projected on the screen. Augmented reality is a perceptual Categories and Subject Descriptors paradigm. Considering that the definitive (yet still unachieved) H.1.2.[User/Machine Systems]: Human factors, human goal is “to create a system such that the user can not tell the information processing. difference between the real world and the virtual augmentation of it,” the perceptual motivation underlying AR research carries General Terms several technical challenges, notably the imperative to perfect the Performance, Experimentation, Human Factors, Theory. panoply of technologies that converge to assemble a mixed real- virtual continuum for the observer-participant, from audiovisual Keywords (head mounted, wall mounted, handheld) display and playback Augmented Reality, Art, Aesthetics, Interactivity, Perception, devices to human-machine interface systems to body-tracking, Community. sensing and surveillance instruments, one of the most difficult technical challenges being the requirement for the computer to track where the user is looking and determine what s/he is seeing 1 Ronald Azuma, Y. Baillot, R. Behringer, S. Feiner, S. Julier, and B. MacIntyre, “Recent Advances in Augmented Reality,” IEEE Computer Graphics and Applications, 21, 6 (Nov./Dec. 2001), 34. DOI= http://www.cs.unc.edu/~azuma/cga2001. © Digital Arts and Culture, 2009. Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission from the author. Digital Arts and Culture, December 12–15, 2009, Irvine, California, USA. in order to augment his/her view.2 This has been from the start, urban territory are tracked by satellites to appear online as avatars this is, the impetus of AR explorations. next to avatars created by computer players, but only through the diverse delays involved in Internet connections and the multiple In the field of art, AR environments are, effectively, a derivative time gaps that separate the moment when an avatar is caught and of site-specificity installation art in which site is de/un/re- the runner’s official announcement of his or her catch. In the two specified by the activation of computer generated data. These works, technology is rooted in the surveillance systems which dynamic sites are achieved by connecting spectators to have become an integral component of our public spaces; and the networking systems (mobile phones, GPS, the Internet), sensing, user is posited both as a tractable individual and a fleeting subject. tracking, and surveillance technologies, as well as robotics, which The augmented reality artwork declares “Here you are now” but enable the processing of different forms of data—texts, images, simultaneously asks (let us follow psychoanalyst Serge Tisseron sound, light, even heartbeats and smell. The status of the spectator here): “Where are you now?”3 The positioning of the spectator is in these settings is quite unique: s/he is expected to be enhanced not an act but a search, a question, a desire, a verb, an anxiety. perceptually but also to evolve interactively, often polysensorially and collectively, with the work. Let us think, for example, of My main claim is that, as a perceptual paradigm, AR’s potential Seiko Mikami’s Gravicells: Gravity and Resistance (2004), which innovativeness lies in its ability to generate new ways of proposes a platform covered with panels of string-like lines that perceiving for the spectator or to disclose what was previously deform as the sensors underneath react to the participants’ weight, unperceived—unseen, unheard, unfelt, unsmelt. These ways of tilt and velocity: the changing platform is calculated by GPS perceiving are structurally rooted in the ambivalence of systems that register the changes in the space, a calculation destination. This structuring feature, however, is recurrently displayed on different wall panels that enhance the real-time sidestepped by the interactive setting of AR art. To clarify my dynamic between image, body, gravity, sound and light; Usman claim, let us go back briefly to Usman Haque’s Evoke (2007) Haque’s Evoke (2007), an animated projection on the façade of mentioned in my introduction, an animated projection on the York Minster which lights up in response to the voices of the façade of York Minster which lights up in response to the voices nearby public; and Christian Moeller’s recent robotic arms, built of a nearby public made out of anonymous individuals. The to move a ship propeller (Daisy, 2008) or a theatre spotlight multicolored lightening of the building occurs as a collective (Mojo, 2007), connected to surveillance cameras: these surveilling phenomenon; it is preprogrammed to respond to the manifold robots follow and face passers-by in an attempt to establish voices of a group. This example is emblematic of the AR contact or simply (as in Nosy, 2006) to randomly film passers-by applications I am trying to map out here, applications which rely and project their image in bitmap graphics on large glass panels of on the three following principles. First, to paraphrase W. J. T. adjacent towers; as well as Audio Grove (1997), an interactive Mitchell’s famous terminology about contemporary images light and sound installation composed of a wooden platform (“What do images want?”), the augmented reality artwork largely supporting vertical touch-sensitive steel posts: visitors who touch wants an interactive, localizable yet anonymous addressee (a the posts produce a soundscape which in turn triggers different shouter or singer, for example, as in Evoke). It has a democratic spotlights that eventually illuminate the whole space. In all of underpinning, one that belongs to what Jacques Rancière has these works, users are invited to interact—perceptually, called the aesthetic regime: its recipient is not a specified recipient sensorially, and collectively—with the system. But the system is but any visitor, any spectator, any user. But this “any user” exists persistently searching for participants—sensing, seeking and only insofar he or she is technologically detected. Second tracking bodies for the sake of communication, collectiveness, and observation: in most cases, the augmented reality artwork wants to interactivity. provide reciprocity to this addressee—another anonymous addressee (shouter or signer) with whom to cooperate as My talk examines the ambivalence of “destination”—namely the corporeally and immediately as possible.
