| Summary: | This paper addresses 360-degree virtual immersive environments as image production and reception devices that produce an apparent deconstruction of the pictorial frame and filmic framing. Through such deconstruction, such environments promise to allow the user an immediate presence in the iconic environment and to foster an effective empathic relationship with the synthetic subjects encountered in that environment. The article will consider the foundations of such a promise, showing its substantial inconsistency, generated by the dual rhetorical suppression of the machine gaze and of the interaction with the interlocutor.
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