The Glad Scientist is the pseudonym of Puerto-Rican artist Daniel Eric Carlos Hector Alberto Sabio. He utilizes VR technology to create stunning live audiovisual performances, at times making use of brain machine interfaces, projection mapping, and always sharing a direct line of consciousness with his audiences to be a part of both process and experience simultaneously.
French Virtual Reality artist Mathieu Pradat will present his latest project “The Roaming” in this workshop. Participants can test the prototype consisting of virtual and physical elements and help develop it further.
In her performance Tamiko Thiel demonstrates how she combines techniques of Western painting and Far Eastern calligraphy to create her “Google Tilt Brush”-piece “Land of Cloud”.
Virtuelle Realität between Utopia and Dystopia // How Virtual Reality influences artistic intention and opens a broader scope of interpretation to the viewers
Utopian and dystopian ideas and concepts are present in almost every field of society, whether it’s politics, religion, science, or, first of all, art. “Art is the governor of utopia” (Max Frisch) – and, moreover, a broadly formulated concept which includes visual and performing arts as well as musical and literary works.
In our meetup we would like to discuss with “classical” and VR artists how perspectives between artist and recipient are shifting or even dissolving in a virtual world.
In short: is “Virtual Reality” the beginning or the end of a utopian guiding principle in visual arts?
Annika Siems (illustrator & VR artist)
Andrea Offermann (illustrator)
Billi Methé (freelance artist)
Nico Uthe (Creative Director at VR Nerds GmbH)
Susanne Ahmadseresht
Anett Göritz
Be curious for an interesting discussion in a relaxed atmosphere at Oberhafenquartier. Cool drinks and snacks are available. Free entry. Seats are limited (40), so it’s first come, first serve. Feel free to come if you are fine with standing.
The new technology is attracting the generation of Digital Natives. Can VR be a medium to spark young people’s interest in literature and promote literary discourse? Or are these two worlds too far apart from each other? We discuss the prospects and limits of promoting literature through Virtual Reality.
Stephanie Grubenmann (ZhdK)
Branko Janack („Der Geisterseher“)
Mika Johnson („VRwandlung“)
Friederike van Stephaudt (Goethe-Institut Zentrale)
Andreas Wolfsteiner
Kindly supported by Robert Bosch Stiftung.
What happens when Virtual Reality meets theatre? CyberRäuber and Branko Janack took a classical drama – “Der Geisterseher” by Friedrich Schiller” – to the virtual world.
A theatrical miniature for one spectator at a time.
Schiller brought to life in a virtual play of 20 minutes: A German prince in Venice is first under influence of psychics, agents and secret societies and finally involved in a completely confusing political scheme. How does the deceased friend’s spirit know all these intimate details? And who is the mysterious, beautiful Greek woman? Enter the city of masks and discover the realm of the obscure Armenian where all threads seems to come together.
Robert Bosch Stiftung kindly supported bringing “Der Geisterseher” to VRHAM! 2018.
Experience the world from Gregor Samsa’s point of view: the interactive installation “VRwandlung” allows visitors to enter Kafka’s surreal visual world.
Robert Bosch Stiftung kindly supported bringing “VRwandlung” to VRHAM! 2018.
“Joycestick”, an academic project at Boston College led by Professor Joseph Nugent, pairs an immersive virtual reality 3D game with the most important (and difficult) novel of the twentieth century. Using the Vive headest, players are put into scenes from the novel, to move through the game. Subtitled “The Story of Ulysses in 100 Objects,” the player can touch certain objectsto trigger sounds, narration and other significant interactions with the characters of James Joyce’s notoriously difficult novel.
The number of curated exhibitions on Virtual Reality art is growing, with the potential and application of immersive media reaching ever new dimensions. But is creating visual worlds and soundscapes in VR really a new and independent art form, or a mere technical medium presenting a new perspective on art?
creates new, interactive virtual-analog worlds and immersive experiences by the extraordinary fusion of visual arts, opera, film, games and high-tech.
Coming from a classical background of theatre direction and scenography, Evelyn experimented very early with new technologies developing unique hybrid artistic forms, which deliberately break with conventional genre and audience structures. The Experience Director and Innovation Artist has received multiple awards for her transboundary works – e.g. for room-/video-installations, multimedia-performances, interactive environments. EURYDIKE and O.R.PHEUS – both mixes of art installation, music theatre and real-life game, using AR and VR technologies – attracted international attention with many nominations (i.a. for the German Computer Game Award) and werde honored by the German Government. EURYDIKE is till 1.5.2018 at Theater Rampe Stuttgart playable. Beside her own productions the VR/AR-Pioneer also works as Creative Mind for big brands – e.g. Resident Evil 6, Bioshock Infinite -, Speaker and Moderator. She created the new study subject “New Realities – presentation forms for the digital age” at the University of Bayreuth and was therefore appointed as Head of Programs Europe for the International Symposium on Mixed and Augmented Reality. Hriberšek lectures, talks ans writes about artistic and philosopical aspects as well as about ethical and social challenges, chances and risks of virtual future scenarios. As Architect of Tomorrow she believes in an ethical code and responsibility of inventing and using new media and tech.
Copyright photo: Evelyn Hribersek
Immersion is not a novel concept. A multitude of artistic contexts envision the immersion of the recipient in an artistic vision, shielding them from the outside world. Virtual Reality, however, takes immersion to a completely new level. Entering the virtual space and pushing or even eliminating boundaries allows an active or passive immersion in the work of art. To what extent is the critical distance of the viewer vanishing in this course? How “active” is the process of immersion in Virtual Reality?
