Oculus Rift como dispositivo cinematográfico: reflexões sobre as potencialidades das máquinas de realidade virtual

Abstract

Starting from 2012, there has been a significant interest in virtual reality headsets as cinematographic media. One of the most prominent devices, which has gained worldwide interest, is the DK2 (Development Kit 2), known as the final prototype of the Oculus Rift. Taking a closer look at this phenomenon, this very research has its origins in Giorgio Agamben's studies of Michel Foucalt's "dispositif", specially taking into account its impact on the former’s views on socio-technical devices. There is academic acknowledgement that such imaging technologies not only satisfy pre-existing visual demands but are also seen as a means of creating new methods of manipulating perception. An example of this is Jean-Louis Baudry's aesthetics of cinematic apparatus. According to such acknowledgement, aesthetics and politics are inherent in the way the world is captured to one’s gaze. As for the contemporary artist who wishes to work within this matter, there would be only one relevant move; to alter the medium's default functionality as established by the market. For Vilém Flusser, this interference lies with the device's actual code itself. However, other authors involved with this debate have pointed out that more importantly than interfering in the program is what Agamben calls the “profanation” of the device. Based on the forgoing assumption, the major appropriation of virtual technology can be categorized as an opposite to profanation: "attraction", as interpreted by theorists of early cinema and its spectatorship. In order to take this research to a new level, a virtual reality narrative has been intentionally created to alert the observer to something far beyond a mere technological spectacle, as well as to assist in exploring Oculus Rift's other potentials.