The presentation examines some of temporal aspects implied by immersive media experience. The starting point is given by some cases of virtual reality resulting from plenoptic shooting (i.e. photo-cinematographic shootings giving rise to virtual environments through integration with CGI algorithms), such as those provided by Lytro Immersive technology. In these cases, the user experiences is a time-splitting one: the observer’s time does not coincide with the temporality of the observed scene: the latter is closed into the compactness of a Photo-cinematographed piece of reality, while the first is opened to a living and fluid presentness. From here, the presentation develops a small phenomenology of the experience of “not reciprocal belonging” between the viewer’s time and the temporality of the scene in which the viewer him/herself is immersed; the examples are taken from different audiovisual sources, such as Kill, Baby, Kill (Operazione Paura, M. Bava, 1966), Ringu 2 (H. Nakata, 1999), The Others(A. Amenabar, 2001), some sequences from the first season of the TV series Hannibal (2013) and the commercial Philips Carousel (A. Berg, 2009). The analysis will put into light three kind of “not owned” temporality: a linear, a looped and a zeroed one. The last section of the presentation takes into exam some examples of documentaries in virtual reality from platforms such as Arté 360 and The Guardian, in order to apply the previously elaborated categories.
Melanie Chan, Virtual Reality. Representations in Contemporary Media, New York- London – New Delhi – Sydney, Bloomsbury, 2014.
Ruggero Eugeni “L’immaginazione operosa. Fotografia computazionale e tecnologie della sensibilità”, in Daniele Guastini e Adriano Ardovino (a cura di), I percorsi dell’immaginazione. Studi in onore di Pietro Montani, Cosenza, Pellegrini, 2016, pp. 281-294.
Ruggero Eugeni, “Lytro. The camera as hypersensor”, in Comunicazioni sociali, n. 1, 2016, pp. 115-123.
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Ruggero Eugeni is full professor of Media Semiotics at Catholic University of the Sacred Heart, Milan. He is also the Director of “Almed”, the Postgraduate School in Media, Communication and Performing Arts of the same University, and the Head of the School of Journalism. His interests are focused on the living / lived media experience, as defined both in historical / sociological terms, and in phenomenological / neurocognitive terms. He’s working on the project of a “semiotic of media experience”. From this point of view, he analyzes the relation between cinema and hypnosis. His leading works are “Analisi semiotica dell’immagine. Pittura, illustrazione, fotografia” [Semiotic Analysis of the Image. Painting, Graphics, Photography], Milan, new ed. 2004; “Film, sapere, società. Per un’analisi sociosemiotica del testo cinematografico” [Film, Culture, Society. For a Socio-semiotic Analisys of the Film], Milano, 1999; “La relazione d’incanto. Studi su cinema e ipnosi” [The Enchanted Relationship. Studies on Film and Hypnotism], Milano, 2002. His most recent work is “Semiotica dei media. Teoria e analisi dell’esperienza mediale” [Media semiotics. Theory and analysis of media experience], Roma, 2010.