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Nonny de la Peña is pushing technological boundaries for narrative endeavors, including exploring 3D environments for fiction, news, and documentary.

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El Libro de los seres imaginarios.

So we have our common ground, namely immersive space.

This is a significantly different from traditional storytelling in cinema. We are transported to a different place, immersed in the fabric of the film. The director is still leading, but in a way that leaves us a full horizon for exploration. Space acquires distinct importance as a narrative element.

Another common element is interaction.

It is there by default, because the sensor of the Oculus Rift is detecting the orientation of the head and respectively the body of the viewer. This makes it possible to look around and choose what to “exclude” from the entire picture. The spectator frames the story the way his/her will or instinct desire.

Anything that steps out of that border seems to form new categories and aggregates.

Borges on the Couch - The New York Times

“Virtual reality therefore has the effect of reality upon us, though we recognise that it is not properly real. VR is best described as a , as opposed to a (Baudrillard, 1983). If I make a model of something, say a chair, then my model is a if I never lose my belief that it is the original chair that is the real object. On the other hand, if I make a model of something, say the surface of the moon, and in navigating the imaginary terrain I come to believe that the model is real, then I am in a . The term “virtual reality” is a precise expression of this latter concept for we are, at the same time, admitting the fact that we have created a model (which is unreal) and admitting that we are treating it as reality.

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1. It is extremely easy to loose the sense of being immersed in a film story, if some kind of controller is used. Because of the nature of present time VR glasses and sets, this interaction immediately brings us out of the film and transforms the experience into some sort of a video game.

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The significant point about this definition is that VR is essentially subjective. VR is an experience and not a piece of technology. I can curl up with a good novel and claim to be in virtual reality, whilst I can don the most expensive headset and data glove yet remain perfectly aware of the fakeness of what I observe. This is important because it follows from this definition that many symbolic structures in society can be viewed as “virtual reality” (for example, cases where a computer model of an organisation does not reflect the underlying reality). We must therefore understand virtual reality as being the expression of a deep philosophical problem caused by our commitment to symbolic structures whose existence now obscures the reality of the underlying object.”

with a great perspective on the future of holographic TV!

My current work is an experiment with Diffraction Glasses

There is though, a big turning. How much of an interaction does one want to use? From keyboards to smells and haptic devices, everything is possible. Since we are talking about film and storytelling there are two things to mention in that regard:

Paintings such as L’Absinthe by Degas inspired me on the notion of exploring the canvas as space.

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This is an article on The Ethics of Virtual Reality from 1992. It covers the main problematics of the concept in philosophy and ethics. It elaborates on the cultural and technical dimension of VR and introduces various points of view. A short quote:

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2. When interaction means that the viewer is altering the storyline, the experience is different. One thing is if I am free to look around, another, if I can actually change the film destiny. Even if we only use eye tracking to make choices in the film, it makes us conscious of ourselves and subsequently may draw us away from the story.