Virtual Reality Project Proposal
1.
Project title: “Tele” (working title)*
*The title for the exhibition will be a collaborative decision between artist, curator(s) and gallery owner, being the concept for exhibition to be a solo installation.
2.
Written proposal for the exhibition:
a.
Short description of the work
An interactive art exhibition which challenges the concept of the art gallery and audience interaction through technology and digital means. The “work” is an installation-based experience incorporating virtual reality, VR, hardware and software through supporting headset units. This equipment enables the ability to replicate an alternative viewpoint/world by creating a digital environment to which the user can explore. This will be adapted as part of the proposed exhibition. The created software will work alongside VR equipment and be conditional to the artist, curators and gallery intensions to create an experience for the user. This optical experience will be an immersive simulation of a digital-dimensional environment, created with the artist, using interactive software and hardware, and experienced or controlled by movement of the body or as an immersive, interactive experience. The exhibition will invite the audience into a white gallery space in which he or she will be given and placed a VR unit on their head. After careful instruction by gallery assistances, the user will be guided around the gallery space whilst experiencing the visual and digital installation via their headsets. The user will have the availability to "look around" the artificial world, move about and interact with features or items that are depicted in the provided headset screens. This will last for several minutes with individuals experiencing a transformation, being encapsulated into the virtual world consummated by artist. This process will be then repeated. This intervention into the space comes alive through audience interaction. Each individual is welcomed to 1.
explore the work whilst successfully blurring the boundaries in a museum context. The virtual simulation can include additional sensory information and provide sounds through speakers or headphones. VR brings the user into the digital world by cutting off outside stimuli. In this way the user solely focuses on the digital content. This is dependent on the artist. The show will engage a diverse methodology for appropriating spectating within an artistic location, coaxing the spectator to question, tease as well as navigating their way around our current world and thereby heightening our dependent bond to technology.* *The work will be in condition to the artist. b.
Intention
The intension of the proposed project is to highlight the relation between audience and digital technology. How we as a collective are embracing the medium further especially in the current virtual age. Through to a medium of art which has grown over the past decade, in particular, can this be established and addressed into a platform, a platform in need for digital art and digital performance? The proposed project with the selected artist will explore the definition of art and the context of the art gallery. This commonly explored scenario is yet to be answered and foreseen into another visual world; a world of visual and interactive art. The impact of digital technology has transformed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as net art, digital installation art and virtual reality have become recognised artistic practices. Through an interest in new and extensively unexplored direction in virtual reality can we as artists and art enthusiasts explore and display to an audience of how to experience art in general. c.
Timeframe
The intended exhibition opening will be one week acting as a temporary exhibition, opening in the two weeks of December 2016, 2 – 11 December, as shown in the supporting Gantt chart. Installing and final testing to take place between 30 November – 1 December and de-installing on 11 December after opening hours. The opening preview will be highly focused on Whitechapel’s First Thursday event, with free tickets available through ticketing platform Eventbrite, www.eventbrite.co.uk; to control numbers, assess the footfall and ability of generating a mailing list for future and similar events. This is proposed to be in the evening of 1 December. A professional photographer and film maker will be present during set up and opening documenting installation, and audience responses. Along with artist and venue’s consent, these will be uploaded onto supporting websites and posted electronically. c.
Exhibition proposal suggestions
The main concentration of the exhibition will be the inclusion of the audience through interaction and participation, this to be challenged through VR, specifically VR headsets. This piece of equipment is a necessary for the exhibition to function, to enable visual engagement between viewer and art. In a form of a headset, the unit secures a display in front of an individual’s eyes with systems of head tracking, controllers, voice, on-device buttons and/or trackpads. VR headsets use either two feeds sent to one display or two screen displays, one per eye. In some instances, these can be adjusted to match the distance between eyes which varies from person to person. These lenses focus and reshape the picture for each eye and create a stereoscopic three-dimensional image by angling the two two-dimensional images to mimic how each eye views the world slightly differently. 2.
