Carnival at the global village, prophecy comes true one after another. Virtual reality enables the further proximity to the scene, but does all of this have meaning?
Can we represent nostalgia using new media? This is not as simple as the visual cheapening in pixel art or recreating Van Gogh’s bedroom in computers to teleport the audience into the painting. These two nostalgic acts bear no difference to what McLuhan calls the “international motley,” using the worn-out Levi’s jeans to rebel against one’s time.
From making 3D model of every object to constructing the entire scenes, I am also reconstructing memory. The entire story is told around an alley in Beijing and its changes over time.
Technology can get us closer to the truth, but can also get us lost. When we immerse ourselves in the technology, can the kind of fragmented scenes that virtual reality provides stimulate in its user any critical reflections instead of simple visual excitement?