{"id":793,"date":"2022-07-21T13:31:00","date_gmt":"2022-07-21T17:31:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/the-mint\/?p=793"},"modified":"2022-08-16T17:01:55","modified_gmt":"2022-08-16T21:01:55","slug":"vr-headsets-ar-glasses-and-nfts","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/the-mint\/vr-headsets-ar-glasses-and-nfts\/","title":{"rendered":"As AR Glasses and VR Headsets Go Mainstream, the Value of NFTs Becomes Clearer"},"content":{"rendered":"
\n
\"<\/a>
\/-. |\\\/|-|-||. |{||()-|-.<\/em>, 2022, by Eceertrey<\/a>, who describes the piece as a “VR sculpture exported via imagination to AR”<\/figcaption><\/figure><\/div>\n\n\n

In 2007, the sci-fi author William Gibson published a novel titled Spook Country<\/em>. Set in and around contemporary Los Angeles, it told the story of a group of artists who place virtual 3D sculptures \u2014 a monstrous squid, the bodies of dead celebrities \u2014 in geotagged locations throughout the city.<\/p>\n\n\n\n

Although not the most influential of Gibson’s works, Spook Country<\/em> was prescient in its anticipation of an art culture made possible by merging the world we experience through our ordinary senses with the heretofore invisible world of the Internet, a species of experience that would come to be known as augmented reality<\/a>, or AR.<\/p>\n\n\n\n

In keeping with Gibson\u2019s dictum that \u201cthe future is already here, just unevenly distributed,\u201d nearly all the technology needed for the AR apparatus of Spook Country<\/em> was available around the time of the novel\u2019s publication. But the melding of this imagined reality with our own has been less than seamless.<\/p>\n\n\n\n

\"Triple
Triple Portrait of E: RGB, dv1<\/em>, 2021, by Sophie Kahn<\/a><\/figcaption><\/figure>\n\n\n\n

That could change with the release of Apple\u2019s AR glasses, rumored to be arriving sometime in the next year or so. Apple has been backing AR since 2017, and the launch of a popular standalone device might kick-start the market for AR, much as the launch of the iPad created the consumer appetite for larger tablets in 2010.<\/p>\n\n\n\n

Such an event could also create an opportunity for NFTs to find a place in our homes as 3D objects<\/a>, bearing the same relation to 2D NFTs as sculpture does to painting. In fact, many cryptoartists already use virtual-reality tools in their practice, giving their pieces a paradoxically hands-on feel, much closer to sculpture than images produced with a stylus or on a screen.<\/p>\n\n\n\n

Ogi Damyan, a Bosnian-born, United Kingdom\u2013based artist who creates under the name OgiWorlds<\/a>, spends 6 to 12 hours a day in a virtual-reality studio building the environments that form the basis of his work. \u201cThere\u2019s so much joy in creating in VR because you make a mark and it\u2019s there, it exists in the room,\u201d he says. \u201cBut it\u2019s also the closest thing I could equate to play.\u201d<\/p>\n\n\n\n

Clip of TECHNE<\/em>, 2021, by OgiWorlds<\/a><\/figcaption><\/figure>\n\n\n\n

In his piece CHORISMOS TECHNE<\/a><\/em>, 2021, which sold on 1stDibs last year for \u039e19.1000 ($61,152.28), androids dance in a kind of ritualistic celebration of a monumental robotic birth. Damyan describes being heavily influenced by the Japanese anime that was imported into the Balkans of his childhood.<\/p>\n\n\n\n

Often hastily translated or retrofitted with new storylines by writers who had no understanding of the original Japanese, the animations gave him a sense of contact with a fragmented mythology, one that demanded that viewers use their imagination to fill in the gaps. It\u2019s that kind of partly occluded story, or metanarrative, that Damyan hopes to re-create through the constellation of pieces derived from the CHORISMOS universe.<\/p>\n\n\n\n

Damyan constructs his objects at human scale, stacking individual elements in 3D space and even applying microscopic textures to their surfaces. Some pieces are built to loom over the human viewers, like the giant head in ZENITH<\/a><\/em>, which stands nearly 100 (virtual) feet tall. Working at this scale makes the viewers\u2019 experience of his world far more visceral.<\/p>\n\n\n\n

\u201cI did a project where there was a tower that was 723 meters [2,372 feet] tall, and standing on top of it looking down, I realized my hands were sweaty,\u201d he says. This level of verisimilitude is relatively common in movie production and video gaming, but the NFT market allows an artist like Damyan to pursue his idiosyncratic vision through the unique means of VR.<\/p>\n\n\n\n

