STS italia Conference | 12-14 June 2014 a matter of design. making society through science and technology
Track #11 - Aesthetics of Innovation
Aesthetics of the immersive omnidirectional experience: An exploration of the social impact of interactive installations inside museums and galleries
Ece Ă–zdil Politecnico di Milano Design Department | Design&Cultures section
Starting point:
“immersive experiences” as a buzzword.
( JWT’s “10 Trends for 2014 and Beyond” )
2 Today's brands want to beat the competition by getting consumers to enjoy products in innovative ways. That's why, when it comes to web design and marketing, one of the most overused phrases is "immersive experience," ( Mashable, 25 April 2013 by Matt Petronzio )
introduction to the paper
Entertainment, narratives and brand experiences will become more immersive and altogether more enveloping in a bid to capture consumers’ imagination and attention.
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1
overview:
3
concept of aesthetics in experience and interaction design
the immersive effect and the aesthetic experience
the initial framework
a Conclusions Collection and analysis of case studies
introduction to the paper
2
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1
case studies
Introduction to
Starting point
Introduction to:
a
b
c
aesthetic emotions
relational / dialogical aesthetics
aesthetics experience
( Bell )
( Bourriard, Kester )
( Beardsley )
introduction to aesthetics
... experience and interaction design, requires an understanding of “aesthetics�, differing from these initial meanings, that goes beyond its static form-aspects or function-aspects and position. It requires a study of sensorial and emotional values, incorporating new languages and new forms that give place to the dynamics of behaviour and exchange of information that spreads its relational aspects in time.
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the concept of aesthetics in experience & interaction design:
Introduction to:
Char Davies, The Osmose interface, (1995)
introduction to “immersive” effect
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the aesthetic experience + the “immersive” effect :
Introduction to:
a
b
enchanting state: engagement and amusement
“immersant”
( Beardsley )
( Davies Char )
introduction to “immersive” effect
... to describe an enchanting state of an interaction between a person; an “immersant” and an “object” which can be used to describe the flow, the language or the dimension of a product, interface or a space.
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the aesthetic experience + the “immersive” effect :
Introduction to:
2
built upon an initial generation of a great attention on its “object”.
“controversial” or “unexpected” relation between the “object” and its atmosphere
This type of aesthetic experience intensifies and unifies all its elements in a proper way of “completeness” and “coherence” which leads to a continuity of development and engagement without gaps. It generates impulses within the senses of a person which arouses curiosity and expectations; expectations that are felt to be counterbalanced or resolved during this period of engagement and amusement.
The unpredicted visuality might generate an intangible effect within senses by the time people perceive this opposition or surprisal. In this way, the sudden attention is generated.
“immersive” effect is in the flow of the experience
“immersive” effect is in the choice of visual language, or the artistic environment
types of immersive effect
1
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types of immersive effects
Introduction to:
4
is visible when we associate the aesthetic experiences with the concept of “absorption”.
should be considered the ephemerality and more over its dynamics of interactivity between other users.
presented a single person’s relation and mental connection (perceptual) to an object, which can have levels of amplified attention, that emerges from a level of interest and can arrive to a point of fully-engagement, where the person can also loose the awareness of the surrounding environment and to the real world, and places oneself in this “symbolic” or “virtual” world. (a virtual one that does not associate only with technology. Also narration might generate virtuality, such as in the experience of reading a book) experiencing and positioning oneself as a part of it.
the word “interaction” can no longer imply the common perception as a linear exchange; so sender and receiver, but corresponds to a “participatory” and presumed to be a “Omnidirectional” one where unlike to its own ephemerality, the experience has a continuity between “immersants” and the artefact.
the “immersiveness” generates a rejection and/ or oblivion of the settings and surroundings
“immersive” effect is in ephemeral experience with relational attitudes.
types of immersive effect
3
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types of immersive effects
Introduction to:
the framework:
1. as a challenge of engagement and dynamic interaction, so the involvement of the visitor, ( highly engagement as an aesthetic experience )
2. aesthetics as a social dimension, so the impact and its power to influence behaviour, ( relational aesthetics )
framework
evaluation of “aesthetic� side based on:
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A systematic review of function of immersive effect + positioning of the aesthetics
Introduction to:
the framework: Type of “aesthetic” experience synesthetic
social
Omni-directional
oppositional
oblivious
relational
framework
narrative
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Type of “immersive” effect
engaging
Introduction to:
the framework: Type of “aesthetic” experience synesthetic
social
Omni-directional
“model” oppositional
oblivious
relational
framework
narrative
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Type of “immersive” effect
engaging
Case studies
Collection and analysis of case studies: A immersive effect in the flow of the experience:
C immersiveness as an oblivious space:
D relational immersive effect:
framework
immersiveness in the visual language between the “object� and its atmosphere:
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B
Case studies
A. immersive effect in the flow of experience:
a1 in museums as storytelling:
a2 As installations with synesthetic narratives:
areas of case studies
This type of experience is “recursive”; in a way it can repeat itself. However, just because of this reason, its “ludic” or “illusive” dynamics will change its level of immersion when it is repeated.
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Changes the position of the protagonist ( which is the visitor in many experiences ) to the place; the museum space.
