Publicação
Do virtual ao desejo de espectador
| Resumo: | ''Due to the appearance of the new media during the 19th century, and particularly by the end of the 20th century, along with the emerging mass culture, a new character, the one of the spectator/consumer, took shape. Liable to being seduced by the multiplicity of the crafts and technical effects — kind of "enchantment" rooted in the various aspects of the technique allied to the production and mass consumption. In this context, illusion, immersion and interaction become possibilities, which reach the spectator/consumer, who, in a progressive way, influences the appearance, during the 20th century of large numbers of immersive devices. Cinema is the paradigm of this immersion. Virtual reality its greatest exponent. Artists promptly learned how to take advantage of this interventive spectator, as well as of the handling of the same devices and mechanisms presently available, leading them to the world of fine arts, namely to immersion.'' |
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| Autores principais: | Santos, António Pedro Cabral dos, 1968- |
| Assunto: | Pintura Realidade virtual Cinema Inovações tecnológicas Cultura digital |
| Ano: | 2006 |
| País: | Portugal |
| Tipo de documento: | dissertação de mestrado |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | ''Due to the appearance of the new media during the 19th century, and particularly by the end of the 20th century, along with the emerging mass culture, a new character, the one of the spectator/consumer, took shape. Liable to being seduced by the multiplicity of the crafts and technical effects — kind of "enchantment" rooted in the various aspects of the technique allied to the production and mass consumption. In this context, illusion, immersion and interaction become possibilities, which reach the spectator/consumer, who, in a progressive way, influences the appearance, during the 20th century of large numbers of immersive devices. Cinema is the paradigm of this immersion. Virtual reality its greatest exponent. Artists promptly learned how to take advantage of this interventive spectator, as well as of the handling of the same devices and mechanisms presently available, leading them to the world of fine arts, namely to immersion.'' |
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