Load more

Recommended publications
  • Interaction, Participation and Networking Art Florian Weil Student at University of Art in Linz Hauptplatz 8 4010 Linz, Austria [email protected]
    Interaction, Participation and Networking Art Florian Weil Student at University of Art in Linz Hauptplatz 8 4010 Linz, Austria [email protected] Interactions were often used as a dialogue model, for example the “Telematic Dreaming” project. In this installation the viewer is no ABSTRACT longer solely a recipient, but simultaneously an agent, too. This paper is a summary of the essay “Interaction, Participation, Networking Art and telecommunication” from Inke Arns. We At the late 1980s telematic and telepresence began to gain explore how the spectator is involved into the artwork and how importance for interactive media art. Telepresence provided a new the participation of art changed in the last 50-60 years. scope for the artist and allowed the viewer parallel experiences in Furthermore, this paper point out the evolution of art and which three different spaces at once: role participation plays in the art context • The real space in which the viewer’s body is physically located Keywords Art Network Internet mass-media participation telematic • Per tele-perception in the virtual, simulated visual space collaboration Openness NetArt satellite communication • Per tele-action at the physical location of the “data- work” 1. INTRODUCTION In this context of telematic art Kit Galloway and Sherrie Duchamp said that artwork is made entirely by those who look at Rabinowitz created a groundbreaking work, which is called “Hole it or read it. The artist, who made it, survives by their accolades or in Space”. In this installation the viewer from Los Angeles were even their condemnation. These points motivated the artist of the able to talk to the viewer from the other side in New York via a 20th Centaury to use and evolve the concepts of interaction, satellite video connection.
    [Show full text]
  • Ubiquitous Interactive Art Displays: Are They Wanted, Are They Intuitive?
    Ubiquitous Interactive Art Displays: Are they Wanted, are they Intuitive? Gary Burrows The Information Science Discussion Paper Series Number 2006/02 January 2006 ISSN 1172-6024 University of Otago Department of Information Science The Department of Information Science is one of six departments that make up the School of Business at the University of Otago. The department offers courses of study leading to a major in Information Science within the BCom, BA and BSc degrees. In addition to undergraduate teaching, the department is also strongly involved in post- graduate research programmes leading to MCom, MA, MSc and PhD degrees. Re- search projects in spatial information processing, connectionist-based information sys- tems, software engineering and software development, information engineering and database, software metrics, distributed information systems, multimedia information systems and information systems security are particularly well supported. The views expressed in this paper are not necessarily those of the department as a whole. The accuracy of the information presented in this paper is the sole responsibil- ity of the authors. Copyright Copyright remains with the authors. Permission to copy for research or teaching pur- poses is granted on the condition that the authors and the Series are given due ac- knowledgment. Reproduction in any form for purposes other than research or teach- ing is forbidden unless prior written permission has been obtained from the authors. Correspondence This paper represents work to date and may not necessarily form the basis for the au- thors’ final conclusions relating to this topic. It is likely, however, that the paper will ap- pear in some form in a journal or in conference proceedings in the near future.
    [Show full text]
  • "How Does Gamified Interaction Allow Participants to Co-Create Digital Artworks?"
    Erasmus Mundus Joint Master Degree European Master of Excellence Media Arts Cultures "HOW DOES GAMIFIED INTERACTION ALLOW PARTICIPANTS TO CO-CREATE DIGITAL ARTWORKS?" Qualitative analysis: comparative method, within-case method of analysis and embedded multiple-case study Master Thesis Handed in to Department of Communication and Psychology Aalborg University Head of Department Univ.-Prof. Dr. Mikael Vetner and the Media Arts Cultures Consortium Supervisor: Palle Dahlstedt (Ph.D., MFA, MA) By: Dominique Vinckenbosch (BA, MA) August 12, 2019 ! ii! ABSTRACT Topic: Game design elements (gamification affordances) applied to interaction for co-creation in art. Author: Dominique Vinckenbosch Course/Year: Media Arts Cultures, 2017-2019 4th Semester Placement: Aalborg University, Denmark Pages: 130 Content: So far gamification and interaction in art have been studied separately. However, the research question of this study "How does Gamified Interaction allow participants to co-create digital artworks?" covers three disciplines, respectively games, human computer interaction and interactive art and demonstrate connections premises between the three. Therefore, this study aims to bridge these three disciplines by filling the gap in the current research about the application of game design elements (gamification affordances) to interaction for co-creation in art. In order to do so, the study conducts an in-depth cross-case and within-case qualitative analysis of four digital artworks, respectively The Beast, Cow Clicker, Tweetris and BURP in regards to two previously elaborated hypotheses, which goals are to provide evidence of a causal relationship (H1) and to eliminate a causal factor as a necessary condition (H2). The results demonstrate that Gamified Interaction enables co-creation in the form of authorial and social collaboration, and that it does not necessary have to be designed according to the participants.
