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References

  1. Adler, D. A., Marchessault, J. and Obradovic, S. (2013), ‘3-D cinema and beyond, Public 47’, Public, pp. 83–93.
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  3. Atkins, R. (2008), ‘Review of From technological to virtual art’, Art in America, p. 96.
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  4. Bailey, S. (1842), A Review of Berkeley's Theory of Vision: Designed to Show the Unsoundness of that Celebrated Speculation, Michigan: University of Michigan, p. 11.
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  7. Baudrillard, J. (1994), Simulacra and Simulation, Ann Arbor: University of Michigan Press.
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  8. BBC (2021), What are NFTs and why are some worth millions? BBC, 23 September, https://www.bbc.com/news/technology-56371912. Accessed 30 January 2023.
  9. Beloff, Zoe (2019), live video interview with Rebecca Hackemann, 19 August.
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  11. Burgin, V. (1975), Photographic Practice and Art Theory, London: MacMillan.
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  13. Brigham, Joan (2003), interview with Scott S. Fisher. Unpublished manuscript, AVS [Center for Advanced Visual Studies] at the Massachusetts Institute of Technology, 242.
  14. Charlton, J. M. and Moar, M. (2018), ‘VR and the dramatic theatre: Are they fellow creatures’, International Journal of Performance Arts and Digital Media, 14, pp. 187–98
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  15. Clair, J. (1978), Opticeries, Special Issue: ‘Photography’, 5, pp. 101–12.
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  16. Court, E. (2020), The American Roadside in Émigré Literature, Film, and Photography, New York: Springer Nature.
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  17. Crary, J. (1992), Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, London: The MIT Press.
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  18. Deleuze, G. and Guattari, F. (2004), EPZ Thousand Plateaus, London: A&C Black.
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  19. Debord, G. (1968), The Society of the Spectacle, London: Verso.68
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  20. Finkelstein, H. (1975), ‘Dali's paranoia-criticism or the exercise of freedom’, Twentieth Century Literature, 21, pp. 59–71.
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  21. Fisher, S. (1991), ‘Virtual environments, personal simulation and telepresence’, Implementing and Interacting with Real Time Microworlds, n.p.: Citeseer, p. 1.
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  22. Fisher, Scott (2019), telephone interview with Rebecca Hackemann, 15 July.
  23. Foster, Hal (ed.) (1998), Vision and Visuality: Discussions in Contemporary Culture 2, Seattle: Bay Press.
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  24. Gadassik, A. (2013), ‘Anticipation of contact: Pina-3D and stereoscopic cinematography’, Public, 24, pp. 174–85.
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  25. Gurevitch, R. (2013), Stereoscopic Media: Scholarship Beyond Booms and Busts, Bristol: Intellect Books.
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  26. Ho, Christopher (2003), ‘Rebecca Hackemann’, Light Work Annual, No. 122, p. 40.
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  27. Hoberman, Perry (2019), in-person studio visit with Rebecca Hackemann, Twentynine Palms, 25 June.
  28. Iglesia, Daniel (2019), telephone interview with Rebecca Hackemann, 23 August.
  29. Jacobs, Ken (2019), telephone interview with Rebecca Hackemann, 24 August.
  30. James, M. C. and Magnus, M. (2018), ‘VR and the dramatic theatre: Are they fellow creatures?’, International Journal of Performance Arts and Digital Media, 14, pp. 187–98.
     [Google Scholar]
  31. Jim Naughten (2019), in-person interview with Rebecca Hackemann, Southbank Centre, London, UK, 17 July.
  32. Johannes, B. (2018), ‘Augmenting virtuality’, International Journal of Performance Arts and Digital Media, 14, pp. 224–28.
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  33. Kerry, F. and Sophy, S. (2018), ‘Editorial’, International Journal of Performance Arts and Digital Media, 14, pp. 127–29.
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  34. Knowles, K. (2020), Experimental Film and Photochemical Practices, New York: Springer Nature.
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  35. Krauss, Rosalind (1982), ‘Photography's discursive spaces: Landscape/view’, Art Journal, 42:4, pp. 311–19, https://doi.org/10.1080/00043249.1982.10792816.
