I find it interesting how artists like Cecile B. Evans, Sidsel Meineche
Hansen, Ed Atkins, etc., use VR as part of their practice and how
sometimes the technical aspects of the VR aesthetic are highlighted
(like in some reviews of Jon Rafman's piece for the Berlin Biennial last
year), while others just take the aesthetics for granted.
How much does, what is happening in the particular art projects today,
really have to do with the excited discussions of the 1990s? Same-same?
PS: ... and, earlier this year at HeK in Basel:
The Unframed World. Virtual Reality as artistic medium for the 21st century
Am 24.08.17 um 08:59 schrieb Simon Biggs:
> There’s loads of work going on around the place in this area - including here at the South Australian School of Art.
> I wouldn’t take much notice of the announcement of the show in Beijing. Looking at the blurb for the organisation they have a history of bringing in high profile artists. I suspect their primary intention is to promote their brand by association with the artists they commission. Their interest in VR, AR or interactive environments is probably cursory, responding to what they perceive as a current hot topic in popular culture.
> Now - as has been observed, there’s a lot of serious work going on with VR at the moment and much of it isn’t being discussed outside closed groups. Would CRUMB be an appropriate place to have such a discussion? For example, the potential of AR devices like Hololens for developing context aware memory theatres - something that would likely be of interest to artists and curators.