The proliferation of technological devices and artistic strategies has brought about an urgent and justifiable need to
capture site-specific time-based virtual reality experiences. Interactive art experiences are specifically dependent on the
orchestration of multiple sources including hardware, software, site-specific location, visitor inputs and 3D stereo and
sensory interactions. Although a photograph or video may illustrate a particular component of the work, such as an
illustration of the artwork or a sample of the sound, these only represent a fraction of the overall experience. This paper
seeks to discuss documentation strategies that combine multiple approaches and capture the interactions between art
projection, acting, stage design, sight movement, dialogue and audio design.
This paper will discuss the potentiality towards a methodology for creating perceptual shifts in virtual reality (VR) environments. A perceptual shift is a cognitive recognition of having experienced something extra-marginal, on the boundaries of normal awareness, outside of conditioned attenuation. Definitions of perceptual shifts demonstrate a historical tradition for the wonder of devices as well as analyze various categories of sensory and optical illusions. Neuroscience and cognitive science attempt to explain perceptual shifts through biological and perceptual mechanisms using the sciences. This paper explores perspective, illusion and projections to situate an artistic process in terms of perceptual shifts. Most VR environments rely on a single perceptual shift while there remains enormous potential for perceptual shifts in VR. Examples of artwork and VR environments develop and present this idea.
This panel presentation will exhibit artwork developed in CAVEs and discuss how art methodologies enhance the science of VR through collaboration, interaction and aesthetics. Artists and scientists work alongside one another to expand scientific research and artistic expression and are motivated by exhibiting collaborative virtual environments. Looking towards the arts, such as painting and sculpture, computer graphics captures a visual tradition. Virtual reality expands this tradition to not only what we face, but to what surrounds us and even what responds to our body and its gestures. Art making that once was isolated to the static frame and an optimal point of view is now out and about, in fully immersive mode within CAVEs. Art knowledge is a guide to how the aesthetics of 2D and 3D worlds affect, transform, and influence the social, intellectual and physical condition of the human body through attention to psychology, spiritual thinking, education, and cognition. The psychological interacts with the physical in the virtual in such a way that each facilitates, enhances and extends the other, culminating in a 'go together' world. Attention to sharing art experience across high-speed networks introduces a dimension of liveliness and aliveness when we 'become virtual' in real time with others.
The international Grid, or the iGrid, is a fertile ground for exploring levels of sensorial communication, visual metaphors and navigation strategies. This paper seeks to answer the following questions: What is the iGrid? What does it mean to share a collaborative virtual environment (CVE)? What implications does sharing CVEs have for communication? What are visual navigation strategies across a high performance high-speed network? How can art shape experience in a technological world? Networking virtual environments via the iGrid establishes a performance theater where academics and researchers create dialogues between disciplines. CVEs synergize towards a new dimension of literacy where knowledge is presented as abstract visual engagement. In CVEs, the visuals act as three dimensional navigation icons that can symbolize a choice to be made, a direction to consider or a sequence in a narrative. The user's ability to influence events and receive feedback from the environment through sensorial stimulation enhances the level of immersion. Art CVEs function across the network based on aesthetic style, engagement, levels of interaction and the quality of audio immersion. A level of plasticity, or malleability, is required in CVEs to encourage participants to become directly involved with understanding and realizing the environment.
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