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  36. The London, Times (1789), 24 April, p. 4.
  37. Lanier, J. (2017), Dawn of the New Everything, New York: Henry Holt.
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  38. LeBreton, B. (1990), Antropología del cuerpo y modernidad, n.p.: epubLibre.
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  39. Lisa, M. T. and David, R. G. (2018), ‘Seeing and feeling in VR: Bodily perception in the gaps between layered realities’, International Journal of Performance Arts and Digital Media, 14, pp. 145–68.
     [Google Scholar]
  40. Mann, S. I. S. and Edward A. (2009), Art and Electronic Media, London: Phaidon Press.
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  41. Miriam, R. (2018), ‘PND: Autobiographical performance for virtual reality film’, International Journal of Performance Arts and Digital Media, 14, pp. 130–38.
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  42. Mitchell, Robert (1801), Etching of panorama to display the paintings of Robert Baker, Etching, colored aquatint, 56.i.12. (Plate 14), courtesy of British Library, public domain image.
  43. Mulvey, L. (1989), ‘Visual pleasure and narrative cinema’, Visual and Other Pleasures, New York: Springer, pp. 14–26.69
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  44. Ogawa, A., Bordier, C. and Macaluso, E. (2013), ‘Audio-visual perception of 3D cinematography: An fMRI study using condition-based and computation-based analyses’, PLoS One, 8, p. e76003.
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  45. Ousseinov, Aga (2019), in-person studio visit with Rebecca Hackemann, 3 August.
  46. Panayiota, A. D. Y. (2018), ‘“Imagineering” mixed reality (MR) immersive experiences in the postdigital revolution: Innovation, collectivity, participation and ethics in staging experiments as performances’, International Journal of Performance Arts and Digital Media, 14, pp. 169–86.
     [Google Scholar]
  47. Parker, Lee (1983), ‘The history of stereoscopy in art, science and entertainment’, in Proceedings SPIE 0391, Optics in Entertainment, https://doi.org/10.1117/12.935066.
     [Google Scholar]
  48. Popper, F. (2007), From Technological to Virtual Art, London: MIT Press.
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  49. Poster, M. and Mourrain, J. (2002), Jean Baudrillard: Selected Writings, Stanford: Stanford University Press.
     [Google Scholar]
  50. Salvesen, B. (2018), 3-D Double Vision, Los Angeles: Los Angeles Museum of Art, LACMA catalogue, Prestel Publishing.
  51. Sarah, S. (2018), ‘New media dramaturgy: Performance, media and new-materialism’, International Journal of Performance Arts and Digital Media, 14, pp. 231–32.
     [Google Scholar]
  52. Schilling, Alfons and Peter, Weibel (2017), Alfons Schilling – Beyond Photography (eds R. Ines, C. Peter and Rebekka) n.p.: Verlag für Moderne Kunst, WestLight Schauplatz für Fotographie.
  53. Schlemowitz, Joel (2017), in-person studio visit with Rebecca Hackemann, Brooklyn, New York, USA, 4 July.
  54. Schneberger, Christopher (2018), live video interview with Rebecca Hackemann, 10 July.
  55. Schröter, J. Zur Geschichte (n.d.), ‘3D. Geschichte, Theorie und Medieīnästhetik des Technisch-Transplanen Bildes’, thesis, https://www.academia.edu/38435000/3D_Geschichte_Theorie_und_Medien%C3%A4sthetik_des_technisch_transplanen_Bildes. Accessed 1 February 2023.
  56. Strain, E. (1999), Virtual VR & Convergence, Thousand Oaks: Sage Journals. https://journals.sagepub.com/doi/pdf/10.1177/135485659900500202
  57. Strain, E. L. (1996), Public Places, Private Journeys: Technology and the Mobilized Gaze of the Tourist, Ithaca: Rutgers University Press.
