This is Tomorrow

Munt, AC; Harvey, J

This is Tomorrow

Munt, AC Harvey, J

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Citation:: This is Tomorrow, 2018
Issue Date:: 2018

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Field	Value	Language
dc.contributor.author	Munt, AC	en_US
dc.contributor.author	Harvey, J https://orcid.org/0000-0002-7467-1187	en_US
dc.date.issued	2018	en_US
dc.identifier.citation	This is Tomorrow, 2018	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122486
dc.format	Virtual Reality Media	en_US
dc.relation.ispartof	This is Tomorrow	en_US
dc.title	This is Tomorrow	en_US
utslib.location	Galerie Pompom	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/FASS Faculty Administration
utslib.copyright.status	open_access
pubs.consider-herdc	true	en_US
pubs.place-of-publication	Galerie Pompom	en_US
pubs.rights-statement	'This is Tomorrow' (2018) is a 7-minute, 360-degree Virtual Reality artwork which explores the potential for 'disembodiment' in VR media. This research sits in FoR code: 1902 Film, Television and Digital Media Research Background: In Carnal Thoughts (2004) Vivian Sobchack shows that bodily experience informs an increasingly corporeal moving image culture. Miriam Ross argues that for virtual reality media embodiment is contingent, rather than a given, in VR experiences (2015). In Orbital Vanitas (2017) artist Shaun Gladwell shows how VR can create disembodiment via the disruption of conventional notions of scale in the visual arts. The research question this project asks his: How can a virtual experience of levitation produce disembodiment for the viewer in a virtual reality artwork? Research Contribution: 'This is Tomorrow' shows that an experience of virtual levitation contributes to a strong sense of disembodiment for a viewer. The artwork was designed to shift between an 'everyday' moving image experience, captured from the perspective of a static viewer in the centre of an art gallery room, to an experience of levity as the viewer rises into a simulated deep-space environment. 'This is Tomorrow' delivers three modes of disembodiment via: 1) the use of site-specificity in a VR artwork 2) the use of a virtual floating camera and 3) the synthesis of 'everyday' photographic space (360-video) with virtual animated space. Research Significance: 'This is Tomorrow' was exhibited at Galerie Pompom from 7/2/2018 to 4/3/2018. It was featured at Art Month Sydney 2018: Contemporary Art Festival on 1/3/2018.	en_US

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http://hdl.handle.net/10453/122486