Topic "Immersive Arts"

Foto: re:publica/Gregor Fischer

On day two of re:publica, stage 9 will dedicate itself to virtual worlds. The concept of complete immersion into artificial worlds is not a new one. Texts, films, video games, and performance pieces all aim to engulf their audience. VR, on the other hand, is still struggling to mature. Technological standards are developing at a dizzying pace, but VR hasn’t quite reached mainstream appeal. After years of experimenting, we want to know: what’s the status quo, what part can VR technologies play, and where are we experiencing its limitations?

Deeply familiar with this not-so-new medium, our participants come from diverse fields of study and include journalists, editors, screenwriters, photographers, performance artists, and theater producers. By offering nuanced insight into their experiences, they will discuss various perspectives on the uses, necessities, and concrete possibilities of this promising technology.

 

  • Business & Innovation
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    Veranstaltungsort ist das Deutsche Technikmuseum Berlin, Trebbiner Str. 9, 10963 Berlin — in unmittelbarer Nähe zur re:publica 2018.
    Der Zugang ist mit einem regulären re:publica 18-Ticket frei.
    Einlass nach Verfügbarkeit: First Come, first serve.
  • Arts & Culture
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    At the heart of Marshmallow Laser Feast’s work is an enquiry into the nature of being. To truly see ourselves, we must look through the eyes of another.
  • Arts & Culture
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    How Google is using its technology to empower cultural institutions and artists

    [Partnersession]
  • Arts & Culture
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    The Berlin based artist group Costa Compagnie took up the subject of oil and conducted interviews in Norway and Iraq, while filming with a 360°-camera, in order to use the footage in an immersive cyclorama-stage and a VR-film. At re:publica 18 the artists will present a summarizing video of their performance series EMPIRE OF OIL and also engage in dialogue with their audience about war and art, crisis and consumerism, VR and reality.
  • Arts & Culture
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    Since in immersive reality set ups we as the viewer are at the center of the action sphere and free to decide where we look or focus our attention and interact with the story, we as writers and directors of immersive stories need to script the viewer's presence. This very special form of relating to a story world is still virgin territory. This presentation is about the attempt of building a coherent methodology to understand and design the viewer's presence into an immersive story world.
  • Arts & Culture
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    We open our “Immersive Arts”-Topic with a group of Lightning Talks. This panel brings together participants of the VR:RV project to present their recent research. They are joined by artists of the Berlin-based Performersion-Festival. All of them present their projects in 5 minutes each.
  • Media & Journalism
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    What does VR allow us to witness that is otherwise invisible? How can new immersive spaces invite us to explore the frontiers of journalism, science, education? What are the implications of VR as voyeurism, as witness to trauma and conflict: what can we expose and what should we ultimately leave to the imagination?
  • Media & Journalism
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    What happens when reality and virtual reality intersect? Beyond games, sci-fi and straight up science, how do we code VR in the non-fiction spaces of art? journalism? documentary? What does VR really mean for these realities? What are the limitations and ethics of that code? What does it mean to ‘construct’ reality? To engineer emotions?
  • Arts & Culture
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    “Story and narrative are the code for humanity's operating system." (Kamal Sinclair, Making a New Reality)
    Which codes are embedded in the way we tell stories, and how can VR explode and expand these scripts?
  • Arts & Culture
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    Haptic feedback for total immersion is central to many visions of virtual reality applications. The promise to be in contact with all the senses with another person in another place in the world fuels many research branches and start-ups. But previous solutions such as Teslasuit, Neurolace, Ultrahaptics and much more are extremely complicated, resource-intensive and complex interfaces. But we all know that artists on stage can touch people in the audience without physically touching them...

  • Arts & Culture
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    In den Performing Arts und in Computerspielen nehmen Geschichten, die von Gruppen – statt von Autor*innen - erzählt werden, eine immer wichtigere Rollen ein: Die improvisierten epischen Abenteuer, die Twitcher und Youtuber in ihren Multiplayer Aufzeichnungen erzählen, und international immer erfolgreichere Theatergruppen, die ausschließlich eigene Stoffentwicklungen in seriellen Formaten immer gemeinsam erzählen, sind zwei stark wachsende und inzwischen auch genreprägende Formen des globalen Storytellings.
  • Arts & Culture
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    Digitale Bühnen allerorten, die darstellende Kunst entdeckt das Netz. Aber welche Geschichten, Ideen und Technologien kann das Netz dem Theater geben? Und wie machen sich die (gefallenen) Held/innen des Internet-Age auf den Brettern, die die Welt bedeuten?
    Ist das Internet der Schlüssel zur Neuerfindung des Theaters im 21. Jahrhundert? Kann das Theater dem Netz die Seele einhauchen? Ist da noch weisser Zwischenraum? Oder ist das alles ein großes Missverständnis?