在以VR電影為代表的虛擬藝術活動中,典型的交互性體驗方式形成了。按體驗者身體呈現程度不同的"自由度",可將VR電影交互性體驗分為"三自由度""六自由度"和"多自由度"體驗三種類型。在不同類型的交互性體驗活動中,技術延伸身體、身體同化技術并使之發揮身體功能,形成了"技術身體化";意識依托身體、身體覆蓋意識,形成了"意識身體化"。隨著身體"自由度"的提高,"技術身體化"和"意識身體化"也不斷增強。西方"身體主體"思想研究在克服意識性主體論身/心、主/客二元對立弊病方面,取得了一定成效,但也存在著與當代虛擬現實語境和虛擬藝術現實不相容的一面。虛擬藝術體驗活動中的主體,既不是傳統美學理論中的意識性主體,也不是一般"身體主體"理論所標榜的"身-心"統一體,而應是"技術-身體-意識"的結構性主體,身體帶動技術、意識的實踐活動是其主體性生成之源。

The mode of typical interactive experience comes into being in virtual art activities represented by VR films. According to the degrees of "freedom" of the experiencer’s body, the interactive experience of VR films can be divided into three types: three-dimensional freedom, six-dimensional freedom, and multi-dimensional freedom. In different types of interactive activities, technology extends to body, and body assimilates technology to makes it function as body, which gives rise to the "technical embodiment"; in the meantime, consciousness rests on body and body covers consciousness, which gives rise to the "conscious embodiment". With the increase of body’s freedom, "technical embodiment" and "conscious embodiment" are also enhanced. The study of "body-subject" in the West has made some achievements in overcoming the problem of the body/mind and subject/object dualisms, but it is also incompatible with the contemporary context of virtual reality and the reality of virtual art. The subject in the activity of virtual art experience is neither the conscious subject in traditional aesthetics, nor the "body-mind" unity in general "body-subject" theory, but the structural subject of "technology-body-consciousness". The practice of technology and consciousness driven by body is the source of its subjectivity.