<p>In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization.</p><p>Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.</p>

In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization. Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.