  58. Taylor, Jane (2017), William Kentridge – Being Led by the Nose, Chicago: University of Chicago Press.
     [Google Scholar]
  59. Thomas, L. M. and Glowacki, D. R. (2018), ‘Seeing and feeling in VR: Bodily perception in the gaps between layered realities’, International Journal of Performance Arts and Digital Media, 14, pp. 145–68.
     [Google Scholar]
  60. Turpin, Ethan (2019), telephone interview with Rebecca Hackemann, 5 August.
  61. Turvey, M. (2007), Vertov: Between the Organism and the Machine. Reuter, and Fabian Knierim, Wien: Verlag für Moderne Kunst.
  62. Wardrip-Fruin, N. and Montfort, N. (2003), The New Media Reader, n.p.: MIT Press.
     [Google Scholar]
  63. Wenders, W. (2011), Pina, Neue Road Movies, Eurowide Film Production, Arte, Zweites Deutsches Fernsehen, Pina Bausch Foundation, Recorded Picture Company, USA, Wenders.70
  64. White, D. E. (2010), ‘Imperial spectacles, imperial publics: Panoramas in and of Calcutta’, Wordsworth Circle, 1:2, p. 14.
     [Google Scholar]
  65. William Susan Mac (2019), live video interview with Rebecca Hackemann, 23 August.
  66. Zone, R. (2013), ‘Avant 3D: Notes on experimental stereoscopic cinema and painting’, Public, 24, pp. 72–82.
     [Google Scholar]

References

  1. Adler, D. A., Marchessault, J. and Obradovic, S. (2013), ‘3-D cinema and beyond, Public 47’, Public, pp. 83–93.
     [Google Scholar]
  2. Artaud, A. (1958), The Theater and its Double, New York Grove Press, p. 39, 41.
     [Google Scholar]
  3. Atkins, R. (2008), ‘Review of From technological to virtual art’, Art in America, p. 96.
     [Google Scholar]
  4. Bailey, S. (1842), A Review of Berkeley's Theory of Vision: Designed to Show the Unsoundness of that Celebrated Speculation, Michigan: University of Michigan, p. 11.
     [Google Scholar]
  5. Batchen, G. (1992), ‘Enslaved sovereign, observed spectator: On Jonathan Crary, techniques of the observer’, Continuum: Journal of Media & Cultural Studies, New York: Taylor and Francis.
     [Google Scholar]
  6. Batchen, G. (1999), Burning with Desire, London: The MIT Press.
     [Google Scholar]
  7. Baudrillard, J. (1994), Simulacra and Simulation, Ann Arbor: University of Michigan Press.
     [Google Scholar]
  8. BBC (2021), What are NFTs and why are some worth millions? BBC, 23 September, https://www.bbc.com/news/technology-56371912. Accessed 30 January 2023.
  9. Beloff, Zoe (2019), live video interview with Rebecca Hackemann, 19 August.
  10. Benjamin, W. and Jennings, M. W. (1996), Walter Benjamin: Selected Writings 3, Cambridge: Belknap Press of Harvard University Press, p. 35.
     [Google Scholar]
  11. Burgin, V. (1975), Photographic Practice and Art Theory, London: MacMillan.
  12. Bohman, J. (2004), Expanding Dialogue: The Internet, Public Sphere, and Transnational Democracy, Milton Park: Routledge.
     [Google Scholar]
  13. Brigham, Joan (2003), interview with Scott S. Fisher. Unpublished manuscript, AVS [Center for Advanced Visual Studies] at the Massachusetts Institute of Technology, 242.
  14. Charlton, J. M. and Moar, M. (2018), ‘VR and the dramatic theatre: Are they fellow creatures’, International Journal of Performance Arts and Digital Media, 14, pp. 187–98
     [Google Scholar]
  15. Clair, J. (1978), Opticeries, Special Issue: ‘Photography’, 5, pp. 101–12.
     [Google Scholar]
  16. Court, E. (2020), The American Roadside in Émigré Literature, Film, and Photography, New York: Springer Nature.
     [Google Scholar]
  17. Crary, J. (1992), Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, London: The MIT Press.
     [Google Scholar]
  18. Deleuze, G. and Guattari, F. (2004), EPZ Thousand Plateaus, London: A&C Black.
     [Google Scholar]
  19. Debord, G. (1968), The Society of the Spectacle, London: Verso.68
     [Google Scholar]
  20. Finkelstein, H. (1975), ‘Dali's paranoia-criticism or the exercise of freedom’, Twentieth Century Literature, 21, pp. 59–71.
