The Re-Emergence of Virtual Reality

Leighton Evans

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English

Routledge
02 October 2019

Cultural studies; Media studies; Sociology; Media, information & communication industries; History of science

Series: Routledge Focus on Digital Culture

In this short book, Evans interrogates the implications of VR’s re-emergence into the media mainstream, critiquing the notion of a VR revolution by analysing the development and ownership of VR companies while also exploring the possibilities of immersion in VR and the importance of immersion in the interest and ownership of VR enterprises. He assesses how the ideologies and desires of both computer programmers and major Silicon Valley industries may influence how VR worlds are conceived and experienced by users while also exploring the mechanisms that create the immersive experience that underpins interest in the medium.

By: Leighton Evans
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 216mm, Width: 138mm,
Weight: 453g
ISBN: 9780367423803
ISBN 10: 0367423804
Series: Routledge Focus on Digital Culture
Pages: 112
Publication Date: 02 October 2019
Audience: College/higher education , Primary , A / AS level
Format: Paperback
Publisher's Status: Active

Leighton Evans is Senior Lecturer in Media Theory at Swansea University. He is the author of Locative Social Media: Place in the Digital Age (Palgrave, 2015) and co-author of Location-based Social Media: Space, Time and Identity (Palgrave, 2017).

Reviews for The Re-Emergence of Virtual Reality

In this field-defining, lucidly written book, Leighton Evans draws an authentic, cutting-edge picture of VR experientiality in contrast with other immersive media and opens our eyes to the changes in immersive opportunities afforded by contemporary consumer VR. He presents us with a thoroughly researched genealogy of VR, identifying the specific media-historical moment that has brought about its re-emergence and blending scholarly rigor with refreshing episodes of personal storytelling. The book compellingly embeds its subject matter in the history of digital media more generally, viewed through a sharp, critical lens that reminds us about the commercial dictates under which our hypermediated selves and our technological extensions operate. -- Astrid Ensslin, University of Alberta, Canada