Efficacy of Virtual Reality in Painting Art Exhibitions Appreciation (original) (raw)
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6. INTERNATIONAL MEDITERRANEAN CONGRESS 13-15 August 2024, Rome - Italy FULL TEXTS BOOK VOLUME-2, 2024
From the 1960s to the present day, the foundations of digital art have existed in many different forms, such as Computer Art, ASCII art, Robotic Art, Electronic Art, Cyber Art, and Software Art. The abstract electronic images of waveforms created by American mathematician and artist Ben Laposky in the early 1950s were among the first examples of painting with light in digital art. While Laposky used light limited to the screen surface to create the images, a year before him, Pablo Picasso and Henri Matisse were experimenting with a different form of painting with light by utilising the physiogram technique, a photographic technique. Picasso drew figures in the air with a small light source, and Gjon Mili captured the image of the drawing by layering the light on photographic film with his camera set to low light sensitivity and prolonged exposure. Innovative VR technology was being developed concurrently. Beginning with Morton Heiling's Sensorama, a virtual reality device introduced in 1956, seven years after Picasso painted figures in space with light in 1949, VR technologies today are sophisticated regarding display, audio, interaction, and network integration capabilities. The two approaches of painting with light, Laposky's creation in the digital environment and Picasso's creation of the drawing by the artist in physical space, are combined in VR. Virtual reality uses the illusion of replacing a computer-generated environment with our perception of the real world, creating a sense of presence in the virtual world and the exciting possibility of interacting with virtual objects. Artists can meet in VR's immersive environment and work on their artistic creations with innovative creation tools. Moreover, VR Technologies, have also become an alternative to traditional exhibition methods in art and design. This research investigates the possibilities of VR Painting as a form of artistic expression and the artists and their works with this technology in the context of digital art. Keywords: Virtual-Reality, VR painting, digital art, immersive art, physiogram.
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The recent increase in the spreading of Virtual Reality allows a large number of consumers to experience this technology in several fields, from gaming to learning. In this paper we propose a framework that allows the user to freely move and interact in a virtual museum implemented with the HTC Vive. The goals of this work are: to investigate the possibility of using this approach for providing the user with a personalized and educative exploration of an artistic content, and to measure the immersivity and usability of the proposed system by means of a subjective experiment.(paragraph 1;4)
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It has been maintained that Virtual Reality (VR) may allow students to``get into'' the representation simulated by the computer, so that they can mentally act on the relation they have with the representation of the world instead of acting on the relation they have with the world itself. This should help students to realise some critical issues involved in knowledge construction and to grasp important epistemological implications. This general assumption needs to be empirically tested, for instance by showing that mental operations elicited by VR environments dier from those occurring in traditional instructional settings. The present experiment aimed to provide evidence for this, by focusing on a particular cognitive process: making sense. Forty university students were randomly assigned either to a re¯ection condition or to a VR immersion condition. In the ®rst condition participants looked at the two-dimensional reproduction of an unfamiliar painting; in the second condition they were taken into a guided virtual tour into the same painting. Four tasks (to propose a title for the painting, to identify its meaning, to list questions suggested by it, and to write a comment) were given. Analyses of protocols revealed that students in the VR condition were induced to assume spontaneously a meta-perspective, namely, to think not to``what'' they face, but to``why'' or``how'' something is in front of them. VR experience also prompted students to conceptualise experience at an abstract level and stimulated a free and imaginative elaboration. The re¯ection condition, instead, encouraged emphasis to be placed on the cultural or inferential links. Findings suggested that the outstanding features of VR for instruction, refer to the possibility that VR allows users to become aware of some implicit assumptions concerning the relations between our mind and the world.