The second, more obvious difference between painting and digital imaging is the materiality of paint and canvas. To become visible, a digital image needs the support of hardware and a screen (or, in the case of an immersive virtual art work, concrete space), but the image itself remains immaterial. Similarly, a digital print regains some of the materiality of the traditional photograph, but that doesn’t affect the immateriality of the pixelated image. The surprise of ﬁnding out on screen that "American Prayer", with its mimicry of a digital image, is in fact a painting - “oil and acrylic on canvas, 213 cm x 187 cm” - emphasizes the absence of paint, of earthly matter, of any body of work in the ethereal digital domain. The ironically religious iconography draws an equation between the belief in eternal heavenly life and the transcendence into a virtual image world. The digital duck metaphorizes the lure of such immateriality, the eternal existence of disembodied life without death. If Pinocchio is indeed praying for a virtual life in a digitally generated realm, what he will need to leave behind is the sensual world of nature and matter. Grau, like Anders, Baudrillard, Debord, and many others before him, warns of the devaluation of the real world that is inherent in the transcendence yearned for in virtual reality: "Essentially, virtual reality stands for the complete divorce of the human sensorium from nature and matter. In the history of illusionism in art and media, virtual reality constitutes the greatest challenge so far to the human senses and their relationship with the environment, which produces, sustains, and permeates them."