Case studies
A. immersive effect in the flow of experience: a1 areas of case studies
This approach can be seen in such models as “museum as narration” (Cirifino, Giardina Papa and Rosa 2011). In this kind of experience, the space might offer a solution, sheltering different constructions in relation to the whole story, as in a movie, that the story listeners follow, almost having a “ludic” experience; spontaneous and unexpected events occur in time.
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in museums as storytelling:
transatlantici, scenari e sogni di mare
Genoa Sea Museum - Genoa, Studio Azzurro (2004)
holocaust memorial museum
Washington D.C.
Case studies
A. immersive eect in the flow of experience:
a2 areas of case studies
In this kind of “narrative� the story has been exploited from a poetic and artistic approach where the space harnesses energy and synergy, which constructs the narration and immersion in emotions and sensations.
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as installations with synesthetic narratives:
symphonie cinĂŠtique - the poetry of motion
MADE creative space - Berlin, Art+com (2013)
unidisplay
Carsten Nicolai (2012)
Case studies
b1 In architecture and installations as “controversial” relationship:
b2 In user interface design “surprisal” relationship:
areas of case studies
Usually has an “image” or “imaginary” offer in contrast to its known or expected atmosphere and in this approach immersion is a precondition. This contrast between the “object” and its environment is immediate and absorbs the attention of the visitor in which just after the visitor might be submerged into a world that awakens senses and thoughts; hence “immersed”.
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B. immersiveness in the visual language between the “object” and its atmosphere:
Case studies
B. immersiveness in the visual language between the “object” and its atmosphere: b1 areas of case studies
Architectural experiments and installations builds stories with its visitor not only in the single moment of “meeting”, but through a moment that expends in time leaving “permanent” traces; traces that are intangible, capturing feelings and emotions. This type of experience is “pervasive”; as it might extent its “immersive effect” widely in senses not only through but also out of the experience period.
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In architecture and installations as “controversial” relationship:
la casa chica
Smiljan Radic (2012)
fos, street installation
Madrid, Fos (2013)
Case studies
B. immersiveness in the visual language between the “object” and its atmosphere: b2 areas of case studies
The choice of the visual languages are initially borrowed from concepts of “ludic experiences” as in its initial meaning; from video games and films, where the visitor even forgets the boundaries of screens. In fact, the word “immersion” is also widely known, mentioned also earlier in virtual (reality) development.
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In user interface design “surprisal” relationship:
google cultural institute
Google (2011)
snowfall,the avalanche at tunnel creek
New York Times (2012)
Case studies
c1 In digital and physical interaction:
areas of case studies
The representation of an object, story or memory rejects the connection with the physical space and the virtual or designed surroundings are understood as ever-present environment. This “realistic” virtuality is a consequence of the complete “absorption” of the visitor, as a conduit for this experience. This type of oblivious space can have social dimensions; as it concerns the entire relationship built with the virtuality counting also on the other “immersants”.
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C. immersiveness as an oblivious space:
Case studies
C. immersiveness as an oblivious space: c1 areas of case studies
Cases might differ and represent same type of “immersive� effect from different points of view; from physical presence to virtuality and where physical presence is in the virtual reality.
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In digital and physical interaction:
on space time foam
Tomรกs Saraceno (2012-2013)
palace-hampi
ALiVE – Applied Laboratory for Interactive Visualization and Embodiment (2008)
Case studies
D. relational immersive effect:
d1 In social Interactive visualization:
areas of case studies
In this type of aesthetic experience, the “immersant” is involved into not only a singular flow of narratives and sensations as a singular experience, but a serious of other stimuli also generates a continuity to the lifecycle of “immersive” experience.
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Takes as its subject not only the engagement of the narrative or dynamics of interaction side, but also the dynamic and active social environment; as in real-time and online collaboration and exchange.
pure land AR
ALiVE – Applied Laboratory for Interactive Visualization and Embodiment (2012)
Analysis of case studies:
positioning: Type of “aesthetic” experience
oppositional
oblivious
social
transatlantici, scenari e sogni di mare
symphonie cinetique
holocaust memorial museum
unidisplay
google cultural institute
la casa chica
snowfall
fos
Omni-directional
on space time foam palace-hampi
relational
pure land AR
analysis of case studies
narrative
synesthetic
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Type of “immersive” effect
engaging
Analysis of case studies:
models: Type of “aesthetic” experience social
Omni-directional
narrative
“recursive” oppositional
“pervasive”
oblivious
“virtual-social” relational
“responsive -omnidirectional”
analysis of case studies
synesthetic
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Type of “immersive” effect
engaging
Analysis of case studies:
analysis: Type of “aesthetic” experience social
Omni-directional
narrative
“recursive” oppositional
“pervasive”
oblivious
“virtual-social” relational
“responsive -omnidirectional” emerging area of innovation
analysis of case studies
synesthetic
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Type of “immersive” effect
engaging
Conclusions
and identifing why “immersiveness” is within area of “innovative” applications ( in relation to its aeshetics)
Conclusions
bringing aesthetics towards a broader perspective on its potentials as an area of development
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paper aimed at
Conclusions
paper foresees transmedial development which could allow a denser social interaction between diverse users physically and virtually
Conclusions
further research on the emerging area of innovative development in relation to technologies
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paper proposes
Thank you! Questions?
Ece Ă–zdil Politecnico di Milano Design Department | Design&Cultures section eceozdil@hotmail.com