Response 1 to Gabe Walford on Frances Dyson’s Sounding New Media

After leading last Thursday’s in class discussion, Gabe proposed the question: In Davies artwork we are immersed through an aural state into a world of transparent substance and form, but is such a space or optic sensation needed to be immersed in this world? To me, this is a fairly loaded question in two ways. First, what does it mean to be or experience to total immersion and second, is space or optic sensation needed to be immersed.
  

What does it mean to be or experience total immersion? There are many different levels of immersion one can experience, especially with in the world of technology and digital media.  Many of these different states or levels of immersion were discussed in class as a group, and as I stated then, I fell strongly that total immersion within a digital/virtual realm or object is simply not possible.  It is likely that we may only experience partial immersion in our life times that in fact, total immersion may be out of the question entirely.  To be totally immersed one would have to lose all sense or cognition of the physical world around them.  Thus becoming completely enveloped by the environment or object in which they are interacting with. When I look at Davis’ work, it is clearly illustrated that although she strives for the viewer to reach a state of total immersion in her Virtual Reality, the actions of navigating and “being” within it only make the user more aware of their own “physical being”.  For those of us who have ever worn a VR headset, you will remember how it is impossible to not be constantly reminded of its presence and the physical impact it has on you the entire time one wears it.

Additionally, in order to interact with the environment one wears gloves that allows for movement and interaction within the VR.  These gloves are typically connected to the headset and as you “explore” the environment you can still physically feel the tug and chaining effect cause by the data cables (granted it is possible for a VR system/unit in this day and age to be complete wireless with the technological advancements that have been made, knowing this however, it begs the question: when was the last time you saw or heard of the use of a VR system in mainstream media?).  I understand that Davis attempted to neutralize these conventions by using multiple/additional apparatuses and devices in an attempt strive for complete embodiment.  As described by Dyson:

Although some have responded to the ocularcentric basis of VR by extending the means for sensory interactivity (based on the assumption that once all senses are represented then immersion will be more realistic-so realistic in fact that the experience becomes "real" rather than "virtual"), Davies has attempted to move away from the visual by incorporating the breath and body balance into the navigational system, rather than relying on the relatively crude interface of the data glove… The focus here is on embodiment-seen as the total body, rather than the body as a point of view determined by the eye/hand and head. Using breath to move up and down in the virtual environment, and balance to move left and right, the design of Osmose was intended to counter the frontality of vision with a sense of movement within enveloping space. (pp. 112-113)

Yet even Dyson herself recalls the clunky and inertness caused by the vest of Osmose, which one can only draw the conclusion that it would be a physical impossibility to not be aware of outside technology used to bring about embodiment and immersion.  In order to be fully immersed one would have to become an inert object, with a loss of all motor skills and senses in the physical realm and thus experiencing senses, movement and control in a metaphysical way controlled by one’s brain power ( http://bit.ly/yMWPq8 ). 

Is space or optic sensation needed to be immersed in this (VR) world?  To me, the question relates only to partial immersion into a digital medium while within our own physical realm.  Our senses of space, touch, vision and hearing allow for our physical being to become immersed within an experience or environment.  It is through a human’s senses that allows for that individual to perceive and experience emotion in both a real and virtual environment.  If one could not see the happenings of a new environment how would they know that they are experiencing it?  Likewise, if one could not hear the happenings or feel the presence of the objects and happenings wouldn’t the same be true?  I know it seems simple but in understanding what it truly means to be immersed, one’s senses must also be transformed by the experience in order for that experience to be perceived and “felt” by the individual.

             

After reading the chapter, Gabe’s take on it and our in class discussion I guess the following questions still linger:

-First will partial immersion ever become so powerful and encompassing that it allows for the beauty and natural of our physical world to become mundane or disinteresting?

-Second, with the idea of perfection becoming (somewhat) attainable in a VR, if a state of total immersion becomes possible someday will it have a draw, for those who it seek it, to enter a realm completely with out the imperfections or shortcomings of their physical existence? 

-Third, is it then beneficial to experience a  world where the pains, hardships and inevitable truths of “real” life do not exist and allows for complete escapism from life as we know it?

Media Objects:

http://hvrd.me/c6s2kt

An interesting article on the impact digital immersion and technology will have on journalism in the near future (via Nieman Reports online).  Illustrating the possibilities of a realm where information within an interactive environment is fully possible.

http://bit.ly/zMroWt

A video showing advancements in Augmented Reality (what some will say Virtual Reality has become) and its uses.  Through this medium I personally find immersion more possible and interesting.

http://bit.ly/y1cveU
A video for an iOS game that you solely navigate with the sound of your voice.  Inspiration was derived from Dyson's book Sounding New Media.