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

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

Maureen Kendal

Mehmet Mulla

Elaine Thomazi-Freitas

Conference

Publication date: July 2019

Publication date (Print): July 2019

Pages: 278-283

Affiliations

[0001]Ravensbourne University

London, UK

[0002]Dreamstudio.io

London, UK

[0003]London Metropolitan University

London, UK

Article

DOI: 10.14236/ewic/EVA2019.54

SO-VID: e50a4756-ced5-4be4-82de-a72f4c8552f3

License:

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/

Conference name: Proceedings of EVA London 2019

Conference acronym: EVA 2019

Conference number:

Conference location: London, UK

Conference date: 8 - 11 July 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2019.54

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

J. D. BolterD. Gromala 2005 Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency MIT Press Cambridge, MA
M. CsikszentmihalyiI. Csikszentmihalyi 1990 Flow: The Psychology of Optimal Experience Harper and Row New York
Deahl 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 )
T. GianniniJ. Bowen 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 )
M. KendalA. Hudson 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 )
D. Norman 2013 The Design of Everyday Things MIT Press Cambridge, MA
M. McGinity 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 )
V. Propp 1928 Morphology of the Tale Leningrad
Sennheiser 2019 Capturing in Ambisonics, in AMBEO for Virtual Reality https://en-uk.sennheiser.com/ambeo-blueprints-virtual-reality retrieved 10 April 2019 )

Comments

Comment on this article

[1] J. D. BolterD. Gromala 2005 Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency MIT Press Cambridge, MA

[2] M. CsikszentmihalyiI. Csikszentmihalyi 1990 Flow: The Psychology of Optimal Experience Harper and Row New York

[3] Deahl 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] T. GianniniJ. Bowen 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] M. KendalA. Hudson 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] D. Norman 2013 The Design of Everyday Things MIT Press Cambridge, MA

[7] M. McGinity 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] V. Propp 1928 Morphology of the Tale Leningrad

[9] Sennheiser 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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