In this article, the authors examine the aesthetics of immersion in two emerging media forms: 360° video and 3D VR. Their goal is to move beyond addressing technical affordances, to consider the techniques and choices that producers of 360° video and 3D VR are making to exploit these affordances, and what resulting effects those viewing experiences have. They discuss the tension between transparency and reflectivity in two contrasting examples, in particular: the Danish company Makropol’s Anthropia (2017) and Arora and Unseld’s The Day the World Changed (2018). The authors argue that technical affordances are part of a complex process of mediation that includes both experimentation with the technology at hand and a reliance on earlier media forms. It is critical, they argue, to understand the creative tension between established forms and new ones that underscore new aesthetic and narrative experiences in VR and 360° formats.

中文翻译：

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现实媒体的美学

在本文中，作者研究了沉浸式两种新兴媒体形式的美学：360° 视频和 3D VR。他们的目标是超越解决技术可供性的问题，考虑 360° 视频和 3D VR 的生产者为利用这些可供性而做出的技术和选择，以及这些观看体验产生的结果。他们在两个对比鲜明的例子中讨论了透明度和反射率之间的紧张关系，特别是：丹麦公司 Makropol 的 Anthropia（2017 年）和 Arora 和 Unseld 的 The Day the World Changed（2018 年）。作者认为，技术可供性是一个复杂的中介过程的一部分，包括对手头技术的实验和对早期媒体形式的依赖。他们认为，这很关键，