| 书目名称 | Immersive Embodiment | | 副标题 | Theatres of Mislocal | | 编辑 | Liam Jarvis | | 视频video | | | 概述 | Provides the first comprehensive examination of how experimental embodiment is being creatively repurposed by artists.Scrutinises the complex ethical considerations involved.Takes a multidisciplinary | | 丛书名称 | Palgrave Studies in Performance and Technology | | 图书封面 |  | | 描述 | This book offers a wide-ranging examination of acts of ‘virtual embodiment’ in performance/gaming/applied contexts that abstract an immersant’s sense of physical selfhood by instating a virtual body, body-part or computer-generated avatar. Emergent ‘immersive’ practices in an increasingly expanding and cross-disciplinary field are coinciding with a wealth of new scientific knowledge in body-ownership and self-attribution. A growing understanding of the way a body constructs its sense of selfhood is intersecting with the historically persistent desire to make an onto-relational link between the body that ‘knows’ an experience and bodies that cannot know without occupying their unique point of view. The author argues that the desire to empathize with another’s ineffable bodily experiences is finding new expression in contexts of particular urgency. For example, patients wishing to communicate their complex physical experiences to their extended networks of support in healthcare, orcommunities placing policymakers ‘inside’ vulnerable, marginalized or disenfranchised virtual bodies in an attempt to prompt personal change. This book is intended for students, academics and practitioner-r | | 出版日期 | Book 2019 | | 关键词 | Immersive theatre; Neuroscience; VR; Neurology; Empathy; Embodiment; Intermediality; New media; Body transfe | | 版次 | 1 | | doi | https://doi.org/10.1007/978-3-030-27971-4 | | isbn_softcover | 978-3-030-27973-8 | | isbn_ebook | 978-3-030-27971-4Series ISSN 2947-5848 Series E-ISSN 2947-5856 | | issn_series | 2947-5848 | | copyright | The Editor(s) (if applicable) and The Author(s) 2019 |
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Front Matter |
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Abstract
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,Introduction: Immersion as ‘Perceptual Embodiment’, |
Liam Jarvis |
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Abstract
In 2016, I participated in a performative virtual body-swapping transaction staged by anti-disciplinary international art collective BeAnotherLab using Creative Commons technology called .. During this performance, I inhabited a volunteer refugee’s virtual body while hearing their story. This illusion is conceptualized by the artists as a means of ‘increasing empathy’ by visually and proprioceptively occupying the position of the other. But an eccentric perceptual illusion of othering the self through virtual means is just one manifestation of a more pervasive trend. From smartphone apps that offer downloaders first-person simulations of neuroatypical pathological phenomena to ‘out-of-bodiment’ wearables that enable new visual perspectives beyond anthropocentric human binocular stereoscopy in the field of art engineering. Temporary transformations of the participant in the immersive artwork are occurring in parallel to an ever-growing scientific understanding of the plasticity of bodily selfhood. Correspondingly, the notion of an ‘immersed’ body is accompanied by the seductive promise of its porousness to a range of remote experiences and phenomena as this chapter will seek to evid
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Proto-Immersive Discourse and the ‘Theatrical Condition’ |
Liam Jarvis |
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This chapter historically situates the contemporary yen for enveloping aesthetics as contiguous with the concern of reconciling a departure that art critic Michael Fried had identified between the . and . artworks in . (1967). Fried’s writing on theatricality has been a common reference point for debates on liveness and duration in performance art. But I argue that Fried’s polemic should be re-read as proto-immersive discourse. The defining features of . are consonant with a phenomenon that Fried had opposed—namely the ‘theatrical condition’. Admixtures of artistic/scientific form are encompassing the ‘theatrical condition’, affording new spaces for open-ended performance forms that seek to alter a beholder’s way of perceiving and transition the focus from what an artwork ‘says’, to what it ‘does’. With this shift, I examine the role of doubt, perplexity and ‘sense uncertainty’ in the gallery-based works of Catherine Richards, Carsten Höller and Lundahl & Seitl that call into question our body parts as ‘inalienable entities’.
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The Immersive Promise of |
Liam Jarvis |
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This chapter explores transdisciplinary understandings of how the terms ‘immersion’ and ‘immersive’ have come to be defined in scholarship in immersive theatre, intermedial and multimedia performance practices, virtual reality/art, video game theory, discourses on participatory theatre and wider digital culture. Through this survey, I will highlight a recurrent onto-relational promise underlying the post-Friedian ‘theatrical’ artwork that we might be physically ‘enter’ dramatic/virtual spaces or use an artwork to access new kinds of perceptual experiences. With the incorporation of technologies that seek to blur the borderlands of phenomenal selfhood—the self as it is constructed by its senses—and distinctions between physical and simulated bodies/environments, should we consider immersivity as a question of transcending or ‘prioritizing’ spectating bodies?
