Osmose is a mechanically innovative and visually extraordinary imitation of a sequence of broadly diverging essential and recorded places: an organic/vegetal, insubstantial sphere Osmose nurtures a user interface — a fundamental constraint of computer-generated graphic arts — at a degree, which is still unrivaled; an self-determining discourse could be inscribed on this feature of a sequence of broadly diverging essential and recorded places: an organic/vegetal, insubstantial sphere Osmose is an immersive interactive environs, “involving head mounted display (HMD), 3-D computer graphics, and interactive sound, which can be explored synaesthetically” (Grau, 2003, p. 195). On the following position, the installment suggests the invitees a chance to trail the discrete interactor’s voyage of imageries from end to end of this counterpart of natural surroundings. By the means of the specialized polarized spectacles, the visitors observe his or her repetitively moving perceptions of the three-dimensional imagery domains on a huge scale projection display. The imageries are produced entirely by the interactor, the mobile shadow of whom can be distinguished weakly on a windowpane of frosted glass (Davies, 2014). The isolation of the interactor is premeditated because it exaggerates the specific involvement of the cybernetic universe (Davies, 1997).
Osmose suggests a completely innovative and original authenticity, a flow of alternative realities, which, through corporeal and cerebral existence in the duplicate universe, produce a synthesis and an instant of divine existence; this relates to virtually every historic place of immersion. Despite the fact that Osmose generates meditative imitations, even reflective impacts, this kind of art response does signify a substantial novelty. The figure is affected polysensually, and immersion is created with the methods of delusion. The full-body enclosure requires, regardless of the sexual characteristics of the immersant, that the spectator renounce detached and held in reserve knowledge of art and, as a substitute, accept unconventional, mind-intensifying, or mind-besetting, the involvement of imageries. As a consequence, the figure of immersive art is exposed as positioned inside a bipolar area of rigidity.
In the most cases, achieved by the means of severe exercise in meditation methods, such circumstances result in a downfall of usual insights in favor of substitute susceptibilities. While these appear to be less effectual in positions of organic or mental existence, the doctors acknowledge that they license involvement of features of realism up to that time unnoticed. “The experience of these unusual sensibilities includes: an intense sense of “realness,” as when inner stimuli become more real than objects; transcendence of time and space; unusual modes of perception; feelings of undifferentiated unity or merging (e.g., a breakdown of distinctions between things and/or the self and the world); ineffability or verbal indescribability; a profound sense of joy or euphoria; a paradoxical sense of being in and out of the body” (Davies, 1997, p. 145). These uncommon perceptions are unnervingly comparable to what many individuals state they have practiced throughout engagement in Osmose. After becoming acquainted with the crossing point of inhalation and stability, a lot of people come to be determined by performing, journeying in order to to observe as much as thinkable in what seems to be a postponement of ordinary objective-targeted, action-based performance. Nonetheless, after a small period of time, most people experience a slight change in their behavior.
One of the primary targets of Osmose is to consent the integration of dissimilar replicas and to establish the design process approaches by the means of procedure integration methods and multi-detached thermo-economic development methods (Media Art Tube, 2009). Despite the three present distinguishing qualities of digital media, such as integration, interactivity, and immersion, the project Osmose does not possess a prearranged linear narrative; as a result, there are a nonlinear means of data exchange that contains visual, audial, cinematographic, and script information; thus Osmose possess another distinguishing quality of digital media – hypermedia.
References
Davies, C. (1997). Changing space: Virtual reality as an arena of embodied being. In J. Beckman (Eds.), The Virtual Dimension: Architecture, Representation, and Crash Culture (pp. 144-155). New York, New York: Princeton Architectural Press.
Davies, C. [Immersence]. (2014). Osmose (1995) – Char Davies – 16 min [Video file]. Web.
Grau, O. (2003). Virtual art: From illusion to immersion. Cambridge, Massachusetts: The MIT Press.
Media Art Tube. [MediaArtTube]. (2009). Charlotte Davies – Éphémère, Responsive Environment 1998. Web.