The goal of the hardware is to create what appears to be a life size; three-dimensional virtual environments without the boundaries usually associate with televisions or computer screens. The screen mounted to an individual’s face will follow their movements. The equipment itself could be manipulated in three possibilities, addressing the need for the artist’s intension. Firstly using a specially designed device fashioned in the mind of virtual reality. This device itself fully developed and usually attached directly to a computer. Incorporating this type of headset into the project creates possibilities, i.e. head tracking, motion tracking and eye tracking which can be manipulated into the work. The drawback of this method of technology will be cost and manoeuvrability of each; restricting of interaction and the possibility of limited headset units and resulting in reduced viewer numbers. Secondarily a temporary headset created from cardboard, shown below. As described above but instead using a smart phone as a means of viewing. In condition with funding, visitors could remove and take these temporary headsets away and continue to experience the work in an exterior gallery setting.
Image: The equipment itself could be addressed in two possibilities, one being a temporary headset created from cardboard.
Lastly another method would be to embrace the use of smartphone enabled VR headsets and a more durable body casing unit. A unit in which a smartphone is inserted into the plastic headset with content played via the screen. This allows numerous of possibilities for the artist and countless of pathways in which a piece of software could be created and developed onto a mobile platform. This more practical and professional appearance will increase in subtle admiration in the overall atmosphere of the exhibition. The main concern would be the requirement of the visitor to attain and be in possession of a working smartphone to the exhibition. In addition to this, the software would need to be shown on their smartphone; this can be simply achieved through a straightforward link accessed through their portable device, which can be done reached via an instructed link for visitors to press or alternatively a Quick Response code, QR code, discussed below. The combination of both; the lasting smartphone enabled VR headset, will be most suitable and highly recommended to ensure an affordable and professional approach along with durability and comfortability during the course of the exhibition.
3.
Image: The Sulon Q virtual reality headset using smartphone technology as part of the unit.
3.
Production outline:
A need to work closely with artist, curators and gallery owners to produce a project experience with organisers and audience in mind; staying true to the intentions from start to finish and subtle compromise when needed. All communally to mutually agree to arrange a VR encounter to a highly-professional standard. This proposed production schedule can be seen in the attached Gantt chart.
4.
List of equipment:
Software: programmed in close collaboration with artist. Virtual reality headset(s): multiple sets, either computer, PC, enabled or smartphone enabled: PC for full experience and yet limited manoeuvrability due to attached cabling for PC access or limited experience but greater portability with smartphone enabled headsets.* Installation equipment, ladders, tape measures, spirit level, soft clothes with vinyl text: to install and deinstall exhibition.
*Volunteers to assist in the maintenance of the equipment and exhibition space will also be required. 5.
Sketched layouts (see below):
a.
Layouts
Below diagram shows how visitors will be invited into the galley space and guided through the exhibition on a one-on-one basis. This is to ensure safety within the gallery, protection on the virtual reality equipment and personal feedback from their experiences.
4.
Image: Diagram showing the importance of assistance throughout the exhibition to create a welcoming atmosphere.
b.
Project medium
Due to being digital based; only one to two large, flat and white walls will be used for vinyl text. These are proposed into two sections:  
Artist name, title, venue name, dates, exhibition description, branding and supporting companies with related imagery. Instructions of how to use the virtual reality equipment, safety information and scan-able Quick Response codes, QR codes, to access additional and audio description.
6.
Wall text
a.
Content
A limited quantity of wall text will be present for informing visitors; key and directly essential information. This will act to support and guide visitors who wish to experience the digital work. This will be beneficial on time when installing and de-installing and prime focus of the project; encapsulating user experience through the digital technology. Aesthetically and visually, the impact will be immediate as soon as the wearer places on the given headset he or she will instantly be transported into a new virtual world. A world and experience based on instantaneous reactions with strong will in the exhibition design to show no obvious indications on what the spectator will see/experience beforehand.
5.
Image: Example of a Quick Response code, QR code, which can be scanned to access additional material.
