Immersive Technologies To Support Engineering Design And Manufacture Media Essay

Immersive Technologies To Support Engineering Design And Manufacture Media Essay

Immersive Technologies, The term “Artificial Reality”, coined by Myron Krueger, has been in use since the 1970s; however, the origin of the term “Virtual Reality” can be traced back to the French playwright, poet, actor, and director Antonin Artaud. In his seminal book The Theatre and Its Double (1938), Artaud described theatre as “la réalite virtuelle”, a virtual reality “in which characters, objects, and images take on the phantasmagoric force of alchemy’s visionary internal dramas” It has been used in The Judas Mandala, a 1982 science-fiction novel by Damien Broderick, where the context of use is somewhat different from that defined above. The earliest use cited by the Oxford English Dictionary is in a 1987 article titled “Virtual Reality”, but the article is not about VR technology. The concept of virtual reality was popularized in mass media by movies such as Brainstorm and The Lawnmower Man. The VR research boom of the 1990s was accompanied by the non-fiction book Virtual Reality (1991) by Howard Rheingold. The book served to demystify the subject, making it more accessible to less technical researchers and enthusiasts, with an impact similar to that which his book “The Virtual Community” had on virtual community research lines closely related to VR. Multimedia: from Wagner to Virtual Reality, edited by Randall Packer and Ken Jordan and first published in 2001, explores the term and its history from an avant-garde perspective. Philosophical implications of the concept of VR are systematically discussed in the book Get Real: A Philosophical Adventure in Virtual Reality (1998) by Philip Zhai, wherein the idea of VR is pushed to its logical extreme and ultimate possibility. According to Zhai, virtual reality could be made to have an ontological status equal to that of actual reality. Digital Sensations: Space, Identity and Embodiment in Virtual Reality (1999), written by Ken Hillis, offers a more critical and theoretical academic assessment of the complex set of cultural and political desires and practices culminating in the development of the technology.

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Just as stones and trees existed long before people gave them names, virtual reality existed as a concept long before someone decided to assign a name to it. Howard Rheingold speculates that caves decorated with prehistoric painting might have been places where people were immersed in alternate realities. Leaning on the work of paleontologist John Pfeiffer, Rheingold describes a possible ritual, where “the first technological secrets were imparted”.

The deliberately sensitized psyches of the novices were reframed by carefully crafted sequences of sights and sounds, imprinted with the secrets of fire and metal, the connections between seeds and stars. An early form of the most powerful idea at the basis of technological civilization – that it is possible to observe the world and learn from it and apply that knowledge to the requirement of daily life – was burned into our forebears, brains to the accompaniment of a three-dimensionals sound and light show.