\"Marc-O-Matic<\/a>
AR\/VR artist, animator and technologist Marc-O-Matic<\/a> in his AR mask with a creature from his project Junk Age: Remember the Yesterbeasts<\/em>. Photo courtesy of Adobe MAX 2022<\/figcaption><\/figure>\n\n\n\n

The medium is also inspiring creators more inclined to the intricate than the monumental. Marc-O-Matic<\/a> is an Australian artist who creates minutely detailed works in AR and VR, often transforming complex biological structures into mechanical systems. There are heads filled with Numbskulls-style homunculi, metallic skulls with electronic eyeballs and elephants constructed like steampunk traction engines.<\/p>\n\n\n\n

For his public appearances (and, indeed, our interview), Marc-O-Matic wears an augmented-reality mask, which turns his face into a Benno von Archimboldi\u2013style accretion of architectural features, topped by a hat resembling the dome of Melbourne\u2019s Flinders Street station and circled by a helicopter. \u201cI just wanted to embody where I\u2019m from and put that forward and put me in the back,\u201d he explains, \u201dlike the Wizard of Oz.\u201d<\/p>\n\n\n\n

Like Damyan, he has a particular affinity for AR and VR because of his love of world building. One of his most recent pieces, created in his role as Adobe’s AR ambassador, is Junk Age: Remember the Yesterbeasts<\/em><\/a>, a postapocalyptic trash heap populated by creatures who have emerged from the garbage. He describes the work as a \u201cmarkerless\u201d experience that \u201cexists wherever you put it. If you put it on the table, it works on the table. It will respond to whatever environment it\u2019s in.\u201d<\/p>\n\n\n\n

\"Reality<\/a>
Still of Reality Diagnostics<\/em>, 2021, by Marc-O-Matic<\/a><\/figcaption><\/figure>\n\n\n\n

This interaction between the real and the imaginary gives the piece an extra layer of magic; it\u2019s more than mere superimposition, not just the frank surreality of a whale floating across your living room but the especially hard-to-compute fact of the virtual whale responding to the real world around it.<\/p>\n\n\n\n

Of course, the placement of AR artworks like these opens an array of opportunities. Not only can they be scaled to fit your home, so that an ordinary domestic environment is transformed into a gallery space simply by your putting on a pair of glasses, but they also offer the ability, \u00e0 la Spook Country<\/em>, to attach works to particular geolocated coordinates.<\/p>\n\n\n\n

One such piece is Angie Taylor<\/a>\u2019s virtual sculpture titled Mammon<\/em><\/a>. Based on a 19th-century painting of the same name by George Frederic Watts, which depicts a statue he planned to commission but never executed, it takes the allegorical figure Mammon, representing human greed and material acquisition, and reworks it in what Taylor calls a \u201cvirtual bronze.\u201d<\/p>\n\n\n\n

An artist and prop maker, Taylor learned to sculpt from wood carvers on Jamaica\u2019s beaches in the 1970s. \u201cI like to try and leave the mark of the the digital on it, in the same way that when you’re carving you leave the mark of the chisel,\u201d she says.<\/p>\n\n\n\n

\"Mammon,<\/a>
Mammon<\/em>, 2021\u201322, by Angie Taylor<\/a><\/figcaption><\/figure>\n\n\n\n

Taylor is heavily influenced by her experience of the UK punk scene in the late 1970s. That perhaps explains why Watts\u2019s planned sculpture, originally designed for London’s Hyde Park, spoke to her. \u201cIt just seemed appropriate at the time, because there was a lot of people who were just obsessed with money getting into cryptoart,\u201d she says.<\/p>\n\n\n\n

The piece can work at coffee-table scale, but Taylor has also experimented with more provocative sizes and locations. \u201cI took it down to my local beach,\u201d she says. \u201cI scaled it up, and I put it on the sea, and it looked amazing.\u201d<\/p>\n\n\n\n

She admits she\u2019s also been buying plots of metaverse real estate on the platform Superworlds, including the steps of the Tate museum in London (where, not coincidentally, Watts\u2019s painting<\/a> resides). \u201cSo, I could put it there, which would mean that anyone who goes would see Mammon<\/em> on the steps of the Tate gallery.\u201d<\/p>\n\n\n\n

And what could be more punk than that? Fifteen years on, perhaps Gibson\u2019s timeline is finally about to merge with our own.<\/p>\n","protected":false},"excerpt":{"rendered":"

