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Erschienen in:
Introduction: Present Images Kapitel lesen Erstes Kapitel lesen

2018 | OriginalPaper | Buchkapitel

3. Immersive Images

verfasst von : Paolo S. H. Favero

Erschienen in: The Present Image

Verlag: Springer International Publishing

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Abstract

This chapter deals with immersive images and addresses the way in which a number of contemporary image-based practices (360-degree video and photography; virtual, augmented, and mixed reality) seek to wrap viewers in the image and to blur the distance between viewer and viewed, self and world. Building on a dialogue between phenomenology and art history, this chapter suggests that immersion is an important modality through which human beings, in different times and places, have engaged with the visual world. The chapter addresses immersive images as a form of resistance against the historical hegemony of geometrical perspective and explores some key theoretical challenges in this field: the frame, projection, movement, and visual truth.

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Vorheriges Kapitel Participated Images
Nächstes Kapitel Material Images
Fußnoten
1
I use this Aristotelain inspired term to address that sense of awareness of the self in connection to the world that does not build on the Cartesian divide between body and mind.
 
3
“Mixed reality” is an overarching term conventionally used for addressing, in the words of Milgram et al. 1994, any given point within the continuum that goes from “real” to “virtual” environments.
 
4
I use this label with a high degree of relativity given that my methods do not coincide with those of art historians, yet I believe that such label may be useful for giving a view of the approach that characterizes the first part of the chapter.
 
5
I do not, however, believe that immersive image-making can be made to begin at whatever point of time. Cave paintings, for instance, do in my view appear to be a direct response to the natural shape of an environment (the cave) rather than a deliberate attempt at shaping an immersive visual experience.
 
6
Herculaneum and Pompeii are also the only two cities where the Romans abandoned their approach to painting as something that requires a canvas or table and started instead engaging with real lived space.
 
7
I cannot refrain from pointing out the nearly bizarre similarity between such churches and today’s VR, both of which contain marvels on the inside and are ugly on the outside.
 
8
Gombrich suggested that images inhabit the realm of nature as opposed to words, which rely on conventions and culture (2006).
 
9
Gramsci (1971) used the term “hegemony” to address the manifold ways in which the ruling capitalist class (the bourgeoisie) managed to establish and maintain its control of society.
 
10
According to Pinney (2001), technology “suggests the apparatus of the camera and its chemical way of referring to the world. Magic suggests a contagion of qualities and the ability to produce effects beyond the range of ordinary bodies” (p. 12).
 
12
Photosynth was launched in 2006 and Facebook incorporated the possibility of viewing panoramic images on its stream only in 2016. Many more apps have been born recently. Among them are Immersive (by Trapcode), FOV (Sixtime etage), Go Immersive (Salon Films), and Immersive Media.
 
13
We could discuss the extent to which such images actually can be addressed as predictive.
 
14
Thank you Eva Theunissen for our conversations on trauma and exceptionality in the context of VR. I am looking forward to more collaborative work conducted in this area. I am also indebted to Bram Vroonland and Ian Swerts for interesting conversations and work on the same subject.
 
15
In Gallagher and Cole’s words, “body schema can be defined as a system of preconscious, subpersonal processes that play a dynamic role in governing posture and movement” (Gallagher and Cole 1998:p. 131).
 
16
Although I use the notion of apparatus in a much narrower sense than what Foucault did in his famous Power/Knowledge (see 1980), I believe that in the case that I am describing, a technological tool can indeed have a strategic function and be inscribed into a play of power.
 
17
Exceptions are Culler (2014), Frizot (1997), and Hoelzl and Marie (2015).
 
18
The ray traces a connection between the ideal point of observation and the ideal vanishing point contained by the image stitching hence together the two triangles that make up the core design of geometrical perspective.
 
19
This is the term that Ingold adopts in his analysis of vision and movement.
 
20
This eventually led Ingold to direct his work toward “lines of flight” (2011, p. 14) that are constantly mutable and impermanent, like the lines drawn by the water of a river.
 
21
His masterpiece The Royal Gates (1977) explores this notion with regard to sacred icons.
 
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Metadaten
Titel
Immersive Images
verfasst von
Paolo S. H. Favero
Copyright-Jahr
2018
Buch
The Present Image

Print ISBN: 978-3-319-69498-6

Electronic ISBN: 978-3-319-69499-3

Copyright-Jahr: 2018

DOI
https://doi.org/10.1007/978-3-319-69499-3_3