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Daniel Stainsby Thesis Australia Felix: Immersive Visions of The Great Southern Land PhD by artefact and exegesis Daniel Stainsby 1 Abstract This project surveys how New Media is utilised to develop Virtual Reality (VR) experiences for creative immersive interactive photography. It is an investigation into how VR can enrich our experience and perceptions of the Australian landscape. The artefact and the exegesis intersect to explore how technology can shape our various relationships with the environment. Together they reflect the physical, spiritual and artistic research journey undertaken for this project. The artefact is an online experiential gallery that engages with the natural world as communicated through panoramic images of the Australian landscape. It demonstrates technical and artistic rigour and elevates VR photography as a digital art form. The exegesis reflects upon the aesthetics of the natural world in the digital milieu. It utilises the theoretical prism of ecocriticism to illustrate the confluence of the love of nature (biophilia) with that of technology (technophilia). The exegesis also offers insights into personal reflections on the creative process and its importance to scholarship. This draws together insights into creativity as knowledge, the importance of a love of nature and the impact of new technologies. In doing so it illustrates technobiophilia. The artefact and exegesis complement one another as the creativity of VR panoramic landscape art photography leads the academic research. 2 Acknowledgements I would like to thank my supervisors for their insights and guidance: Dr Carolyn Beasley; Dr Matthew Mitchell. Further thanks to: Professor Josie Arnold; Peter Arnold; Emma-Leigh Miller-Olsen; Sand Martin. Thanks also to my family: John Stainsby; Dr Clare Stainsby; Greg Stainsby; Javari Green. To my supportive friends: Claire Oriander; Ruby Walker-Smith; Adrienne Fanning; Amanda McMillan; Bernadette Trenchman, my thanks. 3 Declaration I declare that this thesis: 1. contains no material which has been accepted for the award to me of any other degree or diploma, except where due reference is made in the text of the examinable outcome; 2. to the best of my knowledge contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome; and 3. contains no work based on joint research or publications. This thesis has been professionally copy edited by Dr Rachel Le Rossignol according to the Australian Standards for Editing Practice. Specifically the standards applied included D1, D3 to D5 and E1, E2 and E4. These standards relate to appropriate academic editing, including clarity of expression, spelling, punctuation and grammar, and ensuring the document meets the examining university's format, style and sequencing requirements. Signed, Daniel Stainsby 4 Australia Felix: Immersive Visions of the Great Southern Land Immersive interactive gallery www.australiafelix.com.au Artefact Daniel Stainsby The gallery of Australia Felix: Immersive Visions of The Great Southern Land transports you as user through interactive immediacy into virtual reality experiences of the Australian landscape. You have the opportunity to interact at first hand with a wide variety of photographic panoramas of remote locations in Australia. Choose any of the carefully selected artistically inspired immersive interactions with the deserts, seas, skies and forests of Australia’s most beautiful and challenging landscapes. Daniel Stainsby invites you to share his VR artistic and inspirational realisations of his journey around Australia through the magic of virtual reality. System Requirements 5 Australia Felix: Immersive Visions of The Great Southern Land Exegesis Daniel Stainsby 6 Table of Contents Abstract 2 Acknowledgements 3 Declaration 4 Catalogue Error! Bookmark not defined. Table of Contents 7 List of Plates 10 Introduction 12 The Journey 17 Virtual Technologies 18 Technobiophilia 21 Section 1: Method & Methodology 29 Artistry in new media 29 The artistic ‘want’ and ‘electracy’ 30 The research journal in PLR 31 Autoethnography 32 Practice Led Research 33 Photographic poesis 35 Section 2: The Australian Landscape 37 Presence and absence in the Australian Landscape 37 Colonial pictorial representations of ‘Australia Felix’ 38 Colonial landscape photography: Fred Kruger 39 Australian photographic narratives: Charles Bayliss 41 Australian landscape visions 43 The spiritual elements of the Australian landscape 45 Landscape and memory 50 Landscape representation and Virtual Reality 51 Section 3: My Project 53 Artistic photography 54 VR and The Gaze 56 Manufactured realities 57 Photographic poetry for new media: visual verses 58 7 The VR moment 59 The creative breakthrough: an epic VR visual poem 60 Sublime solitude 61 The outback experience 62 From the real to the hyperreal 64 Section 4: Theoretical Perspectives 67 Biophilia and technophilia 67 Ecocriticism and landscape aesthetics 69 Ecophobia 71 Technobiophilia 74 Electracy 75 The uncanny 76 Landscape, virtual reality and the uncanny 79 New electronic textual possibilities for my photography 81 The Eureka experience: invention, intuition, want and curiosity 82 The Artistic Oeuvre, the VR tourist gaze and the journey of this project 83 Section 5: Creativity and Technology 85 Photographer and/as the camera 85 Vilem Flusser: The eye of the camera, the teeth of the camera; the creative aesthetic and photographic techniques. 