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      How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments?

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      Proceedings of EVA London 2019 (EVA 2019)

      Electronic Visualisation and the Arts

      8 - 11 July 2019

      Virtual Reality, Immersive technologies, TiltBrush, Visual effects, Spatial audio

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            Abstract

            This research investigates how artists, from traditional fine art and applied art backgrounds, can create innovative immersive and virtual art and build upon their tangible skills, through a digital pipeline and tools? Findings indicated opportunities to co-create partnerships, develop transferable design skills; and exhibitions which enable new markets and audiences.

            Content

            Author and article information

            Contributors
            Conference
            July 2019
            July 2019
            : 278-283
            Affiliations
            [0001]Ravensbourne University

            London, UK
            [0002]Dreamstudio.io

            London, UK
            [0003]London Metropolitan University

            London, UK
            Article
            10.14236/ewic/EVA2019.54
            e50a4756-ced5-4be4-82de-a72f4c8552f3
            © Kendal et al. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2019, UK

            This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

            Proceedings of EVA London 2019
            EVA 2019
            London, UK
            8 - 11 July 2019
            Electronic Workshops in Computing (eWiC)
            Electronic Visualisation and the Arts
            Product
            Product Information: 1477-9358BCS Learning & Development
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            REFERENCES

            1. 2005 Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency MIT Press Cambridge, MA

            2. 1990 Flow: The Psychology of Optimal Experience Harper and Row New York

            3. 2018 Inside Imogen Heap’s cutting-edge VR concert, in The Future of Music with Dani Deahl, S1E1 https://www.youtube.com/watch?v=HoDqeunBH10&list=PL39u5ZEfYDEMiTaRs-5xsUB5YP-8sCo0P&index=2&t=0s retrieved 10 April 2019 )

            4. 2018 Of Museums and Digital Culture, A landscape View EVA London 2018 https://dx.doi.org/10.14236/ewic/EVA2018.34 retrieved 10 April 2019 )

            5. 2011 On the Beach – A handbook for using 3D virtual digital platforms like Second Life – ‘the WEISL’ - ‘Writing Explorations in Second Life EVA London 2011 https://ewic.bcs.org/content/ConWebDoc/40570 retrieved 10 April 2019 )

            6. 2013 The Design of Everyday Things MIT Press Cambridge, MA

            7. 2018 La Dispersion Du FIls: Into regions of incomprehensibility EVA London 2018 https://dx.doi.org/10.14236/ewic/EVA2018.64 retrieved 10 April 2019 )

            8. 1928 Morphology of the Tale Leningrad

            9. 2019 Capturing in Ambisonics, in AMBEO for Virtual Reality https://en-uk.sennheiser.com/ambeo-blueprints-virtual-reality retrieved 10 April 2019 )

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