Abstract According to Rebecca Rouse’s concept of “media of attraction” (2016), the mediums of virtual reality have four characteristics: they are participatory, interdisciplinary, unassimilated and seamed. The author’s hypothesis is that even though 360-degree films and virtual reality experiences as seamed mediums are remediating the medium of film, they have the characteristics of the medium of live performance. She points out that the characteristics of performance art based on Fischer-Lichte’s taxonomy (2008), such as liveness and co-presence, are influencing the development of 360-degree films and virtual reality experiences. As an argument, she analyses three virtual reality productions created by performing artists, which operate with the specificity of intermediality and the longing for immersion, the main characteristic of virtual reality. These productions lean on the immediacy characteristics of the medium of film and performance by using cut-scenes, linear narratives, live streaming, but also by including the “human interface,” i.e., the actor, who ensures a higher level of absorption.1

中文翻译：

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向脊椎发抖。VR Productions作为Seamed Media

摘要根据丽贝卡·劳斯（Rebecca Rouse）的“吸引力媒体”（2016）概念，虚拟现实媒体具有四个特征：参与性，跨学科，无同化和缝合。作者的假设是，尽管360度电影和虚拟现实体验作为接缝媒介正在补救电影媒介，但它们仍具有现场表演媒介的特征。她指出，基于菲舍尔·利希特（Fischer-Lichte）分类法（2008）的表演艺术的特征，例如生动性和共处感，正在影响360度电影和虚拟现实体验的发展。作为论点，她分析了表演艺术家创作的三部虚拟现实作品，这些作品以中介的特殊性和对沉浸感的渴望作为虚拟现实的主要特征。