迈克尔·N·戈达德博士是威斯敏斯特大学电影、电视和运动图像专业的准教授。他在国际电影、视听文化以及文化和媒体理论领域发表了众多的著作。同时他还是一位媒体理论家，尤其专注在媒体生态学、媒体考古学以及数字媒体领域。媒体生态学方面，戈达德博士与Jussi Parikka共同为《Fiberculture》杂志编辑之特刊“非自然生态学”收录了相关的方法学，并对该领域产生了重要影响。在媒体考古学领域，他最重要的贡献是由阿姆斯特丹大学出版社出版的专着《游击网络》（Guerrilla Networks，2018），这是他目前为止媒体考古学研究集大成之作。他的上一本书《不可能的制图》（2013）是关于导演劳尔·鲁伊斯的电影。此外，他还持续研究流行音乐的边缘团体，如The Fall、Throbbing Gristle和Laibach等乐队，并最终编辑了两本关于噪音的书：Reverberations（2012）和Resonances（2013）。他目前正在撰写有关英国后工业乐团Coil的书，以及进行有关沉浸式媒体和虚拟化的谱系学研究项目。
Dr Michael N. Goddard, is Reader in Film, Television and Moving Image at the University of Westminster. He has published widely on international cinema and audiovisual culture as well as cultural and media theory. He is also a media theorist, especially in the fields of media ecology and media archaeology, as well as in digital media. In terms of the former, this methodology informed the special “Unnatural Ecologies” issue of Fibreculture he co-edited with Jussi Parikka, which has been widely cited and has had a significant impact on the field. In media archaeology, his most significant contribution is the monograph, Guerrilla Networks (2018), the culmination of his media archaeological research to date, which was published by Amsterdam University Press. His previous book, Impossible Cartographies (2013) was on the cinema of Raúl Ruiz. He has also been doing research on the fringes of popular music focusing on groups such as The Fall, Throbbing Gristle and Laibach and culminating in editing two books on noise, Reverberations (2012) and Resonances (2013). He is currently working on a book on the British post-industrial group Coil, and beginning a new research project on genealogies of immersive media and virtuality.
Immersive Media, Virtual Reality and the Media Archaeology of Audiovision
This talk will take a media archaeological approach to the contemporary re-emergence of virtual reality and immersive media as a cyclical phenomenon embedded in much longer non-linear histories of what Siegfried Zielinski has called ‘Audiovision.’
When virtual reality “first” appeared on the scene in the 1990s, it is philosophical and even metaphysical, potentials were not lost on several authors whether they perceived them in largely dystopian terms (see Kroker 1993) or naively affirmative ones (see Rheingold 1991). Perhaps the author who most intimately connected virtual reality and philosophy was Michael Heim, whose work the Metaphysics of Virtual Reality (1993)situated technologies of the virtual as ontological machinery, enabling the practical design of modes of experience that philosophers had hitherto only been able to imagine; to paraphrase Marx, where philosophy had only been able to describe the world, virtual reality designers were making new worlds of ontological experience available to their users. Of course, Virtual Reality is only the last of a long line of immersive technologies of perception in the twentieth century, passing through all the technological innovations of cinema, stereoscopy, 3D and other immersive media whose deeper history dates back to panoramas, Viewmasters, and other devices, and further to such philosophical machineries as Plato’s cave. More specifically, virtual reality emerges out of an intersection between audiovisual moving images and sounds and computing, that began as early as the 1960s, as so many varieties of what Gene Youngblood called “Expanded Cinema”(1970). This paper will explore these genealogies of virtually immersive technologies as non-linear archaeology of modes of practical aesthetics, enabling concrete experiences of perceptual transformation and metamorphosis, a becoming other to oneself and one’s habits of perceiving and being in the world. It will argue that rather than the transcendence often attributed to these experiences in the 1990s that immersive technologies of the virtual open up space of pure immanence and becoming which may exceed the sensoria of habitually lived bodies, but only by creating a new body without organs, a ‘new flesh’ of technologically remediated pure immanence. As such it will situate contemporary VR in longer and buried histories of the non-linear development of virtual and immersive technologies going back at least to 1960s expanded cinema, and explore its artistic, social and subjective potentialities in the present and future.