Paintings in naked-eye virtual reality: a parallax view between the surface and volumetric depth

This article explores a subgenre of naked-eye virtual reality (VR) video that features two-dimensional paintings in a three-dimensional space and is circulated on the Chinese video streaming website Bilibili. In contrast to traditional VR, which requires the spectator to wear a head-mounted display, naked-eye VR offers a stereoscopic view on the screen, eliminating the need for VR glasses. The apparent incongruity between the screen’s physical flatness and the volumetric depth of the painting becomes even more pronounced when the naked-eye VR image emphasises the painting’s inherent two-dimensionality. Employing an interdisciplinary humanities’ method that connects media archaeology, film studies, art history, and the field of science, technology, and society, this paper delves into this distinctive juxtaposition between the painting’s flatness and the volumetric depth characteristic of naked-eye VR, a subgenre that remains mostly uncharted in the field of film and media studies. Taking a media archaeological perspective, this paper introduces a parallax media history, suggesting that the aesthetics of VR can be traced not only to the stereoscope but also to scroll paintings, which are paradoxically defined by their flat compositions. In addition, naked-eye VR references pictorial traditions by generating a spatial illusion that leads spectators to feel as if they are perceiving beneath the surface of a painting, transitioning from spatial externality on the x-y axis to the horizontal parallax rooted in binocular disparity, thereby positioning naked-eye VR as a ‘parallax media’. In analysing the illusion created by naked-eye VR, this paper proposes a paradigmatic shift in the framework of media study from conceiving of an image as a mirror to experiencing it as a door, representing the oscillation between volumetric depth and two-dimensional surface.

Yiwen Wang, Huiyu Zhang