    [Show full text]
  • Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
    Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised.
    [Show full text]
  • Immersive Interactive Virtual Reality in the Museum
    Immersive Interactive Virtual Reality in the Museum Maria Roussou Foundation of the Hellenic World 254 Pireos St. Athens 17778 Greece +30-1-4835300, +30-1-4834634, [email protected], http://www.fhw.gr/ Abstract. The use of immersive Virtual Reality (VR) technology is a relatively recent trend enjoyed almost exclusively by the academic, military, and industrial research and development communities. However, as VR technologies mature, research is expanding from the military and scientific visualisation realm into more multidisciplinary areas, such as education, art, culture, and the humanities. As representative institutions involved in the research and presentation of these fields, museums, cultural centres, and entertainment venues may be in a better position to make use of advanced virtual reality technologies in order to investigate their educational potential while effectively shaping how they deliver public education and recreation. This paper will discuss the issues involved in using state-of-the-art interactive virtual environments in cultural public spaces by presenting the virtual environments developed for learners of all ages at the Foundation of the Hellenic World (FHW), a cultural heritage institution of informal education located in Athens. Virtual Reality in the Museum The development of new interactive important drawbacks for the use of VR in technologies has inevitably impacted the more public spaces, making it difficult to incorporate traditional sciences and arts. This is more in dwindling museum or school budgets. In evident in the case of novel interactive spite of these concerns and objections technologies that fascinate the broad public, as regarding the appropriateness and educational has always been the case with virtual reality.
    [Show full text]
  • Touching the Interface.Pdf
    From Television to Drone Vision: Telepresence and Touch in Contemporary Art Kris Paulsen Introduction: “Touching the Interface – Interfacing Touch” Figure 1. Douglas Engelbart at the controls of the oNLine System during "The Mother of All Demos," San Francisco, December 9, 1968. On December 9, 1968, Douglas EngelBart famously changed the future of computing. His presentation at the Fall Joint Computer Conference in San Francisco introduced the world to the oNLine System (NLS), which he developed with his team from the Augmented Research Center at the Stanford Research Institute. In the brisk 100-minute lecture, later known as “The Mother of All Demos,” Engelbart demonstrated, among other things, live teXt editing on a cathode ray tuBe monitor, hyperlinked documents, the computer mouse, networked interaction, video conferencing, and the idea of a personal computer with a display screen.1 The Introduction: Touching the Interface—Interfacing Touch 1 importance of the demonstration was not just in what EngelBart showed the audience, but how he did so. Though he sat on a stage facing a packed 1000-seat auditorium, he addressed the crowd through a 22-by-18-foot screen displaying a live video image of him at the computer workstation. An Eidaphor video projector, Borrowed from NASA and networked by the Advanced Research Projects Agency (ARPA), Beamed the high-resolution image across the lecture hall while a team of assistants, including Stewart Brand, the producer of the psychedelic 1966 Trips Festival, were at the lab in Menlo Park remotely controlling and choreographing the images on the screen.2 Despite Being in the same room with his viewers, EngelBart indicated that he would address them “primarily through this medium” By pointing into the television camera, and thereBy to the center of the video projection (fig.
    [Show full text]
  • The Commercial Viability of Alternate Reality Games
    THE COMMERCIAL VIABILITY OF ALTERNATE REALITY GAMES: A PROPOSED FRAMEWORK FOR PROFITABILITY AND SCALABILITY by Lee-Stahr G. Robertson B.Comm, Ryerson University, 2014 A Major Research Paper Presented to Ryerson University In partial fulfillment of the Requirements for the degree of Master of Digital Media In the Yeates School of Graduate Studies Toronto, Ontario, Canada, 2015 © Lee-Stahr G Robertson, 2015 Author Declaration AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. Signed Lee-Stahr Robertson !ii Abstract Alternate reality games (ARGs) utilize the real world as a platform for storytelling. These experiences deliver real world stories that may be altered by a player’s decisions and actions. However, these experiences were largely developed to function as one- time use marketing tools for particular products or services (Szulborski, 2005a). Consequently, ARGs evolved very little insofar as developing sustainable and profitable revenue models or any degree of scalability. As such, this paper will seek to coalesce existent research in the fields of ARG scalability and revenue modelling in order to generate a novel and theoretically sound framework for creating profitable and reusable ARGs.
