Collaborative virtual environments art exhibition (original) (raw)
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Collaborative virtual environments art exhibition
Stereoscopic Displays and Virtual Reality Systems XII, 2005
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.
Immersive Art: Using a CAVE-like Virtual Environment for the Presentation of Digital Works of Art
Digital works of art are often created using some kind of modeling software, like Cinema4D. Usually they are presented in a non-interactive form, like large Diasecs, and can thus only be experienced by passive viewing. To explore alternative, more captivating presentation channels, we investigate the use of a CAVE Virtual Reality (VR) system as an immersive and interactive presentation platform in this paper. To this end, in a collaboration with an artist, we built an interactive VR experience from one of his existing works. We provide details on our design and report on the results of a qualitative user study.
Mediating Presence: Virtual Reality and Other Caves
The Spectator, 2020
This critical essay meditates on the interchangeable perceptual metaphors of virtual reality and the cave. The technological apparatus of virtual reality stages a return to the promise and the prison of the cave, where the images of the ancient past are reconstituted in the name of the eternal present. The cave is equally symbolic of the origins of visual representation, and more specifically-as Werner Herzog's Cave of Forgotten Dreams (2010) demonstrates-the cinema, as it is of the origins of cinema studies, now more widely addressed as media studies. Virtual reconstructions of Chauvet, Lascaux, ancient tombs and crumbling monuments, digitally preserve and mediate with unrivaled accuracy proto-cinematic visual archives and monumental sites of memorialization. The virtual architectures of presence they establish serve in part the empirical nostalgia of the Western imagination. These reconstructions of the subterranean, the ancient, and the repressed insist on the institutional structures of remembering constituted by the museum, the cinema, and, now, virtual reality and its caves. Virtual reality evokes the metaphor of the cave both in form-through head-mounted display and Automatic Virtual Environments-and representation, as in Benjamin Britton's virtual installation LASCAUX (1995). The prosthetic apparatus of virtual reality grafts the image of the past onto the head of its participants, transforming the head into a multivariate archive of images, its own preservative cave. The virtual archaeology they enable assumes mastery over the prehistoric past and, in universities and museums around the world, returns to the subterranean as a site of institutional knowledge production. Inasmuch as the GIS point cloud of Chauvet accurately conforms to its referent in lieu of durational reality, the "accuracy" of the paintings is equally the dismissal of their realism.
New Opportunities for Artistic Practice in Virtual Worlds
2014 International Conference on Cyberworlds, 2014
Althoughvirtualworldsremainunstablephenomenaasubstantialamountofresearchcontinuestobe undertakenwithinthemandisreflectedinthenumberofdisciplinesthatstudythemparticularlyinan interdisciplinarycontext.Whilstthereisalreadyahistoryofartistsinvestigatingnewspacesandnew technologicalformsthisexplorationhascontinuedmorerecentlywithsectionsoftheartisticcommunity utilisingvirtualworldsasanewform,oranewpotentialartisticspace.Establishedreal-worldartists haveexploredvirtualworldsasenvironmentsforpracticeandanumberofartistsanddesignershave continuedtospecificallyworkwithSecond Lifetoexplorethepotentialandlimitationsoftheplatform itself.ArangeofearlykeyworksandotherrecentseminalworksproducedinSecond Lifestillhold strongtobescrutinisedinthecontextofnewtechnologiesandfortheircontributioninexpandingour understandingandexperienceofvirtualspace.
