Beyond the Screen: The Integration of XR Media in Canadian Cultural Institutions

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dc.contributor.advisorLongfellow, Brenda
dc.contributor.authorKlimek, Caroline Anne Giroux
dc.date.accessioned2024-07-18T21:16:16Z
dc.date.available2024-07-18T21:16:16Z
dc.date.copyright2024-01-10
dc.date.issued2024-07-18
dc.date.updated2024-07-18T21:16:15Z
dc.degree.disciplineCinema and Media Studies
dc.degree.levelDoctoral
dc.degree.namePhD - Doctor of Philosophy
dc.description.abstractThe integration of Extended Reality (XR), encompassing Virtual Reality (VR) and Augmented Reality (AR) represents a paradigm shift in contemporary art and media landscapes. While XR permeates sectors ranging from gaming, real estate, advertising to education, its foray into cultural institutions like film festivals and artist-run centres (ARCs) remains an underexplored research area. Furthermore, existing literature often examines the technological facets of XR, overlooking its cultural impact. Addressing this gap, this dissertation is a comprehensive exploration of how Toronto's cultural institutions are embracing XR, their strategic adaptations to it, the challenges encountered, and the ensuing ramifications on audience dynamics and institutional ethos. Through case studies, my research examines film festivals’ use of XR, particularly within TIFF, Hot Docs, and imagineNATIVE, the notable Art Gallery of Ontario, and pivotal ARCs including Trinity Square Video and Inter/Access. Using a sociocultural framework, this dissertation meets and probes at the nexus of technology, artistry, institutional imperatives, access, and audience interactivity with XR. By offering insights into film festivals’ engagement with XR, emphasizing its influence on festival operations, labour and programming. The examination then shifts to the art gallery, with a spotlight on the AGO, unraveling the tensions and trade-offs of blending legacy with XR innovations. The role of ARCs takes center stage as incubators for XR experimentation and platforms for artist empowerment. This dissertation culminates in a critical discussion of the challenges posed by the technological and planned obsolescence of XR artworks in a capitalist market. It advocates for sustainable methodologies to safeguard the longevity and accessibility of such works and uncovers how artists are addressing the concern of obsolescence within their XR artistic practice. Beyond mere technological enhancement, the integration of XR by cultural institutions intertwines with complex sociocultural, economic, and artistic nuances. This dissertation highlights the seminal role of cultural institutions in defining XR’s trajectory in the arts, making it a critical read for cultural curators, artists, scholars, and policymakers grappling with how to manage the pace of change in the emerging media landscape.
dc.identifier.urihttps://hdl.handle.net/10315/42117
dc.languageen
dc.rightsAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.
dc.subjectFilm studies
dc.subjectArt education
dc.subject.keywordsExpanded cinema
dc.subject.keywordsMedia industry studies
dc.subject.keywordsFilm festival studies
dc.subject.keywordsEmerging technology
dc.subject.keywordsArtist-run-centres
dc.subject.keywordsArt galleries
dc.titleBeyond the Screen: The Integration of XR Media in Canadian Cultural Institutions
dc.typeElectronic Thesis or Dissertation

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