From past to virtual realities: An art historical look into virtual reality as an art medium

Abstract

In an era where virtual reality technologies have reached various sectors, an abundance of academic research has been done on the technological, ontological and psychological aspects of the new technologies due to their novelty and mass appeal. Notwithstanding the fact that their immense presence has notably extended into the realm of contemporary art production as an art medium, the connection between the usage of virtual reality technologies and the broader spectrum of art history is still waiting to be explored. In order to complete this art historical exploration, this study offers an established framework categorizing the artistic properties of VR artworks. These artistic properties are: spatial manipulation, dynamism & movement, conceptualization, interactivity and multisensoriality. Then, by employing literature review, document and discourse analysis as methods, the corresponding art historical movements are systematically listed and aligned underneath these properties. Before delving into this detailed exploration though, this descriptive study first elucidates the definition and context of VR art in this study's terms. Since this study often refers to VR as a novel medium, first the origin of the term medium is introduced through the theories of Clement Greenberg's medium-specificity and Rosalind Krauss' post medium condition. Due to the fact that VR's role as an art platform of virtually displaying artworks is quite popular, a differentiation between VR's role as a medium versus a platform in the contemporary art landscape is also discussed in this section. Following this differentiation, this study's definition of VR art gets revealed. The scope of this study is specifically limited to VR artworks that utilize head-mounted displays due to their accessibility, popularity and novelty. Therefore, other immersive technologies that are utilized in art production such as CAVE and 360-degree video are excluded. This foundational discussion sets the stage for a brief historical overview of VR technologies. This section first talks about the early ancestors of VR technologies. VR's first application in the military as flight simulators and their adoption by NASA is therefore discussed. Thanks to the popularity of VR technologies in the gaming community with the rise of virtual gaming, the new technology has been eventually adapted by the artists of the late 1980s. Another section of this work is thus dedicated to the first artistic explorations of VR in significant establishments such as Banff Centre for Arts and Creativity and groundbreaking artworks such as Osmose (1995) by Char Davies. This historical exploration too is necessary for it reveals the evolution of the VR technologies from once a military equipment into their current status as an artistic medium. The main part of this study is titled Shifts Towards VR Art In Art History. In this context, shifts can be defined as any art movement, renowned artwork, or technique that has fundamentally transformed the way art is created in subsequent generations. These significant shifts mentioned in this study therefore eventually led to the inclusion of VR as an art medium. This study categorizes these shifts under the categories of spatial manipulation, dynamism & movement, conceptualization, interactivity and multisensoriality. The framework consisting of these headings aims at chronologically listing and describing significant shifts in art history in the context of VR art. For instance, panoramas, which astonished 19th-century audiences with their illusionary properties and immersiveness, reflect attributes found in VR art. Therefore, in the framework of this study, panoramas should be listed under the spatial manipulation category. By tracing such historical shifts, this study provides a comprehensive understanding of the evolution of art forms that have paved the way for the emergence of VR art. Through identifying the usage of virtual reality as a medium via its past counterparts in art history, this research can possibly contribute to contemporary art historiography which cumulatively evolves from past art movements and techniques. The findings and motives behind this research reveal the evolution of diverse art mediums throughout history, broaden the public's understanding of what contemporary art is and provide valuable insights for scholars, artists, and audiences exploring the dynamic relationship between VR and artistic expression. Through this study, not only a better understanding of contemporary art but a better understanding of the relationship between art, technology and society can be ensured.