87 High Dynamic Range techniques in panoramic photography and questions of authenticity in photography 89 Visual quality 93 The photographer and the camera 94 Immersive representations and postproduction 99 Aesthetic decision making: postproduction 101 Challenges and considerations 102 A significant contribution to the genre of Digital Panoramic Immersive Photography 104 Visual quality 105 Ideal audience 107 VR: the changing audience 108 A ‘sense of living movement’ 113 8 Section 6: Artistic influences 118 Artists and influences 118 New Media immersive photography: a new aesthetic 118 The online gallery 119 Artists and inspirations 122 Australian landscape as a digital narrative 125 Contemporary digital art 127 Immersion not representation 128 Virtual technologies: demonstrations of digital applications for VR photography 130 ‘Images of Thought’ 132 Conclusion 134 The exegetical journey 135 The creative journey 137 The photographer’s absent presence 138 ‘Fieldpath’ 140 Where to? 141 References Cited 143 Bibliography Error! Bookmark not defined. 9 List of Plates Plate 1 Journey undertaken for this project. 18 Plate 2 West Kimberley Coast. 21 Plate 3 Cable Beach. 22 Plate 4 Roebuck Bay. 23 Plate 5 Pindan Cliffs. 25 Plate 6 Goulet Point, WA. 29 Plate 7 Detail from Goulet Point panorama, showing sharks swimming in the shallows. 30 Plate 8 Eugene VON GUERARD: Ferntree Gully in the Dandenong Ranges. 39 Plate 9 Nyirrpi. 49 Plate 10 Sunset. 52 Plate 11 Winkypop. 56 Plate 12 The Lost Cities, NT. 62 Plate 13 Forecourt of the San Francisco Museum of Art. 77 Plate 14 The Arc de Triomphe. 77 Plate 15 Nature’s Window, Kalbarri NP, WA. 80 Plate 16 Nambung, WA. 82 Plate 17 A crocodile lies in wait in the Daintree. 87 Plate 18 Rex Creek, Daintree, Queensland. 92 Plate 19 Nikon 10.5 DX Fisheye (Google images). 95 Plate 20 Shaving the inbuilt lens-hood off the Nikon 10.5 Fisheye (Google images). 96 Plate 21 Nikon 10.5 Fisheye rear gelatin filter holder (Google images). 97 Plate 22 Sunset off Prevelly panoramas. 98 Plate 23 Prevelly. 99 Plate 24 Albany, WA. 104 Plate 25 Kakadu: Image with people included (on right) 105 Plate 26 Kakadu: Image with people removed. 105 Plate 27 Mr Wyld’s large model of the Earth. 110 Plate 28 Bea Maddock exhibition. 123 Plate 29 Details of Bea Maddock’s Terra Spiritus exhibition. 125 10 List of the 39 landscapes portrayed as interactive panoramas (each with a non-interactive duration of 3 minutes 10 seconds) 1. Jervis Bay Territory Booderee; photographed 2016 2. NSW Barrington Tops Creek; photographed 2015 3. NSW Crowdy Bay Diamond Head; photographed 2015 4. NSW Lake Mungo; photographed 2015 5. NSW Myall Lakes; photographed 2015 6. NT Karrku; photographed 2015 7. NT Kata Tjuta; photographed 2015 8. NT Kings Canyon; photographed 2015 9. NT Lake Bennett; photographed 2015 10. NT Lasseter Desert Oaks; photographed 2015 11. NT Ormiston Gorge; photographed 2015 12. NT Palm Valley; photographed 2015 13. NT Rainsbow Valley; photographed 2015 14. NT Tanami Ghost Gums; photographed 2015 15. NT Uluru; photographed 2015 16. QLD Daintree Noah's Beach; photographed 2014 17. QLD Daintree Rex Creek; photographed 2014 18. QLD Hinchinbrook Island Nina's Peak; photographed 2014 19. QLD Lamington Forest; photographed 2014 20. QLD Whitehaven Beach; photographed 2014 21. SA Bunda Cliffs; photographed 2013 22. SA Lake Eyre; photographed 2013 23. TAS Bruny Island Beach; photographed 2014 24. TAS Cradle Mountain Dove Lake; photographed 2014 25. TAS Donoughys Lookout; photographed 2014 26. TAS Friendly Beaches; photographed 2014 27. TAS Mount Field; photographed 2014 28. TAS St Helens Point; photographed 2014 29. TAS Tarkine; photographed 2014 30. VIC Apostles; photographed 2013 31. VIC Grampians; photographed 2014 32. VIC Mt Buffalo; photographed 2015 33. WA Albany; photographed 2013 34. WA Cape Le Grand; photographed 2013 35. WA Gascoyne Coast; photographed 2013 36. WA Gascoyne Storm; photographed 2013 37. WA James Price Point; photographed 2013 38. WA Kalbarri; photographed 2013 39. WA Shark Bay; photographed 2013 11 Introduction
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