Expanding on the digital element of the project, scan-able Quick Response codes, QR codes, shown above, will be present and shown alongside vinyl text on the walls. These codes black squares arranged in a square grid on a white background will allow users with portable devices, such as smartphones, to scan and achieve further details relating to the project on their mobile screens. This content can be relational, i.e. exhibition information or optionally the ability to share their location via social media on their experience of the project. This is described in further detail below.
Image: Wire frame content on portable devices, mobile phone above, could include instructions of the technology, text or video and an enlarged text option and/or text audio for the visually impaired and for the hard of hearing opening and making available material into diversity.
Visually graphic images and symbols will be efficiently placed with vinyl to visually understand to all audiences the content present. This to gain simplicity on understanding and to increase audiences to the project, examples below. This ability of allowing feasible and yet informative details across a larger population continues this diversity in the exhibition.
Image: Informative illustrations to acknowledge the process and methods of the exhibition along.
These symbols visually fit into the evident digital theme of the exhibition. This inclusion of symbols will inform audiences of the project, procedures needed to view the work and any health and safety details. 6.
b.
Safety information
During the entirety of the exhibition, volunteers will be highly present. These assistances will assist in gallery, work and equipment’s safety and importantly the welfare of visitors. To ensure and inform audiences about the procedure of virtual reality, placement of headsets with visitors and the supervision guidance when encapsulated in the work whilst in the gallery, safeguarding no injuries of the users. A short script, a disclaimer, will be presented and read to each visitor to ensure the safety implications of using the technology. Dependent on the artists’ intentions, the installation can be addressed in various directions. Firstly a oneon-one; only one individual will be invited to experience the work at a one given time. Alternatively a second option for larger audiences with several users to simultaneously experience the work with allocated number of assistances with all visitors.
7.
Press and advertising
a.
Marketing material
Exhibition posters, invites magazine advertisements will be created in both physical and digital forms. These to be sent out in prior timing to relevant resources before exhibition’s launch. b.
Website
A supporting website will also be present before, during and after the exhibition. This will be continuously updated with exhibition imagery, videos and interviews. The website will provide the significant information, i.e. dates, location, opening times etc, and the ability to download/print off a copy of the press release. c.
Social media
In connection with the website, visitors will be able to share their experiences by posting their location and image tags on various forms of social media, such as Facebook and Twitter and Instagram. d.
Mailing list and invites
A continuous mailing list will be created by working alongside/with the gallery. This will be used to send out promotional material in a form of digital electronic invites, e-invites, detailing the exhibition. With proposed idea of two designs to be made; one for launch and another for the entirety of the project advertising and marketing a range of suitable audience.
8.
Examples
Below is a list of selected examples outlining similar projects’ intentions and their visual impact on the viewer. The visual impact combined with technology will be an emphasis on this proposed project. a.
Yayoi Kusama, “I pray with all of my love for tulips”, 2012
7.
Image: Installation “I pray with all of my love for tulips”, 2012, by Yayoi Kusama at the National Museum of Art, Osaka.
a.
Roger Hiorns, “Untitled (Seizure)”, 2008
Image: Turner Prize-nominee Roger Hiorns, “Untitled (Seizure)”, 2008, which transformed an abandoned London council flat into a glittering crystal landscape.
b.
Adrien Mondot, Claire Bardainne, and Mourad Merzouki, “Pixel” dance show, 2014
8.
Image: A dance show for 11 dancers in a virtual and living visual environment. A work on illusion combining energy and poetry, fiction and technical achievement, a show at the crossroads of arts and at the crossroads of Adrien Mondot, Claire Bardainne’s and Mourad Merzouki’s creative imagery. https://vimeo.com/114767889.
c.
Field, “Nike: Fore of Nature”, 2015
Image: An interactive running experience that transforms the engager into an alternative world without the need of a virtual reality headset. Using Kinect interaction and a treadmill fitted with custom sensors, the installation takes the runner through a journey of immersive visual effects that amplify the feeling of getting into the flow of running, shown at Truman Brewery, London. https://www.field.io/project/nike-force-of-nature/.
9.