Wire report
Extended reality takes visitors from the ruins of West Bank to 17th-century Amsterdam at Venice Immersive
From frivolous to serious, virtual nosy passersby to the impact of climate change, the groundbreaking festival draws to a close – but this year the exhibits live on The first installation one encounters on visiting Venice Immersive, the film festival’s reliably head-spinning showcase for new media, is a chest-high metal box fitted with an eyepiece and two speakers. On peering inside you see a view of yourself from about 20ft above. You see the other guests walking past, a couple of pigeons on the ground. When one of these passersby lingers at your side for just a moment too long, the obvious impulse is to glance up from the eyepiece in order to see what they want. It is at this point that the experience blooms into a Lynchian nightmare. The passerby is not real – or rather, he’s only real in the box. He wears a blue suit and speaks with a heavy French accent and tells a tale that would s
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From frivolous to serious, virtual nosy passersby to the impact of climate change, the groundbreaking festival draws to a close – but this year the exhibits live on The first installation one encounters on visiting Venice Immersive, the film festival’s reliably head-spinning showcase for new media, is a chest-high metal box fitted with an eyepiece and two speakers. On peering inside you see a view of yourself from about 20ft above. You see the other guests walking past, a couple of pigeons on the ground. When one of these passersby lingers at your side for just a moment too long, the obvious impulse is to glance up from the eyepiece in order to see what they want. It is at this point that the experience blooms into a Lynchian nightmare. The passerby is not real – or rather, he’s only real in the box. He wears a blue suit and speaks with a heavy French accent and tells a tale that would s
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What happened
According to The Guardian’s source item, Extended reality takes visitors from the ruins of West Bank to 17th-century Amsterdam at Venice Immersive, From frivolous to serious, virtual nosy passersby to the impact of climate change, the groundbreaking festival draws to a close – but this year the exhibits live on The first installation one encounters on visiting Venice Immersive, the film festival’s reliably head-spinning showcase for new media, is a chest-high metal box fitted with an eyepiece and two speakers. On peering inside you see a view of yourself from about 20ft above. You see the other guests walking past, a couple of pigeons on the ground. When one of these passersby lingers at your side for just a moment too long, the obvious impulse is to glance up from the eyepiece in order to see what they want. It is at this point that the experience blooms into a Lynchian nightmare. The passerby is not real – or rather, he’s only real in the box. He wears a blue suit and speaks with a heavy French accent and tells a tale that would s
Context
The development sits in VINI’s Culture file for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The source item is dated 2026-09-12T07:00:29+00:00.
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Source
Primary source: Extended reality takes visitors from the ruins of West Bank to 17th-century Amsterdam at Venice Immersive via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Extended reality takes visitors from the ruins of West Bank to 17th-century Amsterdam at Venice ImmersiveThe Guardian - 2026-09-12T07:00:29+00:00
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