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Body-Swapping: Self-Attribution and Body Transfer Illusions (BTIs) |
Liam Jarvis |
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The unattainable immersive desire to . presents problems that are ., . and . in origin. The leitmotif of ‘body-swapping’ is correspondent with this desire. In science fiction, the plot event of the body-swap has haunted the literary imagination throughout history. I will briefly examine how body-swapping has functioned narratologically as something that print media has only been able to imagine as a conceptual, and not a physical act on the part of the reader. To examine the philosophical problem of ‘knowing’ other bodies, I revisit key epistemological thought experiments—from George Edward Moore’s ‘here is one hand…’ argument to Thomas Nagel’s interrogation of the ‘subjective character’ of non-human experience (Nagel .). While the direct subjective experience of other bodies is unknowable, in various fields of cultural practice it has been the . to know that has been crucial. Neuroscientist Vilayanur S. Ramachandran emphasized in . (.), within health care ‘it is the physician’s duty always to ask himself [or herself], “What does it feel like to be in the patient’s shoes?”. I will explore how scientific knowledge might provide proposed aesthetic reconciliations to the paradox of th
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‘Empathy Activism’ and Bodying Difference in Postdigital Culture: Jane Gauntlett’s , and BeAnotherLa |
Liam Jarvis |
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This chapter investigates the auto-phenomenological work of Jane Gauntlett’s VR documentary performance series . . and BeAnotherLab’s (BAL) open-source immersive virtual reality (IVR) platform, . .. Both Gauntlett and BAL take as their foundations’ protocols in virtual full-body ownership that resonate with studies in the neuroscientific paradigm to attempt to mobilize the conceptualization of immersive onto-relationality that I have outlined as the attempt to . The illusory promise of techno-actuated ‘body-swaps’ in the practices discussed is situated as applied art to cultivate self-understanding, empathy and tolerance across borderlands of race and gender and as a therapeutic communication resource for patients in health care contexts. In . (.) and . (.), Gauntlett utilizes body transfer illusions to perceptually reconstruct her remote lived experiences of epileptic seizure for a theatre-going public. In a creative process modelled on person-centred planning, Gauntlett works as a mentor/facilitator with traumatic brain injury patients (TBI) to create immersive pieces for public, non-public and highly targeted groups of beneficiaries. I will examine the origins of Gauntlett’s ins
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Touching with a Virtualized Hand: Analogue’s |
Liam Jarvis |
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In this chapter, I investigate the complex proposition of becoming ‘immersed’ in virtualized identities in third sector and educational contexts, focusing on the research, development and reception of my company Analogue’s Wellcome Trust funded pilot project .—an interactive installation that invites individual immersants to participate in a first-person simulation of a fictionalized subject living with Young-Onset Parkinson’s disease (YOPD). The installation used low-budget components in combination with multisensory stimulation as a methodology to engender in participants a feeling of bodily ownership over a virtual hand. The aim was to cultivate an embodied understanding and a personal sense of living with a symptom associated with YOPD. I will explore the genealogy of the project, the iterative stages of its R&D process and evaluate the outcomes from the qualitative data gathered from participant questionnaires during the user-testing phase and testimonials from scientific/third sector collaborators on the project to assess its real-world impacts. I argue that the technology in use in . acts as both an intermediary between the virtual and actual hands, and an intervention desig
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The Suffering Avatar: Vicarity and Resistance in Body-Tracked Multiplayer Gaming |
Liam Jarvis |
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This chapter examines acts of co-immersion in a multiplayer full body-tracked video game, focusing on what I term as ‘hyper-intercorporeal’ encounters between two or more avatar-players in real-world and computer-generated spaces. Drawing on an incident of accidental avatar disfigurement that occurred inside a location-based VR zombie shooter game called . (2017–), I will scrutinize the wider ethical complexities of vicarious suffering in gaming contexts. Revisiting the ‘psychotechnic checa’ (torture cell) as a cautionary historical example of the potential to weaponize enveloping aesthetics, I will progress to consider whether the postdigital enmeshment of real and simulated bodies in virtual gaming environments requires a revision of notions of avatars as delegated forms of consumption or ‘interpassive objects’ (Pfaller, Robert. 1996. Um die Ecke Gelacht. Kuratoren Nehmen uns die Kunstbetrachtung ab, Videorecorder Schauen sich unsere Lieblingsfilme an: Anmerkungen zum Paradoxon der Interpassivität. In . 41/96.71) that feel on a player’s behalf. An avatar-self in gaming shifts the focus of body-ownership over a virtual proxy from a desire ‘know’ an other’s bodied experiences, to a
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Back Matter |
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发表于 2025-3-21 16:36:08
