Paperback | $29.95 Trade | £20.95 | ISBN: 9780262572231 | 430 pp. | 7 x 9 in | 89 illus.| September 2004
Ebook | $20.95 Trade | ISBN: 9780262302784 | 430 pp. | 7 x 9 in | 89 illus.| September 2004
About MIT Press Ebooks
Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book, Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype.Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner's 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.
About the Author
Oliver Grau is Professor for Image Science and Dean of the Department for Cultural Studies at Danube University. He is the author of Virtual Art: From Illusion to Immersion (2003) and editor of MediaArtHistories (2007), both published by the MIT Press.
"... a volume that will likely be used as a canonical text in the study of virtual reality...." Patrick Lichty, Intelligent Agent
"Grau traces the lineage of virtual reality as farback as the frescoes of a villa in Pompeii." Scientific American
"Highly original...." Alison Abbott, Nature
"...Virtual Art: From Illusion to Immersion puts forth the sort of provocative insights that any Newromancer fan can appreciate." Wired
"Oliver Grau has given us one of the more fascinating works this year." Guy Van Belle, European Photography
"Grau's Virtual Art opens the door onto a significant new approach to media analysis by focusing in depth on a particular kind of digital art - the attempt to create immersive environments. The combination of media archeology with careful analysis of both the possiblities and limitations of the impulse to put the viewer inside the artwork will make this book a valuable resource to both practitioners and theoreticians."--Stephen Wilson, Professor of Conceptual and Information Arts, San Francisco State University, and author of Information Arts
"The highly ambitious task of locating the latest image technologies within a wider art-historical context has now been accomplished." Friedrich Kittler, Humboldt University, Berlin, and author of Gramophone, Film, Typewriter
"For over a decade now, Lovink has been one of the most prominent figures in cyber culture and new media worldwide. A new-media theorist, an Internet critic, an activist, an inventor of new innovative forms of net-based discourse, an organizer of ground-breaking events--remarkably, he excels at all these different roles. I think of Lovink as a network of distributed sensors: everywhere at once, he is always the first to notice new changing directions of net culture, the first to name them, and the first to offer sober and illuminating analysis. Now we are fortunate to have his brilliant dispatches from the Net front collected in one book. This is a new kind of book from a new type of public intellectual. Think of it as theory on-the-go--or as a set of help files to keep handy as you navigate the present, on- and off-line."--Lev Manovich, author of The Language of New Media