By Jesi Khadivi

The Electronic Visualization Lab (EVL), an interdisciplinary graduate research laboratory at the University of Illinois, Chicago, is a leader in the development of virtual reality (VR) technology. Their VR systems, CAVE (1992) and ImmersaDesk (1994), are used for scientific and medial research. EVL is not only home to scientists; the lab is also used for advancements in digital and electronic art.

Originally known as Circle Graphics Habitat, EVL is the oldest art and engineering collaboration in the United States. It was founded in 1973 by Tom DeFanti (Chemistry/Computer Science) and Dan Sandin (Art Department). DeFanti and Sandin still serve as co-directors. They were later joined by Maxine Brown as Associate Director. EVL focuses on “the development of tools, techniques and hardware in support of real-time, highly interactive visualization.”

The term “virtual reality” has a fantastical, cyber punk ring to it. Due in no small part to films like The Matrix, my vision of virtual reality, an immersive artificial computer generated environment, was more informed by superhuman powers and battles with machine men than information networking or flight simulation.

While the origin of the term is unclear, ideas about virtual and artificial realities have been circulating since the 60s and 70s. American cinematographer Morton Heilig, the so called “Father of Virtual Reality,” built a proto VR Machine he dubbed the Sensorama in 1962. The Sensorama and its five accompanying films engaged sight, sound, touch and smell to evoke the feeling of riding a motorcycle through Brooklyn or watching a belly dancer perform, among other “experiences.” Virtual Reality continued to develop through the 70s and 80s and is currently used in military training, architectural modeling and medical imaging.

Like Morton Heilig, who pursued his own brand of VR as a cinematographic device that he hoped could revolutionize cinema, the founders of EVL value the interplay between art and science. The lab is the oldest formal collaboration between art and technology in the United States. Uniting the two through electronic media has been at the core of the lab’s creative mission since its inception. The lab maintains relationships with numerous organizations in the arts and sciences, including the Ars Electronica Center in Austrian, (art)n Laboratory in Chicago and the International Society for the Electronic Arts in Japan.

Collaboration seems to be the name of the game at EVL in general. Their CAVE VR system was designed for multiple users and was originally intended to be a tool for scientific visualization. The CAVE is a surround sound and screen projection based environment. 3D computer graphics are projected on screens that surround the viewer. Users wear lightweight stereo glasses and navigate virtual space using a wand shaped controller to interact with virtual objects. Several users can inhabit the space at one time and can even have discussions about their shared virtual experience. The CAVE can be hooked up to remote data servers and supercomputers for researchers to share and explore information together.

Where does art come in? Students at the EVL work in a variety of mediums including web art, computer animation, film and video. Cultural heritage projects are an exciting corner stone of the lab’s creative output. A cultural heritage research project invites a viewer to engage in a multi-media artwork that synthesizes art, technology, and history to explore human cultural artifacts. Projects may invite audience participation either in person or remotely, or synthesize VR technology and other immersive devices.

Lara: Laboratory for Analyzing and Reconstructing Artifacts, developed by Andrew Johnson and Jason Leigh, is an application used to develop collaborative engagement with large scale environments. Passing Excellence, a project developed by Daria Tsoupikova and Robert Kooimathat, began in 2006 and documents Kizhi Pogost.

Kizhi is an ensemble of wooden churches and houses that is one of the most popular tourist destinations in Russia. Passing Excellence seeks to create visualizations of the site using photographs, video surveys and architectural plans. It is hoped that the virtual reconstruction will allow greater access to the site and preserve it for years to come.

Kizhi VR Image

In 2002 and 2003 a group of artists and computer scientists created Virtual Bronzeville, a virtual model of Bronzeville, Chicago. Jason Leigh pursued a similar project in 1999 with Virtual Harlem, a reconstruction of the famous NYC African-American neighborhood in the 1920s and 1930s. The program was integrated into the University of Illinois at Chicago’s African-American studies program and has been used in numerous demonstrations for school and cultural groups. A new project by Soyon Park exploring Korea is in the works, but no start date has been assigned yet. A Glimpse of Ancient Korea will allow users to explore Kyoungju City.

Image from Virtual Bronzeville

The variety and scope of EVL’s Cultural Heritage projects should convince anyone who thinks that virtual reality is little more than a video game phenomenon of its lasting merit and potential impact on history and education.

Visit the EVL Web site to learn more.

Images all rights retained the Electronic Visualization Laboratory, University of
Illinois at Chicago.