     [Google Scholar]
  21. Fisher, S. (1991), ‘Virtual environments, personal simulation and telepresence’, Implementing and Interacting with Real Time Microworlds, n.p.: Citeseer, p. 1.
     [Google Scholar]
  22. Fisher, Scott (2019), telephone interview with Rebecca Hackemann, 15 July.
  23. Foster, Hal (ed.) (1998), Vision and Visuality: Discussions in Contemporary Culture 2, Seattle: Bay Press.
     [Google Scholar]
  24. Gadassik, A. (2013), ‘Anticipation of contact: Pina-3D and stereoscopic cinematography’, Public, 24, pp. 174–85.
     [Google Scholar]
  25. Gurevitch, R. (2013), Stereoscopic Media: Scholarship Beyond Booms and Busts, Bristol: Intellect Books.
     [Google Scholar]
  26. Ho, Christopher (2003), ‘Rebecca Hackemann’, Light Work Annual, No. 122, p. 40.
     [Google Scholar]
  27. Hoberman, Perry (2019), in-person studio visit with Rebecca Hackemann, Twentynine Palms, 25 June.
  28. Iglesia, Daniel (2019), telephone interview with Rebecca Hackemann, 23 August.
  29. Jacobs, Ken (2019), telephone interview with Rebecca Hackemann, 24 August.
  30. James, M. C. and Magnus, M. (2018), ‘VR and the dramatic theatre: Are they fellow creatures?’, International Journal of Performance Arts and Digital Media, 14, pp. 187–98.
     [Google Scholar]
  31. Jim Naughten (2019), in-person interview with Rebecca Hackemann, Southbank Centre, London, UK, 17 July.
  32. Johannes, B. (2018), ‘Augmenting virtuality’, International Journal of Performance Arts and Digital Media, 14, pp. 224–28.
     [Google Scholar]
  33. Kerry, F. and Sophy, S. (2018), ‘Editorial’, International Journal of Performance Arts and Digital Media, 14, pp. 127–29.
     [Google Scholar]
  34. Knowles, K. (2020), Experimental Film and Photochemical Practices, New York: Springer Nature.
     [Google Scholar]
  35. Krauss, Rosalind (1982), ‘Photography's discursive spaces: Landscape/view’, Art Journal, 42:4, pp. 311–19, https://doi.org/10.1080/00043249.1982.10792816.
     [Google Scholar]
  36. The London, Times (1789), 24 April, p. 4.
  37. Lanier, J. (2017), Dawn of the New Everything, New York: Henry Holt.
     [Google Scholar]
  38. LeBreton, B. (1990), Antropología del cuerpo y modernidad, n.p.: epubLibre.
     [Google Scholar]
  39. Lisa, M. T. and David, R. G. (2018), ‘Seeing and feeling in VR: Bodily perception in the gaps between layered realities’, International Journal of Performance Arts and Digital Media, 14, pp. 145–68.
     [Google Scholar]
  40. Mann, S. I. S. and Edward A. (2009), Art and Electronic Media, London: Phaidon Press.
     [Google Scholar]
  41. Miriam, R. (2018), ‘PND: Autobiographical performance for virtual reality film’, International Journal of Performance Arts and Digital Media, 14, pp. 130–38.
     [Google Scholar]
  42. Mitchell, Robert (1801), Etching of panorama to display the paintings of Robert Baker, Etching, colored aquatint, 56.i.12. (Plate 14), courtesy of British Library, public domain image.
  43. Mulvey, L. (1989), ‘Visual pleasure and narrative cinema’, Visual and Other Pleasures, New York: Springer, pp. 14–26.69
     [Google Scholar]
  44. Ogawa, A., Bordier, C. and Macaluso, E. (2013), ‘Audio-visual perception of 3D cinematography: An fMRI study using condition-based and computation-based analyses’, PLoS One, 8, p. e76003.
