Contemporary art and Virtual Reality : new conditions of viewership
Bibliographic record
Abstract
This article aims to respond to the lack of studies on the relationships between contemporary visual arts and VR, focusing on the role of "storytelling" and identifying what distinguishes VR art projects from other contemporary uses of VR, namely the criticism that they make of the VR medium itself. In the last five years, VR has developed a new language based on a specific visual grammar that has allowed for new forms of narration to arise. Visual artists have been attracted to VR in search of new modes of production and have exposed the negative impact of technology on our perception of reality, uncovering new mediated ways of seeing and distanced interaction with the world around us. The first part of the article will be dedicated to discussing Canadian artist Jon Rafman's View of Pariser Platz (2016) and American artist Jordan Wolfson's Real violence (2017), two of the first Oculus Rift-based art installations that developed a metalinguistic commentary on how VR, although promising immersion, produces, in fact, alienation, homogenization, brutalization and the loss of empathy. The article will continue with a discussion on the recent rise of tech companies that aim at producing contemporary artworks based on VR technology: Acute Art (London), Khora Contemporary (Copenhagen), and VIVE Arts (Taiwan). This is a new and expanding field that is changing the ontology of artmaking and redefining the artist's role, mainly in light of the cooperation with technicians and programmers.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.001 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".