Instrumental vision

This chapter interrogates stereo-immersive ‘virtual reality’ (VR), the technology that enables a perceiver to experience what it is like to be immersed in a simulated environment. While the simulation is powered by the “geometry engine” (Cutting, 1997: 31) associated with high-end computer imaging technology, the visual experience itself is powered by ordinary human vision: the vision system’s innate capacity to see “in 3D”. To understand and critically appraise stereo-immersive VR, we should study not its purported ‘virtuality’, but its specific visuality, because the ‘reality’ of a so-called ‘virtual environment’ is afforded by the stereoacuity of binocular vision itself. By way of such a critique of the visuality of stereo-immersive VR, this chapter suggests that we think about the ‘practice’ of vision, and consider on what basis vision can have its own ‘materiality’. Pictorial perception is proposed as an exemplary visual mode in which the possibilities of perception might emerge. Against the ‘possibilities’ of vision associated with pictures, the visuality of stereo-immersive VR emerges as a harnessing, or ‘instrumentalisation’ of vision’s innate capabilities. James J. Gibson’s ‘ecological’ approach to vision studies is referenced to show the degree to which developers of VR have sought — and succeeded — to mimic the ‘realness’ of ordinary perceptual reality. This raises a question concerning whether the success of stereo-immersive VR is simultaneously the source of its own perceptual redundancy: for to bring into being the perceptual basis of ordinary ‘real’ reality, is to return the perceiver to what is already familiar and known.

Duoscope

The ambiguous representation of spatial depth in Thornton Walker’s painting The Homage creates a peculiar sense in which the ‘whereness’ of depicted objects and atmosphere cannot be ascertained by, either perspectival convention or perceptual strategies. This visual-spatial ambiguity resonates with my interested in ‘broken’ stereography. Hence, ‘duoscopy’ refers to the limitations of binocular vision when the object of perception is itself duplicitous.

Multiverse

This performance showing demonstrated the integration of 3D stereographic scenography and game engine technology within a dance work by major Australian choreographer (Garry Stewart) and company (Australian Dance Theatre). The audience included major Australian arts festival and venue presenters. The work is an outcome of ARC Discovery DP120101695 Building innovative capacity in Australian dance through new visualization technologies, Vincs sole CI, and the collaboration with Garry Stewart, one of Australia's most successful and well known contemporary dance choreographers, and Australian Dance Theatre, one of Australia's major contemporary dance companies, demonstrates the industry impact and engagement of the research.

Stereoscopic theatre: the impact of gestalt perceptual organization in the stereoscopic theatre environment

This paper argues that it is essential for live theatre that incorporates stereoscopic imagery to reconceptualise the performance space to facilitate a successful audience experience. While 3D technology greatly increases artistic possibilities, the risks of perceptual confusion exist in live theatre just as in stereoscopic cinema, indeed more so given the coexistence of live performers. This paper argues that Gestalt perceptual organization theory can be valuable in informing how best to employ stereoscopic imagery within a live theater environment, with reference to the artistic works of one of the authors.