Immersion in the Visual Arts and Media

Doğramacı, Burcu; Liptay, Fabienne

doi:10.1163/9789004308237_002

Cited by 30 publications

(1 citation statement)

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“…This exploration not only mirrors humanity's perpetual pursuit of representation (Grau 2003) but also paves the way for new territories, such as virtual archaeology (Benito et al 2013;Lužnik and Klein 2015;Paradis et al 2019). In this context, scholars argue that the term "immersion" should extend beyond technologies to encompass any deeply engrossing human activity or societal experience (Dogramaci and Liptay 2016;Wolf 2013), including both mass media from previous eras and today's digital culture (Freyermuth 2016). Recent academic discussions on immersion and its media counterpart have actively adopted a technological perspective, underscoring the revolutionary potential of digital ecosystems in reshaping industries and societies with new business models, digital consumers, and cross-media technologies, to better understand immersive experiences (Stiegler 2021).…”

Section: Immersive Media Studiesmentioning

confidence: 96%

Virtual Craft: Experiences and Aesthetics of Immersive Making Culture

Kim

2023

Humanities

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As immersive media, including VR, AR, MR, and XR, continues to expand rapidly during the pandemic era, there remains limited research on its comprehensive characteristics and its potential to create new forms of experience and aesthetics. This may be attributed to a lack of an understanding that immersive technologies exist encompassing both realms of reality and virtuality, leading to misconceptions that they are radically disconnected from traditional notions of materiality. In contrast, this study identifies an emerging trend characterized by the material implementation of immersive technologies in the domain of making culture in VR, which is referred to as “virtual craft” in this research. By reviewing studies on immersive media, materiality, making culture, and triadic semiotics, an integrated conceptual framework was developed to assess the experiences, aesthetics, and potential of immersive making culture. This framework is then applied to a specific case study involving virtual craft, with a particular focus on the 3D painting application, Tilt Brush, and related applications that the author has observed and tested. In conclusion, this paper presents a vision of the future of virtual craft and discusses the sustainability of immersive making culture, highlighting the potential for continued innovation and integration in various fields.

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Section: Immersive Media Studiesmentioning

confidence: 96%

Virtual Craft: Experiences and Aesthetics of Immersive Making Culture

Kim

2023

Humanities

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The role of technological immersion in generating contemporary design approaches

Shamam,

Al Majidi,

Al-Aqabi

2023

4th International Scientific Conference of Alkafeel University (Iscku 2022)

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Räume serieller Dystopien

Kröber

2023

Serien- Und Fernsehforschung

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Dystopien sind in Fernseh- und Streaming-Serien allgegenwärtig. Besonders charakteristisch für dieses Genre sind die Räumlichkeiten, zu denen u.a. antiseptische Städte und chaotische Slums gehören. Bislang kaum erforscht ist, welche Funktionen die Räume serieller Dystopien für die Zuschauerschaft haben, welche Bedeutungen sie tragen und wie sie inszeniert werden. Franz Kröber zeigt auf, wie dystopische Räume im Post-TV filmisch-seriell konstruiert werden, und entwickelt mit Rückgriff auf Konzepte verschiedener Disziplinen ein Analysemodell für den Serienraum, das auch für die Untersuchung von Serien anderer Genres und Medien angewendet werden kann. Die Ergebnisse seiner Studie setzt er abschließend in Bezug zu traditionellen Dystopien und aktuellen Serien.

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Immersion in the Visual Arts and Media

Cited by 30 publications

References 0 publications

Virtual Craft: Experiences and Aesthetics of Immersive Making Culture

Virtual Craft: Experiences and Aesthetics of Immersive Making Culture

The role of technological immersion in generating contemporary design approaches

Räume serieller Dystopien

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