Virtual Art: From Illusion to Immersion (Leonardo Books) Rev Sub Edition

It's just another book. Thanks!

The unique approach to handing the history of `virtual art' is scholarly and innovative, undermining popular conceptions of the notion of `virtuality'. I would have appreciated colour plates, since the subject matter often pertains to the study of many forms of visual art. A glossary of terms also would have been helpful. The addition of these to elements would make the book much more accessible to readers who are introducing themselves to these concepts and artworks.

Broad in breadth and depth, Virtual Art: From Illusion to Immersion traces the history of virtual art through studying the history of `immersion' and `illusion' in the arts, and relates these ideas to the current developments in `virtual reality'. It is unlikely that the general public, or even most arts professionals, would consider the panoramic frescoes of ancient Pompeii a precursor to the 1980's notion of goggled cybernetic digitalia, nor the recent developments in transgenic art, yet this book includes very convincing arguments that link these ideas to the development of today's virtual art. Self-proclaimed as the `first' to link art history and immersive visual culture to the field of contemporary digital environment-based art experiences, this innovative and convincing research is laid out before the reader in an intellectual, yet accessible fashion, complete with diagrams and illustrations to illuminate key ideas. Many interesting works of art are chronicled here, placed within a contextual framework that demonstrates the significance of the ideas and technology supporting the works. Gathering this information in a print format also allows these works to live on and influence other thinkers outside of directly experiencing the works, which is often not technically possible, given the temporal nature of many immersion-based artworks. Ideas do not develop in a vacuum, but through the dialogues of overlapping discourses, combined with critical thought. Grau demonstrates that virtual art is not exactly new, and it satisfies a basic human desire for experiencing the `other', whether through looking at panoramic paintings of mythology or faraway lands, or designing a prototype Holodeck (Star Trek). Unexpected parallels abound, making this a very informative read that may forever change the reader's interpretations of classical art history as well as of virtual reality.

It is likely that Grau reaches the academic arts audience he sets out to reach with this book, as is demonstrated by the numerous references to this book online, in various journals, blogs, and academic websites. This focus on art history as media history would be thoroughly appreciated by Marshall McLuhan fans, as well as art historians who specialize in media studies. Artists and historians interested in 3-D modeling, avatar development, online immersive environments, transgenic art, and historical instances of illusion in the arts will also find this book a valuable and up-to-date resource. This book would make a welcome addition to a University library, a gallery or artist-run centre's library, or the personal collection of savvy technophiles.

This book is an excellent rendition for electro-visual labs.
The work is perfect if you are looking for new ideas on interior
decorating for the home. There are many exotic art forms
depicted in this work.

Virtual reality is integrated into art immersion. The work
provides a panoramic view of the Battle of Sedan. There are
pictures of the Futurama in the 1939 World Fair. In addition,
a screenshot portrays the Home of the Brain. The work is
excellent for anticipated student school projects.
This work is perfect for art enthusiasts, historians,
interior decorators, architects , photographers and a whole
host of professionals in varied fields.

WIRED spoke about a "great read" and Lev Manovich decribed Grau's book as a "must-read for anyone interested in new media, art history, and any field using virtual images." - Grau lives up to expectations !  He analyzes what is new in media art by balancing recent works and historic media development, and so retells art history as media history. An interdisciplinary study in art history, media history, and new media art, the cross fertilization enriches his analysis and helps clarify the essence of immersion and Virtual Reality.  Beyond Grau's analysis, I was thankful to see so many artists involved - many hot names. This book will be valuable for both practitioners and theoreticians. Hopefully there will be a paperback soon for students.

This book is a outstanding contribution to the upcoming new field image science.