In 2007, the sci-fi author William Gibson published a novel titled Spook Country. Set in and around contemporary Los Angeles, it told the story of a group of artists who place virtual 3D sculptures \u2014 a monstrous squid, the bodies of dead celebrities \u2014 in geotagged locations throughout the city. Although not the most influential […]<\/p>\n","protected":false},"author":12,"featured_media":853,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[65],"tags":[268,258,255,92,257,146,252,202,253,269,259,260,262,261,267,66,270,251,266,264,256,254,103,265],"class_list":["post-793","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-think-piece","tag-angie-taylor","tag-apple","tag-ar","tag-artist","tag-augmented-reality","tag-crypto","tag-cryptoartist","tag-digital-art","tag-digital-artist","tag-eceertrey","tag-glasses","tag-goggles","tag-hardware","tag-headset","tag-marc-o-matic","tag-nft","tag-ogi-damyan","tag-ogiworlds","tag-sophie-kahn","tag-spook-country","tag-virtual-reality","tag-vr","tag-william-fowler","tag-william-gibson"],"acf":{"secondary_featured_image":false,"width":false,"post_format":"article","subtitle":"The hardware for interacting with NFTs is finally catching up with the visuals. Here, top digital artists explain how augmented reality and virtual reality will transform the way we see cryptoart.","contributors":{"hide_byline":false,"columnist":[{"ID":573,"post_author":"12","post_date":"2022-03-31 20:34:14","post_date_gmt":"2022-03-31 20:34:14","post_content":"\n

William Fowler lives and works in California. He has written about art and design since the mid-2000s, with bylines in the Guardian<\/em> and Creative Review<\/em>. He collects contemporary British art, including work by Anne Hardy and Robert Fry. His 2017 novel, Elephant<\/em>, about art, technology and guilt, remains sadly unpublished. Find out more on his website<\/a> and Linkedin<\/a>.<\/p>\n","post_title":"William Fowler","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"william-fowler","to_ping":"","pinged":"","post_modified":"2022-07-25 17:47:22","post_modified_gmt":"2022-07-25 21:47:22","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/the-mint\/\/?post_type=contributors&p=573","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false},"related_items":[{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/zenith\/id-n_LGTmuilcTM\/","related_product_title":"ZENITH by OgiWorlds","related_product_image_url":"https:\/\/a.1stdibscdn.com\/dist\/nft\/ogi\/ZENITH_Ogi_Poster_Image.png?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/mammon\/id-n_wNYxYFIg6d\/","related_product_title":"Mammon by Angie Taylor","related_product_image_url":"https:\/\/a.1stdibscdn.com\/1stdibs-media\/prod\/published\/n_wNYxYFIg6d\/angie_taylor-mammon-posterFrame.PNG?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/summoning-circle\/id-n_zPIf0f5vIH\/","related_product_title":"Summoning Circle by Marc-O-Matic","related_product_image_url":"https:\/\/a.1stdibscdn.com\/dist\/nft\/Marc+o+Matic+2\/PLSTY+x+MarcOMatic+POSTER.png?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/triple-portrait-e-rgb-dv1\/id-n_drGxKe7n3G\/","related_product_title":"Triple Portrait of E: RGB, dv1 by Sophie Kahn","related_product_image_url":"https:\/\/a.1stdibscdn.com\/dist\/nft\/SophieKahn\/sophie-kahn-preview.png?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false},{"related_product_url":"https:\/\/www.1stdibs.com\/nft\/art\/ly1cliagffwvfc18lxxcfc4gihx7ffx8kcktfc0u\/id-n_ExQ86UUadX\/","related_product_title":"\/-\\. |\\\/|-|-|\\|. |{|\\|()-|-. by Eceertrey","related_product_image_url":"https:\/\/a.1stdibscdn.com\/1stdibs-media\/prod\/published\/n_ExQ86UUadX\/eceertrey--.__--.__--.-original.jpg?disable=upscale&auto=webp&quality=60&width=768&format=jpg","related_product_image":false,"related_product_image_customize":false}],"interstitial_banners":false,"title":"","text":""},"apple_news_notices":[],"yoast_head":"\nAs AR Glasses and VR Headsets Go Mainstream, the Value of NFTs Becomes Clearer - 1stDibs: The Mint<\/title>\n<meta name=\"description\" content=\"The hardware for interacting with NFTs is finally catching up with the visuals. 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