Virtual Reality Unveiled
Ontological Foundations and Epistemological Perspectives Through Western History
DOI:
https://doi.org/10.21814/h2d.6022Keywords:
aesthetics, virtual reality, art, epistemology, ontology, imagesAbstract
This study provides a thorough state of the art analysis of virtual reality as a significant medium in aesthetics. It seeks to explore virtual reality as a space of multiple possibilities, designed to maneuver viewers' perception through immersive experiences. To this end, the research begins by examining the ontological foundations of the concept of virtual reality, progressing to an epistemological approach that analyzes various examples of illusion and immersion spaces throughout Western history. This examination aims to elucidate the increasing utilization of virtual reality within the context of technological operationalization.
The investigative journey emphasizes the exploration of viewers' aesthetic experiences with artworks that employ virtual reality as a vehicle for expression at pivotal moments throughout history. In this context, a meticulous analysis of the historical framework enhances the understanding of artists' growing interest in immersive approaches and the adoption of virtual reality as a means of creative expression.
Downloads
References
Baudrillard, J. (1996). The perfect crime. London: Verso.
Crary, J. (2000). Suspensions of perception: Attention, spectacle, and modern culture. Cambridge, MA: The MIT Press. DOI: https://doi.org/10.7551/mitpress/6569.001.0001
Deleuze, G., & Krauss, R. (1983). Plato and the simulacrum. October, 27, 45–56. https://doi.org/10.2307/778495 DOI: https://doi.org/10.2307/778495
Eco, U. (1989). Sobre os espelhos e outros ensaios (B. Borges, Trans.). Rio de Janeiro: Editora Nova Fronteira.
Friedberg, A. (2006). The virtual window: From Alberti to Microsoft. Cambridge, MA: The MIT Press.
Gibson, J. J. (1966). The senses considered as perceptual systems. Greenwood Press.
Gombrich, E. H. (2007). Arte e ilusão: Um estudo da psicologia da representação pictórica. São Paulo: WMF Martins Fontes Ltda.
Goodman, N. (2006). Linguagens da arte: Uma abordagem a uma teoria dos símbolos (V. Moura & D. Murcho, Trans.). Lisbon: Gradiva.
Grau, O. (2003). Virtual art – From illusion to immersion. Cambridge, MA: The MIT Press. DOI: https://doi.org/10.7551/mitpress/7104.001.0001
Kepler, J. (2000). Optics: Paralipomena to Witelo and the optical part of astronomy (W. H. Donahue, Trans.). Santa Fe: Green Lion Press.
Metz, C. (1964). Le cinéma: Langue ou langage? Communications, 4, 52–90. https://doi.org/fmckv7 DOI: https://doi.org/10.3406/comm.1964.1028
Milman, M. (1982). Le trompe l'œil. Milan: Skira.
Morais, R. S. (2013). Visão e imagem: O papel da visão óptica, táctil e sinestésica na aproximação entre dois mundos - o real e o imagético (Master’s thesis). Faculdade de Belas-Artes da Universidade de Lisboa.
Oettermann, S. (1997). The panorama: History of a mass medium (D. L. Schneider, Trans.). New York: Zone Books.
Packer, R., & Jordan, K. (Eds.). (2001). Multimedia: From Wagner to virtual reality. New York: W.W. Norton & Company, Inc.
Popper, F. (2007). From technological to virtual art. Cambridge, MA: The MIT Press.
Ryan, M.-L. (2001). Narrative as virtual reality. Baltimore: The Johns Hopkins University Press.
Styles, E. A. (2000). The psychology of attention. Hove: Psychology Press Ltd.
Trindade, A. O. (2015). A pintura integrada em tectos e abóbadas e a perspectiva linear. CIEBA.
Willats, J. (1997). Art and representation: New principles in the analysis of pictures. Princeton: Princeton University Press.
Wölfflin, H. (2005). Renascença e barroco. São Paulo: Editora Perspectiva.
Downloads
Published
Issue
Section
License
Copyright (c) 2025 Maria Eduarda Vieira Wendhausen
This work is licensed under a Creative Commons Attribution 4.0 International License.
