Behind the Scenes: Mentoring Artists for a VR Prototype Artwork
I’m delighted to be one of the official mentors as part of Pica’s boorda yeyi program.
The program takes its title from the language of the First Nations people on the lands which Pica is based. The phrase means ‘future now’. As an immersive arts program it invites artists to consider a broad range of cutting edge technologies in creating works that are expensive and transformative.
My role as mentor
I am mentoring a pair of talented artists who are excited to bring their concept to life in VR. They are one of three teams participating in the program. It’s been rewarding to learn about their concept, inspiration and arts practice. My role as mentor is to guide their development of a new artwork prototype as they work with an experienced XR developer to bring their concept to life.
I’ve worked with artists previously whose experience typically focuses on physical mediums. In these cases, I find it’s important to bridge the gap of knowledge for those who are new to immersive technologies. I try to share useful information and examples about different technologies, development pipelines, constraints and opportunities.
User Experience Perspective
I find that my background in user experience for augmented reality experiences is particularly useful in guiding artists to consider the audience member’s perspective when experience the work. I encourage artists to use the following thought prompts:
How will the participant enter this immersive experience?
Will they need some prior information or explicit instruction?
How will they navigate the physical environment?
Will there be props, furniture or obstacles (walls, columns) within the physical environment? If so, how are these accounted for in the virtual world from a safety and narrative perspective?
How will the participant be guided as to what to do?
What types of interactions will be available? And how will that be communicated?
Is the experience linear? Are choices offered?
Is the experience always the same? For the same participant or different participants?
What affordances will be made for those who are new to these types of experiences?
Can accessibility and usability affordances be made for audience members of different abilities?
Even acknowledging that the audience member is not just an observer but an active participant is an important distinction to make with these types of immersive experiences. Note, the very motion of putting on an XR headset is a gesture that demonstrates a willingness to enter the artist’s world.
Although there is always a tension between the overarching concept and what is technically feasible this isn’t necessarily a bad thing – merely a reflection of the learning process. The program emphasises that the body of works that area created during the program are prototypes designed to be an entry point for artists to explore these types of technologies. Moreover, the process of learning and creating is just as important as the final output.
Look out for the showcase of all three teams later this year when I will be able to share more about the team members involved as well as the final prototype!