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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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해당 논문이 위치하는 상위 비율을 의미합니다.
초록· 키워드
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The very term virtual reality, as Elizabeth Grosz explains, attests to a real not quite real, not an ‘actual real’, a ‘really real’ but a real whose reality is at best virtual. But VR(Virtual Reality) experienced through New Media, means the technology by which we can enter into computer-made space, and aims to realize the space that viewers or users can sense a kind of ‘presence’ (an impression suggestive of ‘being there’) but objects are consisted of just light figments and electronic bits. VR produces a high-grade feeling of immersion, of presence, which can enhanced further through interaction with apparently ‘living’ environments in ‘real time’.
The artworks based on VR can be categorized into the ‘Immersive VR’ that viewers must go into CAVE(Cave Automatic Virtual Environment) and the ‘Interactive MR(Mixed Reality)’ that the virtual realities are superimposed onto actual reality. Both of them propose, on the one hand, the problems of materiality/immateriality in experience of viewers, and on the other hand, the problems of body, because expanded image spaces can be experienced poly-sensorily and interactively.
It is important to determine which characteristics of virtual image systems distinguish them from images of traditional artworks. It is necessary to explore and analyze the new aesthetic potential and that technology has made possible. To the artists working with computer-aided, interactive, real-time images, new possibilities of expressions are open. But is unchangeable fact that new media arts based on VR use immaterial lights. In this essay, for focusing on the issue of materiality and immateriality, I introduced the VR works of Jeffrey Shaw, Charlotte Davies, Paul Sermon, Maurice Benayoun, Romy Achituv, Camille Utterbak etc.
As a conclusion, the VR artworks are in the border(in-between-ness) of the material and the immaterial, and they have a kind of second-ordered materiality, so call ‘liminal’ materiality. In the near future, we can discuss the concept of ‘Technological Materiality’ in relation to VR, that is a kind of new materiality beyond the dualist paradigm.
The artworks based on VR can be categorized into the ‘Immersive VR’ that viewers must go into CAVE(Cave Automatic Virtual Environment) and the ‘Interactive MR(Mixed Reality)’ that the virtual realities are superimposed onto actual reality. Both of them propose, on the one hand, the problems of materiality/immateriality in experience of viewers, and on the other hand, the problems of body, because expanded image spaces can be experienced poly-sensorily and interactively.
It is important to determine which characteristics of virtual image systems distinguish them from images of traditional artworks. It is necessary to explore and analyze the new aesthetic potential and that technology has made possible. To the artists working with computer-aided, interactive, real-time images, new possibilities of expressions are open. But is unchangeable fact that new media arts based on VR use immaterial lights. In this essay, for focusing on the issue of materiality and immateriality, I introduced the VR works of Jeffrey Shaw, Charlotte Davies, Paul Sermon, Maurice Benayoun, Romy Achituv, Camille Utterbak etc.
As a conclusion, the VR artworks are in the border(in-between-ness) of the material and the immaterial, and they have a kind of second-ordered materiality, so call ‘liminal’ materiality. In the near future, we can discuss the concept of ‘Technological Materiality’ in relation to VR, that is a kind of new materiality beyond the dualist paradigm.
목차
Ⅰ. 들어가는 말
Ⅱ. 실제와 가상에 대한 논의들
Ⅲ. 미술 속 가상현실
Ⅳ. 나오는 글
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Abstract
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UCI(KEPA) : I410-ECN-0101-2012-609-004196074