     [Google Scholar]
  45. Ousseinov, Aga (2019), in-person studio visit with Rebecca Hackemann, 3 August.
  46. Panayiota, A. D. Y. (2018), ‘“Imagineering” mixed reality (MR) immersive experiences in the postdigital revolution: Innovation, collectivity, participation and ethics in staging experiments as performances’, International Journal of Performance Arts and Digital Media, 14, pp. 169–86.
     [Google Scholar]
  47. Parker, Lee (1983), ‘The history of stereoscopy in art, science and entertainment’, in Proceedings SPIE 0391, Optics in Entertainment, https://doi.org/10.1117/12.935066.
     [Google Scholar]
  48. Popper, F. (2007), From Technological to Virtual Art, London: MIT Press.
     [Google Scholar]
  49. Poster, M. and Mourrain, J. (2002), Jean Baudrillard: Selected Writings, Stanford: Stanford University Press.
     [Google Scholar]
  50. Salvesen, B. (2018), 3-D Double Vision, Los Angeles: Los Angeles Museum of Art, LACMA catalogue, Prestel Publishing.
  51. Sarah, S. (2018), ‘New media dramaturgy: Performance, media and new-materialism’, International Journal of Performance Arts and Digital Media, 14, pp. 231–32.
     [Google Scholar]
  52. Schilling, Alfons and Peter, Weibel (2017), Alfons Schilling – Beyond Photography (eds R. Ines, C. Peter and Rebekka) n.p.: Verlag für Moderne Kunst, WestLight Schauplatz für Fotographie.
  53. Schlemowitz, Joel (2017), in-person studio visit with Rebecca Hackemann, Brooklyn, New York, USA, 4 July.
  54. Schneberger, Christopher (2018), live video interview with Rebecca Hackemann, 10 July.
  55. Schröter, J. Zur Geschichte (n.d.), ‘3D. Geschichte, Theorie und Medieīnästhetik des Technisch-Transplanen Bildes’, thesis, https://www.academia.edu/38435000/3D_Geschichte_Theorie_und_Medien%C3%A4sthetik_des_technisch_transplanen_Bildes. Accessed 1 February 2023.
  56. Strain, E. (1999), Virtual VR & Convergence, Thousand Oaks: Sage Journals. https://journals.sagepub.com/doi/pdf/10.1177/135485659900500202
  57. Strain, E. L. (1996), Public Places, Private Journeys: Technology and the Mobilized Gaze of the Tourist, Ithaca: Rutgers University Press.
  58. Taylor, Jane (2017), William Kentridge – Being Led by the Nose, Chicago: University of Chicago Press.
     [Google Scholar]
  59. Thomas, L. M. and Glowacki, D. R. (2018), ‘Seeing and feeling in VR: Bodily perception in the gaps between layered realities’, International Journal of Performance Arts and Digital Media, 14, pp. 145–68.
     [Google Scholar]
  60. Turpin, Ethan (2019), telephone interview with Rebecca Hackemann, 5 August.
  61. Turvey, M. (2007), Vertov: Between the Organism and the Machine. Reuter, and Fabian Knierim, Wien: Verlag für Moderne Kunst.
  62. Wardrip-Fruin, N. and Montfort, N. (2003), The New Media Reader, n.p.: MIT Press.
     [Google Scholar]
  63. Wenders, W. (2011), Pina, Neue Road Movies, Eurowide Film Production, Arte, Zweites Deutsches Fernsehen, Pina Bausch Foundation, Recorded Picture Company, USA, Wenders.70
  64. White, D. E. (2010), ‘Imperial spectacles, imperial publics: Panoramas in and of Calcutta’, Wordsworth Circle, 1:2, p. 14.
     [Google Scholar]
  65. William Susan Mac (2019), live video interview with Rebecca Hackemann, 23 August.
  66. Zone, R. (2013), ‘Avant 3D: Notes on experimental stereoscopic cinema and painting’, Public, 24, pp. 72–82.
     [Google Scholar]

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