Dr. He has worked with ubiquitous electronic visual information and computer-robotics since 1986. His computer-robotic assisted paintings and computer animations are shown regularly in galleries and museums throughout the world. He has recently worked as artist in-resident at the Louis Pasteur studio and the Ledoux Foundation's computer lab in Arbois, France on 'The Computer Virus Project': an experiment with computer viruses as a creative stratagem. Dr. Nechvatal has exhibited his work widely in Europe and the United States, both in private and public venues. He is collected by the Los Angeles County Museum, the Moderna Musset in Stockholm, Sweden and the Israel Museum in Jerusalem. Dr. Nechvatal's work was included in Documenta 8. Dr.Nechvatal earned his Ph.D. in the philosophy of art and new technology as a Ph.D. doctoral on-line fellow researcher with The Centre for Advanced Inquiry in the Interactive Arts (CAiiA) under Roy Ascott. He has served as Parisian editor for "RHIZOME INTERNET" and Parisian correspondent for "Intelligent Agent" Dr. Nechvatal presently teaches theories of Virtual Reality at the School of Visual Arts in New York City.
"Immersive Ideals / Critical Distances : A Study of the Affinity Between Artistic Ideologies Based in Virtual Reality- and Previous Immersive Idioms".
This dissertation was written in candidacy for a Ph.D. at the Center for Advanced Inquiry in the Interactive Arts (CAiiA), University of Wales College, Newport, Wales, U.K. My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture.
The- introduction to the thesis, entitled "Frame and Excess", can be read on-line
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