Interoceptive Dramaturgies of 'Surrogate-selves' in Performative VR Experiences
Interoceptive Dramaturgies of 'Surrogate-selves' in Performative VR Experiences
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表演性 VR 体验中“替代自我”的内感受戏剧
DOI：
10.1080/13528165.2021.1977492
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发表时间：
2022
影响因子：
0.1
通讯作者：
Woycicki P
中科院分区：
文献类型：
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作者：
Woycicki P
通过对内感受戏剧的仔细分析，并借鉴内感受的神经科学和认知定义，本文将探讨在表演性虚拟现实 (VR) 环境中采用内感受导向设计的利害关系，以及通过这些感知方式操纵肉体体验的伦理含义。我研究了两种截然不同的表演性 VR 体验：一对一的交互式虚拟现实表演（ZU-UK 的《晚安，睡个好觉》（2017 年））和《半衰期爱莉克斯》（2020 年）（Valve 的 VR 游戏）。第一个案例研究是一对一表演和360度VR视频，邀请参与者通过孩子的眼睛体验梦想。这是一种温和、富有诗意且构造巧妙的 VR 体验，将参与者带入童年记忆的世界。第二个案例研究是一款以三维 (3D) VR 环境为背景的生存恐怖视频游戏，充满暴力、血腥和侵入性互动。尽管我认为这两个案例研究之间存在差异，但根据利亚姆·贾维斯（Liam Jarvis，2019）的见解，在这两种情况下，玩家/参与者都被解释为并表现为各自化身的“替代自我”。我还认为，他们的经历在很大程度上受到内感受美学的影响。
Through a close analysis of interoceptive dramaturgies, and by drawing on neuroscientific and cognitive definitions of interoception, this article will explore what is at stake in employing interoceptive oriented design in performative virtual reality (VR) environments and the ethical implications of manipulating corporeal experiences through these perceptual modalities. I examine two contrasting performative VR experiences: a one-to-one interactive virtual reality performance—Goodnight, Sleep Tight(2017) by ZU-UK—andHalf-Life Alyx(2020)—a VR game by Valve. The first case study is part one-to-one performance and 360-degree VR video inviting the participant to experience a dream through the eyes of a child. It is a gentle, poetic and subtly constructed VR experience that draws the participant into the world of childhood memories. The second case study is a survival horror videogame set in a three-dimensional (3D) VR environment replete with violence, gore and invasive interactivity. Despite the contrasts between the two case studies I contend, following Liam Jarvis’s (2019) insight, that in both cases players/participants are construed and perform as ‘surrogate selves’ of their respective avatars. I also argue that their experiences are to a great extent conditioned through interoceptive aesthetics.