Nature: Scientific Reports, 2023
Virtual Reality (VR) has vast potential for developing systematic, interdisciplinary studies to understand ephemeral behaviours in the archaeological record, such as the emergence and development of visual culture. Upper Palaeolithic cave art forms the most robust record for investigating this and the methods of its production, themes, and temporal and spatial changes have been researched extensively, but without consensus over its functions or meanings. More compelling arguments draw from visual psychology and posit that the immersive, dark conditions of caves elicited particular psychological responses, resulting in the perception—and depiction—of animals on suggestive features of cave walls. Our research developed and piloted a novel VR experiment that allowed participants to perceive 3D models of cave walls, with the Palaeolithic art digitally removed, from El Castillo cave (Cantabria, Spain). Results indicate that modern participants’ visual attention corresponded to the same topographic features of cave walls utilised by Palaeolithic artists, and that they perceived such features as resembling animals. Although preliminary, our results support the hypothesis that pareidolia—a product of our cognitive evolution—was a key mechanism in Palaeolithic art making, and demonstrates the potential of interdisciplinary VR research for understanding the evolution of art, and demonstrate the potential efficacy of the methodology.
Could you relax in an artistic co-creative virtual reality experience?
HAL (Le Centre pour la Communication Scientifique Directe), 2022
Our work contributes to the design and study of artistic collaborative virtual environments through the presentation of immersive and interactive digital artwork installation and the evaluation of the impact of the experience on visitor's emotional state. The experience is centered on a dance performance, involves collaborative spectators who are engaged to the experience through full-body movements, and is structured in three times, a time of relaxation and discovery of the universe, a time of co-creation and a time of co-active contemplation. The collaborative artwork "Creative Harmony", was designed within a multidisciplinary team of artists, researchers and computer scientists from different laboratories. The aesthetic of the artistic environment is inspired by the German Romantism painting from 19th century. In order to foster co-presence, each participant of the experience is associated to an avatar that aims to represent both its body and movements. The music is an original composition designed to develop a peaceful and meditative ambiance to the universe of "Creative Harmony". The evaluation of the impact on visitor's mood is based on "Brief Mood Introspection Scale" (BMIS), a standard tool widely used in psychological and medical context. We also present an assessment of the experience through the analysis of questionnaires filled by the visitors. We observed a positive increase in the Positive-Tired indicator and a decrease in the Negative-Relaxed indicator, demonstrating the relaxing capabilities of the immersive virtual environment. CCS Concepts • Applied computing → Performing arts; • Computing methodologies → Virtual reality; ronment of "Creative Harmony". The last level corresponds to the access to an emotional state of letting go experienced by the spectators engaged in a shared session. First, we will present the context of our approach within the domain of digital art in virtual reality. Then, we will detail creation step of Creative Harmony, its design and implementation. Finally, we will present the method followed to assess the effet of the Creative Harmony experience on the emotional state of spectators and discuss the results we obtained, before concluding. A video presentation of the Creative Harmony experience can be viewed at https://youtu.be/X8QdF8FmFv8\. 2. Background This section presents the challenges of virtual reality from an artistic and scientific point of view. The collaboration that it induces raises questions of co-presence, avatars and communication. In the same way, the perception of its environment creates emotions for the spectator, which can go as far as a state of letting go.
Immersive environments as collaborative practice
Annual GLPA Conference, 2015
This paper frames best practices for developing planetarium shows in the context of experiences that take advantage of the human perceptual system through variables derived from natural experience. Also considered are art performances which expand ideas of embodiment in scientific visualization. Examples cited are efforts the author contributed to while researching, coordinating and producing interactive experiences at a planetarium for the past eight years. Recommendations for a multidisciplinary collaborative process are included as well.
Immersia, an open immersive infrastructure: doing archaeology in virtual reality
This paper contributes to cross-domain mutual enrichment between archaeology and virtual reality. We present Immersia, an open high-end platform dedicated to research on immersive virtual reality and its usages. Immersia is a node of the european project Visionair that offers an infrastructure for high level visualisation facilities open to research communities across Europe. In Immersia, two projects are currently activeon on the theme of archaeology thematics. One is relative to the study of the Cairn of Carn, with the Creaah, a pluridisciplinary research laboratory of archeology and archeosciences, and one on the reconstitution of the gallo-roman villa of Bais, with the French institute INRAP.