This is my first post on “VR” commonly referring to the latest crop of virtual reality head mounted displays offering an all-encompassing field of vision through screens, and movement tracking. With the talk of cyborg augmentation of a human, and the concept of trans-humanism appearing in the readings, I realise I very much fit the look of part-man, part-machine when I’m wearing the device. I was also struck about how art forms much of our cultural heritage, and how that can now be consumed in a very different manner, forcing artists to rethink their creations, and how they are consumed. I wonder too if the formation of this visual “bunker” now completes the digital reality highlighted by Hand (2008).
“Digital reality is perfect. It provides the bunker self with immediate, universal access to a global community without people: electronic communication without social contact, being digital without being human, going on-line without leaving the safety of the electronic bunker .” (Kroker and Kroker 1996: 96-7 in Hand, 2008 p39)
— C (@c4miller) January 12, 2017
from Twitter https://twitter.com/c4miller
January 12, 2017 at 08:03PM
ref: Hand, M (2008) Hardware to everywhere: narratives of promise and threat, chapter 1 of Making digital cultures: access, interactivity and authenticity. Aldershot: Ashgate. pp 15-42.