    [Show full text]
  • Augmented Reality and Visual Arts
    Digital Culture & Audiovisual Challenges: Interdisciplinary Creativity In Arts And Technology AUGMENTED REALITY AND VISUAL ARTS Maria Papadopoulou1, Ioannis Deliyannis2 1MA, Department of Audio and Visual Arts, Ionian University, [email protected] 2Assistant Professor, Department of Audio and Visual Arts, Ionian University, [email protected] Abstract This research explores the use of augmented reality technologies in the field of visual arts, focusing on the way that visitors and artwork interact. The bib- liographic research focuses on exploring the definitions of augmented reality and interaction. The historical overview defines the two above-mentioned fields and looks into their connection with art, via exploration of their visual charac- teristics. We present the implementation methodology for such enhanced art- work and the process of interaction with the observer. Our research extends beyond typical presentation and citation of augmented and interactive visual works as it sets two main objectives a) discuss the way the artistic work which use augmented reality technologies interacts with the visitor, as well as b) pres- ent how human senses are stimulated through visual art work when new inter- active augmented reality technologies are employed. Keywords: Augmented reality, Interaction, Art - Technology, Multisensory Multimedia, New-Media Art. Introduction In recent years there has been a rapid evolution of augmented reality technolo- gies and applications that have found their way in various everyday fields. This has resulted applying those technologies into various fields such as education, medicine, gaming and art. Here with the term art we refer to the visual and interactive arts. Our research focuses on the application of augmented reality technologies to the visual arts.
    [Show full text]
  • Ephemeral Art and Interactive Art: the Quest for Preservation and Dissemination
    Journal of Literature and Art Studies, July 2017, Vol. 7, No. 7, 916-924 doi: 10.17265/2159-5836/2017.07.009 D DAVID PUBLISHING Ephemeral Art and Interactive Art: The Quest for Preservation and Dissemination Suzete Venturelli, Antenor Ferreira Corrêa University of Brasília, Brasília, Brazil In this text, we seek to present and analyze artistic works that were part of the exhibition Visual Music: interactions between music and image. This exhibition was held for a period of one month at Brazilian Bank Cultural Center and integrated III Understanding Visual Music Symposium (2015). This international event brought together artists from four continents and has been considered one of the most important academic forums dedicated to the study of the relationship between music and image. The works presented in the exhibition dealt with different possibilities of and the need for interaction with the public. Further, interesting discussions were raised, especially related to the possibilities and need for preservation of these works. These debates were unfolded to the plan of artistic dissemination; moreover, have embraced considerations about ephemeral art. Keywords: visual music, interactive art, ephemeral art, UVM 2015 Symposium Introduction Understanding Visual Music Symposium is an international scientific meeting dedicated to developing and sharing knowledge in a branch of study called visual music. UVM 2015 Symposium focused on research-creation processes and the multiple relations between art, science and new technologies. We understand those are key factors in obtaining creative results when working with a universe composed of moving images and organized sound. During the event, the participants had the opportunity to share research outcomes, experiences, showing their artistic works, as well as to discuss concepts, current trends, technological innovations, aspects related to creativity and innovative use of technology (Corrêa, 2015).
    [Show full text]
  • 3 Two Decades of Interactive Art: Digital Technologies and Human Experience
    3 Two Decades of Interactive Art: Digital Technologies and Human Experience Simon Penny As I write this in 2011, it is sobering to reflect on the fact that after a couple of decades of explosive development in new media art—or “digital multimedia” as it used to be called—in screen-based as well as “embodied” and gesture-based interaction, there seems not to have been much advance in the aesthetics of interaction. At the same time, interaction schemes and dynamics once only known in obscure corners of the world of media art research/creation have found their way into commodities from 3-D TV and game devices (Wii, Kinect) to smartphones (iPhone, Android). While increasingly sophisticated theoretical analyses (from Lev Manovich to Wendy Hui Kyong Chun to Mark Hansen, and more recently Nathaniel Stern among others) have brought diverse perspectives to bear, I am troubled by the fact that we appear to have advanced little in our ability to qualitatively discuss the characteristics of aesthetically rich interaction and interactivity—not to mention the complexities of designing interaction as artistic practice—in ways that can function as a guide to production as well as a theoretical discourse. This essay is an attempt at such a conversation.1 Historical Gloss—the Confluence of Two Great Rivers I identify a two-decade period—roughly speaking from 1985 to 2005—as the pioneer- ing experimental period of (computer-based) interactive art. At the beginning of the period the graphical user interface was a novelty, the Internet barely existed, the web was a decade away, and interactivity was an intriguing concept.
