The Pervasive and the Digital: Immersive Worlds in Blast Theory's 'A Machine to See With' and Dennis Del Favero's 'Scenario'

Int. J. E Politics Pub Date : 2017-07-01 DOI:10.4018/IJEP.2017070103

D. P. O'Brien

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引用次数: 1

Abstract

Thispaperdiscussestwoimmersivestoryworldsbetweentwodistinctinteractiveartworks.Blast Theory’sAMachinetoSeeWith(2010)isapervasivefictionalexperiencethatenablesusers,through thetechnologyoftheirmobilephone,tobecomeimmersedwithinafictionalcrimescenarioacrossa realgeographicalsetting.DennisDelFavero’sartproject,Scenario(2011),bycontrast,isaninteractive andimmersivestorythattakesplaceina360-degreedigitalcinematicspacecalledanAVIE(Advanced VisualizationandInteractionEnvironment).Thisimmersiveworldisamixedrealityenvironment,a meetingplacewherefiverealusersandtendigitalscreencharactersconvergeandinteractthrough thetechnologyofmotionsensing.Participantsarevirtuallywiredintotheimmersiveworldthrough theperformanceoftheirmovement.Thispaperwillexplorebothoftheseartworksthroughoriginal interviewstheauthorhasconductedwitheachoftheartists.

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无处不在和数字化:Blast Theory的“A Machine to See With”和Dennis Del Favero的“Scenario”中的沉浸式世界

Thispaperdiscussestwoimmersivestoryworldsbetweentwodistinctinteractiveartworks。爆炸理论机器的看到(2010)普遍的虚构的可以用户经验,通过的技术移动电话,成为沉浸在虚构在犯罪场景实际地理设置。丹尼斯DelFavero艺术项目,场景(2011),相反,由是一个交互式,身临其境的故事,在360度数字电影空间称为艾薇(高级,可视化交互环境)。Thisimmersiveworldisamixedrealityenvironment，a meetingplacewherefiverealusersandtendigitalscreencharactersconvergeandinteractthrough thetechnologyofmotionsensing。Participantsarevirtuallywiredintotheimmersiveworldthrough theperformanceoftheirmovement。Thispaperwillexplorebothoftheseartworksthroughoriginal interviewstheauthorhasconductedwitheachoftheartists。

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Int. J. E Politics

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