奧列弗·格勞，藝術史學傢，奧地利多瑙河大學圖像科學教授，該校文化研究所所長。他曾任教於柏林洪堡大學，任齊根大學和林茨藝術大學訪問教授。曾任柏林德國科學基金會體驗式藝術工程主任。自2000年起，他與自己的工作組開始建立第一個虛擬藝術國際數據庫。他曾在世界多個國傢地區講學，獲得多個奬項，發錶著作甚豐。近期著作包括：《虛擬藝術：從虛幻想象到沉浸體驗》MIT齣版社，2003年（第四版），《傳介感情》法蘭剋福，2005年。即將齣版：媒體藝術史，MIT齣版社，2007年。他的研究重點是沉浸式體驗與情感的曆史；搖在（遠程異地在綫）的曆史、創意和文化；基因藝術和人工智能。奧列弗·格勞是柏林-勃蘭登堡州科學學院青年部的成員，媒體藝術、科學和技術曆史國際大會2005年在加拿大舉行首次會議“耳目一新！”時任主席。

Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book, Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype.<br /> <br /> Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner's 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.