Musée d’Orsay adds AI and VR to display of artist’s last works, never previously seen together
For a man who died in 1890, Vincent van Gogh seemed remarkably au fait with 21st-century parlance.
Asked why he had cut off his left ear, the artist replied that this was a misconception and he had in fact only cut off “part of my earlobe”. So why did he shoot himself in the chest with a revolver, causing injuries from which he died two days later?
Continue reading...The mind-boggling hoard of jewellery the plundering first lady tried to smuggle out of the Philippines is being remade as sculpture by artist Pio Abad – with all its sparkle gone
Over his three terms as president of the Philippines from 1965, Ferdinand Marcos and his wife Imelda were able to cream off some $10bn of the nation’s assets through offshore banks. New revelations that a close associate of the dictator was also able to maintain an account with Credit Suisse as late as 2006 therefore comes as no surprise to Manila-born Pio Abad. For a decade the artist has been making work under the title The Collection of Jane Ryan and William Saunders, a reference to the aliases the couple used with the Swiss bank.
“It’s funny when a 10-year project becomes news,” says Abad, who is now London-based. “These institutions are very culpable for what happened in the Philippines.”
Continue reading...This weird postmodern drama sees a lonely teenager join a virtual world where she becomes a hugely successful singer
There’s some amazing big-screen spectacle in this weird postmodern emo photo-love drama from Japanese anime director Mamoru Hosoda, whose previous film Mirai elevated him to auteur status. Suzu, voiced by Kaho Nakamura, is a deeply unhappy and lonely teenager at high school, who lives with her dad. Her mum died some years ago, attempting (successfully) to save a child from drowning and Suzu can’t come to terms with the zero-sum pointlessness of this calamity: a total stranger was saved but her mother died. Or not zero in fact: while her loss increased the sum-total of unhappiness, the most popular boy in school – a friend since they were little – is tender and protective towards Suzu.
Her life is complicated further when she is persuaded to join a virtual reality meta-universe called U, a glittering unearthly city like a next-level Manhattan or Shibuya. (Presumably entry into this fantasy world needs a VR headset, although oddly this is not made plain.) Participants have their biometrics read and get an enhanced avatar of themselves and Suzu finds that she is now “Belle”, an ethereally beautiful young woman with quirky freckles and a wonderful singing voice. To her astonishment, Suzu finds that Belle is becoming a colossally famous singer – but at the very high point of this meta-success she comes across the Beast, who disrupts one of her concerts: a brutish, aggressive outcast figure loathed by the self-appointed vigilante guardians of U.
Continue reading...In his book Reality+ David Chalmers says the material world may lose its allure as VR technology advances
It is hard to imagine humans spending their lives in virtual reality when the experience amounts to waving your arms about in the middle of the lounge with a device the size of a house brick strapped to your face.
But this is where humanity is heading, says the philosopher David Chalmers, who argues for embracing the fate. Advances in technology will deliver virtual worlds that rival and then surpass the physical realm. And with limitless, convincing experiences on tap, the material world may lose its allure, he says.
Continue reading...Nuclear Biscuit, a simulated experience, allows US officials to wargame a missile attack and see the devastating consequences of their choices
It became clear that things had gone terribly awry on this particular day when I saw that the most moderate option on the desk in front of me involved killing at least five million people.
I could kill up to 45 million if I chose the more comprehensive of the alternatives laid out on three pieces of paper, but it was hard to focus on the details because there were people shouting at me through my earpiece and from the screens in front of me.
Continue reading...The rise of Covid-19 has forced cultural institutions to explore alternative digital spaces with online exhibitions and a rise in virtual reality
It’s a terrible time for going out. Since the emergence of Covid-19 and resulting self-quarantine, thousands of museums, cultural institutions, festivals and global happenings have temporarily shuttered operations, leaving behind empty streets and a restless public. In a sector that thrives on in-person connection, the loss of an audience is disastrous, yet resilient performers, institutions, galleries, even entire art fairs, are moving to the digital arena, using streaming services and virtual reality, manifesting live concerts on the gaming app Twitch, organizing Instagram dance parties and launching online-only spaces.
During his popular 2015 Ted Talk, the immersive artist, entrepreneur and director Chris Milk suggested that virtual reality could someday become the “ultimate empathy machine” but despite an initial burst of interest in 2015 during the launch of the Oculus Rift headset, immersive media have primarily remained niche. Now, with social distancing, the technology is experiencing something of a renaissance.
Continue reading...Devastated by his time in Germany, which he regards as still Nazi, the artist has moved. As he unveils a powerful virtual reality artwork, he talks about needing a monster to fight – and why he’d like to be a barber
‘When we filmed this,” says Ai Weiwei, “the elephants didn’t know what to do. Once they were used for labour, and now they have lost their job.” The artist is talking about the groundbreaking documentary he has just made about unemployed logging elephants in Myanmar. You watch the film, shot with 360-degree virtual reality technology, through a special headset. Turn your head slowly and your view gradually changes. Turn your head 180 degrees and the picture changes completely.
“When they lost their job,” he continues, “each elephant had a few people to take care of it, so those people also lost their job.” Ai (Weiwei is his first name and means unknown or future) relates to the elephants as readily as he does to the subject of the second part of his VR project – this one about the lives of Rohingya refugees in a Bangladeshi camp.
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