    [Show full text]
  • Realidad Virtual Y Sus
    UNIVERSIDAD DE CHILE FACULTAD DE ARTES MAGISTER EN ARTES MEDIALES Realidad fluida: Aproximaciones a la Realidad Virtual y sus posibles alcances GONZALO ANDRÉS LARA MENESES Trabajo para optar al grado de Magister en Artes Mediales PROFESOR GUÍA: DANIEL PABLO ANDRÉS CRUZ VALENZUELA SANTIAGO DE CHILE MARZO 2018 AGRADECIMIENTOS A Francisco, Eduardo y Felipe por abrirme la mente e invitar a entender el mundo desde el Arte. A Daniel Cruz, por ayudarme a aterrizar el texto y su ayuda todo este tiempo. Al cuerpo docente del Magister en Artes Mediales, por animarme a salir de mi zona de comodidad. A cada persona que colaboró de alguna forma a que esté proyecto llegase a buen término. 2 INDICE AGRADECIMIENTOS 2 INDICE 3 RESUMEN 4 INTRODUCCIÓN 5 Realidad Virtual: ¿Una expresión del momento? 7 Hikikomori 9 Tecnochamanismo 20 Proyecto Arcadia 26 PARTE I:Realidad Virtual y el rol del cuerpo 40 1.1 Lo real, lo hiperreal y lo virtual 40 1.2 El fin de las dualidades clásicas 42 1.3 El cuerpo prescindido 46 1.4 La sumisión del cuerpo ante la máquina 53 1.5 Definiendo Realidad Virtual 56 1.6 Experiencias virtuales para sensaciones reales 65 1.7 La Tierra de Turing contra la Tierra de Duchamp 70 1.8 El público empoderado virtualmente 72 PARTE II:Realidad Virtual y el valor de las experiencias virtuales en la cultura 76 2.1 La máquina de la experiencia 76 2.2 El cuerpo reinventado tecnológicamente 82 2.3 La mente condicionada por los medios de comunicación 86 2.4 El valor real de lo virtual 93 PARTE III:Realidad Virtual y la relación con el Sujeto 100 3.1 Plenitud subjetiva y el cansancio constante 102 3.2 Realidades fluidas 110 3.3 Realidad Virtual y la empatía frente a la otredad 114 3.4 Exploradores del mundo digital 116 CONCLUSIONES 120 BIBILIOGRAFÍA 124 3 RESUMEN El presente escrito invita a reflexionar sobre las posibilidades discursivas que ofrece la Realidad Virtual, explorando los nuevos tipos de relación que genera entre sujeto y objeto tecnológico.
    [Show full text]
  • Aesthetics of Immersion in Interactive Immersive Installation : Phenomenological Case Study
    Aesthetics of Immersion in Interactive Immersive Installation : Phenomenological Case Study Jinsil Hwaryoung Seo Texas A&M University College Station, USA [email protected] Abstract In a movement parallel to Computer Science research, This paper examines the aesthetics of immersive experience in many Interactive Artists have also explored immersion Light Strings, an interactive immersive environment. One of within VR environments in collaboration with computer prominent aspects of Interactive Art is the notion of immersion. scientists in many times. Their general approach to The concept of immersion is generally defined as a viewer immersion is somewhat different from those of scientists. “forgetting” the real world outside of the virtual environment and Artists have explored full-body, sensory immersion by a sense of being in a make-believe world generated by through their artistic creations. [4-6] Their approaches computational hardware and software. As an interactive artist and countered the disembodying tendency of virtual reality researcher, I conceive of immersion as any experience where discourses and their artistic pursuit was centred on creating integrated bodily, conscious, and pre-conscious states thoroughly immersive experiences using new technology (new intertwine with the world. Moreover immersion is where mind, hardware or complex systems). Rather than quantifying the body and environment interweave and communicate with each participants’ immersive experience, their focus was on other inside of technically-mediated, spatially enclosed, and creating new immersive experiences. sensuously-interactive computational environments. Light Strings As an artist, I create interactive immersive installations was created based on my previous art practice and research into exploring the idea of embodiment and materiality.
    [Show full text]